Moorabool has a fascinating group of Derby ‘Seasons’, modelled as children with their respective attributes.
left to right: Spring, Summer, Autumn, Summer, Spring. We have no Winter….
They make for an interesting study, and show the development of the classic rococo-based Derby figures of the latter 18th century.
The earliest version appears during the mid-1750’s, belonging to a group of distinctly modelled figures that are often decorated in a muted pallet of colours, known as the ‘pale-family’. These appear with a flat slab base, and the modelling is a little stiff. Note this example has lost his hand & the wheat he holds in it.
Circa 1756
‘Summer’, Pale Family type, 1756-59. ref. Bradshaw ‘Derby Figures’ p72.
This example, in stock at Moorabool, is late in the ‘Pale Family’ period, or the very beginning of the next period, the ‘Patch Mark’ period, c. 1759-69. The base has an early, rarely-seen rococo scroll moulding, of quite flat form without piercing. The colours are the type used in the 1760’s.
This example, also in stock at Moorabool, shows the latter 18th century style of Rococo scroll base, with scrolls forming feet on which it rests, and a pierced panel to the center.
This boy is representing ‘Spring’, with a garland of flowers.
This example, also in stock at Moorabool, shows the latter Rococo scroll base, with scrolls forming feet on which it rests, and a pierced panel to the center.
Once again ‘Spring’, with a garland of flowers. Interestingly, he is not recorded in Bradshaw (Derby Figures), who has only a set of 4 ‘Adolescent Seasons’ listed that are all girls; these boys appear in the earlier sets and were obviously continued into the latter 18th century – it’s a puzzle why he has failed to record them.
Of course, other factories were actively making ‘Seasons’, with a particularly lovely ‘Spring’ by Bow being a recent addition to Moorabool.com’s stock:
Bow figure of ‘Spring’, with distinct blue enamels, c. 1765. See her here>
Welcome to our latest Fresh Stock. This one is a ‘Staffordshire Special’, with some early figures dating to the late 18th – early 19th century – as well as a good selection of classic Victorian pieces.
There’s a couple of Highwaymen, one titled ‘Dick Turpin’, the other facing horseman traditionally being his companion Gentleman-Robber, ‘Tom King’ (actually Mathew, not Tom….) .
There’s a lovely ‘primitive’ miniature group of Victoria & the love of her life, Albert. There’s cats, dogs, the Royal Children riding goats, and the exotic image of Lady Hester Stanhope riding her camel….
And there’s Mademoiselle d’Jeck, a 4-ton prima-donna…. (see more on her at the end of this post).
These subjects wouldn’t be hard to find on present day social media – and so, this Staffordshire Collection is a great illustration of the ‘Social Media’ aspect fulfilled by these charming, quirky figures from the late Georgian & Victorian eras.
This remarkable Staffordshire group tells the story of one particular elephant: ‘Mademoiselle d’Jeck’, the star of the stage in the decade after the Napoleonic Wars. Starting in England in 1806, she travelled back & forth between the Continent , England, and a tour of America before her untimely death in 1837. This figure dates to around that time, but commemorates an earlier stage appearance. In 1829, she had appeared with great success in the Paris Olympic circus, starring in the play ‘l’éléphant du Roi de Siam‘ (“The Elephant of the King of Siam”). After a short season, and a quick translation into English, the show was launched across the Channel, in the Adelphi Theatre, London, and ran from mid-1829 into early 1830. Mademoiselle d’Jeck was a 4-ton prima-donna…. with her behaviour earning her a reputation as an absolute monster, having broken many people’s bones, and even killing a number of her keepers.
And….she’s still around! Read all about her interesting but sad story as a travelling attraction on our special blog report here >
This rare Staffordshire figure is a visual record of an extraordinary theatrical spectacle, presented in the 1820’s to the eager audiences of London. Attributed in the playbill to Englishman Samuel Beasley Jr. and John Gallott, it was billed as ‘New and Gorgeous Serio-Comic Indian Burletta Spectacle’, and titled ‘The Elephant of Siam and the Fire Fiend‘. However…. an earlier play featuring the same elephant and storyline had opened in Paris in July the same year, at the Cirque Olympique of Antonio Franconi. This piece was entitled ‘l’éléphant du Roi de Siam‘ (The Elephant of the King of Siam) and was penned by Léopold Chandezon and Ferdinand Laloue.
above: 1 – 1829 Paris advert, at the ‘Cirque Olympique’. 2 – Staffordshire child’s plate, c.1830. 3 – Staffordshire group, c. 1840. 4 & 5 – Playbills in the Victoria & Albert Museum.
The plot is a classic romance, with the hand of a princess contested by two suitors, one good (Prince Almansor), one not so good…. and the elephant is the key actor as she thwarts the plots of the bad-egg.
Mademoiselle D’jeck was brought to England mid-1829 to appear on the English stage.
The ‘borrowed’ Elephant Extravaganza took place in December 1829 and into 1830, at London’s famous Adelphi Theatre.
Mademoiselle D’jeck, The Elephant at the Adelphi
Picture this: an enormous stage, meticulously reinforced for an extraordinary star—the Elephant of Siam. This marvel, titled ‘Mademoiselle d’Gelk’ (or D’jeck), wasn’t just a creature of size, but a performer of remarkable talent, commanding a nightly salary of twenty pounds—a princely sum indeed. She was 11 feet tall, 4 tons in weight, and a very pale colour.
Under the leadership of Frederick Yates, the Adelphi Theatre brimmed with innovation and daring. The elephant’s presence wasn’t mere novelty; every action woven seamlessly into the plot, showcasing not only her docility but her profound intelligence. She was tasked with opening chests, shifting a crown from the head of one character to another, and advancing the plot using her bulk to block the view, or in what is shown in this Staffordshire figure, holding her trunk up to the window of a burning palace so the princess can escape – by being grasped with her trunk and lowered to the ground! Considering the actors in the play were London regulars, and she came from France with just a few handlers/trainers who were not there for acting, it is remarkable that she was able to interact with so many different people, night after night – a true testament to her intelligence.
A side story here reinforces this: one particular keeper was not kind to her, using the prongs of a pitch-fork to make her behave; years later, when she had the chance, she killed him. At his inquest, there was little sympathy for him and little blame for Mademoiselle D’jeck, as it was clearly a case of an Elephant’s excellent memory leading to revenge for wrongs done…..
She had arrived in London in 1806, from India or Ceylon, a member of Mr. Thomas Atkins’ traveling menagerie. Travelling with a native mahout who had raised her as a baby, she soon showed signs of being the class ‘prima-donna’ of the entertainment industry: her original mahout was wounded in 1814, and in 1822 she wounded the menagerie’s owner, who sold her to Berlin; there, she continued to hurt those around her….
When she came to Paris to perform in the stage play written just for her, she was responsible for wounding her owner and fracturing the skull of her latest mahout.
After her London appearance at the Adelphi, she spent time touring England with ‘Astley’s’ – where she broke the arm of one handler, wounded and killed two others, and fractured the skull of another. Her reputation as a dangerous beast grew…. and so they shipped her off to perform in New York!
Tournai Museum – 19th c. plan
After her US tour, the 4-ton prima-donna was back on the European tour, with a modification to make her a little safer – her tusks were removed. However, there were dozens more incidents that left a trail of injured handlers. A final straw for Mademoiselle was an ‘incident’ that wounded a spectator, in Geneva in 1837, and she was put down.
Her hide was secured by a Paris naturalist firm, Maison de Deyrolle, and so Mademoiselle D’jeck lived on , in a way. As a skin, she was sold to Barthélemy Dumortier, botanist, director and founder of the Natural History Museum of Tournai, Belgium. A local cabinet maker was conscripted to build the underbody for the hide, and a local shoe maker spend a mammoth amount of time sewing her hide onto the ‘skeleton’ . The result is still there to bee seen in Tournai, where Mademoiselle D’jeck still stands proud, having survived both world wars. In 2018 was recognised by the Federation of Wallonia-Brussels as part of its ‘federal heritage’.
Mademoiselle D’jeck in Tournai today (front)
This rare figure would most probably date to the time of her turning fame: 1830 would be a touch early for this style of flatpack figure, and as her fame in London was that same year, it would have been in the following years that an image like this would appeal to the public.
A local customer recently inherited a small number of Antiques from an uncle, including a most interesting oil painting. Set in its original frame, it was in ‘untouched’ condition, and in dire need of a clean.
The way it was framed, and the thick yellowing varnish hid the small monogram and date on the lower right, and the back was covered in browning paper. Investigating the back by prising off the backing paper, a fragment of an inscribed pasted label was found, and carefully exposed – it is a descriptive label in what may well be Robert’s own hand:
“Round Tower of Oberwesel on the Rhine. between …obleuty and… ….(?) by D R 1829″
This is repeated in a printed catalogue entry, attached to the outer layer of backing paper, dated in pencil top right “2/2/8? (for a date in the 1880’s). It reads:
DAVID ROBERTS, R.A.
14. Oil Painting” “The Round Tower of Oberwesel-on-the-Rhine” (1829)
A Scottish Painter, born in Edinburgh , 1796, who attained great eminence as an architectural painter. This example represents him in his middle period, which is considered to he his best ….. (He is) … represented by many pictures in the National Gallery London, South Kensington, Melbourne, and Edinburgh National Galleries. Died in 1864″
Liberating the wooden panel from the frame revealed the reason for the unusual arched top of the original framing; the top-left corner has been broken off & lost. It also makes the monogram ‘DR’ to the lower right completely visible, and alongside the date ‘1829’. An interesting feature is a round impression like a pinhole, centred right in the middle of the ‘9’: a corresponding one can be seen on the upper right corner, origin unknown.
An online search reveals the print that was made from this painting. The example shown here is in the British Museum, from the first publishing instance in ‘The Literary Souvenir’, published 1832.
David Roberts -Oberwesel- 1831 Print by Goodall, published in the 1832 “The Literary Souvenir” – British Museum
The ‘Literary Souvenir’ original editorial published alongside this print is interesting, and possibly misleading;
“…since he has taken up watercolour painting… he appears to have developed new and more extended powers; as the charming view of Oberwesel, engraved by Goodall…..“
This is claiming the origin of the engraving is a watercolour; however, while several watercolours are known, and recorded by Roberts in his memoirs, they are all after 1832, with one exception: a work on the English art market recently is the same view, signed & dated 1824. However, this was lacking one important detail, suggesting it isn’t the origin of the print either. The oil we are discussing is the closest prototype when we examine the details of the image. Clearly, the watercolour ‘origin’ is an assumption by the ‘Literary Souvenir’ editor, obviously not aware of the source Goodall used when he made his engraving.
The detail that definitely links the oil, not the watercolour, to the print is the occurrence of flags on the masts of the boats.
It’s an interesting exercise to compare the print with the painting: it illustrates the ‘artistic license’ of the engraver, as they seek to reproduce a complex composition but inevitably ‘improve’ on the work through their own artistic intuition. The two works become a ‘Spot the Difference’.
There are a few variations between the print and this oil, such as the spire on the church on the far right. However, the composition is fundamentally the same, and shows clearly that Goodall copied this 1829 painting when he engraved the print in 1831.
In an article titled “The Annuals of Former Years” published in “The Bookseller” December 24, 1858, the high prices paid by “The Literary Souvenir” for scenes are referred to, including “… one hundred and fifty guineas… was paid for .. the “Oberwesel” of David Roberts, by Goodall, executed for this work.”
Today, that is more than £10,000! In real terms, that was more than two years wages for a skilled workman.
In the various outlines of David Robert’s early years, the 1829-32 period is not discussed much.
Roberts is recorded as travelling to Paris in 1829. He obviously went the long-way around, via the Rhine, as the 1831 print of Oberwesel was obviously published after sketching visit in the years prior. With this newly discovered oil, we can date this visit to pre-1829.
An interesting historical detail supports this dating. The Rhine boats alongside the riverside road have a flag flying from each mast tip. The later watercolours have no flags identifiable; the print doesn’t clearly show what flags they are; but the oil painting shows them very clearly to be French flags. This is accurate for the period; the town of Oberwesel was part of the Palatinate, the remnant of the Medieval Holy Roman Empire; in 1802, the French Empire under Napoleon had annexed it. This ended in 1815 with the defeat of Napoleon, when the 1815 Congress of Vienna gave the region to Prussia – but clearly, the French presence was still there in the river traffic.
This work shows the importance of the Rhine to the regions it flows through, the ‘super-highway’ along which vast amounts of trade goods were moved. In the David Roberts depiction, the boat in the foreground carries one of the region’s most important products, a vast iron-bound cask of wine. Perhaps this is a transaction in progress, with French ships awaiting the arrival of the wine-ship to trade with.
Provenance for this piece has proven to be elusive. It doesn’t appear in the publication compiled from Robert’s notes after his death, where he set out to record his achievements each year of his career, including small ink sketches of the works he recalls for each year. It seems the work slipped his mind. However, the print is the definitive proof of its existence. It was found in a Geelong, Australia, collection, amongst paintings that were part of a family inheritance. This collector had most probably found the piece in Melbourne in the mid-latter 20th century.
Moorabool is pleased to offer this important oil in their August 10th Auction on Invaluable.
Four Fresh pieces of English Earthenware, 18th century, just added to stock.
Creamware
Creamware is the term for an English earthenware body with a definite ‘cream’ tone, popular in the latter half of the 18th century and replicated across Europe. It emerged from the experimentation of Staffordshire potters seeking a local alternative to expensive Chinese porcelain around 1750. Their innovation yielded a refined cream to white earthenware with a lustrous clear lead glaze, prized for its lightweight construction and pristine finish, making it ideal for household use. It was not expensive to produce when compared with porcelain, but also not as robust; replacements were probably a necessity if you were using Creamware tea wares or tablewares. After its heyday in the 1780’s, Creamware remained popular well into the 20th century despite competition from other ceramic types. Today, it is valued for the pleasant off-white body and refined shapes often decorated with bright spontaneous on glaze enamel flowers.
Salt glaze refers to a distinctive ceramic made by the English potters in the mid-18th century, with an ivory-white stoneware body lightly glazed with a clear covering having a texture resembling orange peel. This forms on the white high-fired stoneware body when common salt is introduced into the kiln at its highest temperature. During firing, sodium from the salt reacts with silica present in the clay, resulting in the formation of a glassy sodium-silicate coating. This glaze can exhibit a range of slight hues, usually colourless but also found in shades of brown (due to iron oxide), blue (from cobalt oxide), or purple (from manganese oxide).
The result is a glistening white product, usually slip-cast and very lightweight & thin, yet also very tough. Forgive me for making the comparison, but it could be mistaken for a plastic! The glaze is transparent, and fits tight and thin against the body, meaning any moulded decoration is as sharp and crisp as the clay beneath. It has become a highly desireable field to collect in the English Earthenwares field.
The Chinese were fond of a red clay sourced near the city of Yi Xing, on the Yangtze River Delta. When Europeans started trading with them in the 17th century, the ‘Yixing Stonewares’ were a popular item. Naturally, the local European potters were keen to provide versions of this suddenly popular ware, and the potters of Delft, in Holland produced a ‘clone’ of the Chinese – often with the same decoration – in the latter 17th century, followed by the Eeler Brothers, Dutch silversmiths who came to London in the 1680’s and produced the first English redwares. Meissen was a latecomer, with J.J.Böttger discovering a fine high-fired red ware body now named after him in 1706. By the mid 18th century, the potters of Staffordshire and elsewhere were making Redwares.
Wedgwood c. 1820
Characterized by its rich reddish-brown hues derived from iron in the clay oxidising in the firing process, English Redware exemplified both utilitarian functionality and aesthetic charm. Crafted with meticulous attention to detail, these pieces often featured simple yet elegant designs, at first copying the imported Chinese wares, but soon reflecting the prevailing tastes of the era. Commonly used for everyday household items such as teapots, jugs, and mugs, English redware found its place in both rural cottages and aristocratic homes alike. Despite its widespread popularity, redware production faced challenges from the emerging dominance of porcelain and other fine ceramics. Wedgwood brought it back to the tasteful table in the late 18th- early 19th century with a refined version they called ‘Rosso Antico’, and other firms through the Victorian era continued to make ‘redwares’ in small numbers. The original 18th-century English redware remains a testament to the skilled craftsmanship and enduring legacy of the era’s pottery traditions.
Jackfield is largely a generic name for a class of black/brown bodied earthenwares with a glossy ‘black’ glaze. I emphasise ‘black’ as close examination reveals it is actually made up of mostly dark brown tones, which combined with a dark-toned clay body appears black to the naked eye.
Jackfield Teapot c.1780
Traditionally this type of ware was said to be made at a pottery works located at Jackfield, near Coalport in Shropshire – which became the name for the type. But excavations and other evidence suggest that at the same time, such pieces were also made in Staffordshire and at other ceramic centres. The shapes and mouldings are often closely related to the other bodies detailed in this article, showing the black products were made alongside red wares , cream wares and salt glaze. Perhaps ‘black wares ‘ would be a more accurate name, but the ‘Jackfield’ name persists.
Decoration was hard, as the black surface didn’t allow for the usual decorative technique. Rare ‘cold-painted’ examples show that some were decorated in colourful oil paints, often with dedications and dates, painted onto a piece to order by a retailer, independent of the potteries. Today, it is collected for the dramatic impact it makes in contrast to the usual white or off-white alternative wares.
This week we are having a closer look at the highly popular Imari pattern.
The Imari pattern has a rich history steeped in Japanese culture and global trade. Originating in the town of Arita on the island of Kyushu in the 17th century, Imari porcelain quickly gained popularity both domestically and internationally. Named after the port city of Imari, from where these exquisite wares were exported, the pattern typically features vibrant colours of underglaze cobalt blue, iron red, green, and gilt accents, often depicting asian motifs such as flower gardens, and landscapes. Initially, Imari porcelain was highly sought after by European aristocracy, sparking a craze known as “Imari-mania” in the West during the 17th and early 18th century. While China was a well-established trade route by this time, Japan was a little harder to access, and less Japanese Imari porcelain made its way to Europe. This scarcity led to it being priced at a premium, more expensive than Chinese equivalents, which were neither the same porcelain nor style.
When Japan closed it’s trading ports down, and almost all trade with foreigners was forbidden by Imperial edict in the early 18th century, the Europeans were devastated: they were Imari Addicts, and their source of Imari was suddenly taken away.
Enter the ever-opportunistic Chinese traders… mainland China quickly became Imari-experts, and mass production of Imai-style porcelain began in the first decades of the 18th century. By the mid-18th century, huge amounts of Imari ware was making its way by ship to England and the Continent. At the same time, the Europeans had also figured out the secret of making porcelain -and naturally, the first thing they replicated were the prestigeous and expensive Imari wares. Japanese Imari is a beautiful product to collect, and is generally either the very early products, c. 1680-1720, with a large gap when production for export almost ceased, and then the re-opening of Japan in the mid-19th century. This sudden emergence of Japan in International Trade led to vast quantities of Imari porcelain once again finding its way to the West – and as the volume increased into the early 20th century, the price dropped. It’s still the same – early = expensive, later = less expensive. Chinese products often appeal to a different collector, and are keenly sought after as well.
England rapidly became the largest producer of Imari wares in the early 19th century, where the richness of the tea wares perfectly matched the elegance of the Regency interiors. The Derby factory found a great demand for their particular take in Imari, for some reason later known as ‘witches pattern’. This classic English Imari continued to be made right through the 20th century, one of the true survivors in ceramic design.
Despite fluctuations in demand over the centuries, the allure of Imari porcelain endures, representing not only the exotic origin in Japanese ceramic artistry but also a testament to the enduring legacy of cross-cultural exchange and trade.
A pair of handsome baluster-vases & covers, painted with plump rabbits & with foo dog finials – late 17th century – at Moorabool Antiques, Geelong.
Georgian glass, crafted during the reigns of the “Three George’s”, Kings of England from 1714 to 1820, holds a distinguished place in the history of glassmaking. Renowned for its elegance and craftsmanship, Georgian glass embodies the refinement of the era with its perfect proportions, intricate cut patterns, and quality of the body, achieved by adding lead. Skilled artisans of the time like George Ravenscroft revolutionised glass production, introducing lead oxide to create a glass of exceptional brilliance. Georgian glassware ranges from ornate goblets to intricately cut decanters, each piece a testament to the period’s aesthetic sensibility and technical innovation. Today, Georgian glass remains highly prized by collectors and enthusiasts for its timeless beauty and historical significance.
Sometimes, things don’t turn out to be what they look like. While that’s usually a pre-cursor for disappointment when we discover something is made later, or badly damaged – our recent experience was quite the opposite… An enquiry about some ‘Dresden Cups’ with a photo of the two beautiful beakers illustrated here came to us. The pieces looked superb quality, and Sèvres would be a likely candidate – not Dresden, or Meissen as it is more familiarly known.
Handling them for the first time showed them to be even better than the photos. They are absolutely the most stunning items, and their condition exceptional. Turning them up reveals their surprise : a pair of crossed sword marks, for Meissen.
Definitely 18th century, and Vincennes/ early Sèvres style, but Meissen marks; clearly there’s a tale to be told….
A dive into the books brought up the answer: a rare moment in the world of Meissen, when it no longer led the way in porcelain taste in Europe, but followed the French. Once we had established the period, we were able to attribute the artist: Johann George Loehnig (1743 – 1806).
His work is rare. He was listed as one of the 1st-class artists in Meissen between 1764 and 1770. In 1786 he was still listed as a “…figure painter of the most exquisite class” in the manufactory’s list of painters. The artwork source for the lush and expressive putti were mostly provided by Johann Eleazar Zeissig (1737 – 1806), called Schenau, who in turn was inspired by François Boucher (1703 – 1770).”
Sèvres cherubs, 1758-9
Meissen cherubs, c. 1770
Meissen c. 1770
Meissen c. 1770
Meissen, the pioneering porcelain manufacturer in Europe, had led the field in discovering how to manufacture porcelain, inventing and defining the European taste for porcelain right from their first creations in the first decade of the 18th century. By the 1770’s, they had a large number of competitors, and lost their lead as innovators to other makers. There are several shapes ‘borrowed’ from France, and this cup shows the strong demand for the ‘French’ taste, decorated in a design that first appeared in Vincennes & Sèvres products in the 1750’s. While the Sèvres examples were based on the paintings and prints of Boucher, it has been suggested that the designs for the Meissen examples 25 years later came from the works by Schenau (Johann Eleazar Zeissig), Director of the Royal Academy of Arts in Dresden – who was himself directly influenced by the works of Boucher.
Very few examples are to be found of this direct copying, and appear to be limited to a few very exclusive tea sets – and chocolate, as seen here – made for the most wealthy of customers.
This cup, along with its companion, is said to have come to Australia in the 19th century, to be passed down several generations in Geelong, Victoria, before it was brought into our premises in Geelong in 2024.
Munich Museum tray – illustrated in ‘Meissen Porcelain of the 18th century’ by Hermann Jedding
There is a tea-tray in the Munich Museum which is so exactly related to this cup, we speculate it may be the original for a split-up setting – perhaps a teapot, a coffee/chocolate pot, a sugar bowl, and two cups & saucers sat on this as a dejeuner set. The main scene is Venus and attendant cherubs amongst clouts, while the small panels in the border feature trophies, with the borders around each being the exact leaf & flower design seen on this cup. There is an identical dentil border to the rim.
Above is a detail from Hermann Jedding ‘Meissen Porcelain of the 18th century’ p 104, pl. 179, showing a tray with the exact same figures, ground and fine gilt borders, described as being painted by Johann Georg Loehnig, who “…preferred preferred vessels in royal blue… which he painted with putti, lovers or portraits, often using the stippled dot technique”. He describes the borders: “etched gold tendrils and flowers… the refined delicacy of French taste was also sought in Meissen”.
The tray illustrated is in the Munich Bayerisches Nationalmuseum , dated 1770.
Compare to the border of these beakers – it’s the same, and assumed to therefore be from the same unique commission, circa 1770. This was not a ‘pattern’ of the firm, and each commission would be different in detail, such as the gilt borders. The cherubs and their clouds appear identical in concept – although no colour photograph of the tray could be found.
Two rare Meissen chocolate cups, of tall beaker form, superbly painted by Johann Georg Loehnig with two panels of cherubs in clouds, in his distinct ‘stipple’ technique, imitating Vincennes/Sèvres products of the mid-18th century, set within ornate leaf & flowers raised & tooled gold frames, the foot with a solid gold band.
Crossed swords mark in underglaze blue to each, also indistinct underglaze ground-painter’s mark, pressnumer ‘.9′ (or 6’) in the foot rim.
We’re actually in Asia for this one! Paul & Glenys, your proprietors at Moorabool Antiques, are on a ‘China Expedition’ – visiting the sights & enjoying the unique culture that is China…..
Of course, this is not a ‘buying’ trip: China prohibits the export of anything that could be considered Antique. Rather, it is a fact-finding visit: exploring some of the regions where the Chinese items we are familiar with came from, and spending some time in the numerous Museums & Galleries and their fine collections of Chinese Art & Antiques…..
On our return, we will have a wealth of knowledge to draw on when cataloguing the incredible items from Asia which Australians are well known to have collected over the past few hundred years……
Snow on the Great Wall of China, outside Beijing Inside the Forbidden Palace, BeijingRooftops, Forbidden Palace, BeijingInside the Forbidden Palace, BeijingSuzhou Lingering Garden, Suzhou
This stock release includes several such local collections of interesting Asian ceramics, including some over 1,000 years old.
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