Firebacks

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.

Description: Flattened arched rectangular shape with rebated concave shoulders; double fillet edging; 11 x 9 grid portcullis with symmetrical chains in ‘S’ arrangement ending in a ring, from top corners, surmounted by an arched royal crown.

Notes: Whole pattern; the portcullis has a realistic, rather than symbolic, appearance.

Copies of this fireback are known.

Description: Rectangular, cavetto moulded edging; Stuart royal shield, garter, supporters and crown.

Notes: Four clear vertical plank lines indicate that the pattern for this fireback was formed of a series of boards probably secured by horizontal battens on the rear.

Copies of this fireback are known.

Inscription: HONI SOIT QVI MAL Y PENSE

Arms: English Stuart royal

Description: Rectangular shape; ogee/cyma reversa moulded edging (top and sides); top centre, shield-shaped stamp bearing initials above date.

Notes: Two blemishes on the surface of the casting indicate that the molten iron was probably poured from two ladles simultaneously disturbing the casting sand in both locations.

Inscription: AE / 1698

Description: Arched rectangular shape with base plinth; astragal and fillet edging (top and sides) with overlapping leaf pattern; mirrored wave pattern on plinth; shield, supporters, motto scroll and coronet of the 1st Earl of Ashburnham.

Notes: The arms are Ashburnham impaling Grey: Ashburnham: quarterly 1. Ashburnham - gules a fess between six mullets argent; 2. Holland - azure semee of fleurs-de-lys a lion rampant guardant argent; 3. Kenn - ermine three crescents gules; 4. Vaughan - sable a fess argent between three boys' heads couped at the shoulders proper having snakes enwrapped about their necks vert; and Grey - barry of six argent and azure in chief three torteaux. John, 1st Baron Ashburnham,later 1st Earl, married Lady Jemima Grey in 1724 so the fireback dates between then and 1737 when John died. A sketch of an example of this fireback was made by J. Starkie Gardner c.1891 and is in his collection at the Victoria and Albert Museum, Archive of Art and Design (AAD/2014/8).

Copies of this fireback are known.

Inscription: LE ROY ET L'ESTAT [barely legible]

Arms: John, 1st Earl of Ashburnham

Description: Arched rectangular; ovolo edging (top and sides only); arms of the Barony of Ashburnham: (1st & 4th) gu. a fess between six mullets ar. (Ashburnham), (2nd) az. a lion rampant between eight fleurs de lys ar. (Holland), (3rd) erm. three crescents gu. (Kenn); on an escutcheon of pretence a chevron between three boys heads couped at the shoulders each entwined around the neck with a snake (Vaughan). Supporters: two greyhounds sa. their faces, breasts, and feet ar. collared and lined or; on either side of the arms is a winged cherub’s head; below each is a monogram of ‘B J’ beneath a baron’s coronet.

Notes: The arms are those of John, 1st Baron Ashburnham (1656-1710), who married Bridget Vaughan, but the fireback dates from the time of his son, John, the 3rd Baron, created Earl in 1730.

Copies of this fireback are known.

Inscription: LE ROY ET L’ESTAT / 17 13

Arms: John, 1st Baron Ashburnham

Description: Rectangular with fillet edging; central, oval panel with fillet edging containing the semi-reclining, begowned figure of Cleopatra, a mirror/sceptre in her right hand and an asp in her left hand; oval border with astragal and fillet edging and undulating foliage; in each of the top spandrels, a face of a putto; in the bottom spandrels, a triangular design of swirled foliage; at the centre of each side, overlapping the central oval border, an oval cartouche with scrolls in the inward facing side; four horizontal plank lines regularly spaced.

Notes: The naivety of the figuration and the similarity of the scrolled designs suggest that this may be the work of the same pattern-maker as the Lenard fireback. Three tapestries of the death of Cleopatra, one of them made for the Swedish royal court, were inspired by artwork by Karel van Mander II (1579-1623), which is likely to have been the inspiration for this fireback as well.