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A Box or Two….

Soth East Asian Ceramic Boxes

Some fascinating ancient boxes, just released on Moorabool.com

We’re pleased to offer a small selection of South-East Asian ceramic boxes, fresh to Moorabool.com.

Collection of South East Asian Ceramic Boxes

These pottery and porcelain objects were produced in vast quantities in certain places as trade goods, and as a result are found all across South-East Asia.

Khmer bird pot, 12th century
Khmer bird pot, 12th century

The earliest we have are the Khmer examples, with one delightfully shaped like a small plump bird; his beak and eyes protrude from one side, balanced by a tail at the rear. A small conical cap to the top is almost a miniature Buddhist stupa….

Song Dynasty, 13th century
Song Dynasty Qingbai, 13th century

Equal date is the amazing large white glazed porcelain box with a peony rose moulded to the top. This is from Song Dynasty China, 12th-13th century, of a type known as ‘Qingbai’.

Thai 15th century

I like the Thai pieces from the 15th century for their sophisticated moulded patterns. The ‘Deer’ and the ‘Flower’ boxes we have are particularly tactile pieces, encouraging you to explore their design with your fingertips.

Swipe Left, South Australian Museum:Swipe Right, our example. Thai, Swankalok,

The other Thai pieces are a larger form, made to hold more. These are a distinct high-fired stoneware, and the kiln sites for these were traced & excavated in the 1980’s in Thailand, known as Sawankalok. Australian scholars were a major part of this study, and an important collection of these pieces can be seen in the Art Gallery of South Australia. Interestingly, there is an almost identical box to one of our pieces there, the only difference being a complete reversal of the colour scheme; ours is like the ‘negative’ of theirs!

What were they used for?
The answer to that is “whatever you need a box for!”
Much like a Tupperware box today, they would have been used for whatever the locals needed a small container to hold. In some regions they were probably highly prized expensive imports, used in such prestigious occasions as wedding dowries and burials of the more wealthy. In some of the Indonesian island kingdoms, for example, they are found in ‘caches’, large groups of buried ‘treasure’ including ceramics and precious metals – probably a local wealthy person burying their prized possessions in a time of conflict and never coming back for them.

Hoi An Shipwreck, c. 1490
Hoi An Shipwreck, c. 1490


Another amazing source of these boxes are shipments that never made it to the market place. Boxes from well-known shipwrecks that we have include the Vietnamese products from the late 15th century Hoi An wreck, and a few from the early 17th century Ming Dynasty Bihn Thuan wreck, sold off in Melbourne a few years ago.

Here’s a selection currently in stock:

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Upcoming Australiana

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Have a preview of interesting Australiana currently being prepared for sale.
Feel free to email any questions.

Australian Art

A fantastic story is emerging from three small works purchased in 2022. Two are miniature landscapes of Australian bush scenes; the other is a similar scene, Trompe l’oeil style on a gum leaf, surrounded by Australian wild flowers.

All were in original, neglected frames, and the backs all had the same artist attribution, added in pencil along with the instruction ‘For Ron’:
‘Painting by Jessie L. Evans, of Heidelberg School’.

On the two oil bush scenes: “For Ron – painting by Jessie L Evans” – incorrect attribution!
‘J L E’ signature


As is often the case with later attributions, this doesn’t make much sense when we look at her published works. She was very much an artist of the impressionistic school, like the other Heidelberg greats.
However, there is one very interesting clue visible: the gum leaf has a signature with the correct initials – ‘JLE’ – for Jessie Laver Evans.

On reverse of ‘gum leaf’ watercolour: “Painting of Creek near Brighton (Vic) by Jessie Evans of Heidelberg School” – correct attribution (piece is signed)

This suggests that this piece at least is by her hand.
The other pair however have no visible signature. Only one thing to do: de-frame them and look at the back!
Nine times out of ten, there’s nothing of significance to be seen on the back of a de-framed picture. This is an example of when there is – not only a name for the artist, but also a date, and most excitingly, a direct link to Jessie L Evans!

This dedication, a few days after Christmas in 1885, shows a direct connection between Alfred William Eustace, a well-respected colonial painter of the Goldfields era, who was 65 when he met ‘Miss Evans’, aged 25. At this stage, Alfred Eustace was famed for his paintings on broad, flat gum tree leaves, and in the early 1880’s had several exhibitions of these very Australian works in Melbourne galleries.

Miss Evans attended Melbourne’s National Gallery of Victoria Art School 1880-91, so she no doubt came into contact with Eustace at one of his Melbourne exhibitions; the watercolour we are examining is the visual proof, as it is an accurate impression of his oil-on-leaf creations – with her own addition, the wildflowers that surround it. This is an early work, when she is just learning to paint and has yet to ‘find her style’. She did this in the following years, being taught at the Art School by Frederick McCubbin, E. Phillips Fox, and Tudor St George Tucker, having as her fellow students

More to come on this exciting piece of research, with a blog post dedicated to the story of Jessie ( her father wouldn’t let her be ‘commercial’ and sell her paintings as it would appear her father couldn’t support her …. but she still opened a gallery in central Melbourne!) and the remarkable tale of Alfred William Eustace, ‘Gumleaf-Painter to Her Majesty’ !

The Port Jackson Painter – in the style of….

Blue-faced honeyeater, after The Port Jackson Painter, 1789
Blue-faced honeyeater, left: The Port Jackson Painter, 1789 | right: Moorabool Antiques, Geelong
View in Eltham by Kit Turner
View in Eltham by Kit Turner

Little-known artist Kit Turner has a fascinating tale to tell. Born in England, she studied art & copper smithing, travelled to NZ where she was an accomplished arts & crafts metal worker, married a fellow metalsmith, and moved to Melbourne where she lived at Eltham. There she became familiar with Walter Withers of ‘The Heidelberg School’. That’s his house, visible in the distance over the creek, beyond the chickens and the cows, in the oil above by Kit.

Walter Withers - View in Eltham with two ladies conversing, signed & dated 1904
Walter Withers – View in Eltham with two ladies conversing, signed & dated 1904
Margery Withers - Portrait of Kit Turner (?) c. 1920
Margery Withers – Portrait of Kit Turner c. 1920

We also have a Walter Withers watercolour, painted from the other side looking towards where Kit would have painted this picture… and Walter depicts two ladies, one quite young, the other older…. Mrs Withers…. or could it be Kit?

Walter’s daughter, Margery, was also an artist; there’s a watercolour by Margery (in the Eltham Council’s collection) titled ‘Kit Turner’s House’. It’s a view from the place shown above, looking at a different angle: Kit Turner has painted her oil view literally just outside the door of her studio. On a recent information-gathering trip to Eltham, we were elated to discover her house – and studio – are still standing! No records or literature seem to note this. We have gathered a terrific lot of info on Kit Turner, metal-worker and painter in oils, including photographs of her in her studio.
In one of those moments of serendipity, at an auction in Melbourne, 2023, there was a Margery Withers oil portrait of a Woman – which is the clear, strong features of Kit Turner herself…..

Kit Turner in her Studio (metalworking) c. 1920

More info to come on a special blog post on Kit & the Withers, including Australian Sterling Silver by Kit Turner and more works. If anyone has any other pieces, please contact us.

Skinner Prout watercolour
Skinner Prout sepia watercolour, 1830’s
Lavender Bay by Charles Tindall 1891
‘The Old Post Office, Lavender Bay’ watercolour by Charles Tindall, signed & dated 1891

WJ Wadham

WJ Wadham, Australian River Landscape watercolour, 1880's
W J Wadham (1863-1950) large watercolour – River view, NSW,
c. 1890, work 49 x 74cm. frame 89 x113cm.

A fascinating story evolves from this large watercolour. The style is very unusual for the period, being a technique much used in the latter 20th century; however, the artist is a well documented English-Australian, who was active here in the 1870’s-80’s.

British born, the Wadham brothers William Joseph and Alfred Sinclair were the sons of a notable deaf & dumb painter, Benjamin Brassett Wadham (1816-1904).
W.J. had his first painting accepted by the Walker Art Gallery, Liverpool, aged 14. He migrated to Australia in 1885 – his brother followed in 1887. They had exhibitions in Melbourne in 1889 and 1895, which were well received. They settled in Adelaide, joining the South Australian Society of Arts.
They ran “Wadham & Sinclair’s Fine Art Institute” in Adelaide where they also gave lessons; travelling extensively, they were in New Zealand in 1896, Western Australia in 1897. Alfred returned to London in that year, and also in 1897 their works were well received at the London Exhibition of Dominion Art, attended by the Prince of Wales.
Joseph continued to travel, visiting & painting in South Africa and Canada as well as New Zealand and Australia. He helped found the Royal British Society of Artists which held their first exhibition in 1902. In latter years, he opened a commercial Art Gallery in Sydney, selling notable British artists including Birket Foster, Lord Leighton, Moreland, Wilkie, and the Pre-Raphaelite master, Sir John Millais.
He sold up the Gallery & moved back to England in 1923.

  • WJ Wadham, Australian River Landscape watercolour, 1880's
  • WJ Wadham, Australian River Landscape watercolour, 1880's

John F Norton

J F Norton - Australian River Landscape

John. F. Norton has been recorded in the Art Literature as ‘Active 1898-1918’.
These two oils are clearly dated 1932, indicating a much later working period than recorded. As many works in the sales records are not dated, they may belong to this later period of his work.

Australiana Silver

‘Corio Cricket Club’ prize, 1874, won by E.S.Willis…. one of the Willis Brothers who wrote the first ‘Aussie Rules’ rulebooks, and basically invented the game! English Sterling Silver – more fascinating history of this item to come. The clipping is the newspaper report from 1874.

Here’s unimportant piece of Sporting Memorabilia…. particularly for Geelong residents who follow ‘The Cats’.

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