With black Kilkenny marble top, coat hooks, stick stands, removable umbrella drip trays and original mirror.
Large in scale and highly decorative, having the finest quality castings.
Circa 1890
Made from veined statuary Carrara marble, with Cherry Griotte marble pillars.
Circa 1890
Made from lightly veined Carrara marble, with a serpentine breakfront shelf, over serpentine frieze and canted pilasters.
Circa 1880
Very well constructed with pierced quatrefoil detail.
In wonderful untouched original country house condition.
With a three-piece pointed shaped header resting on moulded jambs. The spandrels carved with Tudor flowers, the mantel shelf with castellated top.
This 200 year old fireplace is in fantastic original country house condition, retaining great patina and colour.
Circa 1820
With stylised dolphin armrests.
Circa 1880
With white statuary marble bulls-eye roundels and centre tablet.
Circa 1900
With two large cupboard doors over three drawers.
The cabinetmaker used only the very finest cuts of mahogany when producing this piece, combined with delicate wood carvings and gilt brass elements.
Circa 1790
The stunning book-matched Rosewood top rests on a centre pillar with carved triform base and brass castors.
Circa 1835
Made from fine mahogany with mid tone palette, interesting grain and desirable aged patina.
The pedestal with four swept legs ending with bulls-eye roundels and brass casters. Frieze drawer to one end and faux drawer the other. The extension leaves lift smoothly and rest upon shaped brackets.
Circa 1820
With fluted ionic columns, egg and dart mouldings and a carved mask centre plaque.
This very well proportioned fireplace made from English oak is in excellent condition.
Circa 1890
The frieze, centred by a finely carved laurel wreath trailing sprays of laurel to ether side, is flanked by square floral end-blocks. The jambs below are of console form with carved acanthus and ribbon twist decoration.
Made from the finest white Italian Statuary marble which has very little veining.
Circa 1870
Made from Rose Phocaean marble, quarried in Sainte-Anne, France.
Circa 1880
The serpentine apron is carved with scallop and acanthus decoration, the supporting cabriole legs terminating with ‘hairy paw’ feet.
Upholstered in recent years with a high quality and beautifully decorated floral fabric which is in excellent condition.
Circa 1880
Each with a carved oval fan patere style back centered by a vacant medallion. The solid bow-fronted saddle seats are raised on turned legs.
In the manner of Ince and Mayhew.
Circa 1790
Seat height 17″
With full free standing columns of Doric form, corner blocks and centre plaque moulded with set back frieze panels and a deep mantelpiece. This model was very much in fashion during the 2nd quarter of the 19th century, it reflects the clean architectural lines associated with late Regency style, that today has a contemporary feel to it.
Circa 1830
Hand crafted in our Northern Irish workshop from imported Italian Statuary Carrara marble, faithfully copied from a Regency period piece.
Inspired by the pared back classical revival taste of the early 20th century.
Equally at home in a period or contemporary interior.
The serpentine shaped frieze has incredibly fine carvings of fabulous Renaissance ornament. The centre cartouche is upheld by male figures terminating in scrolling acanthus leaf’s, these flanked by dragons amongst foliage and female figures on each of the curved corners.
The frieze upheld by highly carved baluster shaped pedestals on Rosso Verona jambs.
Made from Pietra d’Istria marble and Rosso Verona marble.
Photographed in un-restored original condition, can be cleaned if preferred.
Circa 1830
Provenance: Talygarn house in Wales, rebuilt during the 19th century by George Thomas Clarke, industrialist, ironmaster for Isambard Kingdom Brunel.
The deep shelf with a layer of dental and egg and dart mouldings rests on a very fine frieze with side returns. The frieze is carved in high relief with arabesques of laurels, flowers and foliage. In the centre of the frieze is ‘The Lion of Saint Mark’, depicted in the form of a winged lion holding a book and sword, it is the symbol of the city of Venice and formerly of the Venetian Republic. Supporting the frieze are large acanthus bracket corbels on Corinthian capped columns with balusters shaped pedestals, intricately carved with various ornate Renaissance decoration.
Italian, Circa 1860
The classical urn centre tablet is flanked by frieze panels of semi-precious Spanish Brocatelle marble and bullseye corner blocks. The pilasters with fluted panels are set on grey Bardiglio marble facing slips.
circa 1920
Made from lightly veined Carrara marble, with a serpentine breakfront shelf, over serpentine frieze and canned consoles which are panelled.
Circa 1880
Two entwined stylised dolphins with centred scallop shells act as supports for the original Breccia Violetta marble tops. Their inapt faces, striking fins, fish scales and extravagantly splayed tails are based on ancient Greek mythological representations. The scallop shells represents Venus and the dolphins represents Neptune. The breakfront plinths are carved with overlapping acanthus leaves.
These tables are based on designs from the 1720’s by English architect William Kent. They are in the Neo Palladian taste and the subject of the paired dolphins can be traced back to Roman antiquity, when it was used in the Temple of Neptune at Rome.
Circa 1900
Made in the Regency style, the centre plaque depicting a reclining classical women holding a cornucopia.
The reeded panels are flanked by green marble fillets.
Assembled during the 1920’s using an original set of carved Georgian plaques.
circa 1920
The white statuary marble corner blocks carved with stylised lotus and acanthus leafs. The frieze panel inlaid with black and gold ‘Portoro Nero’ marble to form a continuous Greek key pattern.
A very well proportioned and stylish piece in excellent condition.
Circa 1825
With break-fronted cornice, fluted bracket corbels and deep cut mouldings.
Made from Italian white statuary, veined Carrara and grey Bardiglio marbles.
Circa 1760
The angled jambs with carved rosette corner blocks, support an intricately carved frieze under a tall carved trumeau with cornice.
Circa 1600
The male figure is depicted in the nude leaning against a tree.
Circa 1870
Adonis was the mortal lover of the goddess Aphrodite in Greek mythology.
The cabriole legs with ‘hairy paw’ feet are raised on brass casters. The arms terminate with beautifully carved ‘Irish red setters’.
Upholstered in a white calico ready for fabric covering.
Circa 1880
The price listed is for two identical settees’
Circa 1880
