Bow Porcelain has a keen following among collectors, valued for its cheerful, bright colours and quirky modelling.
A selection of Beautiful Bow, with bright Chinese-style flower decoration, 1750’s
Founded in the mid 1740’s by Thomas Frye, it produced a variety of wares in direct competition to the fellow-fledgling factory in the region, Chelsea. While Chelsea produced high-end luxury ceramics, Bow was happy to produce less expensive wares – and did so on a large scale, becoming the largest manufacturer of the period in England.
Like Chelsea, it was located within the bounds of present-day London – although in the mid-18th century, both places were still smaller hamlets on the Thames River, yet to be enveloped by the expanding metropolis.
Bow Porcelain from the 1750’s, showing the influence of Meissen in the ‘Fisherfolk’ figures, and Asian imports in the plate & coffee cans – all very much in fashion in the 1750’s.
The products of these early factories were a direct response to the red-hot London market for Asian Porcelain imports – so it’s hardly surprising that the pieces are often imitations of Chinese & Japanese designs.
Many items are copies of Chelsea forms, and Chelsea in turn copied the expensive imports from Meissen. We have several pieces in stock that follow this fascinating storyline……
By the 1770’s, the Bow style was overshadowed by multiple other porcelain manufacturers such as Worcester and Derby. Chelsea also found itself in trouble, and had their ‘strategic merge’ with William Duesbury’s Derby factory in 1770, which led to their closure a few years later. The same fate befell Bow, with the owner recorded as bankrupt in 1763, and the sale of moulds & equipment to Duesbury of Derby in 1776.
Prunus ‘Sprigging’, directly copying Chinese imports, 1750’s
Browse the latest uploaded Bow Porcelain collection below, or click the button to see all Bow Porcelain in stock.
These classic bits of Victorian are the ultimate ….. ‘kitsch’!
A fair number of people will not like them at all…. but they’re still going to make you smile, no matter what!
The originals were actually probably Chinese temple figures, designed to look alive. An early European example can be found in the production of the Meissen factory in the mid 18th century – copying Chinese examples. It’s no surprise then that these late 19th century examples – made in Germany for English, American & Australian markets, amongst others – are also Asian in origin. They fit the definition of ‘Chinoiserie’, being entirely the product of European Imaginations of what they thought Chinese or Japanese characters looked like. A little off the mark with this example – the very pretty man with a magnificent moustache, flowing dress, and sun parasol over his shoulder – and a lovely big pink bow in his hair – he’s more of a German than an Asian!
There’s some serious stock as well, don’t worry: although amongst these you’ll find some more ‘funnies’ – cartoon sketches which were probably printed in publications of the period. But also some ‘serious’ ceramics, including Baxter Studio decorated Coalport, Rockingham, and 18th century French Faience.
Welcome to another fabulous ‘Fresh Stock’ at Moorabool Antiques. This release has a great variety, with some choice small precious pieces of ‘Vertu’, some Furniture – and lots more.
Welcome to our latest Fresh Stock Release. This coming week brings Valentines Day, and we start things with a fantastic early Victorian example of a fancy ‘Valentines Day Card’.
SPRAGG Victorian Valentines Day Card, c.1860
Victorian Valentines Day cards were sent anonymously and often carried no message to the recipient. They had emerged as a trend in the earliest Victorian period, and grew in popularity as the century advanced. Technology led to elaborate mass production utilising die cut embossed ‘paper lacework’, as seen in this example, and chromolithography printing allowing multiple bright colours. The ‘Penny Post’ introduction in the 1840’s was the crucial component in the rise of the printed cards, allowing an admirer anywhere to send a cord to someone. Records for cards sent for Valentines Day 1841 show 400,000 within the English postal service – and this number increased constantly every year. The poor postmen were given an extra allowance ‘for refreshments, to help them keep up their energy’ while doing cupid’s work!
This remarkable large piece of English Majolica is the ultimate pottery rarity. It’s a Punch punchbowl – the figure balancing it on his belly is the character so familiar to Victorians as the character of the ‘Punch’ satyrical magazine. The bowl itself is like a giant orange, and the moulded holly around the edge reveals the intended usage for the bowl: Yuletide Cheer, sitting in the middle of a lavish Christmas table.
It was created by George Jones, famous for his quirky products. It bears the diamond registration mark for 1873, as well as the ‘GJ’ impressed initials of the proprietor. This is interesting, as 1873 is also the year George Jones included his sons in the business, changing the mark to ‘GJ & Sons’. This bowl must have been made in the initial part of 1873, before the change of the mark was implemented. It’s rare we can date something so precisely…..
Welcome to our first February stock release, full of interesting items.
There’s some furniture, including the superb miniature chest of drawers seen above: it’s an ‘apprentice’ piece, so-called as an apprentice could show their skills by producing a miniature masterpiece. This example is Australian, made from solid cedar, absolutely original and a prime piece of Australiana.
A cedar bed from the 1840’s originates in Tasmania, and has very heavy original ‘gumtree’ side rails and splats.
1905 Thonet Catalogue
There’s a fine quality English linen press, with a mark identifying the maker as C.J. Freeman – Furniture Manufactory – Norwich. The beautiful timber is carefully selected maple.
A couple of bentwood chairs are interesting, appearing in the 1905 Thonet catalogue.
No matter what your opinion regarding the 26th January, those who live in Australia have a lot to celebrate. The Ancient Past was when the first settlers came, over expanses of water, up to 60,000 years ago. Isolated, they developed their own unique culture which is now rightfully called ‘the oldest continual culture on earth’. Their ability to sustain themselves in the often harsh Australian landscapes can only be admired ….
When the next phase of settlers came, the Europeans, they died of thirst and hunger, in places where the Aboriginal ‘First Nation’ peoples were perfectly at home.
The inevitable influx of fortune-seeking Europeans from the initial First Fleet of 1788 spread across the land, and formed another unique culture: Australian. While initially English, there were large numbers of Scots and Irish settlers, seeking to escape the harsh social realities in their homelands. Soon, people from all corners of the globe were arriving, drawn by the potential for success and safety Australia’s fledgling nation offered. After the World Wars of the 20th century, and other humanitarian crisis which resulted in refugee influxes, Australia welcomed more & more diversity to its shores.
Surveyors planning a railway in Queensland, circa 1890
The result of this is Australia as we see it today: Original ancient Aboriginal culture, with British social stability and institutions, enhanced by Greeks, Italians, Germans, Scandinavians, and Asian arrivals, each with their own cultural background to add to the mix. Australians are no longer exclusively any of these cultures – especially after a generation or two of children have grown up in this ‘new’ culture.
Rather, Australia is a splendid mix of ‘people of the world’ – hopefully the best aspects of each culture.
So let’s not get bogged down in invasions, or cultural clashes – Australian culture dictates everyone has a fair chance. Say G’day, and celebrate us for what we are – and dream of what we could be –
This week, we have a splendid selection of ceramics, including 18th & early 19th century pieces from a local gentleman’s collection – all sourced from Moorabool over the past 60 years….. he recalls buying his first piece off John Rosenberg in 1965!
Many of these pieces may be familiar to regular customers, and feature in some of our printed catalogues for the Exhibitions we held in our Geelong premises in the past: now they’re back in stock, and looking for a new ‘custodian’ to enjoy and care for them.
Meissen sweetmeat basket with birds, c. 1755
There’s a number of early pieces of European porcelain.
You can’t beat the quality of these extraordinarily rare Meissen chocolate cups. They literally ‘walked in’ to our shop from a local house where they have been sitting for many years, with the family tradition being they came to Australia in the 19th century. We believe they are from a unique dèjeuner set, the tray which held them being in the Museum collection in Munich. They are Meissen, made in around 1775, and the distinct style of painting belongs to a known artist: Johann Georg Loehnig. Active at Meissen from around 1770, he was regarded as one of their best artists, and given the prestigious commissions. They are extraordinarily rare, and possibly relate to a single service, the main tray which held them being in the Museum at Munich. Who could such magnificent cups have been for?
Rare Meissen beakers in the Sèvres style, by Johann Georg Loehnig, c.1775
A fascinating piece of English porcelain has come to Moorabool, which if it wasn’t for the original 1876 exhibition label on the back, would just be an ‘interesting amateur-decorated decorative plate’. However, the name, date & place allows us to extract a story from this piece, which includes a close association with Charles Dickens, and a High Court Judge in Australia!
The porcelain is an anonymous blank, probably of Staffordshire manufacture. Onto it is painted an ‘Aesthetic Movement’ portrait, as was popular in the mid-late Victorian era. Such a piece is not unusual in the Antique World, as it was a favourite occupation for young ladies to learn to paint on porcelain. Watercolour painting was a standard part of any young ladies education, and it is noted that the artist of this piece, Ellen Ross, was a fine watercolorist. A step up from watercolour was painting onto porcelain. For this, studios ran classes, and for the more wealthy, a painting instructor would bring the materials to the students, take away their work to be fired, and bring back the results.
The important part of this plate is the paper label on the back. While it is signed with an elaborate monogram, there’s no record of this in the literature; the paper label, however, is the vital clue as it declares her name ‘Ellen Ross’.
Ellen Ross / Mallam’s monogram mark ‘ER’. This mark is not recorded anywhere else in the literature – and other pieces by her sighted are signed ‘Ellen Mallam’ in full. She was married in 1868, and this piece was made 1876, or slightly earlier, 1874-5…. several years after marriage. If you look at the top of the ‘R’ in the monogram, it could be interpreted as an ‘M’ – probably intentional.
Howell & James ‘Art Pottery Exhibition’ label, dated 1876, with Ellen Ross filled in as painter of exhibit no.3. The partially lost text next to it may have been a title – or could it be an update on her name – the second word looks distinctly like ‘Mallam’, her married name…
Ellen Ross is not noted as an artist or decorator – but we have the entry in Howell & James’s exhibition catalogues, where she is recorded as ‘Mrs Mallam (Ellen Ross)’. Clearly she was married around this time, and with the dates, place & two names it is possible to pinpoint her; Ellen Mary Anne Hyde Ross, born in St Pancras in 1837 (or 42, or 43 in other online records!?), she married solicitor Dalton Robert Mallam in 1868 in Kensington, London. They had 6 children.
Charles Dickens, miniature at the Dickens Museum, London, painted by Janet Ross (Barrow), when aged 18, and not yet famous.
Ellen Mallam came from an interesting family; they were well-off, and close to the Dickens family. Their father was a solicitor & well connected. Ellen’s older sister Janet showed great promise as a miniature artist, and went on to become a miniaturist of note. Her work is held in major collections, such as the Victoria & Albert Museum. She married into the Dickens family, and was his aunt. Fascinatinly, one of her early works is an image regarded as the earliest depiction of Charles Dickens, now in the Charles Dickens Museum, London. In return, Dickens may have immortalised her in his book ‘Nicholas Nickleby’ as ‘Miss La Creevy’, a ‘miniature painter’….
As a young lady, part of Janet’s education would have included drawing & painting. For this, a ‘painting master’ would have been called on. His lessons would have included watercolour painting – and the skill of both Ellen and Janet would have led to their advancement to lessons in the art & technique of miniature painting.
We can imagine the young Ellen growing up with older sister Janet, and seeing her success as a miniature artist; perhaps they had the same painting master? Or did her older sister teach her? Certainly, there is a strong likeness to the technique of miniature painting in Ellen’s works, namely the use of pure strokes of colour in a series of lines.
That it was considered a prestigious occupation worthy of a Lady is shown in the list of the artists who presented pieces for the annual China Painting Exhibition held at the Regent Street store of Howell & James, Jewellers with premises on Regent Street and highly regarded dealers in luxury. Lady Willoughby, Viscountess Hood (neé Havell), the Countess of Warwick, and Colonel Hope Crealock of South Africa’s ‘Zulu War’ fame were all painters who exhibited. Indeed, Lady Augusta Cadogan, daughter of 3rd Earl Cadogan & Aunt of Queen Victoria was both a patron, and exhibited works by her own hand in 1877 and 1878.
In fact, the gentle art of China Painting was worth of the attention of Queen Victoria herself:
Ellen Mallam ne. Ross presented to Queen Victoria 1878
She also appears in the Yorkshire Industrial Exhibition, held in York 1879.
The Australian Connection
We’re always looking for links to ‘down-under’, which adds a local context to a piece. This work unexpectedly came up with one: a son of Ellen & Dalton Mallam, Ross Ibbotson Dalton Mallam, was born in 1878. Like his father, he entered the legal profession, moved to Adelaide Australia in 1902, and ended up a Supreme Court Judge (1928-33) in the Northern Territory, before ill-health led to him relocating to Melbourne. You can read more about him on the NT Supreme Court’s website >
It’s been an interesting study, to discover the connections and stories circling around this portrait plate. Ellen Ross / Mallam was certainly born into an interesting place and time, being so familiar with the Dickens family, and receiving high praise for her artistic skills from none other than Queen Victoria……. There may be other pieces from Ellen’s early stages still to be discovered, signed with the monogram ‘ER’ as seen here – and definitely more with her full married name, Ellen Mallam. Let us know if you have any!
Welcome to our first Fresh Stock for 2024. We have a fine selection of interesting items for you to browse, including Sterling, Old Sheffield Plate, Australian Pottery, and a whole range of ‘Green’ ceramics…..
The exceptional piece this time is a plate, which bears an original Exhibition label from 1876. With the place it was exhibited, and the name of the artist, we were able to discover a fascinating ‘back-story’ – with close links to Charles Dickens and an Australian High Court judge from 100 years ago…..
Ellen Ross ‘china painting “HOWELL & JAMES” of Regent Street, exhibition label 1876
… and this is our last ‘Fresh Stock’ for 2023. It’s been quite a year, with an amazing number of items being added to moorabool.com, and many finding new homes in collections all around the world.
Thank-You very much!
Late in 2023, we recieved the amazing collection of a local good customer to sell. He recalls his first purchase from a young John Rosenberg in 1964; since then, he has been a regular customer ‘through the decades’, and having never sold anything, has compiled quite a large collection!
Close-up of the amusing knop on the Rogers ‘Zebra Pattern’ supper dish below: a bemused lion!
Today you will see a selection of his blue & white on offer, and some delightful Creamwares. These were the smaller aspects of his collection; most of it is highly decorative English ceramics from the first half of the 19th century, including Worcester, Derby, Minton, Swansea, Davenport, Spode…. basically an Illustrated Encyclopaedia of British Ceramics!
Fresh to Stock: a Willow Pattern Christmas Tree!
So far we have catalogued 300 pieces: there is on estimation five times that to go, so that is quite probably approaching 2,000 pieces! Naturally to do our comprehensive identification and descriptive cataloguing we are known for takes time per piece…. so it will be a gradual release throughout 2024, in groups of similar items, periods, makers etc. Keep an eye out for our upcoming ‘Curated Collections’.
Moorabool would like to wish all our valued browsers the absolute best for this Christmas, and a Healthy & Happy New Year. 2024 will be the most exciting one in memory for Moorabool!
Paul & Glenys Rosenberg, Moorabool Antiques, Geelong, Australia
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Bow ‘Flowervase’ with small heads, rococo moulded body, c. 1765$1,250.00 AUD
Rare pair of Bow ‘Fishmongers’, after Meissen originals, c. 1758$4,800.00 AUD
Bow figure of Autumn, after a Meissen original, c.1755Sold
Bow soup plate, Peony + Rock pattern in ‘pale’ colours, c. 1753$1,450.00 AUD
Bow coffee can, Peony & Rock in ‘soft’ colourings, c. 1750-53Sold
Bow Prunus moulded plate with unusual enamel decoration, c. 1755$1,650.00 AUD
Bow can with prunus moulding, circa 1755-60Sold
Bow plate with Famille Rose ‘Peony + Rock’ pattern, gilt highlights, c.1760$1,450.00 AUD
Bow coffee can, Peony +Rock enamelled decoration with rim border, c. 1750-53Sold
Bow coffee can, Peony + Rock in thick raised enamels, c. 1752$625.00 AUD
Bow prunus coffee cup, clip handle, c. 1752$490.00 AUD
