Firebacks

Description: Rectangular central panel with bead edging all round, pictorial representation of the Annunciation by the Angel Gabriel to the Virgin Mary, the angel carries a lily, Mary kneels at a desk, between them is a basket, above them a dove descends from clouds amid sunbeams, to the left is an arch, in the centre a bed, and to the right a window and a canopy; above the panel is a bead-edged arch with a central scallop shell and a floral swag suspended from scrolls; arched rectangular shaped border with fillet edging, a cascade of leaves and fruit (inc. apples, grapes, pears and pomegranates) descending from a wreath, at the base two cartouches conjoined by a scallop shell and containing the inscription; on top a scallop shell between two dolphins.

Notes: A common fireback design originating in the Siegerland of north Germany and made for the Dutch market. A good clear casting. The illustration is copied from Virgil Solis, 'Biblische Figuren',1562.

Copies of this fireback are known.

Inscription: ANNO 1667

Description: Arched rectangular shaped with fillet and cavetto dentil moulding, and paternost bead edging inside; a lion rampant

Notes: Whole pattern. An unusually tall fireback in relation to its width.

Copies of this fireback are known.

Description: Quasi-arched rectangular shape with arch decorated with floral swirls and an urn on each shoulder; three female figures: Aphrodite on the left, Hera in the centre on a plinth with two peacocks behind her, and Athena on the right; a double tassel hangs above Hera’s head.

Notes: The figures are the participants in the Judgement of Paris, the outcome of which precipitated the Trojan War.

Copies of this fireback are known.

Description: Quasi-arched rectangular shape with swirled and draped foliage across the top; fillet edging with bottom panel containing indistinct floral scrolls; figure of Plenty/Abundance holding a bunch of fruit, accompanied on her left by a cherub, and receiving a further bunch of fruit from a faun to her right; two cherubs hold foliage aloft.

Notes: The figure of Plenty is one of the representations in the Iconologia, published in the early 17th century by Cesare Ripa, and subsequently in other editions. They frequently form the subject of firebacks.

Copies of this fireback are known.

Description: Arched rectangular shape with symmetrical scrolled ‘portico’ above, a flower vase between and circular discs at each end, symmetrical horizontal palm fronds below; pilaster with spiral design and Ionic capital on each side; central pictorial scene of a bagpiper with Elizabethan ruff and soft cap with feather in front of a vaulted ruin, on the right a flaming cauldron on a plinth.

Notes: This seems to be pastiche using various elements derived from other firebacks, notably the moulding and scrolled top are from the Lenard fireback , and the palm fronds are from elsewhere. The figure may be adapted from a painting of a bagpiper by Abraham Bloemaert (1564-1651).

Copies of this fireback are known.

Description: Rectangular with pediment raised on inverted consoles; ovolo, egg and dart edging; shield, garter, helm, mantling, crest and motto of the English House of Stuart; date split either side of garter buckle.

Notes: One of several firebacks, all of the same date, but varying in size, framing style and moulding; all have stylistic features in common and will have been the work of the same pattern maker, who was also responsible for carving royal coats of arms in three West Country churches.

Copies of this fireback are known.

Inscription: HONY SOIT QVI MAL Y PENSE / 16 18 / DIEV ET MON DROIT

Arms: English Stuart royal (James I)

Description: Rectangular; cavetto moulded edging; initials in top left corner; date in top right corner.

Notes: The style of lettering and numerals is reminiscent of those seen on firebacks associated with the Sidneys, Earls of Leicester, and may suggest a common source.

Inscription: IB 1695

Description: Canted rectangular shape with moulded edging (top and sides) overlain by a length of twisted rope repeated six times; central vertical line formed of twisted rope, crossed with rope upper centre, with rope laid in a diamond pattern around the cross; lower centre, two irregular v-shapes formed of rope, one on each side of the vertical; shield shaped stamp with a fleur de lys repeated twice each side, upper left and right.

Notes: The twin V arrangement may have apotropaic significance and the cross above them having a Christian symbolism; the base board appears to have had a moulded edge, with rope lengths applied over part of the moulding after the board had been pressed into the casting bed; a sketch of this fireback made c.1891 is in the J. Starkie Gardner collection at the Victoria and Albert Museum, Archive of Art and Design (AAD/2014/8).

Description: Rectangular, with canted top corners; twisted rope edging on top and sides; cavetto-moulded-edged rectangle top centre, enclosing date between initials; seven shields of Ayloffe impaling Sulyard; Ayloffe: sable, a lion rampant Or, collared gules, between three crosses formy of the second; Sulyard: argent, a chevron gules between three pheons inverted sable.

Notes: William Ayloffe (c.1535-1584) of Bretons, Hornchurch, Essex, Justice of the Court of Queen’s Bench, married (c1560) Jane, dau. of Sir Eustace Sulyard, of Runwell, Essex. A large number of variants use the same shields. The possibility that 'CT' was the founder Charles Tyler (d.1629/30) is reinforced by the fact that Poundsford Farm, Burwash, was owned by his grandson, also Charles, and subsequently by the latter's widow, Mary. The back was first noted at Poundsford in 1869.

Inscription: C 1629 T

Arms: Ayloffe impaling Sulyard (William Ayloffe of Bretons, Hornchurch)

Description: Fragment; rectangular plate with series of parallelogrammatic billets arranged across the top; crossed billets in corners