Firebacks

Description: Arched rectangular shaped central panel with canted, concave top corners and bead edging; naked, crowned figure of Neptune holding a trident in his right hand, standing amid waves and with two hippocampi to his right; same-shaped border with fillet edging and suspended ribbons with floral bunches; at base, symmetrical reeds tied with ribbon; base panel with nine linked rings; symmetrical serpents on top.

Notes: Other firebacks have the same distinctive central panel and border shape, suggesting the same pattern maker.

Description: Arched rectangular central panel with helical ribbon edging; pictorial image of a partially clothed female figure, holding an upraised wreath in her left hand and a garland in her right hand, standing on a ground, with a gadrooned vase containing flowers and leaves to the right and, above, swagged drapery; arched rectangular fillet border with descending leaves and flowers suspended from a wreath, top centre, and a wreath in each top corner; on top, mirrored swirled fronds terminating in the heads of sea monsters; bottom, vestiges of SHR monogram otherwise all decoration obliterated by fire damage.

Notes: The figure is an allegorical representation of Agriculture, one of the Iconologia originally published by Cesare Ripa in 1613.

Copies of this fireback are known.

Inscription: SHR

Description: Arched rectangular shaped central panel with bead-on-fillet edging; a peacock, facing right, standing on a plinth, with foliage to the left and clouds above; arched rectangular shaped border with fillet edging, symmetrical floral fronds descending from a scallop shell, top centre, with a scallop shell inside each shoulder; at base, detail mostly obscured by corrosion but the numerals '17 24' are faintly visible in the bottom corners; on top, a pair of mirrored, stylised sea serpents with a central arrangement of foliage.

Notes: The image of the peacock may be an adaptation of an engraving (1654-62) by Wenceslaus Hollar, after Francis Barlow, in which a peacock also stands on a plinth. The small size of this fireback makes it likely that it was intended to be fixed to the back of a grate. A copy of a fireback of this design features in Gleanings from Old English Firesides by Arthur Todhunter.

Copies of this fireback are known.

Inscription: 17 24

Description: Arched, rectangular central panel with fillet edging; figure of Abundance holding a sickle and a Horn of Plenty, a child, also holding a sickle, to the right, a seated dog to the left, framed by trees; fillet-edged border with a plant pot each side, lilies issuing therefrom; above an oval shield of arms, a grotesque face above, supported by two lions.

Notes: Abundance was one of many allegorical figures to feature in the Iconologia, first published by Cesare Ripa in 1593. The style of the fireback derives from those produced in the Siegenland of NW Germany for the Dutch market, but this example may be a pastiche produced for the French market.

Copies of this fireback are known.

Description: Arched rectangular central panel with bead edging; pictorial figure of a winged child holding a thunderbolt in his right hand and a sceptre in his left hand, on a ground of clouds; arched rectangular border with astragal and cavetto moulded edging; two cornucopiae, flowers and leaves tumbling from them and hanging suspended down the sides; on top, two sea serpents.

Notes: The figure is of Zeus/Jupiter as a child.

Copies of this fireback are known.

Inscription: 16 [...]

Description: Arched rectangular central panel, with bead edging; pictorial, two men in 17th century dress, on a ground, carrying a huge bunch of grapes slung from a pole between them, behind are vine leaves; the initials located below the top corners; arched rectangular border, fillet edging, containing vine leaves and grapes; above, symmetrical swirling foliage.

Notes: The scene, drawn from the Old Testament, represents Joshua and Caleb carrying the bunch of grapes from the valley of Eshcol in the land of Canaan, back to Moses and the children of Israel (Numbers 13: 23-4); a small number of firebacks bear the initials, GK; it is not known to whom they refer, but dated examples are of 1700.

Copies of this fireback are known.

Inscription: G K

Description: Arched central panel with fillet edging; figure in classical dress standing on a mound in front of a leafless tree; u; ninterrupted side and bottom border with straight fillet edges; at sides, mirrored low-relief undulating tendril design; at bottom, central leaf design; on top, central plume with hanging flower, between mirrored low-relief foliate swirls.

Notes: The figure is probably an allegory of Humility. Another example of this fireback bears the date 1746.

Description: Arched rectangular shaped central panel with hollow bead edging; a putto, its head inclined to its left, standing on a platform, holding a wand in its right hand and a branch in its left hand, a flower in a pot is on each side, and above, swagged drapery; arched rectangular shaped border with fillet edging; swirled flowers and tendrils symmetrically arranged, with SHR monogram at centre bottom; two mirrored stylised sea serpents on top; to each side a vertical extension with bead edging, of the same decoration as the side borders.

Notes: The figure depicted is probably emblematic although the meaning has yet to be determined. The frame of the central panel and the enclosing border are identical to those noted on another fireback displaying a figure of Pluto (see fireback no. 164). This may be an example of an image from one casting being superimposed within the frame of an earlier fireback. The border is identical to that seen on fireback no. 1220.

Inscription: SHR

Description: Quasi-'Dutch' shape; no edging; pictorial scene of a figure, with arms raised, in a chariot, a boar escaping, pursued by a hound, on the right; below, a figure crouched over a supine figure; at the top the face of a putto, possibly Cupid, above scrolled leaves; above right are trees; other details obscure.

Notes: The scene appears to depict Venus at the death of Adonis, who was killed by a boar. Almost certainly a copy, hence the lack of definition, the scene combines elements from various pictorial representations, Venus being seen in her chariot with another figure crouched over Adonis's body.

Description: Arched rectangular shaped central panel, bead edging (top and sides), pedestal bearing a supine male figure with headband being trampled by a horse, facing left, mounted by a rider with long hair, facing to the front; on each side of the plinth is a seated figure with a basket of fruit; the inscription is split either side of the horse; arched rectangular shaped border, fillet edging, on each side a Solomonic column with vine decoration; in the arch, symmetrical parallel curved lines intertwined beneath a crown; on top of each shoulder of the plate a female figure in repose.

Notes: The equestrian figure is derived from the statue of Charles II erected in Stocks Market, London, in 1672. Originally to be of Jan Sobieski, later king of Poland, riding down a Tatar, it was altered to represent Charles, and the Tatar’s face was changed to that of Oliver Cromwell; the statue attracted a fair degree of derision. The 'CC' monogram is likely to be for Charles and Catherine (of Braganza). The statue is now at Newby Hall, near Ripon, North Yorkshire. Another version (no. 280), probably by the same pattern-maker, is dated 1674 and has altered initials.

Copies of this fireback are known.

Inscription: CC [interlocked, and the first reversed] R