Firebacks

Description: Arched rectangle; ovol-moulded edging; pictorial scene of a begowned figure waving to figures standing beneath a portico with a sun behind, other figures opening a door to his left, above which is the shape of the man in the moon; blottom left, a computer; bottom right, a painter's palette.

Notes: A farewell gift to William Vaughan, Reader in Art History at University College, London (later professor of the History of Art at Birkbeck College).

Inscription: WILLIAM VAUGHAN / 1972 UNIVERSITY 1986 / COLLEGE

Description: Composite of three elements; central panel has a complex ‘knot’ pattern with a fillet edge; side panel, repeated on either side of the central panel, contains a vase of flowers, possibly stylised thistles, within an arched frame and fillet edge; arched panel above, also with fillet edge, contains the date and inscription; the spandrels of the side panels, and the arched top panel, contain a series of circular motifs comprising concentric rings deepening towards the centre.

Notes: ‘Knot’ patterns were popular in gardens of the period. The garden theme is continued with the side panels. An example of the same design, noted at Linchmere, West Sussex, is a different casting, the top panel with the date and initials being slightly askew. From a photograph in the Victoria and Albert Museum, London; photographed at Mapesbury House, Willesden in 1904.

Copies of this fireback are known.

Inscription: 1598 / IM IB

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

Notes: A variant (no. 590) lacks the date and the initials.

Copies of this fireback are known.

Inscription: 16 50 / IM

Description: Arched rectangular shape; cavetto/cyma recta moulded edging; plain rectangular panels at sides; top centre, bull’s head and neck issuing from a marquesal coronet, a baronial coronet above.

Notes: The crest of the Barons Bergavenny, although it should issue from a ducal, rather than a marchesal, coronet, and the rose normally placed on the neck is missing. The carved crest was affixed to a board of similar shape but smaller dimensions to the board with the moulded edging, indicating that the moulded board could have been used for other firebacks. Believed to have formerly been at Maresfield Park, Sussex.

Description: Arched rectangular; gadrooned edging (top and sides); three spondles as stamps - one centre top, and a different one on each side to left and right of arch base - initials and date split either side of top spimdle.

Notes: The distinctive edging and use of spindles or bobbins is seen on other firebacks; similar initials and date suggest a common source; the initials may relate to John Weston, of Warnham, Sussex (d. 1642). A rectangular fireback of the same date and also with three identical spindles is at Ewhurst Place, Ifield.

Copies of this fireback are known.

Inscription: I W / 16 32

Description: Arched rectangular shape with quadrant extensions on top corners; twisted rope edging (top and sides); vertical rope line parallel to each side, forming two separate side panels; horizontal rope line joined to vertical lines enclosing the following: inside arch, initials IBA in triad; below initials, double fleur-de-lys stamp between split date 1693; below horizontal line, a double fleur stamp in each top corner of central lower panel; in each side panel, a single bead above a vertical sequence of squared cross stamps repeated nine times.

Notes: The distinctive squared cross and fleur stamps are seen on other firebacks; the initials in triad may relate to a husband and wife. The photograph had to be taken through a perspex sheet marked with bird droppings.

Inscription: IBA [triad] / 16 93

Description: Arched rectangular shape; ovolo moulded edge all round; the fireback is divided, unequally, into three Old Testament scenes. Centre left: Joseph is pushed into a well shaft by one of his brothers; above, six other brothers, wearing cloaks and sober puritan hats, look on; below, one of Joseph’s brothers presents Jacob with Joseph’s coat; Joseph utters the words, ‘Ah it is my son’s coat’ in a speech bubble above. Top right: Isaac kneels on a wooden pyre; behind him, Abraham holds Isaac’s head with his left hand, and raises a cleaver above his head with his right hand; above Abraham, an angel stays his hand; to the right of Isaac a ram stands beside a bush. Bottom right: beneath a pergola Jacob lies on his deathbed; his twelve sons gather round his bed.

Notes: The scenes depicted are derived from, respectively, Genesis 38: 20-24 & 32-33, Genesis 22: 6-13, and Genesis 49. The distinctive pictorial subject, the naïve figuration, as well as a number of minor features, such as the use of an ‘S’ scroll, draw parallels with the Lenard fireback, and the pattern may have been the work of the same wood carver, suggesting that it may share the same source. Another, probably contemporary, example is at Hampton Court.

Copies of this fireback are known.

Inscription: AH IT IS MY SONES COT [Genesis 38: 33]

Description: Rectangular central panel bearing an anchor with coiled rope between two fleurs de lys, below which are two roses; this arrangement is repeated alongside; above, a semicircular arch contains the initials between two roses as in the central panel, with the date above; where the arch meets the central panel there is an arc across each corner; The top and sides panels are edged with simulated twisted rope.

Notes: One of an unusual series formed from separate panels arranged, in this instance, with the vertical panel repeated.

Copies of this fireback are known.

Inscription: 1588 / IFC

Description: Upon a moulded base plinth, wide scrolled side double fillets with foliage about the scrolls and suspended bell flowers in chain above; central foliate cartouche behind an oval shield surmounted by a vicomte's coronet, with an abbot's mitre to the left and the scrolled top of an abbot's crozier to the right; on top, an arch rising from horizontal moulding on each side, with a small central cartouche enclosing a plain button and a suspended bell flower.

Notes: The quartered arms may include those of Leclerc de Lesseville (az. three crescents or), one of whose number was bishop of Coutances 1659-65.

Arms: ?Leclerc quartering ?

Description: Narrow, arched rectangular central panel with bead edging; a standing female figure in flowing robes, facing forward, holding in her right hand a slanting inverted anchor, a poorly modelled left arm apparently beckoning; arched rectangular border with cavetto-moulded edging enclosing, on each side of the central panel, a festoon of acanthus suspended from a ribbon bow; along the base is a line of acanthus leaves; under the arch, descending foliage.

Notes: The figure is likely to be an allegory of Hope. A recasting, hence the loss of image definition.

Copies of this fireback are known.