Firebacks

Description: Arched rectangular shape; cavetto-moulded edging; English royal coronet with three ostrich feathers rising from within; below, a motto scroll with inscription.

Notes: The badge of the Prince of Wales; the initials, CP, are probably for Carolus Princep; the motto is mis-spelled in error for 'Ich Dien' - I serve, which is more likely a mistranscription rather than a deliberate slur. The apparent crack in the angle of the arch and the top left of the fireback is an impression, indicating that this is a recasting.

Copies of this fireback are known.

Inscription: C P/ICH LIEN

Description: Canted rectangle; cavetto-moulded edging (top and sides); single horizontal fillet below canted corners and vertical fillet parallel to each side, dividing the fireback into two side panels, two top corner panels, top panel and main central panel; corner panels, ‘daisy’ plant stamp; top panel, central initials between split date, separated by 'daisy' stamps; side panels, swirling foliage stamp repeated each side, initial at bottom of panel: I to the left, B to the right.

Notes: The 'daisy' stamp and IB initials are identical to those on similar firebacks dated to between 1703 and 1721, probably indicating the same founder. Christie's Interiors - Masters & Makers (Sale 5462), South Kensington, London, 8 July 2014, lot 126 (£688).

Inscription: 17 IS 07 / I B

Description: Arched rectangular shape; twisted rope edging with inaccurately parallel arched rectangular fillet inside, enclosing repeated small fleur-de-lys stamps along sides and top; initials in triad in each of the internal top corners; date in arch.

Notes: The initials probably relate to a couple whose surname begins with C, the husband's forename initial being R and the wife's I (or J).

Inscription: RCI/ 1675 / RCI

Description: Central arched rectangular shape with rounded corners; ovolo moulding all round; oval Tudor royal shield with garter surrounding, topped with a royal crown; dragon and greyhound supporters; initials split by crown; all details below shield illegible; rectangular extension panels on each side, with twisted rope edging; quasi mirrored arrangement of twisted rope lengths to form (from the top) a cross, a vertical pointing arrow, and a diamond shape with a central vertical line.

Notes: The detail of the extension panel is sharper than the armorial, indicating that the panel was cast with a worn copy of the armorial. Illustrated in Weaver, 1914, p. 16.

Inscription: E R [+ Garter, Harvo and royal mottoes, all illegible]

Arms: Tudor royal (prob. Henry VIII)

Description: Arched rectangular shaped central panel with bead edging; pictorial scene of a seated female figure resting against a hurdle, holding an anchor, a child on each side of her, the one on the left standing clutching corn stalks, the one on the right sitting also holding the anchor and a circular object; a bird sits on a post; arched rectangular border with bead edging; fructal and floral festoons suspended on ribbons with two putti at the top and two on each side; in the left and right bottom corners, the initials 'HH' and 'S' respectively; at the bottom, a central cartouche with date, between floral swags; on top, twin spirals between descending floral festoons.

Notes: The figure is an allegory of Hope. The theft in 1699 from a Thames-side warehouse of several firebacks, including '3 of Hope with an Anchor' may refer to this type (Post Boy 11-14 Nov. 1699).

Copies of this fireback are known.

Inscription: HH 1665 S

Description: Quasi-rectangular; grooved dowel edging (top and sides); four impressions of a rondel dagger (c.330mm) saltirewise between two dowel crosses; two vertical lengths of dowel in line along right edge.

Notes: Rondel daggers were common in the 15th and 16th century. Grooved lengths of dowel are to be seen on other firebacks suggesting a common source. The arrangement of the daggers (each approx. 35cm long) in a saltire may also have apotropaic significance.

Description: Rectangular; twisted rope edging (top and sides only); eight shields of Ayloffe impaling Sulyard in three rows, 3-2-3; 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 (c1535-1584) of Hornchurch, Essex, Justice of the Court of Queen’s Bench, married (c1560) Jane, dau. of Sir Eustace Sulyard, of Runwell, Essex. Illustrated in Lloyd (1925).

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

Description: Double arched rectangular shaped; ovolo edging; central clock dial with Roman numerals separated by stops, sunburst inside, single hand with fleur de lys pointer; teardrop weights suspended from each side; symmetrical tendrils above.

Notes: One of the ‘hooked 1’ series of firebacks - the number ‘1’ is just discernable bottom left; two versions exist of this fireback, the other having finials above the suspended weights.

Copies of this fireback are known.

Inscription: I · II · III · IIII · V · VI · VII · VIII · IX · X · XI · XII / 16...

Description: Quasi-arched rectangular shape, semi-circular protrusions on top corners; cavetto-moulded edging; two mirrored scrolls inside arch; a phoenix in flames, its wings displayed and inverted.

Notes: A variant (no. 895) bears the date, 1650, and the initials, IM; a loop normally at the top is absent, and careless pouring of the iron has obliterated some of the detail down the right side of the casting.

Copies of this fireback are known.

Description: Arched rectangular shaped; cavetto-moulded edging; on each side a column of large overlapping leaves above a pedestal with a single rose; issuing from the top of each column two ribbons, in figure-of-eight with grenade terminals, fly across the arch; within an arched central panel with bead edging three naked children disport about a swag of fruit, with a central pomegranate, suspended from the top of each column; one figure sits on the top, facing right, the other two hang symmetrically from below; along the base is a line of acanthus leaves; on top a sea serpent is curled on each end.

Notes: The design may have been inspired by the paintings of Jan Pauwel Gillemans the younger (1651-1704); he may have worked in London in 1675-8. Another version (no. 575), probably by the same pattern maker, has a central finial on top and different proportioned fruit and figures.

Copies of this fireback are known.