Firebacks

Description: Quasi-arched rectangular shape; ovolo-moulded edging; fluid curving, double ovolo arch with a pair of putti holding looped ribbons; a lion rampant holding a cartouche, between two pilasters, each surmounted by a dragon’s head.

Notes: A simple decorative device has replaced the customary allegorical or classical scene.

Copies of this fireback are known.

Description: Rectangular with arched, mirrored scrolls on top and central scallop shell; fillet edging; in a grove with two putti above, blowing trumpets, to the left, a naked female figure seated against a table, pointing at three children to the right, on a rock; at the bottom, narrow panel with indistinct decoration.

Notes: The scene is probably from classical mythology, but has not been identified.

Copies of this fireback are known.

Description: Rectangular with plait-effect border and a column of beads down each side; pictorial scene of a male figure in gown and full-bottom wig, holding a fool’s cap in his right hand, standing behind a seated male figure, bald and bearded, with the papal triple crown falling off his head; he is seated at a desk on which are two books; behind him and to the right, three books are on a small shelf. Above the figures, a longer shelf, the width of the plate, supports other books and papers, together with the figure of a dog, from whose mouth a scroll issues bearing an unreadable inscription. On top, two putti hold hands in front of a flaming grenade.

Notes: The design is copied from a cartoon of c.1672 showing Titus Oates, the instigator of the Popish Plot, presenting a fool’s cap to the Pope.

Copies of this fireback are known.

Description: Quasi-arched rectangular shape with arch decorated with floral swirls and an urn on each shoulder; three female figures: Aphrodite on the left, Hera in the centre on a plinth with two peacocks behind her, and Athena on the right; a double tassel hangs above Hera’s head.

Notes: The figures are the participants in the Judgement of Paris, the outcome of which precipitated the Trojan War.

Copies of this fireback are known.

Description: Arched rectangular shape with symmetrical scrolled ‘portico’ above, a flower vase between and circular discs at each end, symmetrical horizontal palm fronds below; pilaster with spiral design and Ionic capital on each side; central pictorial scene of a bagpiper with Elizabethan ruff and soft cap with feather in front of a vaulted ruin, on the right a flaming cauldron on a plinth.

Notes: This seems to be pastiche using various elements derived from other firebacks, notably the moulding and scrolled top are from the Lenard fireback , and the palm fronds are from elsewhere. The figure may be adapted from a painting of a bagpiper by Abraham Bloemaert (1564-1651)

Copies of this fireback are known.

Description: Quasi-arched rectangular shape upon a moulded plinth; on a background comprising foliate swirls, a central shield, helm, coronet and elaborate mantling, with a crest of a forward facing centaur armed with a drawn bow pointed to the sinister side, and behind which are six pennons, three each side display in a v-shape; to the left, a triumph comprising a drum, draped flag on pole, concealing an arquebus, halberd and breastplate, and a broad-brimmed hat with feather; to the right, a triumph comprising a drum, a breast plate and tassets, a powder horn, and partially concealed arquebus, sword and spear, and a broad-brimmed hat with feather; at the base, a horizontal fillet with scrolled ends and squatting 'rodents'.

Notes: An uncharacteristic fireback designed and cast for the family of Joan Huydecoper (1625-1704). A variant without the base plinth and 'rodents' is in the collection of Museum Rotterdam (inv. 15224).

Inscription: ANNO 1647

Arms: Joan Huydecoper

Description: Rectangular with two mirrored scrolls on top, a lion’s face between; bas-relief semi-circle edging (sides and bottom); central pilaster with vine scrolling, Corinthian capital, initials on the pedestal; on either side, an arched alcove, each with a halberdier in mid-17th century clothes, their feet pointing to the middle.

Notes: Stylistically similar to the Lenard fireback (no. 429), the initials also appear on other firebacks, possibly from Brede. All known examples of this fireback are poorly modelled and cast.

Copies of this fireback are known.

Inscription: IM

Description: Quasi-arched rectangular shape; fillet edging; central female figure with urn on head, above which is an oval cartouche (possibly a mirror); to left, fireplace with basket grate, above which a lobster and another (unidentified) creature bear a covered vase; to right a seated female figure stretches forth her left arm, behind her is a statue of a female figure on a plinth at the foot of a curving flight of stairs; the whole is surrounded by naturalistic rocks and trees, suggesting a grotto.

Notes: An unusually free pictorial decoration.

Copies of this fireback are known.

Description: Quasi-arched shape; straight fillet edging to sides and bottom, symmetrical, stepped cavetto, ovolo, cavetto and double arched on top; central pictorial scene of a female and male seated on a couch, both in 18th century dress, with swirled floral border; swirled floral base panel separated by a fillet; two sea serpents on top.

Notes: The dress of the figures portrayed suggests a late-18th century date

Description: Quasi-rectangular with raised symmetrical scrolls between semi-circular re-entrants on top edge; ovolo-moulded edge on bottom and sides, with fillet edging on top; grotesque face with swirled hair locks, above an inverted floral spike, between two moustachioed male figures in tunics, holding pikes, standing on a cavetto-moulded compartment, date beneath.

Notes: Alleged to represent the 'Brede Ogre', Sir Goddard Oxenbridge (1478-1531) who, legend states, was sawn in half by local children. Stylistically similar to other firebacks with connections with Brede furnace.

Copies of this fireback are known.

Inscription: 16 52