Firebacks

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, date between ‘daisy’ stamps, between initials in triad at each end; side panels, swirling foliage stamp repeated each side above a fleur-de-lys, above initial 'I' on left and 'B' on right; centre panel, stamp of ‘Indian’ smoking a pipe at top left, stamp of seated ‘gentleman’ smoking a pipe and holding another, at top right; below each, a seated monkey stamp, that on the left seated facing right, its paws in front of it and its tail below, that on the right seated facing left, its tail drawn across its chest.

Notes: The IB initials are identical to those on similar firebacks dated between 1703 and 1721, probably indicating the same founder. The number 3 of the date and the fleur-de-lys on the lower left side have been over-pressed showing the backs of the stamps. The use of stamps relating to tobacco smoking may suggest an origin near Bristol, the main entry port for the tobacco trade at that time.

Inscription: IES [triad] 1703 IES [triad] / I B

Description: Carved wooden fireback pattern. Arched rectangular shaped central panel with top corners cavetto canted, bead-and-pellet edging on a wide fillet; hanging drapery with central tassels over three low-arched cubicles, the two outer smaller than the centre, with Tuscan columns and overlapping scales behind; on a plinth of overlapping scales with a scallop shell behind, the standing figure of Neptune/Poseidon, holding a trident in his right hand; water issues from by his feet and from the waves below him disport two 'sea horses' and three dolphins; arched rectangular shaped border with top corners cavetto canted, fillet edging: suspended symmetrical beads with tassel ends decorated with sea shells; at the bottom, between looped 'W' figures, the inscription separating halves of the date along the bottom; above, a central scallop shell with symmetrical floral scrolls on each side. Two vertical planklines left and right of centre.

Notes: Carved on three vertical oak planks, battened together, from a design in 'Nouveaux livres de ...Statues [etc.]' (La Haye & Amsterdam 1702-5), by Daniel Marot. The inscription, translated from the Welsh as 'GOD is our strength', is a paraphrase of Psalm 46: 1; an identical inscription and date is found on several firebacks. All incorporate the looped 'W' motif which may be intended to identify the pattern maker. A casting made from this pattern is no. 271.

Inscription: 17 DVW Ydyw Ein Cadernid 24

Description: Carved wooden fireback pattern. Arched rectangular central panel with cavetto-canted shoulders and bead edging on a broad fillet; seated female figure in a chariot drawn by armadillos, symmetrical hanging drapery above right; same-shaped border with fillet edging at top, and suspended ribbons with floral bunches; at base, symmetrical palm leaves tied with ribbon; symmetrical serpents on top their tails intertwined.

Notes: The design is derived from a personification of America, on one of a set of playing cards entitled Jeu de la Géographie, designed by Stefano della Bella (1677); reputedly from Mayfield; presented to Brighton Museum by Henry Willetts. A casting from this pattern is no. 215.

Description: Arched rectangular shape with symmetrical floral scrolls on top; three horizontal plank lines; ovolo moulding all round edge of main panel; central figure of a bearded man wearing knee-length coat, belted at waist, and holding a sledge hammer in his right hand, his left arm akimbo; various ‘tools’ of his trade arranged about him; (clockwise from top left) a circular cartouche with a central bead; the date split on either side of his head; a floral console supporting a shelf bearing a flagon, a tankard and a goblet; a circular cartouche with a central bead, a mirrored image of the one in the top left corner; from the top of the cartouche a dog leaping up at its master; between the man’s legs a long-handled ladle, a weight and a cooking pot; a ringer, used to pull slag off molten iron; part of the elevation of a blast furnace, with wooden framework, casting house, and flames issuing from the top; an ore basket, wheelbarrow and a charcoal clamp.

Notes: A pastiche of the 1636 original Lenard fireback (no. 429), now often mistaken for it; the inscription is missing, as are the fireback and the shield each being replaced by a form of cartouche; the figure of the man is more naturalistically modelled, yet wearing similar clothes; his feet face outwards.

Copies of this fireback are known.

Inscription: 1639

Description: Rectangular; reversed cavetto-moulded edge on top and sides; pictorial scene depicting Abraham about to sacrifice Isaac; Abraham is on the left, holding the top of Isaac’s head with his left hand, his right hand holding a sword; in the middle stands a pyre; above and to the right an angel emerges from the clouds, while below a ram stands beside a bush; the inscription is above and to the left.

Notes: The scene is drawn from Genesis 22: 11; And the angel of the Lord called unto him out of heaven, and said, “Abraham, Abraham”: and he said, “Here am I”. The subject and the naïve figuration is similar to a fireback incorporating two other Old Testament scenes (no. 94), and may be the work of the same pattern maker.

Inscription: ABRAHAM ABRAHAM [Genesis 22: 11]

Description: Arched rectangular shape; cavetto edging; three ostrich feathers issuing from a royal coronet; a blank motto banner below; the initials bottom left, above banner.

Notes: The badge of the Prince of Wales; perhaps cast during the Commonwealth period.

Copies of this fireback are known.

Inscription: IL

Description: Arched rectangular central panel with hollow bead edging on a broad fillet; figure of a woman standing on a mound, holding a bow in her right hand and an arrow in her left, a plant to her right, and drapery swags above; arched rectangular border with symmetrical swirls of foliage and diagonal leaves at corners; monogram centre bottom between swirled tendrils; on top, symmetrical, swirled foliage.

Notes: The figure is probably of Diana/Artemis, goddess of hunting, as she carries a bow and arrow, and has a hound at her feet.

Copies of this fireback are known.

Inscription: SHR

Description: Quasi-arched rectangular shape; fillet edging; centre, fluted flower vase containing a variety of flowers, with a plant growing on each side, all within an arched rectangular bead-and-pellet border with looped top corners; on each side, a festoon of bell flowers, with a putto blowing a trumpet above; over each of their heads a single rose; top centre, a sunburst; bottom, an animal’s face between mirrored swirled foliage.

Notes: One of a small group of firebacks with similar outlines.

Copies of this fireback are known.

Description: Arched rectangular central panel; bead-and-pellet edging; scene showing a semi-naked figure holding a trident in his right hand and a sheaf of corn in his raised left hand; standing on ground, with swagged drapery and tassels above, and an anchor behind right; arched rectangular border with fillet edging; on top, scallop shell symmetrical descending arrangement of swirled fronds and shells, which continue on the bottom; monogram at bottom centre; on top, mirrored stylised sea monsters.

Notes: The figure is Neptune, one of a set of 'Eight Deities' engraved by Hendrick Goltzius (1592), after Polidoro da Caravaggio; the fireback is one of a large group bearing the same initials, which probably denotes the pattern maker. Other groups may have been the work of the same carver or workshop. The execution is rather crude.

Copies of this fireback are known.

Inscription: SHR

Description: Arched rectangular shape; cavetto moulding all round; spreading oak tree, with leaves and acorns, filling the whole plate; three royal crowns, one at the top of the tree, the other two symmetrically on the ends of branches towards the top corners; initials CR towards the bottom corners, the remaining inscription on a scroll across the base.

Notes: The design is derived from the celebrated occasion when Charles II evaded his pursuers by hiding in an oak tree at Boscobel House, near Wolverhampton, following the final Royalist defeat at the battle of Worcester in 1651. This popular fireback has been copied frequently.

Copies of this fireback are known.

Inscription: C THE ROYALL OAK R