Georgian & Neo-Classical Fireplaces - Westland London Antiques
Neoclassical & Georgian, including Adam and Palladian, English, Scottish, Irish & Italian antique fireplaces, mantels and chimneypieces in marble, stone and wood.
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Stock: 16600
An elegant neoclassical chimneypiece in pine. The inverted breakfronted shelf is carved with egg and dart and rests over a frieze which is profusely carved with scrolling acanthus and flowers. The jambs are decorated with strung flowers and fruit, very much in the manner of Grinling Gibbons.
English, c.1870.
View our collection of: Antique English Regency chimneypieces inc. George IV fireplace mantels.
|
Width |
Height |
Depth |
| External |
69 11⁄16"
177 cms |
57 1⁄2"
146 cms |
8 1⁄2"
21.5 cms |
| Internal |
42 1⁄2"
108 cms |
43 1⁄4"
110 cms |
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Listed Price: £7,500 (+VAT where applicable)
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Stock: 6609
A pair of reproduction Georgian chimneypieces in white marble with Azul Valverde Greek key inlay. Beautifully carved, these fireplaces have thick moulded shelves with acanthus leaf and dart carved in low relief, over friezes inlaid with a Greek key design. This is flanked by very slender Adam style corbels, over slender jambs.
20th century.
Outer footblock to footblock width 55 1/2" 141cms
View our collection of: Antique English Regency chimneypieces inc. George IV fireplace mantels.
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Width |
Height |
Depth |
| External |
63 7⁄8"
162.3 cms |
53 1⁄8"
135 cms |
7"
17.8 cms |
| Internal |
40"
101.5 cms |
40"
101.5 cms |
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Listed Price: £22,000 (+VAT where applicable)
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Stock: 9240
A grand and impressive Palladian style chimneypiece in finely carved Portland Stone. The wide shelf carved in high relief with an undershelf of repeating acanthus leaf motif, over boldly scaled egg and dart over lambs tongue detail. The main ingrounds carved with continuous guilloche motif. The whole is supported on large, sturdy footblocks.
Provenance: Removed from a building in the City of London.
English, late 19th century.
Link to a section showing full range of similar/related neo-classical chimneypieces
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Width |
Height |
Depth |
| External |
112 13⁄16"
286.5 cms |
87 5⁄8"
222.5 cms |
17 7⁄8"
45.5 cms |
| Internal |
65 3⁄16"
165.7 cms |
63 11⁄16"
161.7 cms |
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Stock: 6605
A fine neoclassical chimneypiece in pure white statuary marble, inlaid with a warm Sicilian jasper. The moulded shelf rests over the frieze of crisply reeded inlay, which is centred by an urnular tablet, and supported by paterae endblocks. These decorative features are echoed again in the jambs.
A beautifully drawn Georgian fireplace, that almost anticipates the restraint of the Regency. the
English, c.1780 with restorations.
View our collection of: Antique English Regency chimneypieces inc. George IV fireplace mantels.
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Width |
Height |
Depth |
| External |
66 1⁄8"
168 cms |
56 1⁄4"
143 cms |
6 11⁄16"
17 cms |
| Internal |
45 1⁄4"
115 cms |
45 11⁄16"
116 cms |
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Listed Price: £32,000 (+VAT where applicable)
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Stock: 6604
A fine and large Neoclassical fireplace in statuary and Siena marble. The thick moulded shelf of this fireplace rests on a frieze set with a generous panel of richly veined, yellow Siena marble, which is centred by a wreath and lyre tablet. Paterae endblocks over elegant jambs, which are also mounted with wide bands of Siena.
English, late 18th century, with restorations.
View our collection of: Antique English Regency chimneypieces inc. George IV fireplace mantels.
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Width |
Height |
Depth |
| External |
70 7⁄8"
180 cms |
53"
134.7 cms |
6 11⁄16"
17 cms |
| Internal |
46 1⁄8"
117 cms |
42 3⁄16"
107.2 cms |
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Listed Price: £32,000 (+VAT where applicable)
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Stock: 15648
An elegant chimneypiece of a good size in a pure white statuary marble with Siena marble ingrounds. The inverse breakfronted shelf rests over a crisply fluted frieze, which is mounted with a tablet, deftly carved with a reclining figure holding a harp. This detail is echoed on the endblocks, which are decorated with a foliate lyre and trumpets. These are mounted over the slender scrolling console jambs.
An interesting chimneypiece, spanning the stylistic gap between the Georgian and Regency periods.
English, c.1810, with restorations.
View our collection of: Antique English Regency chimneypieces inc. George IV fireplace mantels.
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Width |
Height |
Depth |
| External |
67 3⁄8"
171.3 cms |
52 7⁄8"
134.4 cms |
6 1⁄8"
15.5 cms |
| Internal |
42 7⁄8"
109 cms |
40 11⁄16"
103.5 cms |
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Listed Price: £18,000 (+VAT where applicable)
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Stock: 15840
A large and rare neoclassical chimneypiece in a soft, honey toned sandstone. Very much in the manner of William Kent, and therefore Palladian in style, this grand chimneypiece bears a thick shelf carved with a bold egg and dart moulding and a delicately carved foliate undershelf. Both rest on a beautifully carved half-barrel frieze, with acanthus paterae carved in a cross-hatch arrangement, centred by a blank tablet. The half pilaster jambs with ionic capitals are carved with bead and reel details and enclose the flat crossette cornered ingrounds, with further egg and dart and leaf and dart mouldings.
English, mid-20th century.
Notes: William Kent was the preeminent architect of the early Georgian period and the father of Palladianism. His style was informed both by antiquity and the bold style of the Italian Baroque, which was introduced to him on his tour of Italy. He was the first British architect to consider the interior as part of the whole decorative scheme, and designed furniture and other the small details necessary to complete a room.
View our collection of: Antique Baroque Chimneypieces inc English, Italian, French, Flemish Bolection fireplace mantels.
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Width |
Height |
Depth |
| External |
75 1⁄2"
191.7 cms |
59 13⁄16"
152 cms |
12"
30.5 cms |
| Internal |
41 1⁄4"
105 cms |
46 3⁄16"
117.3 cms |
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Stock: 6596
An exceptionally rare and finely cast George III neoclassical cast iron chimneypiece, attributed to Robert Adam. The frieze is delicately decorated with a finely cast central oval cartouche depicting the Triumph of Love, flanked by garlands of bellflowers and floral paterae. The endblocks are decorated with portraits of King George III and Queen Charlotte and are surmounted by a pair of neoclassical urns. These are supported on panelled jambs containing circular lion mask paterae and ribboned floral borders over paterae footblocks.
The fluted integral hob grate with serpentine bars is decorated with bell flowers and a central floral paterae. The handsome back plate with a half round arch, above which is a central mask, strung with garlands of bellflowers, which meet two portraits of the King and Queen again, this time in a distinctly classical guise.
English, circa 1760.
Provenance: Balcares House, from the London residence of the Earl of Crawford.
Awaiting further research.
View our section showing the full range of our neo-classical chimneypieces
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Width |
Height |
Depth |
| External |
42 1⁄2"
108 cms |
55 1⁄2"
141 cms |
13"
33 cms |
| Internal |
30 11⁄16"
78 cms |
22 3⁄16"
56.5 cms |
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Listed Price: £18,000 (+VAT where applicable)
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Stock: 16273
A rare Irish chimneypiece of grand proportions in statuary marble. The generous moulded shelf rests over a wide panelled frieze which is mounted with a tablet of exceptional quality. It depicts a recumbent Poseidon, god of the sea, being drawn on a seashell chariot by hippocampi, all carved in an artful blend of high and low relief. This scene is flanked by the most glorious endblocks, each a crouching Aphrodite, situated within a scallop shell. These crouch above freestanding Doric columns. The strikingly simple elegance of the chimneypiece is a perfect foil for the beautifully carved tablet and spectacular endblocks.
Irish, c.1820.
Provenance:
Raheen House, Raheen, Clonmel, Co. Tipperary, Southern Ireland.
By repute, the chimneypiece was installed at Raheen House by the then owners of the house, the Burke family, circa 1889, when they apparently acquired it in lieu of a part payment for a warehouse. This commercial building was purchased by the Loreto Convent of Clonmel to be used as a religious school when their own school was damaged by fire.
View our section showing the full range of our neo-classical chimneypieces
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Width |
Height |
Depth |
| External |
83 7⁄8"
213 cms |
54 11⁄16"
139 cms |
18 1⁄8"
46 cms |
| Internal |
43 1⁄4"
110 cms |
38 5⁄8"
98 cms |
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Stock: 8232
A very smart English Regency specimen marble chimneypiece in Kilkenny Black Fossil Marble inlaid with Breche Violette marble panels which have been cut and opened like a book to reveal symetrical veining. The oval plaque on the frieze and the flanking end blocks are of inlaid Convent Sienna Marble. English, circa 1820.
Link to: Antique English Regency chimneypieces inc. George IV fireplace mantels.
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Width |
Height |
Depth |
| External |
69"
175.3 cms |
55 11⁄16"
141.6 cms |
6"
15.2 cms |
| Internal |
43"
109.2 cms |
42 1⁄2"
108 cms |
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Listed Price: £24,000 (+VAT where applicable)
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Stock: 16123
A rare neoclassical chimneypiece of exceptional quality in statuary marble with a lapis lazuli tablet. The inverse breakfront shelf is supported by a boldly carved egg and dart undershelf which rests on a crisply carved, reeded frieze. The frieze is mounted with an exceptionally fine lapis lazuli tablet with an applied low relief scene in statuary marble depicting a pair of cavorting putti. This is flanked by floral paterae endblocks over jambs finely carved with flat corbels, terminating in bellflowers.
English, c.1830.
From the collection of a renowned international interior designer.
View our section showing the full range of our neo-classical chimneypieces
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Width |
Height |
Depth |
| External |
73 1⁄4"
186.1 cms |
58 7⁄8"
149.5 cms |
12"
30.5 cms |
| Internal |
44 1⁄4"
112.5 cms |
43 1⁄8"
109.6 cms |
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Stock: 16124
A fine statuary marble Regency chimneypiece in the manner of Samuel Wyatt (1737-1807). The plain shelf sits over a slender panelled frieze, which is flanked by stylised oak leaf endblocks over jambs finely carved with ribbon tied oak leaves and acorns. This chimneypiece is reminiscent of the work of Samuel Wyatt, as the carving on the jambs is remarkably similar to his chimneypiece designed for Sundridge Park.
English, c.1805.
View our section showing the full range of our neo-classical chimneypieces
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width |
height |
depth |
| External |
63 3⁄8"
161 cms |
45 1⁄8"
114.5 cms |
9 3⁄8"
24 cms |
| Internal |
39 1⁄2"
100.3 cms |
35 3⁄16"
89.3 cms |
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Stock: 16083
A good George III carved statuary and Siena marble chimneypiece with a games theme! The inverted breakfront shelf sits above a frieze depicting putti playing a game of 'blind man's bluff' within a classical setting. This scene is flanked by endblocks depicting putti playing battledore and shuttlecock, whilst the jambs below show putti skipping over neoclassical vases hung with swags. These sit either side of the generous Siena marble slips.
This is a really unusual chimneypiece with a wonderfully lighthearted subject.
English, c.1790 with later restorations.
View our section showing the full range of our neo-classical chimneypieces
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Width |
Height |
Depth |
| External |
72"
183 cms |
60 5⁄8"
154 cms |
7 1⁄8"
18 cms |
| Internal |
42 11⁄16"
108.5 cms |
44 3⁄16"
112.2 cms |
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Stock: 13154
A grand and large George III twin columned warm toned pine and gesso Georgian chimneypiece with its original Carrara Marble slips. The fluted and anthemion decorated frieze is centred by a plaque depicting four classical Greek figures around a weeping child. Each pair of slender twin columns on the jambs are separated by tumbling vines beneath end blocks with elaborately styled platters of fruit.
English circa 1770.
Link to a section showing full range of similar/related neo-classical chimneypieces
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Width |
Height |
Depth |
| External |
77"
195.5 cms |
58"
147.3 cms |
8 1⁄4"
21.2 cms |
| Internal |
41 11⁄16"
106 cms |
40 7⁄8"
104 cms |
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Listed Price: £12,200 (+VAT where applicable)
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Stock: 15958
A fine and grand neoclassical chimneypiece in statuary marble with Siena marble inlay. The boldly carved breakfront shelf sits above a high relief egg and dart undershelf and a finely fluted frieze inlaid with Siena marble. This is mounted with a beautifully carved tablet depicting putti feeding a goat within a pastoral landscape. This symbolises abundance. The solitary putto endblocks rest on three-quarter pilasters with inlaid Siena volutes over plain jambs.
English, c.1760 with nineteenth-century restorations.
View our section showing the full range of our neo-classical chimneypieces
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Width |
Height |
Depth |
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72 1⁄2"
184.2 cms |
61 5⁄8"
156.5 cms |
11"
28 cms |
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43 11⁄16"
111 cms |
40 1⁄2"
102.8 cms |
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Stock: 15844
A fine eighteenth century George III chimneypiece in statuary marble. The solid reverse breakfront shelf sits above a frieze which is delicately carved with a stylised foliate design. This is centred by a tablet depicting a putto imitating Bacchus riding on a goat drawn chariot with two other putti in attendance. The endblocks are carved with urns hung with bellflowers and are supported by carved jambs which depict one putting holding a rake, whilst the opposing holds a scythe above trailing bellflowers.
English, c.1790 with restorations.
Ingrounds are a later replacement, and these can in turn be replaced with another marble.
View our section showing full range of neo-classical chimneypieces
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Width |
Height |
Depth |
| External |
65 3⁄16"
165.5 cms |
51 13⁄16"
131.5 cms |
8 1⁄2"
21.6 cms |
| Internal |
37 3⁄8"
95 cms |
36 13⁄16"
93.5 cms |
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Stock: 15775
A large eighteenth century English neoclassical chimneypiece of exceptional quality. The moulded reverse breakfront shelf sits above a frieze inlaid with volutes of sarrancolin marble. The central tablet has been deftly carved with a neoclassical urn hanging with bellflowers.The delicately carved endblocks are supported by jambs also inlaid with volutes of soft amber coloured sarrancolin marble. Remarkably, this fireplace has had very few repairs over the centuries, and remains in beautiful, original condition.
English, c.1780.
View our section showing full range of neo-classical chimneypieces
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Width |
Height |
Depth |
| External |
69 11⁄16"
177.1 cms |
58 7⁄8"
149.6 cms |
7 1⁄2"
19 cms |
| Internal |
44 1⁄4"
112.4 cms |
46 1⁄8"
117 cms |
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Stock: 15547
A rare Scottish pine and composition chimneypiece by Richard Foster of Edinburgh.
The chimneypiece was designed with the coastal landscape of the East Coast of Scotland in mind and is profusely decorated in exquisite detail whilst maintaining the elegant restraint of a neoclassical chimneypiece.
The breakfront shelf rests above an undershelf studded with acorns and mushrooms which in turn is supported by two eagles on the endblocks. The eagles are modelled after a Roman Imperial Eagle in Horace Walpole’s collection, found in the gardens of Boccapadugli and displayed by Walpole at his Strawberry Hill Home. These details frame the remarkable frieze which is a celebration of the Scottish coast; profusely decorated with seaweed, shells, sea cucumber and crabs, all in high relief.
Most remarkable of all is the exquisite central tablet, which depicts Lady Emma Hamilton leaning on a ship’s anchor whilst gazing out to sea at the distant HMS Victory, the ship on which he would meet his heroic end. This scene is surrounded by a profusion of seashells and seaweed.
The underfrieze makes a departure from the coastal theme, and instead entwines thorny roses with the Scottish emblem of the thistle.
The jambs return to a more restrained neoclassicism, with engaged slender pilasters resting on plain footblocks. The original Kilkenny fossil marble slips are still present, which is a lovely feature.
Scottish, c.1805.
Provenance: Removed from an elegant Georgian house on the East Coast of Scotland, near Edinburgh.
Notes:
Chimneypieces of this manufacture were a speciality of Richard Foster of Edinburgh and his son and examples survive not only in Scotland but also in the United States and Canada, where he seemed to create a strong market for them in the late 18th century.
Richard Foster was born in Canonbie, the Scottish Borders, in 1755. At the age of fourteen, he was recorded as having a bank account in London, presumably as he was serving as an apprentice there, perhaps to the Adam Brothers as they too were in London at this time. In 1785 he returned to Edinburgh, working as a "joiner" and married to the daughter of a wealthy leather merchant. His chimneypieces were sold not only in Scotland, but in the USA, a bold move only a few years after American Independence was declared! This is perhaps why he avoided becoming a prominent figure in Scottish social and intellectual circles, as selling to Britain's former colonies would have been regarded as treachery in many cases.
The pine and composition chimneypiece he perfected made the rational principles and beauty of classicism affordable to the growing mercantile and professional class emerging in the 18th century. These clients wished to express their cultural understanding through objects that conveyed the principles they admired, the chimneypiece was one such highly prized object.
The Adam brothers (Robert and James) were well known for promoting their designs to the masses, and it is the pine and composition chimneypiece they made for the emerging middle class in Edinburgh that have become synonymous with the "Adam Style". However, Foster was a true master of the technique, and his designs are some of the most delicate and finely manufactured ever made.
In the 1770s, the technique of applying a cast composition onto pine really took off in Scotland, especially with the construction of many new houses, such as those in Edinburgh's New Town. The process of cast composition can be described as essentially a thermo plastic mix of chalk, glue size, and other additives heated up to a precise temperature then pressed into wood or brimstone moulds. These could then be applied to a simple pine surround and painted if desired. Foster was commissioned to make designs unique to clients, so there may only be a single example of a particular design, but these usually incorporate existing decorative motifs.
View our section showing full range of neo-classical chimneypieces
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Width |
Height |
Depth |
| External |
78 13⁄16"
200.1 cms |
62 5⁄8"
159 cms |
7 7⁄8"
20.1 cms |
| Internal |
52"
132 cms |
45 1⁄4"
115 cms |
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Stock: 15615
A fine George III chimneypiece in Statuary and Siena marble. The inverted breakfront shelf sits above a boldly carved egg and dart undershelf, resting over the faux fluted frieze inlaid with fine Siena Marble and studded with two oval paterae.
The central rectangular tablet depicts three putti, one possibly Cupid as he holds a bow, the others grapple with a quiver of arrows. This scene is situated within ribbon tied drapery. The endblocks are also carved with putti, one holding a set of cymbal like instruments aloft and the other holding an unfurling scroll.
Supporting the endblocks are the three-quarter columns also inlaid with Siena marble and topped by elegant composite ionic capitals and resting on socle and block plinth bases.
English, c.1770. With restorations.
View our section showing full range of neo-classical chimneypieces
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Width |
Height |
Depth |
| External |
74"
188 cms |
62 5⁄8"
159 cms |
13"
33 cms |
| Internal |
46 7⁄8"
119 cms |
39"
99 cms |
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Stock: 15548
A rare pine and composition chimneypiece by Richard Foster of Edinburgh. The chimneypiece is a celebration of the Scottish coast, and painstaking care has been taken to render the sea life and flora with a great deal of accuracy. The composition decoration has also been carefully wood-grained to make it appear like carved pine; this finish is a great survival.
The inverted breakfront shelf sits above a band of composition moulded into acorns and mushrooms, and the frieze is decorated with swags of ribboned bellflowers in the neoclassical taste. Between these swags is the unusual detail of a fan of seaweed at their centre, a request of the patron no doubt.
The central tablet has a floral ribboned swag studded with roses and other small blooms and the centre is filled with a spray of flowers and ferns within a woven basket. The endblocks feature a bound posy of roses and the jambs are decorated with trailing oak leaves and acorns. A very fine thing.
Scottish, c.1800.
Notes:
Richard Foster was born in Canonbie, the Scottish Borders, in 1755. At the age of fourteen, he was recorded as having a bank account in London, presumably as he was serving as an apprentice there, perhaps to the Adam Brothers as they too were in London at this time. In 1785 he returned to Edinburgh, working as a "joiner" and married to the daughter of a wealthy leather merchant. His chimneypieces were sold not only in Scotland, but in the USA, a bold move only a few years after American Independence was declared! This is perhaps why he avoided becoming a prominent figure in Scottish social and intellectual circles, as selling to Britain's former colonies would have been regarded as treachery in many cases.
The pine and composition chimneypiece he perfected made the rational principles and beauty of classicism affordable to the growing mercantile and professional class emerging in the 18th century. These clients wished to express their cultural understanding through objects that conveyed the principles they admired, the chimneypiece was one such highly prized object.
The Adam brothers (Robert and James) were well known for promoting their designs to the masses, and it is the pine and composition chimneypiece they made for the emerging middle class in Edinburgh that have become synonymous with the "Adam Style". However, Foster was a true master of the technique, and his designs are some of the most delicate and finely manufactured ever made.
View our section showing full range of neo-classical chimneypieces
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Width |
Height |
Depth |
| External |
66 1⁄2"
169 cms |
58 1⁄2"
148.6 cms |
7 1⁄4"
18.6 cms |
| Internal |
48 1⁄8"
122.3 cms |
45 11⁄16"
116 cms |
|
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Stock: 15537
A very elegant Regency pine and gesso chimneypiece decorated in the Adam style. The inverted breakfront shelf is decorated with a beaded cornice and sits above an elegant frieze decorated with opposing gryphons holding ribbons of bellflowers in their beaks, centred by urns on stands. The tablet is more naturalistic, with Venus and attendants depicted in a pastoral landscape. The slender endblocks are decorated with classical urns on stands, and rest above the gently fluted pilaster jambs.
English, c.1810.
View our section showing full range of neo-classical chimneypieces
|
Width |
Height |
Depth |
| External |
73 3⁄16"
186 cms |
61 1⁄8"
155.1 cms |
7"
17.7 cms |
| Internal |
54 11⁄16"
139 cms |
48"
122 cms |
|
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Stock: 11067
A fine 19th century carved pine chimneypiece in the Georgian manner, with a frieze decorated with finely carved floral garlands and foliate flourishes. Intended to be fitted with marble slips, which we can provide.
English, c. 1880.
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Width |
Height |
Depth |
| External |
61 1⁄2"
156.3 cms |
52 5⁄8"
133.5 cms |
6 1⁄4"
16 cms |
| Internal |
5 3⁄8"
13.6 cms |
40 11⁄16"
103.4 cms |
|
Listed Price: £3,500 (+VAT where applicable)
More info?
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Stock: 15438
A late 18th century Statuary and Brocatelle marble chimneypiece, inlaid with a Greek key design on the frieze. The finely carved tablet depicts a goddess, perhaps Persephone, holding a cornucopia brimming with fruit, including a pineapple; something of a luxury in 18th century Britain. Beside her, a putto holds aloft an ear of wheat as he rides a lion pulling the goddess' chariot. In the distance, a small temple sits atop a hill, very much like the temple follies seen in 18th century parkland. Flanking the frieze are two elegantly carved endblocks, depicting a putto holding torches - another symbol of Persephone. These are supported by gently tapered jambs, inlaid with flutes of brocatelle marble and terminating in plain footblocks.
English, Circa 1790 with restorations.
View our section showing full range of neo-classical chimneypieces
|
Width |
Height |
Depth |
| External |
74 13⁄16"
190 cms |
60 13⁄16"
154.5 cms |
8 7⁄8"
22.5 cms |
| Internal |
48 3⁄8"
123 cms |
47"
119.5 cms |
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Reserved
Stock: 15429
A large and imposing Statuary and Connemara marble Neoclassical style chimneypiece very much in the Palladian manner of Isaac Ware. The wide stepped shelf rests above a band of substantial dentil carving, beneath which lies a Connemara marble frieze centred with a large statuary marble tablet depicting playful cherubs riding an eagle, the tablet is flanked by bold statuary carvings of mythical dragons. The paterae endblocks sit above plain, tapering Connemara columns on the jambs.
English, circa 1890.
Shown here with fire basket SNo 14151 not included.
The Palladian style was named after the Venetian Renaissance architect Andrea Palladio (1508-1580) whose work and ideas were based on the symmetry and perspective of the formal classical temple architecture of the Ancient Greeks and Romans. His work hugely influenced European architecture from the early 17th century to the present day.
View our section showing full range of similar/related neo-classical chimneypieces
|
Width |
Height |
Depth |
| External |
73 1⁄2"
186.6 cms |
58 1⁄4"
148 cms |
12"
30.5 cms |
| Internal |
43 1⁄8"
109.5 cms |
41 11⁄16"
106 cms |
|
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Stock: 6593
The Dalquharran Castle Chimneypiece.
A very rare, gently concave Portland Stone fireplace designed by Robert Adam and carved by the renowned Dutch stonemason Pieter Mathias van Gelder.
A moulded shelf rests above a simple frieze centred by a panel carved in relief with a floor standing globe flanked by opposing sphinxes. The endblocks, with carved lyres and husk swags, sit above fern frond corbels terminating in festooned bucrane on fielded panel jambs raised on stepped footblocks.
English, circa 1790.
Dalquharran Castle in Ayrshire, Scotland, is regarded as one of the finest examples of Robert Adam’s Castle Style. His castles were unique in the respect that whilst the outside embodied the robustness associated with a castle, the inside was the embodiment of his restrained and delicate classical style. Dalquharran Castle was created for Thomas Kennedy of Dunure but is sadly now a ruin after the roof was removed in 1967 to avoid paying rates.
The chimneypiece was originally installed in the round tower library of the Castle and epitomised Adam's classical elegance. The last image below shows it in situ in the ruins of the library. It is exceptionally rare to find such a piece and made even more remarkable as it survived virtually undamaged. There is a similarly fine chimneypiece at Seton Castle, Adam’s final project in Scotland.
Link to a section showing full range of similar/related neo-classical chimneypieces
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Width |
Height |
Depth |
| External |
78"
198.2 cms |
58 13⁄16"
149.3 cms |
12 5⁄8"
32 cms |
| Internal |
47 13⁄16"
121.5 cms |
42 1⁄2"
108 cms |
|
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Stock: 7360
A large and very finely made replica Chimneypiece in the Italian Neo Classical manner in Statuary Marble inlaid with Cippolino, Portoro, Sienna, Breccia Colorato and Aegean Bordeaux specimen marbles. The egg and dart moulding beneath a breakfront shelf is above a frieze centred by a carved Statuary marble cartouche inlaid with Cippolino marble flanked by oval Portoro marble endblocks.
Italian late 20th century.
Link to a section showing full range of similar/related neo-classical chimneypieces
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Width |
Height |
Depth |
| External |
98 1⁄2"
250.2 cms |
76"
193 cms |
11 11⁄16"
29.8 cms |
| Internal |
61"
154.9 cms |
50"
127 cms |
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Stock: 11376
A fine, late 18th century antique fireplace surround in Statuary marble with Spanish Brocatelle marble fluting and ingrounds. The breakfront shelf rests on a frieze with inlaid Brocatelle marble fluting, which is interspersed by delicately carved rosette paterae. The frieze is flanked by endblocks carved with pillar vases and trailing leaves above tapering fluted jambs raised on stepped footblocks.
English circa 1780.
Known provenance.
Link to a section showing full range of similar/related neo-classical chimneypieces
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Width |
Height |
Depth |
| External |
69 1⁄4"
176 cms |
58 11⁄16"
149 cms |
6"
15.3 cms |
| Internal |
41 1⁄4"
104.8 cms |
42 1⁄8"
107 cms |
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Stock: 14356
A fine Statuary Marble Victorian chimneypiece with grey/green Verde Antico Marble inlay very much in the George III manner. The wide moulded shelf, with an underlay of dentil detail, rests above an inlaid Greek Key frieze with a central tablet of an urn surmounted by a pair of mythical styled sphinx. The rosette paterae on the end blocks are set above inlaid fluted pilasters fronting the jambs. English, circa 1870.
Link to a section showing full range of similar/related neo-classical chimneypieces
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Width |
Height |
Depth |
| External |
71 11⁄16"
182 cms |
56 1⁄2"
143.5 cms |
9 1⁄8"
23 cms |
| Internal |
44 1⁄8"
112 cms |
42 7⁄8"
109 cms |
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Stock: 14786
A rather magnificent and beautifully carved twin columned Palladian style Victorian walnut antique fireplace mantel. The shelf, under carved with scrolling foliate detail, rests above a stop fluted frieze centred by a plaque with a stylised urn and trailing acanthus leaves and fronds. Each of the endblocks, with large heraldic cartouche, sit above twin pairs of finely carved stop fluted tapering columns supported on substantial footblocks. The fireplace opening with a border of shell and tongue is centred by a scrolled panel of angels, amid further foliage, immediately beneath the plaque. English, circa 1880.
Shown here with fire basket SNo 12271 not included.
Link to: Antique Victorian, William IV and Edwardian fireplaces and chimneypieces.
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Width |
Height |
Depth |
| External |
89 3⁄16"
226.5 cms |
62 5⁄8"
159 cms |
12"
30.5 cms |
| Internal |
50 13⁄16"
129 cms |
43 1⁄2"
110.5 cms |
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Stock: 8445
A George II antique pine chimneypiece with leaf carved moulding & vines, with bunches of grapes on the frieze.
English, Circa 1760.
Link to a section showing full range of similar/related neo-classical chimneypieces
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Width |
Height |
Depth |
| External |
61 13⁄16"
157 cms |
61 3⁄8"
156 cms |
6 11⁄16"
17 cms |
| Internal |
44 7⁄8"
114 cms |
46 1⁄2"
118 cms |
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Listed Price: £4,300 (+VAT where applicable)
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Stock: 15274
A small 20th century Neoclassical style Statuary Marble chimneypiece in the manner of Adam with a Sienna Marble frieze and ingrounds. The frieze is centred by a Statuary Marble tablet
which features a pair of seated cherubs either side of a bust of Homer within a classical landscape. One cherub has a hand on Homers forehead, the other has a hand on an open book and both are holding bones the whole possibly a representation of Learning. The tablet is flanked by a pair of carved ewers on the endblocks set above jambs fronted by elegant Statuary ionic pilasters raised on neat footblocks. Removed from a house in Cornwall. English, mid 20th century.
Link to a section showing full range of similar/related neo-classical chimneypieces
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Width |
Height |
Depth |
| External |
62"
157.5 cms |
51 1⁄8"
129.7 cms |
7 1⁄4"
18.5 cms |
| Internal |
38 1⁄4"
97.3 cms |
38"
96.5 cms |
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Stock: 14950
An early 20th century Neoclassical style Statuary and Sienna Marble chimneypiece. The Sienna panelled frieze beneath the stepped moulded shelf is centred by a carved Statuary Marble plaque depicting Venus and Cupid. Finely carved floral paterae adorn the endblocks above tapering, panelled Sienna columns on the jambs. English, circa 1930.
Link to a section showing full range of similar/related neo-classical chimneypieces
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Width |
Height |
Depth |
| External |
61 1⁄4"
155.7 cms |
51 1⁄2"
130.8 cms |
8 1⁄2"
21.6 cms |
| Internal |
36 1⁄8"
91.8 cms |
40 3⁄16"
102 cms |
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Listed Price: £8,200 (+VAT where applicable)
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Stock: 11303
An exquisitely carved pine and limewood mid Georgian fire surround.The pediment shelf, undercarved with lambs tongue, leaf & dart and bead enrichment, rests above a plain pine frieze centred by a panel of delicately carved limewood rosebud sprigs. The endblocks with equally finely carved limewood urns sit above panelled jambs with Corinthian capitals and ascending foliate motifs. By repute removed from Holy Rood House in Thirsk, North Yorkshire.
English, late 18th century.
Link to a section showing full range of similar/related neo-classical chimneypieces
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Width |
Height |
Depth |
| External |
68 13⁄16"
174.8 cms |
56 7⁄8"
144.4 cms |
6 1⁄4"
16 cms |
| Internal |
46 7⁄8"
119 cms |
42 7⁄8"
109 cms |
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Stock: 15195
A late 18th century Georgian chimneypiece carved in Statuary Marble with Verde Antico frieze panels and slips to the opening.
This chimneypiece was carved by the sculptor Thomas Carter (d.1795) and designed by the architect Charles Cameron, who installed it at 15 Hanover Square, London W1 c.1774 - a property which has subsequently been demolished.
It was almost certainly designed for one of the principle rooms in the house. The Statuary Marble chimneypiece is boldly carved, uniting both Neoclassical and Palladian ideals to create an ornate yet elegantly balanced piece. The central tablet is carved in high relief with a depiction of putti representing the Arts, Sciences, Knowledge and Industry. It is centred on the frieze beneath the wide breakfront shelf and is in turn flanked by a pair of large stylised, foliate endblocks which sit above the sweeping console jambs.
English, circa 1774.
Provenance: 15 Hanover Square was designed in the 1770s by the architect Charles Cameron for Jervoise Clark (1743-1808) Member of Parliament for Yarmouth, on the Isle of Wight. The chimneypiece was installed there in the 1770s. It was taken out when the house was demolished in 1904 and was subsequently promoted by prominent antique dealers of the time among them Mr Pratt, Messrs Keeble, Gill & Reigate & Sir Charles Allom. It was Illustrated in English Chimneypieces by Guy Cadogan Rothery published by John Tiranti in 1927 (please see the scanned image below).
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Width |
Height |
Depth |
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86 3⁄16"
219 cms |
63 1⁄2"
161.2 cms |
12"
30.6 cms |
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47 5⁄8"
121 cms |
43 11⁄16"
111 cms |
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Stock: 10093
A substantial and profusely carved pine Fireplace Surround in the Neo Classical manner. The central plaque floral swar is finely carved in high relief, the endblocks with stylised foliate paterae and with acanthus corbels and descending festoons on the jambs.
English 19th century.
Link to a section showing full range of similar/related neo-classical chimneypieces
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Width |
Height |
Depth |
| External |
75 3⁄16"
191 cms |
52 3⁄8"
133 cms |
11"
28 cms |
| Internal |
42 1⁄8"
107 cms |
37 5⁄8"
95.5 cms |
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Listed Price: £8,500 (+VAT where applicable)
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Georgian and Neoclassical fireplaces
Our collection of antique Neoclassical and Georgian fireplaces, chimneypieces and mantels comprises an impressive range in marble, wood and occasionally stone. Whether you wish to complement an existing Georgian or Neoclassical interior or add a touch of period style to a modern room, our Georgian and Neoclassical fireplaces are a great way to make a statement.
The Georgian Era
The Georgian era was a fascinating moment in British Art, Architecture, Design and Culture. This period saw the foundation of the Royal Academy of Art and the British Museum, and nurtured some of the finest architects, Robert Adam, John Nash and John Soane. The Georgian monarchy was a Hanoverian one; founded when the protestant George I ascended to the throne following the death of Queen Anne, his cousin. This Hanoverian monarchy ruled at a time of enormous colonial expansion, economic instability and even saw the birth of the Industrial Revolution. Despite the political and social unrest, the royal family were voracious patrons of the arts, and can be credited with nurturing some of the finest design talent of the time, including the revered architect and designer, Robert Adam.
Period Design Features
There was such a broadening and oscillation in artistic style during this period that it is perhaps more accurate to speak of “Georgian styles.” Palladianism, Neoclassicism and the English Rococo all thrived during the eighteenth-century. The overriding sense was a withdrawal from the heavy opulence of the Baroque style. Classical restraint was certainly favoured; symmetry, proportion and elegance were esteemed characteristics of the period. This was in part due to the popularity of the Grand Tour which highlighted some of the greatest sights of antiquity, and provided invaluable inspiration for both the patrons and designers of the 18th century.
Georgian Fireplaces
The Georgian fireplace embodied the favoured architectural characteristics of the period. Classical proportion and features evocative of Greek and Roman architecture were employed to create a grand and elegant focal point in the Georgian home. The Georgian period is often applauded for its development of domestic architecture also; vast swathes in cities and towns were being redeveloped with elegant terraces and villas, each with their own chimneypieces.
A revolution in Georgian fireplace design
Robert Adam was a seminal figure of the 18th century, and it is perhaps his designs for chimneypieces which are most well-known. Adam had studied in Rome and when he returned to Britain in 1758, opened up an architectural practice with his brother James, becoming the leading figure of the classical revival. The firm’s movement away from the rigid Palladianism of the late 17th century led to a lighter, more whimsical classical style. Their firm was not limited to architecture alone; it produced finished interiors using furniture and fittings of their design. As leading architects to Britain’s aristocracy and royalty, they also sought to show that good, harmonious design had a wider civic purpose. The Adam brothers sought democratise taste with a number of ambitious civic projects.
Adam style fireplaces
Adam fireplaces are instantly recognised by their crisp classical motifs carved in low relief in the form of central tablets and endblocks, and pilastered or columned jambs. Their elegance, designed to complement the finest architecture, is unquestionable
The firm also pioneered a pine and composition chimneypiece which is now an iconic part of 18th century design. This composition was made from a secret recipe and could be applied to wooden frames and treated with a number of finishes, such as gilt, paint, and faux marble. It meant that decorative chimneypieces could be manufactured far more quickly than the traditional limewood or marble chimneypieces, allowing the firm to keep pace with the rapid rate of house construction. They were also more affordable, and allowed more modest homes to enjoy the classical styles, which had been before, the preserve of the elite.
The Neoclassical
The neoclassicism typified by Adam style fireplaces evolved as a response to the flamboyant and opulent designs of both the Rococo and Baroque periods. Use of classical motifs was also intrinsically linked to the ideals of the Enlightenment, as classical design conveyed ideas of knowledge and truth. The style was born in Rome in the mid-18th Century after the rediscovery of Pompeii and Herculaneum, and was circulated throughout Europe by a generation of wealthy Grand Tourists and artists, who returned from their Grand Tours in Italy with freshly discovered Greco-Roman ideals.
Neoclassicism favoured a more formal, dignified approach that respected order and decorum, and established rules that became a distinct movement in the decorative and visual arts, literature, theatre, music and architecture throughout northern Europe from the mid-18th to the end of the 19th centuries. It still endures as one of the most popular architectural styles today.