An interesting recent discovery by Moorabool was this small pastel scene of an Australian beach. Signed ‘A. E. Jobson’, it is an interesting chalk sketch, done on a coarse textured grey toned paper.
Looking for the artist proved to be pointless; they are not recorded anywhere, and seem to belong to the class of ‘talented amateur’. We believe we have a likely candidate, a local Melbourne author who used the name ‘A.E.Jobson’.
AE Jobson’s Signature
As with many artistic people, it seems that Jobson could draw as well as write. It was writing which came to dominate, as they found success when they began publishing their short stories.
A report in the ‘Queensland Times’ sheds some light:
they have obtained the ‘sole rights’ to a ‘remarkable clever series of stories’ which they promise are just like Sherlock Holmes….
The first story to be published is interesting. Titled ‘The Hercules Cameo’, it is a story about a carved cameo of Hercules – purchased at Christies for 3000 Guineas – stolen by a German prince, and recovered by a private eye named Russel Howard. Hobson clearly had an active interest in the art world.
Over the next few years, we traced 12 newspaper stories published by A.E. Jobson:
Over the next few years, we traced 12 newspaper stories published by A.E. Jobson:
1: The Hercules Cameo
2: The Seventh Burglary
3: The Removal of the Millionaire
4: The Case of Lord Ponderry
5: The Scheming Lady
6: The Two Wax Candles
7: The Lady with the Pince-Nez
8: The Modern Highwayman
9: The Prince’s Letter
10: The Man Who Stole the Child
11: The Fire Insurance Matter
12: The Open Shaft
But who was A. E. Jobson?
These ‘AE Jobson’ stories, and at least one published book, never give the name of the author beyond the initials. There is a distinct possibility that this was intentional, to hide the author’s true identity. The ‘Queensland Times’ article of 1909 does refer to ‘him’, but they were not necessarily aware of exactly who was writing the stories, being rather a long way away. This is something often seen in the world of literature. Clearly, some research is needed!
Searching the available records, two candidates appear with the right initials and in the right context, an Arthur Earnest Jobson, Banker in Sydney, and Adelaide Ellen Hobson, daughter-in-law to prominent Victorian businessman, John Jobson JP. Nothing came of researching Arthur the banker, but Adelaide was a different matter.
John Jobson, Williamstown, c. 1895- father-in-law to Adelaide Ellen Jobson
Adelaide Ellen Jobson was born at Port Adelaide, 1868, the eldest in her family. Her father, Stedman, died in 1887. Three years later, she married Charles Jobson, son of John Jobson, JP, businessman, Williamstown Football Club president, & Mayor of Williamstown (Victoria) in 1885.
The pastel has a certain ‘family’ feel to it: there are 6 children represented, plus a few adults.
The scene could well be Port Phillip Bay, somewhere near Spotswood where a day’s outing with the family would be likely- with Williamstown’s ‘back beach’ being a prime candidate.
Williamstown back-beach, 1906 postcard
We propose Adelaide Ellen Jobson was a very creative lady, who raised a family of five, but longed to write and paint to express herself; when her oldest children were entering their teens, she would have had more time to dedicate to writing, and so her first few stories were submitted to the papers for publication. Over the next decade, she produced quite a number of fictional books. A quick read – as they are all rather short stories, suitable for a newspaper – certainly shows an active mind, and perhaps we can see a female perspective: one story, written in 1916, is an interesting study.
It begins “Samson Greene was an artist, and it happened on one day in September, or it may have been in early October, that he was in Bathurst. Anyway, when he rose in the morning the sun was shining briskly upon everything.”
The character Samson is something of an old-fashioned gentleman artist, but by the end of the story, he is helplessly in love with a girl he ‘accidentally’ met while out painting – except the whole thing is a set-up by the girl, who has set a trap for him which he falls for, hook line & sinker! It has a definite twinge of ‘Barbara Cartland’ to it, and attributing it to a female author makes perfect sense.
Adelaide Jobson, Beach at Williamstown, c. 1910
Her other artistic enterprise was pastel art. This small work documents a lazy day at the beach very well, with family members relaxing and children playing. She had five children between 1892-1909, so if this piece was dated to around 1910-15, the children shown could well be her own. The location is not distinct, but the general layout of the water/land conforms to the local area they grew up in; Williamstown has a beach with beautiful white sand like this, and the distant higher ground could be the far side of Port Phillip Bay, a scene still the same today.
American artist Martha Walter, beach scene from the same period in oils.
An interesting comparison can be made with American artist Martha Walter. She was active in the early 20th century, the same date as the work we are examining, and the similarity is unmistakable. Rather than a direct influence, it is probably just a result of the shared ‘beach culture’ seen in America and Australia – the gathering of families, the bathing suits – combined with an impressionist style which was the international vogue at the time. The price is certainly different, with Walter’s work bringing many thousands for even minor paintings!
Adelaide Ellen Jobson could have been a notable artist, but her success as a published author, and no doubt also her dedication to her large family, restricted her opportunities. She’s a talented amateur, previously unrecorded.
We’d love to hear anything else you may have to add to this very brief répertoire!
This rare piece of Australiana was produced in Melbourne by a local jeweller in solid Sterling Silver to commemorate the legendary ride of J.E. Pike on ‘Phar Lap’ where he won the Melbourne Cup in 1930 by 3 lengths.
J.E.Pike’s ‘Phar Lap’ Medallion, commemorating the 1930 Melbourne Cup win, Australian Sterling Silver
Sterling silver medallion with horse & jockey on front framed within a stirrup, engraved on reverse “‘“Phar Lap / Winner 1930 / Melb.Cup / J.E.Pike” , also marked with sculptor’s name ‘Hafner’, and hallmarked ‘925’ & printing press.
Phar Lap wins 1930 Melbourne Cup by 3 lengths… the making of an Australian legend. The silver medallion was made to commemorate this feat.
The shape is reminiscent of religious pendants made to wear as ‘charms’ – however, the design of this piece has a major flaw that would not make it durable. All other charms have a suspension loop cast into the top: this plaque has a very thin wire loop soldered onto the back. This suggests it is just for short-term use – perhaps so you could pin it to a jacket lapel when you were attending the Melbourne Cup….?
It is certainly a rarity, with just one other example being traced on the market.
J.E.Pike-Phar Lap Medallion 1930 Melbourne Cup Sterling Silver Stirrup Commemorative
Emil Hafner mark on Sterling Silver Phar Lap Medallion
The sculptor’s name ‘Hafner’ gives us the context & date for the piece. Emil Hafner (1917-2021) was a post-war immigrant artisan from Czechoslovakia. His speciality was die-casting, and he was responsible for a large number of medals, coins, and commemoratives produced in Melbourne in the second half of the 20th century. Emil Hefner graduated in 1948 at the Art and Trade College in Czechoslovakia. Between 1948 and 1952 he worked as a gun-engraver and die-sinking in Germany and later England. After migrating, he continued his work in Australia with ‘K.G. Luke’ and later with the ‘House of Hawke’, as well as teaching part-time at RMIT (Royal Melbourne Institute of Technology) for nine years. He subsequently established his own company, Hafner Mint Manufacturing. This silver medallion, commemorating the 1930 win of Phar Lap, would logically have been made in 1980 – celebrating 50 years since the event.
Phar Lap Medallion with .925 designating ‘Sterling’ silver standard, and ‘Printing Press’ Hallmark for the silversmith. Note an apparent border for another hallmark protruding from the side of the printing press mark.
Australia has a vast range of items unique to this ‘Great Southern Land’…. from the First Nation’s fascinating art & artifacts, to the inevitable Exploration and Colonisation by Europe, with depictions of the startling unique animals and landscapes so very foreign to European eyes. The items from our earliest colonial days show attempts to understand and illustrate Australia’s uniqueness. Materials used were expensive if imported the daunting distance from Europe – so local resources were soon exploited, the prime being the ‘Australian Red Cedar’, a fine furniture timber that has a unique quality much loved by Australiana collectors. The mid-19th century brought about the biggest change, when Gold was found throughout the country, attracting huge numbers of migrants. While mostly British, they came from all over the world, bringing with them endless new ideas and crafting techniques – for example, Chinese craftsmen, attracted by the gold initially, soon settled and became furniture makers – using their traditional techniques and tools to create English-style furniture. The gold resources were vast, and Australia rapidly became wealthy. During the last quarter of the 19th century, this wealth was often shown in luxury houses, full of luxury goods, with Melbourne being the ‘wealthiest place on earth’ for some time in the 1880’s. Gradually in the 19th century, an understanding and maturity emerges, with landscape and wildlife artists producing realistic depictions, with artists developing their own distinct styles unique to Australia. Home-grown industries like Australian Pottery created yet another unique – and collectable – aspect of ‘Australiana’.
We hope you enjoy our offerings, and please feel free to contact us with any questions.
Australia became a Nation in 1901, but it was a long process that made this possible. The six far-flung colonies had each developed in their separate ways, and it was the perseverance of Sir Henry Parkes that brought them together. He deserves the title ‘The Father of Federation’.
An amusing Australian adaptation…. Charles Dickens as Sir Henry Parkes!
Moorabool has recently discovered two items that relate to Sir Henry Parkes and his wife, Lady Parkes. The first is a cast-iron plaque showing a portrait of a bearded gentleman. Mounted onto a turned cowrie pine back, it is typical of the Victorian plaques of notable people, made in large numbers to adorn public buildings like halls and libraries. This example is identified around the edge as ‘SIR Henry Parkes’.
Brass ‘Dickens’ plaque
HOWEVER…. it’s actually a terrific example of Aussie ingenuity. You see, this is not intended as a portrait of Sir Henry Parkes – rather, it was cast in Britain in the 1860’s-70’s as the literary giant, Charles Dickens – who sported a similar magnificent beard and wild hair. Imported into Australia, and perhaps displayed on a library wall somewhere, when Sir Henry Parkes rose to fame in the latter 19th century, an enterprising scholar has added the inscription to make it the ‘Father of Federation’!
Henry Parkes, Fancy Goods & Toy Seller
Did you know the ‘Father of Federation’ spent a lot of his time retailing ‘fancy goods’ in Sydney? His adverts make fascinating reading, giving a glimpse into the parlours and nurseries of Sydney in the mid-19th century.
Here’s a sample – from the stock of Moorabool Antiques, 170 years later! His shop must have been a present-day Antique Collector’s Aladdin’s Cave….
Adverts for Parkes, 1840’s-50’s
Sir Henry Parkes would have felt quite at home at Moorabool Antiques…. he was a business man and craftsman, learning the trade of ivory-turning before migrating to Australia in 1839. He opened a shop in Hunter Street, Sydney, where he sold ivory products he made, as well as a broad range of imported decorative & useful items:
“Bohemian Glass, Vases of rich and various patterns, handsome China ornaments, PORCELAIN FIGURES From one inch stature, and comprising a hundred varieties. Also, FIGURES IN BISCUIT CHINA. Children’s China, dinner, dessert, tea, and coffee Services. CHINA PUNCH BOWLS, Vases, flower-pots, pomatum jars, match cups, mugs, cream ewers, plates, teapots, etc. ROSEWOOD DRESSING CASES, work-boxes, fancy baskets, FANCY SMALL WARES: TORTOlSESHELL, enammelled and fine leather ladies’ companions, alabaster and enamelled jewel boxes, tortoiseshell and sandlewood card caes, fine leather and enamelled netting boxes, alabaster and silk paper weights, enamelled letter cases and toilet stands, tortoiseshell and leather cigar cases…….”
Another advert from 1846 is fascinating, as it is solely advertising Pacific Tribal Artifacts:
“ISLAND CURIOSITIES – To Gentlemen proceeding to Europe – A variety of bows and arrows, clubs, spears, battle axes, canoe paddles, stone adzes and other South Sea Island weapons &ect.”
Sounds familiar…. you’ll find exactly the same at Moorabool Antiques today – but now they’re Antique!
The second ‘Parkes’ item is a very personal portrait miniature. Purchased in original frame and untitled, an investigation of the backing discovered two inscriptions: firstly, it is a hand-coloured photographic portrait, with a printed back stating it is ‘Photographed at Bachelder’s, 41 Collins Street E, Melbourne’. Second, it has an inscription declaring it depicts ‘Lady Parkes as Young Girl’.
It suddenly becomes an important part of the story of Australia.
Portrait of ‘Lady Parkes as Young Girl’
The frame and mount are original, with the backing paper replaced with opening to show back of photo.
The inscription on the back reads ‘PHOTOGRAPHED AT BATCHELDER’S 41 COLLINS ST E., MELBOURNE’, over which is inscribed in pencil ‘Botterill / Artist’.
The three ‘Lady Parkes’
Who was the subject?
Lady Clarinda 1813-1888
There were three ‘Lady Parkes’, as Sir Henry always seems to have needed a companion – especially in his old age, where he had terrible luck with his partners.
His first wife, Lady Clarinda Parkes, was a Birmingham Dressmaker & Sunday-School teacher who married 21-year old Henry Parkes in Birmingham in 1836, when he was just ‘Mr Parkes’, son of a farmer and a novice businessman (which didn’t prosper for him). She came out to Australia with him, having their first child just 2 days before they landed, the first of 12. She had little public interaction, even when he became a notable in New South Wales government. She died in Sydney in 1888, aged 75 – and as this image we are considering is of a young ‘Mrs Parkes’, and is taken by a Melbourne photographer, it cannot be Clarinda who is depicted. She had 12 children, 6 of whom were still alive in 1888.
Lady Eleanor 1857-1895
The second ‘Lady Parkes’ was Lady Eleanor Parkes, a Sydney resident who married Sir Henry a few months after his first wife had died, in 1889. She took a keen interest in Politics, particularly social matters such as the plight of the ‘waifs’, the homeless youth of the time. She travelled with her husband as his political position grew, and appears to have been actively interested and supportive of his policies. She died from cancer in 1895, and they had five children.
Lady Julia 1872-1919
The third ‘Lady Parkes’ was Lady Julia Parkes, an Irish migrant born in 1872, employed as Nanny & House-keeper in the Parkes household, where she nursed the weakening Lady Eleanor. She married the 79 year old Sir Henry in 1895 – just months after the death of Eleanor. This was the shortest marriage, as Sir Henry died just 6 months later, in April 1896.
Setting out the three ‘Lady Parkes’ as above makes him look awfully unlucky – and afraid of being lonely…. But unlike Henry VIII, he wasn’t desperately seeking an heir – he’d already fathered a dozen children. Rather, he sought someone of the opposite sex to make his home ‘homely’, a companion for his old age and protector of his children.
So which of the three is the portrait at Moorabool?
Clarinda, the first Mrs Parkes, who married him when he was just a lad of 21, was apparently the love-of-his-life for the next five decades – but it was only months after she died (after a long illness) that Eleanor was married to Henry. As a contemporary commentator said in the papers, ‘…the community was startled by a report which was published, that Sir HENRY PARKES had just been married”…. The shock wasn’t just that ‘….she is considerably younger than her husband’ – 32, when he was 74 – but also the fact they had been an item while his elderly wife was ailing, and in fact already had two children together! So the untold story was that Sir Henry Parkes had married his mistress after his wife had died. His political opponents and the papers made the most of the situation….
This relationship was contentious – his daughters were reported to have left the house in disgust, his servants all quit before he returned with his bride, and the doors of Parliament were closed to him due to his ‘indiscretion’.
It was justified in the press:
The facts of the matter are, we learn, that the aged statesman, feeling the loneliness of his life when State cares, gave him a brief respite, determined some short time ago—for he is not a man to dilly-dally in such an important matter—that his final days should be soothed and made happy by a second partner of his joys and sorrows. …..
However, the plan of being soothed by Eleanor came crashing down when she became ill and soon died, in 1895.
Sir Henry Parkes continued his career of scandal by marrying his housekeeper, Julia, only three months after Eleanor passed away! Julia was an Irish migrant, and had been employed as the housekeeper / nanny in the Parkes household. She nursed the ailing Lady Eleanor, and it is said that Eleanor herself requested that Julia marry the elderly Sir Henry Parkes. Although somewhat scandalous, this made sense in the Victorian world: there were five young children in the household, and Henry had died penniless and in debt. Julia fulfilled his wish – she dedicated the rest of her life to this step-family, never re-marrying and going to great lengths to provide them with a stable upbringing. She was a remarkable woman.
The Image: both a Photograph and a hand-painted Miniature.
“Lady Eleanor Parkes as a Young Girl”
This very engaging image is actually an albumen silver carte-de-visite, the traditional way of providing images for family & friends; however, while most would be placed into specially made albums with spaces the exact size of the image, this example is intact in it’s original Victorian frame, and behind glass. This is essential, as the fine painted surface, applied over the photographic image, is very vulnerable. The effect is superb, to the degree that when this was sold as a portrait of an unknown girl, it was also described as a ‘portrait miniature’ rather than a hand-coloured photograph.
The work is produced in the Batchelder studio, 41 Collins Street East, Melbourne. This was established by the well-known American Batchelder brothers, who had come to the Australian goldfields directly from the Californian goldfields with the sole purpose of setting up a photographic business. While they had left by the stage this photo was taken, the studio name remained associated with the address for several decades.
41 Collins St E- premises of Batchelder & Co, upstairs.
Batchelder’s was regarded as a premium establishment, and many of the images of notable members of Melbourne society of the period were the product of the studio. In 1867, an advert reminds the public that Batchelder’s has now been going for 11 years – ie since 1856 – and has stored over 25,000 negatives in case you would like a re-print!
The image is signed in pencil to the back, ‘Botterill / Artist’. This is a very interesting detail: the ‘artist’ was John Botterill, described as miniaturist, portrait painter and professional photographer. He was active in Melbourne in the mid 1850’s joined the organising committee for the 1853 Victorian Fine Arts Society’s exhibition, to which he contributed eight works including a miniature self-portrait. In 1859, he is working as a ‘visiting master’ at Woodford House, a school for Young Ladies in Park Street. In 1861, he joined Batchelder’s Photographic Portrait Rooms in Collins Street East, ‘engaged … to paint miniatures and portraits in oil, watercolour or mezzotint – these deserve what they are receiving, a wide reputation’. He also gained knowledge of photography from somewhere, so probably learnt ‘on the job’ in the busy studio. In 1866, he became one of the partners of the firm alongside Dunn & Wilson, and in 1867 the firm won a medal at the Intercolonial Exhibition for their tinted photographs. This was the work of Botterill, as the advertising from that year emphasises:
“…the PORTRAITS… painted by Mr J. Botterill, artist…. on view in the Fine Art Department , (at the) Exhibition, and to state that Mr Botterill is still at Batchelder and Co’s, 41 Collins St East..”
The use of ‘is still at‘ is curious, and perhaps reveals problems in the company. They parted ways at around this time. In his 1869 adverts, Botterill declares: “J. BOTTERILL. Portrait Painter and Photographer, REMOVED from Batchelder’s to 19 Collins Street East” He continues at this address for several years, before opening in Elizabeth Street for his final years. He died in 1881.
“Lady Parkes as a Young Girl” – but which one?
Who is ‘Lady Parkes’?
The subject of this photo would be hard to place if it didn’t have the inscription, added to the backing of the original. Sir William Parkes had 3 wives, but we can identify who this one is by the fact the photography studio was in Melbourne. His first, Clarinda, was born in England in 1813 and far too old when they migrated to Sydney in 1839. The third, Julia was born in 1872 – probably after this photo was taken – so she’s not possible. The second, Eleanor, was born in 1857, so is the right age for a Melbourne photograph in the late 1860’s, early 70’s.
John Botterill’s signature, Portrait of Eleanor Dixon/Lady Parkes 1870
John Botterill signed this piece, on a Batchelder-branded photograph. Note there is no ‘partnership’ described, as was the case 1866-68. Having the partnership details removed would suggest it belongs to a transitional period – the photograph taken at 41 Collins Street East, with the painting done by Botterill a few doors down at his studio, 19 Collins Street East. There was still a strong connection, as after Botterill died in 1881, the Batchelder studio advertises that they have added the archive of Botterill’s negatives to their own extensive archive.
The final dating evidence is the arrival of Eleanor Dixon, the future Lady Parkes, in Melbourne as a migrant. She was from Wooler, Northumberland, one of five children, her father listed as a ‘Master Shoemaker’. He died in 1869, and several months later, Eleanor’s elder brother was married and promptly left for Australia. Eleanor and three siblings followed in 1870, accompanied by their mother.
Lady Eleanor Parkes as a girl, c.1870
1870 becomes the most probable date for the portrait. Eleanor would have been 12 or 13, an appropriate age for the girl in the photo, who still has her hair ‘out’, indicating she was not yet considered an adult. Around her neck is a black ribbon with large gold locket: this is typical Victorian mourning jewellery, and no doubt had a portrait of her late father in it.
We can imagine the scene: the newly arrived family caught up in the bustle & thrill of Marvellous Melbourne in the post-Gold rush boomtown, celebrating their new life with a very fine portrait. She engages the viewer with a very frank, inquisitive look. There’s a pink rose on her dress, and she is presented as a true ‘English Rose’, her hair spilling wildly out over her lace-trimmed dress, not yet constrained on top of the head in an adult style. For the young Eleanor, the future was as golden as the mounts of this image; anything was possible – and indeed, for a few years in the 1890’s she achieved something remarkable, marrying one of the most powerful men of the age, the ‘Father of Federation’.
On the theme of a ‘Golden Future’, there’s a wonderful image of Lady Eleanor Parkes on tour with Sir Henry: they were visiting the offices of Bushman’s Mine in around 1890; sitting to the right with her son is Eleanor, beside a very strong table on which sits a big lump of gold castings. The label at the front reveals its weight to be 1,347oz – and named “The Lady Parkes” in her honour!
Bushman’s Mine, Parkes: a 1,347oz ingot titled “The Lady Parkes”, with its namesake sitting to the side! Sir Henry is unmistakable on the other side with his wild white hair & beard.
Further Info on John Botterill & the Batchelder & Co Studio.
The 1866 partnership names appear on the lower image; the circa 1870 card back on the portrait of Lady Eleanor Parkes has had this removed, reflecting the updated state of the company.
1851 John Botterill miniature, English Market 2010’s
As the British enriched on Burma, they assimilated the artworks of Burma (Myanmar) into the category ‘Indian’. While the styles are vaguely similar, it is not a happy combination – the Burmese craftsmen had a long history before the British came, and it differs from the neighbouring ‘Indian’ styles. For the sake of this Collection, we have maintained the ‘Indian’ umbrella term to cover what the British generally still call ‘Asia’ in a vague way, covering India and the neighbouring countries.
A fascinating story has emerged from an interesting naive ship painting at Moorabool Antiques, Geelong.
It’s a clippership, with the distinct black & white painted mock-gun hatches painted down the side, as was the style. There’s a clear inscription – in two places – identifying it as the ‘Eden Holme’. So what is the story of this interesting ship?
The Eden Holme was a 3-mast barque with iron plate hull, built in Sunderland in 1875. It has the distinction of being the last commercial cargo ship which had a regular schedule between Tasmania and Britain.
Eden Holme clippership 1875-1907
She was one of a small fleet run by the Hine Brothers of Liverpool/Maryport, and used to race the lucrative wool clip from Australia to the wooden mills of the Midlands. This ‘clipper ship race’ was a place were legends were made, and was driven by simple economics: the first to arrive with a cargo of in-demand wool would receive the best price.
Hine Brothers was founded in 1874, securing 16 ships in its first 5 years. There were 6 vessels with ‘Holm’ as their second name, and the company had the habit of buying new, or nearly new ships, rather than buying cheaper but less reliable ships that would cost more in maintenance in the long-run. This should have ensured their success, but the Hine Brothers had rather bad luck with their ships, losing 9 ships before they closed down in 1913. By 1900, the clipper ship routes had been replaced by more reliable screw-powered ships, and their vessels were used for more general trading. The Eden Holme was on a Tasmanian voyage, transporting a ‘general’ cargo from Hobart to Launceston when it ran out of luck.
Eden Holme clippership 1875-1907
Eden Holme clippership 1875-1907
After loading cargo in Hobart, the Eden Holme made its way up to the mouth of the Tamar River, up which lay its destination, Launceston. They arrived off Tamar Heads at about 11 pm on the 6th, and hove-to to await daylight and the arrival of the pilot, who came onboard the next morning at 8.10 am. The tug Wybia was expected to arrive at about 1 pm to tow the barque up the river, but the pilot made the decision to enter the heads, then changed his mind and headed out again with the intention of dropping anchor to await the tug. However, when just west of Hebe Reef the wind died away and Eden Holme began to drift eastwards with the current. Although all on board expected the vessel would drift well clear of the Hebe Reef, it struck a sunken outcrop on the northern end of the reef, then swung around and held fast.
A survey on the following day revealed that the vessel lay with its hull from fore to mizzen masts lying on boulders, both ends being unsupported, and had strained badly with the decks starting to open up. Over the next few days, vessels were able to come alongside and a large amount of the cargo was recovered, much of it quite undamaged. There were sight-seeing cruises from Launceston to those who wanted to gape at the tragedy – complete with brass-band for entertainment. The wreck was sold at auction to J.G. Aikman of Melbourne for £265 on 16 January. Aikman also organised the recovery of large quantities of cargo and the ship’s fittings. There were regular auctions of salvage including one on 17 January that realised about £950 and another on 5 March that realised about £1,300. A diver was also brought to investigate the possibility of refloating Eden Holme, but on the 20th a gale developed during which the vessel broke in two, slipped off the reef and sank.
Ahoy! Moorabool has a definite Marine Theme for you to enjoy, with today’s Fresh Stock featuring the first of a series of interesting Nautical theme collections.
The fantastic umbrella & stick stand shown here sets the scene – a handy ‘Jack’ to have by the front door, handy with a rope which he uses to hold your umbrella and walking stick! He dates to the 1860’s , and is a fine example with original paint in good condition.
Why the curious name? ‘Jack Tar’ was the generic name for any sailor in the Georgian/Victorian era. ‘Jack’ was a place-keeper name for any wiring class man, the ‘John Smith’ of the day. The ‘Tar’ comes from the concept of a tarpaulin: literally a canvas sheet smeared with water-proofing tar, it was used on board all ships, and was turned into waterproof clothing by the sailors.
Early Australiana
Some very early Australiana, Fresh to our stock, relates to the early visits of the French to ‘Nouvelle Holland’, and includes an 1802 view of Sydney, printed in the 1807 publication on the Baudin Expedition.
Marine Art
Ships were essential for nearly every aspect of Australia’s development, from the very first European encounters to the gradual colonisation. Once established, they were the life-line to the rest of the world, and therefore are all represented in the world of Art & Antiques. We have an extensive collection of ‘Nautical Antiques’ to offer, starting with this selection.
The nostalgia for the Age of Sail has always been strong, originating in the artists who were able to sail on the ‘Last of the Windjammers’ in the earlier 20th century, and continuing into the present. One such sailor-artist was Dennis Adams, featured below. He managed to find a job on one of the few remaining commercial cargo ships, and left Australia in 1935, London-bound. He was able to paint his experiences for posterity, accurately depicting the life of a sailor from actual hands-on experience.
Dorca Charles Sewell (1907-79)
Dorca Charles Sewell was born in London, studied art in London & Paris, and became known for his marine art. He exhibited at the Royal Society of Marine Artists, the British Society of Artists, and the United Society of Artists in London. In around 1939, he migrated to Australia and found a job in the Public Service as an architect. He continued to paint, mostly watercolours, and exhibited in Sydney and Melbourne in the 1970’s.
Dennis Adams was born in Sydney in 1914, where at the docks he watched the few remaining sailing ships pass Sydney Heads for distant ports. His father was a retired seaman, and his head was full of his tales of life on board the ‘Last of the Windjammers’. He studied art at the Julian Ashton Art School in Sydney, and in 1935 headed off to London to study at the Royal Academy of Arts on a sailing ship as a ‘seaman’. This voyage set the theme for his art: for the next 50 years, he painted dramatic scenes of the life of the sailor, not just the ships themselves. He was an official War artist during WWII, and his work in paint & in bronze sculpture is to be found in the Australian War Memorial in Canberra, as well as numerous other state memorials and galleries around Australia.
Warwick Anthony Andrews was born in Sydney in 1930, and grew up to be a saltwater sailing enthusiast. He joined the Australian Navy Reserve, and later moved to Melbourne where he was involved with the Beaumaris Probus Club and the local arts scene. His works are often historical re-creations, using prints or old photos as a source which he ‘brought to life’ with his distinctive techniques in Oil and Watercolour.
An unusual small Victorian oil painting (painted on a glass panel) depicts a strange, glowing mountain, with ships passing by apparently at nighttime. We’ve interpreted this as a record of Krakatoa ‘before’ the catastrophic eruption of 1883, a most unusual record of a ship passenger, probably on their way to Australia.
An unusual ‘page-turner’, printed both sides with world maps & calendar for 1899, with red lines tracing the remarkable achievement of the Victorian era: the International Telegraphic Cable network, spread all-over the globe by the closing year of the 19th century. Produced by ‘THE EASTERN EXTENSION TELEGRAPHIC COMPANY’ 1899. The printer, Waterlow & Sons, was the provider of stationary for the company, and produced these curios, shaped like a traditional Chinese or Japanese ‘page turner’, throughout the 1890’s.
The Ocean Liners & Wartime….
The advent of Steam, and internal combustion engines changed the face of sea travel forever. The reliability of a propulsion method that didn’t rely on the weather was gladly adapted, and sails rapidly disappeared in the first decades of the 20th century. Australia’s coastal trade was catered for by coastal steamers, and they became a regular sight often depicted in art of the period. One major change is the rise of the ‘Ocean Liner’ – entire ships built only to take passengers. During WWI, these were re-purposed as troop carriers – and many didn’t make it through.. the ‘SS Otway’ below being a prime example.
The SS Otway was almost brand-new when she was painted by the local amateur ship artist Glanville. Named for the famous cape in Victoria, Australia, which in turn was named in 1800 by Lieutenant James Grant after Vice-Admiral William Albany Otway, a Navy Captain from Nelson’s era. She was built & launched in Glasgow in 1909, an important part of the Orient Line’s fleet of 5 passenger ships that allowed weekly sailings to & from Australia. However, this did not last for long, as the tide of war swept ships such as this before it. Requisitioned by the Royal Navy in 1914, she became the HMS Otway, and once mounted with guns became an Armed Merchant Cruiser. Her service took her to colder climates, spending much of the following year patrolling off the north of England, around Iceland, and across to Norway. Her luck ran out on July 23rd, 1917, when she was torpedoed and sunk by a German u-boat with the loss of 10 lives.
The world’s Navies were also transformed, with mighty floating-fortress ships being seemingly impenetrable. The commemoratives for ‘H.M.A.S. SYDNEY (I) relate to one of Australia’s iconic stories; a light cruiser built in 1912, it was a formidable piece of technology in WWI which became a legend when it destroyed the German cruiser Emden in what is remembered as ‘Australia’s first victory at sea’.
The German cruiser Emden had been sulking around South-East Asia causing major problems for the Allies, in a short time sinking or capturing 25 allied steamers, a Russian cruiser and a French destroyer. A dozen Allied warships were tied up in the region searching for a German battleship; the Germans had added an extra funnel to the Emden, and were masquerading as an Allied ship! Their next target was the station in the Cocos Islands, housing the all-important cable that connected the Pacific – and Australia- to Europe. On the 9th November, 1914, the Sydney came across the Emden as it closed in on the cable station, and successfully pounded it into submission. There’s a dramatic photograph taken by the staff of the Eastern Extension Telegraph Company (see the ‘page turner’ illustrated above!) on Direction Island watching the ships on the horizon battle it out, before they headed out to rescue survivors of the defeated Emden. Note: There’s another ‘HMAS SYDNEY’ of great fame in WWII – recorded as the greatest loss in Australian Navy history, and a mystery until 2008 when the remains were discovered and her story re-constructed. But this is the second Navy ship with this name, ironically sharing a similar legendary status, although for polar-opposite reasons…..
There’s a ship-load of Nautical items on the horizon…
Including this amazing original early 20th century diving helmet: the front glass element is missing, I’m sure there’s a fantastic story about how that happened….?
We have some early English rarities coming, including this somewhat controversial ‘Pope & Devil’ stirrup cup. These were used in the classic British Hunt, for a quick dash of rum before heading off on horseback to chase whatever was trying to escape: the devil-side rip holds the drink, the pope simply cannot! Dating to around 1790, it’s a fine example of Pratt high-fired pottery.
Some interesting items in stock at Moorabool are all about the Stage: this is the pop-culture of the 18th & 19th centuries, featuring the influencers, the stars, and the characters of the popular writers of the day.
Shakespeare & Sir Walter Scott having a chat.
Robbie Burns
The ‘Top 2’ celebrities we come across in the Antique world are William Shakespeare and Robbie Burns. Their popularity rose & fell over time, just like any celebrity. Shakespeare had the advantage of a head-start, but the popularity of Burns coincided with the explosion in production that came with the Georgian world of the Industrial Revolution. New inventions, techniques and materials were used to make a never ending variety of interesting mementos of both the man and his characters, and in the first half of the 19th century, he eclipsed Shakespeare in popularity. Over the course of the latter 19th & 20th century, Shakespeare regained the lead, until in the present day, Shakespeare is well know and still very popular, while Robbie Burns has faded from the pop-culture scene.
Actors were always popular. Chief amongst these was ‘Falstaff’ – a Shakespeare character who was made in a wide variety of materials over a long period.
And then there’s the more minor celebs. Some of these were ‘child stars’ – famous for a few seasons on the stage. Others are totally inappropriate in the modern world, such as the ‘black-face’ depictions of Africans.
Please enjoy our presentation below…. let the show begin!
A ‘Child Star’ – This fascinating image on a small English Enamel patch box is taken from a print by G. Thompson, Southfield, 1805. It is titled ‘Mafter Betty ftuding his part – this aftonijing youth was only Thirteen Years of Age last September / 1804’, and depicts the child prodigy, William Henry West Betty (1791-1874).
He debuted on stage in Ireland in 1803, aged 11; over the next few years he was incredibly popular and well-recieved as a child star. For a while, he was the highest ever paid actor, earing 75 Guineas per night while at Drury Lane.
His fame led to Royal introductions, and George III even presented him to the Queen.
After a whirl-wind few years of multiple roles in many venues, he retired the stage in 1808 to study at Christ’s College, Cambridge. After graduating, he did retry theatre, but his lustre was worn – the critics were savage, and he failed to impress. The usual path of famous ‘child-star descent’ followed, ending with a failed suicide; he gave up acting altogether in 1824, although he was always active in some form with theatrical charities.
Antique Shakespearian Commemorative items at Moorabool Antiques
In Memoriam – Shakespeare needlework, early 19th century
William Shakespeare, often regarded as one of the greatest playwrights in history, wrote his stage plays during the late 16th and early 17th centuries. His literary works have left an indelible mark on the world of literature and theatre, and therefore also the material culture associated. Renowned for his ability to capture the complexities of human nature and emotions, Shakespeare’s plays such as “Romeo and Juliet,” “Hamlet,” and “Macbeth” continue to resonate with audiences worldwide, exploring themes of love, ambition, power, and tragedy. His mastery of language, rich characters, and enduring narratives have solidified his legacy, ensuring that his works remain relevant and influential across generations.
A most unusual piece that illustrates his lasting impression is seen here – a Georgian embroidery, featuring a lady by “Shakespere’s”grave, strewing it with roses. There’s a wonderful range of Shakespeare products, including no end of busts, some better looking than others. But most peculiar is the vase seen below -it has an identical Shakespeare face on either side, for some unknown reason!
Robbie Burns was a Scottish poet and lyricist born in the 18th century. Celebrated as the national poet of Scotland, he is best remembered for his contribution to Scottish literature and culture through his heartfelt poems and songs. Burns’ works, including the iconic “Auld Lang Syne,” often showcased his keen observation of everyday life, social issues, and the beauty of nature. His ability to capture the essence of the human experience in both Scots dialect and English endeared him to generations.
Charles Dickens caught the imagination of the Victorian era by depicting the grim reality of the working classes and their struggle. His characters made excellent material for the Victorian consumers, appearing on ceramics, metalwares, and endless printed material.
Many other playwrights and authors achieved popularity in Georgian & Victorian England, and had their own ‘products’ – or rather, all the entertainers in the Staffordshire Potteries and the Printing Press owners ignored the concept of ‘copyright’ and made their own souvenir to sell to the public. Some of the printed images are very fragile, intended for a short life-span and therefore rare survivors. Others like the Staffordshire pottery figures have lasted very well…. indeed, long after their original celebrity has been forgotten, and now it’s a challenge to work out who the image represents. Going through the definitive books on Victorian Staffordshire Figures by Harding, there are pages of unknown actors & performers…..
In the late 18th century, printing of cheap prints depicting the latest celebrity in their stage roles became popular. The theatre was the basis of entertainment for the period, as one didn’t have to be able to read to enjoy it – and the printed visual depictions revealed much about the story of the play. In the early 19th century, this idea merged with the children’s toy world, and the idea of the ‘toy theatre’ was born. Printers produced the stage itself, suitable to cut out & mount on wood or cardboard. Some came in a pre-build form, as seen below. The characters of the popular plays were then printed, ready to be cut out – and the script of the play could then be used to re-enact the play at home – think of it as a do-it-yourself Netflix production!
Toy Theatre – 19th century – coming soon to Moorabool Antiques
The printers made small figures suitable for cut-outs, but also larger prints depicting the characters, with small sections of backdrops behind them. They were the equivalent of a filmstar or pop-star poster for the wall today. These are generally called ‘Tinsel Pictures’ for the following reason: they were sold plain for a penny, tuppence for coloured, and intended to have an industrious child glue ‘tinsel’ (sparkly pieces of foil, beads, and pieces of bright cloth) onto the figures to beautify them. You could imagine them being a terrific present from a parent to a child at Christmas – a ‘pop-star’ of the day along with a bag of glittery tinsel to make them look pretty. The same idea is still current, with the ‘bead pictures’ being a modern day descendent. The following pictures are ‘Tinsel’ type, although just the coloured versions without additions.
Sir Rowland Trenchard, from Jack Sheppard, published by J. Redington, c.1850
This dramatic Theatrical print depicts Sir Rowland Trenchard, a character from William Harrison Ainsworth’s novel ‘Jack Sheppard’, 1839. This was a historical romance about the 18th century celebrity-criminal, Jack Shepherd (1702-24). It’s a ‘True Crime Series‘ in today’s pop-culture lingo.
In the story, split into three periods, Trenchard comes from the central portion, where he is raising his nephew, Thames Darrell. However, he is described as ‘immoral’, and has his charge removed into the care of a Mr Wood – who also fosters the young Sheppard, thus entwining their lives in preparation for the third part, where Sheppherd hangs out with the wrong crowd and turns to a life of crime. This comes to a head when his foster-mother is murdered by one of his thief companions in a staged break-in. After multiple captures and escapes, Sheppard is finally captured and hung before a large crowd of Londoners….. roll end credits.
Polly Maggott, from Jack Sheppard, printed London 1839
This character is Poll Maggott, also a part of the Jack Sheppard story. She’s based on the real-life Poll, who along with another girl, Bess Lyon, were responsible for edging Jack into his brief but glorious life of crime. This print has her played by Mrs W. Daly, and as it was published December 17th, 1839, it is from the original play of the story.
Jack Sheppard was published in parts in Bentley’s Miscellany from January 1839 until February 1840. Charles Dickens was Ainsworth’s friend at this stage – and the editor of Bentley’s, where he also ran his stories. However, this friendship soured rapidly after the runaway success of Jack Shepherd: while it eclipsed Dickens’ most popular novel, ‘Oliver Twist’, it wasn’t envy that drove them apart, but controversy about the values being depicted in the works. While Dickens is a great ‘moralist’, eager to balance the dark deeds of his villains with redemption, often as a tear-jerking end scene, Ainsworth was more realistic: critics condemned the ‘unredeemed crimes’ in this “evil work of popularity”, which has “now gone to its cradle in the cross-roads of literature, and should be henceforth hushed up by all who have—as so many have—a personal regard for its author”. What would these critics make of the average Netflix drama these days!
Shortly after, Dickens and Ainsworth were no longer friends – the price Ainsworth paid for his popularity. The stage play of the novel was presented right away in 1839, while the novel was still popular. It opened at London’s Adelphi Theatre – the same popular West End venue still hosting the latest shows to this day. This was the first of many shows mounted over the next few decades – but due to the controversy, and the fear of polluting the minds of vulnerable audiences and turning them to a life of crime – the Lord Chamberlain slapped a 40-year ban on the play being held in London under the well-known title! No doubt this controversy contributed to the work’s popularity, much as bans do today to a modern audience – they make greater demand to see what the controversy is about.
This print is typical of the mass-market souvenir produced for this once popular piece of pop-culture.
John Liston as Paul Pry, Staffordshire Pottery figure by Enoch Wood, c. 1825
A popular Georgian stage character was ‘Paul Pry’. As his name implies, he was a busy-body, always prying into other people’s business. A favourite technique to snoop was to leave a coat or hat behind when leaving from a visit, then calling back to collect it without the supervision of the host. John Liston was a stage celebrity of the early 19th century, and he played the part of Paul Pry to great reviews.
Staffordshire figure of Lubin Log, in Love, Law and Physic by James Kenney 1819
Another early 19th century Staffordshire figure of a character/actor is often also labeled ‘Paul Pry’ – but Myrna Schkolne (of www.mystaffordshirefigures.com) argues that this is not correct: the busy-body character of ‘Paul Pry’ is well depicted in the first figure, but in this character there is a different personality. He’s almost sneering, definitely arrogant, and seems to carry a hatbox, parasol, and elaborate ladies coat…. Rather, it’s the upstart cockney ‘Lubin Log’, recently ‘come into money’ and out shopping so he can impress a lady – who naturally doesn’t want to have anything to do with him. This is the plot of ‘Love, Law and Physic‘ written by James Kenney in 1812.
John Liston as Paul Pry (left) & Lubin Log (right), early 19th century
The one thing binding these two interesting figures together is that the actor John Liston played both parts in their different plays. If you look at the face of both, there’s a similarity.
John Wesley (1703-91)
John Wesley commemoratives, circa 1839
Another ‘pop-culture’ theme involves the religious characters, chief of who was the English evangelist, Wesley. His independent Methodist theology was wildly popular both during his lifetime, and after he died – indeed, he’s still well regarded today.
His first sermon was a date to be commemorated: the 1739 – 1839 Centenary was a moment recorded in a wide range of pieces.
Any conductor needs a few batons – and Moorabool has a few of these rarities ‘fresh to stock’.
They include three with inscriptions – some fascinating records of social history, one just a baffling enigma.
Perhaps you’re needing a baton for your Amateur Orchestra – like ‘Professor’ Arthur Hardeman? He was the recipient of a magnificent ebony example with silver mounts including an inscription winding its way down the shaft on a long silver ribbon: “Presented to Professor Arthur J Hardeman by members of the Richmond Amateur Orchestra as a Token of Esteem, 1897” .
Hardeman was a Melbourne musician, son of a Pianoforte dealer, and seems to have made his living giving lessons and performing with his ‘orchestra’. They gave him this magnificent Melbourne-made baton in 1897… as outlined in the newspaper article of the time:
Professor Hardeman’s Presentation Baton, 1897
There’s a wealth of social history to be explored on this subject, including the untold story of the ‘City of Richmond Coffee Palace’, and ‘Professor’ Hardeman’s interesting background.
There are several other batons also, all fresh to stock – quite a collection. The other definite Australian example is also ebony, and has a presentation inscription also: “Pres’ted to E. Sage Esquire, by the members of St John’s Presbyterian Choir, as a mark of esteem, 26/07/01”.
E. Sage’s Presentation Baton, Ballarat, 1901
E. Sage’s Presentation Baton, Ballarat, 1901
E. Sage was a Ballarat identity, very active in the musical entertainment world from the 1890’s. He taught piano and voice in Ballarat, and helped form a musical group, called the ‘Curlew Orchestra’, for the ‘purpose of promoting the study of instrumental music and the entertainment of the inmates of the charitable institutions, and generally assisting by concerts in aid of worthy objects’.
In 1902, for example, there’s a report of an event he presided over: “The members of St John’s Presbyterian choir visited the Orphan Asylum last night, and gave the children an evening’s entertainment. Mr D. N. McLean presided, and in a few happy phrases introduced the performers, and told the children that the public of Ballarat were greatly interested in them, and would be especially glad to see the Asylum band making progress….”
RUN FOR YOUR LIFE American silver & walnut conductor’s baton
Another rather puzzling baton has a cryptic message: RUN FOR YOU LIFE ….. is engraved onto the end. This example is American Silver, by Reed & Barton. It dates to the 1910-20 period – but nothing turns up valid to a musical origin when you look for the words inscribed. Maybe someone has an idea of what ‘RUN FOR YOUR LIFE’ might be relating to? Let us know, if you do!
RUN FOR YOUR LIFE – American Reed & Barton silver mounted baton, c. 1920
Antique Ebony Conductor’s Baton
The final one is just a nice baton, no inscriptions. It has a ribbed body, making it much easier to hold. All we need is an orchestra to try it out on……
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