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.
Some stunning Fresh Stock items @ Moorabool Antiques this week!
Richard William Atkins & William Nathaniel Somersall, London, 1834 Sterling Silver Wine Funnel
This is the ultimate wine funnel: a Sterling Silver lobed example, with 6 repoussé panels and 2 left blank for initials, the separate insert with acanthus leaf rim & gilt wash interior…. It was London-made in 1834, during the reign of William IV, the silversmiths being Richard William Atkins & William Nathaniel Somersall. While plain silver wine funnels are not uncommon, the embellishment of this example makes it an exceptional piece – and very usable!
Decoration of Sterling Silver Wine Funnel
Old Sheffield Plate Argyle, c. 1795
This lovely piece of Old Sheffield Plate is a rarity. Known as an ‘Argyle’, it has an internal partition with a lid to take some hot water – this then keeps the contents warm. Legend has it that the Duke of Argyll, back in the 18th century, came up with the bright idea after bemoaning the cold gravy inevitably served on the Duke’s table, as the kitchens were a long way to bring gravy through the cold draughty castle, cooling too much on the journey. The insert made it lovely and warm…. or so the story goes. This is a particularly elegant example in the Adams Neoclassical style, with a dramatic ivory handle.
Old Sheffield Plate Argyle, c. 1795
Mahogany Voting Machine, 19th century
Mahogany Voting Machine, 19th century
Mahogany Voting Machine, 19th century
A most unusual piece begging to be used is a ‘voting machine’, also from the William IV period. It is mahogany, with satinwood & rosewood veneer. The octagonal revolving drum has a hatch into which the nominations (names) can be placed & tumbled for a random selection, while below are two lockable drawers with brass slots above to take tokens for a vote – presumably ivory black & white for ‘Yes’ and ‘No’ votes. We imagine it being used in a gentleman’s club to make all those important decisions….
Sir Isaac Newton, Leeds Pottery Marked Figure c.1790 at Moorabool Antiques, Geelong
Some early Staffordshire rarities have just been released. Rarest of all is a figure of Sir Isaac Newton, almost unique in having an impressed “LEEDS POTTERY” mark – there is one other example with the mark recorded, in the Leeds Museum.
Rare LEEDS impressed mark on Newton figure
Accompanying it are two goddesses, Juno with her peacock and Diana with her dog – of a type known, rather unimaginatively, as the “Brown Base Group’ – until a maker can be identified.
The Lost Sheep Returns, Woods Staffordshire figure c. 1790
The third is more identifiable, and yet also poses a question: it’s ‘The Lost Sheep Returns’, after the parable of the lost sheep. Standing on a square plinth base, it is one of the early detailed figures usually attributed to the Woods of Staffordshire. A ‘rule of thumb’ is that Ralph Wood examples have no brown line to the back panel of the plinth base, while Enoch goes all the way around. This example has a line all the way – and with some other small details, suggests a fresh attribution to Enoch.
A smaller early Staffordshire figure just released is also of interest: we have our go-to resource for identification, Myrna Schkilne’s ‘Staffordshire Figure 1780-1840’. In volume 1, there’s an example of this figure, illustrated below …..
Spot the Difference! Early Staffordshire ‘Sweetmeat seller’ (clue: there is no difference…. it’s the exact same figure!)
Yes, it’s the exact same figure! It’s noted in a collection in the 2013 publication, and somehow has made its way to Australia in the past 10 years…..
Welcome to the first of a series of Asian Specials. We’re amazed at the Asian items that turn up in Australia. From Ming Bronzes to Japanese Cloisonné, there’s a wealth of fine Chinese, Japanese, Korean & other South-East Asian works to find. This is due to two things; we’re close to Asia, and Australians are great travellers. Naturally, they bring things back with them!
Chinese & Japanese Cloisonné at Moorabool Antiques, Geelong
This week, we have a group of Japanese & Chinese Cloisonné – including a remarkable piece, an oversize Japanese vase notable for the pair of ferocious dragons dramatically writhing their way around the vase. This vase is giant – 61cm high! – and dates to the later 19th century. The bright enamel colours and glossy black background make it a dramatic display piece.
Dramatic Japanese Dragon…..
Antique Japanese Cloisonné Quail
On the opposite extreme is a tiny – fits in the palm of your hand, so actually life-size – quail in cloisonné, also Japanese & super cute!
Life-size Japanese Horn dragonfly sculpture, Meiji Period 19th century
There’s also a selection of interesting Shipwreck items. We’re always looking for these, as they have the allure of being under the sea for hundred of years – and are therefore ‘guaranteed’ to be authentic. Compare this to items that just turn up out of nowhere without a rock-solid provenance like a shipwreck: they’re much harder to be certain about authenticity. We have a selection of pieces & shards from various known & dated shipwrecks as our pieces for direct comparison & learning.
This stunning cabinet is known as a Shodana, and is seen here being used as intended – it’s a ‘curio cabinet’, to store your precious objects in. What makes this example so interesting is the architectural element – the central portion contains two three-shelf corner partitions, the lower one having four sliding screen doors – miniature versions of the Japanese house doors – and the entire segment hinges outward, to leave the interior space clear. Above is another larger shelf section with four similar sliding doors. The open fretwork on these is amazing for its fineness and accuracy, true miniatures of the full-sized house doors in Meiji Japan. Add to that the rich wood inlay, and this is a truely spectacular piece of Japanese Meiji period craftsmanship.
Our extraordinary Shodana cabinet
Shoji – sliding fretwork doors on the upper ‘apartments’
A fine quality Japanese piece fresh to stock is this Japanese Suzuribako writing box. The lid has an intricate panel of quail and a maize plant, modelled in high relief with various woods and bone, the rest of the box adorned with an intricately carved cell pattern, the interior lined in jet black lacquer with gilt foliage to the inside of lid, fitted with a full set of writing instruments, including silver butterfly Suiteki inset within a silver dish, a carved slate ink-stone with gilt rim, two brushes, a bodkin with lacquer sheath & a matching steel blade with inscribed maker’s inscription, and two gilt-decorated ink blocks.
Meiji period,
Circa 1870
23.5cm x 20.5cm, 6cm high blade 6.5cm, in sheaf 19cm
This is an ‘Inro’, a small box with cord to carry at your waist. Standing just 8cm tall, it was intended to contain ‘medicine’, via a series of segments that seal tightly together, a small usable compartment in the base of each.
Japanese Shibayama Inro
Japanese Shibayama Inro
The quality of this piece speaks for itself, with a very finely detailed continuous scene – probably from a popular play – depicting two gracious ladies seeing off a bare-foot bald-headed Samurai, clutching his sword. They were enjoying a quiet picnic in the woods a moment ago, as can be seen by the red rug with picnic box, wine bottle and cup….. and the intruder on the other side, a wizen old Samurai warrior with his sword, is receiving a good telling-off by the startled ladies. No doubt it’s illustrating something form a popular play of the period – if anyone knows, please send us a message!
Shibayama | Shokasai marks
There is a signature to the base of the lowest segment, which is interesting as it bears to parts; first, an inlaid mother-of-pearl plaque with ‘芝山’ , and second, three characters in gold lacquer “松花齋”. These signatures reveal the origins of this piece; the lacquer case and landscape is by Shokasai, a well known & respected Edo lacquer artist, while the fine inlaid figures is by the fabled Shibayama artists, made as a joint effort & hence signed by both.
Japanese Inro, signature of Shokasai in gold to the left, for the lacquer; Shibayama on the inlaid plaque for the inlay work.
Shibayama: this Japanese family workshop of artisans was founded by Shabayama Dosho, also known as Senzo. He was a farmer from Shibayama who became a famous artist in the 18th century after moving to Edo to practice his trade. He had many descendents, such as his grandson & successor, Shibayama Naoyuki, who continued the workshop’s tradition for fine inlaid work into the 19th century. Records are not distinct when it comes to the later Edo period Shibayama artists, as they all used the simple signature “‘芝山” , for ‘Shibayama’.
Shokasai:
ref. Bonhams NY 19 Sept. 2008, lot 5036 for a comparable example.
Japanese artists began to print in the 17th century, and technological advances meant that by the 18th century they were able to produce large & colourful images. For the multi-coloured images, a different wood block was carved for each, and carefully lined up consecutively to create the multi-colours image. They were initially commissions by the wealthy Edo period patrons to illustrate calendars, which they gave as New Year presents. Subjects were often beautiful courtesans, actors, or illustrations of popular opera scenes. Scenic splendour and historical events followed. They were hugely popular in Japan, and specialty shops existed just to sell ‘the latest’ from the famous artists. Collectors would be inclined to ’collect the series’ by a particular artist, storing them away in specialty wooden boxes. In many ways, it was just like the present day Comic Book scene! The simple lines, and the bright separate zones of flat colour were the result of the techniques used. They were very important factors in the development of Western Art, once collectors discovered them in the later 19th century. In fact, it’s well documented that the great ’fathers of Modern Art’ such as Gauguin and Van Gogh both collected and were inspired by Japanese Woodblocks, as they set about their quest for a break with the traditions of Western Art.
We have a selection of these vivid prints for sale, some shown below with more to come shortly.
This Satsuma vase was no doubt directly inspired by a woodblock print of the time. Vase: Kyoto Satsuma, featuring rare ’Gosu Blue’ enamel, circa 1880
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Use the ‘Compare Products’ below to keep track of items of interest.
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