Firebacks

Description: Fragment; to the left, rectangular panel with braid edging, vine standard with six bunches of grapes and a cluster at the top; to the right, rectangular panel with wide fillet edging, arched recess with three flower heads in low relief, and in the arch spandrels four 'bullseye' motifs comprising concentric rings deepening towards the centre; on top, a semi-circular panel with fillet edging, within which are the date between the initials, with scattered small rings, below is a pattern of eight linked circles; vestige of another semi-circular panel to the left.

Notes: Potentially a fragment of a large fireback, the vestige of a second semi-circular arched panel on top offers the possibility that several other panels originally existed further to the right. The two surviving panels combine elements from two separate sub-groups of firebacks that were moulded from individual, interchangeable panels, indicating that the sub-groups originated from a common source.

Inscription: I 1598 R

Description: Arched rectangular; bead edging; pictorial scene of Venus, naked and kneeling, and Adonis, standing, holding a spear in his left hand, with Cupid to the left, and a hound to the right; pomegranates on top and on each shoulder of the plate, with two symmetrical, descending serpents.

Notes: Probably based on one of two paintings of Venus and Adonis by Peter Paul Rubens.

Copies of this fireback are known.

Description: Arched rectangular central panel with alternate two-bead and pellet edging; table with draped cloth surmounted by a basket containing fruit, swagged drapery above; arched rectangular border with fillet edging; descending vine with leaves and berries; bottom centre, initials separated by a lozenge; on top, symmetrical swirled foliage.

Notes: Typical pastiche of the 'Dutch' style of fireback produced with the option to affix it to a basket grate. The basket of fruit was probably inspired by still-life paintings by European artists of the first half of the 17th century. Formerly part of the J. H. Every collection.

Inscription: I T

Description: Arched rectangular shaped central panel with astragal and fillet edge, pictorial, a bald, naked man, standing on a mound, holding a baton in his left hand, surrounded by leaf fronds to left and right, and clouds above; arched rectangular shaped border, fillet edging, hanging leaf clusters to left and right, swirled lines above, and draped foliage with monogram at base; on top are two serpents and draped foliage.

Notes: The figure may represent Pheidippides, the messenger between Athens and Sparta during the Battle of Marathon in 490BC.

Copies of this fireback are known.

Inscription: TAN

Description: Rectangular, with canted top corners; twisted rope edging (top and sides only); nine shields of Ayloffe impaling Sulyard in two rows, 5-4; two parallel vertical cuts for the insertion of firedogs.

Notes: 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. 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. There is a large number of variants using the same shields.

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

Description: Arched rectangular shape, edged with simulated twisted rope between two fillets; in the arch, a shield: argent on a chevron gules three roses of the field, a canton gules for difference; beneath the shield a crest: on a wreath a squirrel sejant gules cracking a nut gules, charged on the shoulder with a cross crosslet gold for difference; inscription split either side of the head of the squirrel.

Notes: A finely modelled and cast modern fireback with the arms and crest of a direct descendant of John Davies Gilbert (1811-54) who had played a major role in the development of the town of Eastbourne and also developed Trelissick Garden in Feock, Cornwall.

Inscription: A.D. 1969

Arms: Gilbert, of Eastbourne, Sussex, and Trelissick, Cornwall

Description: Complex quasi-arched rectangular shape with astragal and fillet edging; within a parallel border and a rococo cartouche an oval shield (argent, a lion rampant sable, crowned, armed and langued gules), surmounted by a ducal coronet, and a bishop's mitre and crozier; above, a bishop's hat with trailing tassels; below, a compartment semie with diamond shapes.

Notes: Henri-Louis-René de Nos (1717-93) was abbot of Saint-Sauveur de Redon in 1747 and later, successively, Bishop of Rennes and of Verdun.

Arms: Henri-Louis-René de Nos

Description: Arched rectangular central panel with fillet edging; central seated female with an infant in her arms, a swan at her feet and a standing child on each side, the one to her left facing the front and holding aloft a flaming heart, its foot on a ball; the child to her right facing the woman, holding aloft a branch in its left hand, all on a ground with an overhanging tree to the right; arched rectangular border with fillet edging with descending festoons of acanthus flowers on each side, the date and initials at the bottom and, at the top on each side, a pair of acanthus flowers descending from a heart-shaped terminal of a strapwork frame; above, mirrored swirls of foliage.

Notes: The central pictorial scene is a crude pastiche of a panel portraying an allegory of Charity frequently used on firebacks produced in the Siegerland of north-west Germany for the Dutch market in the second half of the seventeenth century. The swirled foliage on the top is typical of English 'Dutch' style firebacks of the early-eighteenth century and the numerals are also more typically English in style.

Inscription: 17 . IAK[?] 31