Bow Porcelain has a keen following among collectors, valued for its cheerful, bright colours and quirky modelling.
A selection of Beautiful Bow, with bright Chinese-style flower decoration, 1750’s
Founded in the mid 1740’s by Thomas Frye, it produced a variety of wares in direct competition to the fellow-fledgling factory in the region, Chelsea. While Chelsea produced high-end luxury ceramics, Bow was happy to produce less expensive wares – and did so on a large scale, becoming the largest manufacturer of the period in England.
Like Chelsea, it was located within the bounds of present-day London – although in the mid-18th century, both places were still smaller hamlets on the Thames River, yet to be enveloped by the expanding metropolis.
Bow Porcelain from the 1750’s, showing the influence of Meissen in the ‘Fisherfolk’ figures, and Asian imports in the plate & coffee cans – all very much in fashion in the 1750’s.
The products of these early factories were a direct response to the red-hot London market for Asian Porcelain imports – so it’s hardly surprising that the pieces are often imitations of Chinese & Japanese designs.
Many items are copies of Chelsea forms, and Chelsea in turn copied the expensive imports from Meissen. We have several pieces in stock that follow this fascinating storyline……
By the 1770’s, the Bow style was overshadowed by multiple other porcelain manufacturers such as Worcester and Derby. Chelsea also found itself in trouble, and had their ‘strategic merge’ with William Duesbury’s Derby factory in 1770, which led to their closure a few years later. The same fate befell Bow, with the owner recorded as bankrupt in 1763, and the sale of moulds & equipment to Duesbury of Derby in 1776.
Prunus ‘Sprigging’, directly copying Chinese imports, 1750’s
Browse the latest uploaded Bow Porcelain collection below, or click the button to see all Bow Porcelain in stock.
A fascinating piece of English porcelain has come to Moorabool, which if it wasn’t for the original 1876 exhibition label on the back, would just be an ‘interesting amateur-decorated decorative plate’. However, the name, date & place allows us to extract a story from this piece, which includes a close association with Charles Dickens, and a High Court Judge in Australia!
The porcelain is an anonymous blank, probably of Staffordshire manufacture. Onto it is painted an ‘Aesthetic Movement’ portrait, as was popular in the mid-late Victorian era. Such a piece is not unusual in the Antique World, as it was a favourite occupation for young ladies to learn to paint on porcelain. Watercolour painting was a standard part of any young ladies education, and it is noted that the artist of this piece, Ellen Ross, was a fine watercolorist. A step up from watercolour was painting onto porcelain. For this, studios ran classes, and for the more wealthy, a painting instructor would bring the materials to the students, take away their work to be fired, and bring back the results.
The important part of this plate is the paper label on the back. While it is signed with an elaborate monogram, there’s no record of this in the literature; the paper label, however, is the vital clue as it declares her name ‘Ellen Ross’.
Ellen Ross / Mallam’s monogram mark ‘ER’. This mark is not recorded anywhere else in the literature – and other pieces by her sighted are signed ‘Ellen Mallam’ in full. She was married in 1868, and this piece was made 1876, or slightly earlier, 1874-5…. several years after marriage. If you look at the top of the ‘R’ in the monogram, it could be interpreted as an ‘M’ – probably intentional.
Howell & James ‘Art Pottery Exhibition’ label, dated 1876, with Ellen Ross filled in as painter of exhibit no.3. The partially lost text next to it may have been a title – or could it be an update on her name – the second word looks distinctly like ‘Mallam’, her married name…
Ellen Ross is not noted as an artist or decorator – but we have the entry in Howell & James’s exhibition catalogues, where she is recorded as ‘Mrs Mallam (Ellen Ross)’. Clearly she was married around this time, and with the dates, place & two names it is possible to pinpoint her; Ellen Mary Anne Hyde Ross, born in St Pancras in 1837 (or 42, or 43 in other online records!?), she married solicitor Dalton Robert Mallam in 1868 in Kensington, London. They had 6 children.
Charles Dickens, miniature at the Dickens Museum, London, painted by Janet Ross (Barrow), when aged 18, and not yet famous.
Ellen Mallam came from an interesting family; they were well-off, and close to the Dickens family. Their father was a solicitor & well connected. Ellen’s older sister Janet showed great promise as a miniature artist, and went on to become a miniaturist of note. Her work is held in major collections, such as the Victoria & Albert Museum. She married into the Dickens family, and was his aunt. Fascinatinly, one of her early works is an image regarded as the earliest depiction of Charles Dickens, now in the Charles Dickens Museum, London. In return, Dickens may have immortalised her in his book ‘Nicholas Nickleby’ as ‘Miss La Creevy’, a ‘miniature painter’….
As a young lady, part of Janet’s education would have included drawing & painting. For this, a ‘painting master’ would have been called on. His lessons would have included watercolour painting – and the skill of both Ellen and Janet would have led to their advancement to lessons in the art & technique of miniature painting.
We can imagine the young Ellen growing up with older sister Janet, and seeing her success as a miniature artist; perhaps they had the same painting master? Or did her older sister teach her? Certainly, there is a strong likeness to the technique of miniature painting in Ellen’s works, namely the use of pure strokes of colour in a series of lines.
That it was considered a prestigious occupation worthy of a Lady is shown in the list of the artists who presented pieces for the annual China Painting Exhibition held at the Regent Street store of Howell & James, Jewellers with premises on Regent Street and highly regarded dealers in luxury. Lady Willoughby, Viscountess Hood (neé Havell), the Countess of Warwick, and Colonel Hope Crealock of South Africa’s ‘Zulu War’ fame were all painters who exhibited. Indeed, Lady Augusta Cadogan, daughter of 3rd Earl Cadogan & Aunt of Queen Victoria was both a patron, and exhibited works by her own hand in 1877 and 1878.
In fact, the gentle art of China Painting was worth of the attention of Queen Victoria herself:
Ellen Mallam ne. Ross presented to Queen Victoria 1878
She also appears in the Yorkshire Industrial Exhibition, held in York 1879.
The Australian Connection
We’re always looking for links to ‘down-under’, which adds a local context to a piece. This work unexpectedly came up with one: a son of Ellen & Dalton Mallam, Ross Ibbotson Dalton Mallam, was born in 1878. Like his father, he entered the legal profession, moved to Adelaide Australia in 1902, and ended up a Supreme Court Judge (1928-33) in the Northern Territory, before ill-health led to him relocating to Melbourne. You can read more about him on the NT Supreme Court’s website >
It’s been an interesting study, to discover the connections and stories circling around this portrait plate. Ellen Ross / Mallam was certainly born into an interesting place and time, being so familiar with the Dickens family, and receiving high praise for her artistic skills from none other than Queen Victoria……. There may be other pieces from Ellen’s early stages still to be discovered, signed with the monogram ‘ER’ as seen here – and definitely more with her full married name, Ellen Mallam. Let us know if you have any!
Sterling Silver is a very desirable Antique these days: it’s the allure of a precious metal that glistens beautifully, formed into beautiful shapes by the hand of a gifted craftsman – but is also an incredible asset that has increased in value to dizzying heights over the past decade.
So it’s a beautiful display item, often usable, and something that will retain a high dollar-value into the future. That’s worth collecting!
Some ‘usable’ Sterling Silver at Moorabool Antiques, Geelong
What is ‘Sterling Silver’?
‘Sterling’ Silver is a standard enforced in Britain, with severe consequences for any fraudulent activity. The requirement is the silver content of 92.5% is achieved – the ‘Sterling Standard’, applying originally to currency and bullion. The other 7.5% of metal content actually has a purpose: solid silver is very soft and unsuitable for items that will be used, such as cutlery: the extra metal provides some strength without affecting the appearance of the silver. Items are assessed by a series of government appointed ‘Assay Offices’, which also recorded the year the item was assessed.
Reading Sterling Silver Hallmarks
This example has very clear marks as they were struck into the silver very deeply. From top to bottom: ‘WE’ Maker’s Mark – for William Eaton (0) Leopard’s Head – the mark of the Assay Office in London # Striding Lion – the British Hallmark indicating it is ‘Sterling Standard’, ie. 92.5% Silver Content -J- Gothic capital ‘J’ – the date letter for London Assay Office in 1844 ø Head facing left – Young profile of Queen Victoria, left-facing in contrast with previous monarch, which was William IV & faced right.
This example shows the Irish variant of the ‘Sterling’ mark: ‘JS’ – for John Smyth, Dublin ø Head facing left – Young profile of Queen Victoria # Seated ‘Hibernia’ figure, representing Ireland, standing in for the striding lion used in the other Assay Offices in Britain ^ Crowned Harp – indicating the Dublin Assay Office ‘m’ Dublin year mark for 1857
Other Solid Silver standards
Elsewhere, silver of the same standard is also made. American and Australian silver conforms to the 92.5% standard, often using the word ‘Sterling’ for a mark, but without any assay office to mark it. On the Continent, silver content varies a lot, but is often handily marked with the parts of silver out of 1,000: ie. ‘.900’ is 900/1000, or 90%, close to Sterling standard, while items that are going to be used a lot are often .800 silver, 80%, making them hardier.
Caring for your Silver
The one thing about silver is… it inevitably goes black. One way to guard against this is to shut it away in an airtight storage – but then you can’t enjoy it. Casual usage actually helps keep an item clean, as when you use it and then gently wipe it dry, any traces of black is removed, and your item remains lovely. However, there always comes a time when you will need to clean your silver. The key is to go gently – while some methods and available cleaners do a fast, brilliant job, this is because the strip off a layer of the surface to reveal the shiny metal beneath. Do this too often, and you will seriously wear away the value of your piece!
For many decades, Moorabool has used & stocked the ‘gentle’ silver cleaner, used by silver collectors and dealers all over the world. This is Hagerty’s, see our stock by clicking the button below.
Micro-carving describes the feat of creating miniature artworks, with the favourite material being ivory due to its compact nature which carves easily and displays well. Set against the burgundy silk, this example is a splendid example of the technique.
Stephany and Dresch attributed micro carved ivory plaque, circa 1795, Moorabool Antiques Geelong
The technique is very reminiscent of the contrasting ceramic reliefs made famous by Wedgwood’s Jasperwares, and of the carved shell cameos with similar contrast. However, this ivory carving was magnitudes harder to achieve; the carving is independent of any support until it is attached to the backing. This piece consists of small number of pieces mounted together, with a separate roundel border. In order to lighten the appearance of the urn and its plinth, they have cut out straight lines, with several together only measuring a millimetre – some features such as the stems of the roses in the border garland are the thickness of a hair!
Stephany and Dresch (attributed) micro-carved ivory plaque, circa 1795.
Some of the best of the Georgian era were Continental emigrés, G Stephany and J Dresch. They established themselves in Bath and London, catering for the wealthy clients who were after miniature novelties for their snuffbox collections, or pieces of jewellery, or framed works suitable for a cabinet or wall.
Stephany and Dresch attributed micro carved ivory plaque, circa 1795, Moorabool Antiques Geelong
They promoted themselves as ‘…the most eminent sculptors in ivory in Europe who will execute any design for Rings, Bracelets, Lockets, or for Cabinet pieces’. Their work was ‘so fine that a glass is necessary to discover its beauties’. They exhibited a number of times at the Royal Academy, and were presented with a Royal Warrant by George III, titled ‘Sculptors in Miniature on Ivory to their Majesties’. The Royal Collection still has three pieces, portrait profiles of George III, Queen Charlotte, and the Princess Royal, Charlotte.
This superb micro-carved plaque is quite possibly by this premium English firm, or a Continental carver of similar talent.
An example in the Bath Museum: https://www.bbc.co.uk/ahistoryoftheworld/objects/QuVHVbowTFypssTZHk949Q
‘Grand Tour’ fan, Views of Rome, Italian c.1785
A sensational example of micro-carved ivory can be seen on this Neapolitan ‘Grand Tour’ fan of the 1780’s. It depicts a French-style Rococo ‘folly’, and shows great skill in keeping the sticks strong enough to still stand up to usage.
This flamboyant piece of glass is – believe it or not – Italian! Actually a stunning example of an interesting period in the development of the ‘Murano Glass’ we are familiar with, it dates to the later 19th century years when the revival of the Italian artworks was just beginning. It comes from the workshop of Antonio Salviati (1816-1890), who paired up with an English archaeologist, Sir Austen H. Layard, M.P. (1817-94).
Layard is an interesting character. While considered ‘English’ (sitting in British Government 1852-69), he was raised in Italy, buying a palazzo and living there – but is best known for his travels through Persia in the 1840’s, which resulted in identification and the first excavations in Nineveh, Nimrud, and Babylon. His discoveries form the greater part of the collection in the British Museum. While he was in Venice, he collected early glass and artworks, and came to befriend Salviati – after which they formed a company with one ambition, to revive the golden-days of Venetian glasswork.
Illustration depicting ‘Modern Glass’, 1868 book by Charles Lock Eastlake, 1868 -‘Hints on Household Taste in Furniture, Upholstery, and Other Details’- Charles Locke Eastlake 1868 – Murano Salviati Glass’
The result of this partnership was remarkable. Venetian glass making had stagnated, but they were able to kick-start it again in the later 19th century. They did this by looking backwards to the magnificent original Venetian creations of the 16th and 17th centuries – but as many of the techniques had not been used for generations, they found themselves re-inventing the sometimes very complex recipes from scratch.
Copper Aventurine glass from the Salviati workshop, Venice, later 19th century
This centerpiece is ‘Aventurine’, designed to simulate the semiprecious stone by the same name. It was developed in Venice, with legend of glass-making monks accidentally putting copper shavings into molten glass; however, an early 17th century date is now considered the first production of this glass type. It involves a mixture of copper, iron, and tin oxides, introduced into the glass mixture, which is then fired in a reducing low-oxygen kiln, causing them to form compact crystalline clumps which reflect the light in their unique manner. The new glass structure with the glitter effect is not stable and would deteriorate rapidly in the air, but a method of enclosing it in a layer of clear glass ensures it is preserved.
This large piece was sourced in Melbourne, and may have been here all of its life. The National Gallery of Victoria has a magnificent collection of Venetian 19th century glass, acquired in its early years, with a group of ‘modern’ glass selected for them by Antonio Salviati himself in 1874. When Melbourne hosted the massive 1880-1 International Exhibition, there was a splendid display of Murano glass, with many pieces ending up in the Gallery’s collection where they remain to this day. The Italian glass was highly popular with the Victorians- it was noted for its ‘ethereality’, and ‘might as well be called gossamer glass’ ! It was of course all products of Salviati’s company, the ‘Compagnia Venezia-Murano‘, and it won the highest prize, a gold medal indicating the First Order of Merit.
German/Austrian glass appears in this 1880 International Exhibition photo in the background, while the cuttings from the reports of the time describe the Italian glass display, and their ‘recent revival’. Speaking in general of the exhibits, the special correspondent states “It is to be hoped they will all remain in Australia to guide and emulate our young glass-workers”.
A general view across part of the 1880 Melbourne International Exhibition, showing masses of Ceramics+Glass – mostly British in this view. No photo of the Italian Glass has been found – yet.
First prize, Gold Medal awarded to ‘Compagnia Venezia-Murano‘
After the exhibition closed in 1881, 130 pieces were purchased for the Gallery. At the same time, the impressive wealth in Melbourne meant the top-end department stores were also offering these luxury products for sale.
Moorabool is very pleased to offer this remarkable large & early piece of Venetian Glass.
Not Melbourne, but the 1881 display in Milan’s ‘Exposition’ where Salviati once again took out top-prize for their glass. The background is an example of the mosaics they were producing.
In the Met Museum NY is this design for a similar centrepiece, note the gold inclusions. From a book of designs from Salviati’s “Compagnia Venezia-Murano”, dating to 1870’s-80’s.
Some more interesting connections, including designs from a design book at the Met Museum, New York.
In the Met Museum NY is this design for a similar bottle, note the two options: ‘for water’ (no stopper?) and ‘for wine’. From a book of designs from Salviati’s “Compagnia Venezia-Murano”, dating to 1870’s-80’s.
An early Salviati glass flask, in the Rosenberg Collection, Geelong
Arnold Jarvis (1881-1951) detail of watercolour ‘Old Gums at Freshwater Creek’, c. 1920
Arnold Jarvis was a prolific artist, specialising in classic Australian vistas with ancient River Redgums, and once described as ‘The other Hans Heyson’. However, he doesn’t even come close to Heyson’s value today, and his story is somewhat neglected. He was born in South Australia, and literally ‘joined the circus’ in his teens, travelling as far as Perth to perform on stage. He had balance & tightrope acts – and a ‘speed painting’ show, where he would produce a painting from a blank canvas ready to hang on the wall in under 3 minutes! This was no doubt a brilliant way to refine his brushwork, as they say practice makes perfect, and he certainly perfected his impressions of ancient river redgums. By 1901, he was no longer a juggler, but a full-time artist.
Arnold Jarvis (1881-1951) large watercolour, English Thatch Cottage & Steamship, c. 1910
This fascinating example of Arnold Jarvis’s work is perhaps unique, having a very classic ‘English Cottage’ combined with his more usual Australian scenery. The positioning of it – actually only half-on the paper to the right – perhaps indicates this is not a simple ‘pretty picture’. Similar artists painted works depicting English Cottages at the same time, and they were very popular in the exhibitions held in Australia in the later 19th & earlier 20th century. Catalogues list traditional painters of ‘English Cottages’ such as Miles Birket Forster hanging alongside the likes of Arnold Jarvis and the other classic Australian artists. The audience flocking to these shows was predominantly English born, or had parents who were, and therefore the nostalgia of these very English scenes was the driving force behind their popularity.
Arnold Jarvis, however, was one of the very Australian- oriented artists, and his immense volume of work is predominantly Australian gumtrees with sweeping vistas of semi-cultivated land. The other small group of Jarvis’s work are the coastal scenes, often with a ship on the horizon.
With this work, Jarvis has shown that yes, he can depict an English Cottage if needed – but while the classic English artists would make their cottage the front-central focus, he has pushed it to the far right. The central portion is a distant view that is familiar to anyone along Victoria’s ‘Surf Coast’, the place where Jarvis spent a lot of time. The open paddock with cows leading to tee-tree scrub and a hint of sand dunes, along with the reddish colour of the distant headland, are typical of the area. The scruffy trees that make up the far left are not at all English in nature, but typical of any nondescript Australian bush scene. The gums he loved to paint so much would never grow in this coastal position, but the foliage shown – along with the dead branches – is typical of something like the Blackwoods growing in the region.
The work is therefore a merging of the ‘Old Country’ with the ‘New’ – England and Australia. The steamship is the lifeline between the two – steaming along the distant horizon, heading to or from Australia.
Arnold Jarvis (1881-1951) watercolour – Victorian Southern Coastal Scene
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.
This extraordinary example of Tournai porcelain shows the quality they were able to produce.
Tournai Sauceboat c.1770
Dating to circa 1770, the elegant form with robust yet stylish handle, and boat-shaped stand, is a premonition of the Neoclassical simplicity which comes to dominate French design in the last decades of the 18th century. While this aspect looks forward, the decoration is the opposite. It is taken from a print published mid 18th century, after a painting by Francois Boucher, and is the essence of the Rococo style.
The mark is always misunderstood: ‘crossed swords are Meissen’ is the usual assessment, however this piece is clearly soft-paste porcelain, not the hard-paste of Meissen. As a vast number of other makers ‘borrowed’ crossed swords, it is easily attributed to one of these fraudulent makers, like Samson of Paris. However…. this mark is well documented on Tournai porcelain. In the underglaze blue & white products, it is not uncommon. Gold on glaze is rare, but does appear on their better decorated pieces, suggesting it was a mark for their ‘premier products’.
There is a single example in public collections, not published in the literature. This is a sauceboat in the Philadelphia Museum of Art (id=#1968-172-1) , documented on their website. It lacks the stand, but has the same lavish decoration – with a few variations.
In the fore is our example; the back shows the Philadelphia Museum’s slight variation.
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……
An interesting rarity has just been unearthed at Moorabool.
Godden in his ‘Staffordshire Porcelain’ is the initial source of attribution, using the style of piece & pattern to date it to the 1820’s, and then refine it down to two possible makers with ‘D’ surnames. Drewry- also spelt Drewery – is the most likely of the two, in his opinion. They are recorded in the directories 1818, and disappear after the 1830 publication. Godden illustrates the London-shape teapot with the same pattern and ‘D’ mark on p415. Distinct to this maker (apparently not found elsewhere) is the plain handle form, without a spur on the inside towards the bottom; also distinct is the handle wrapping down the body and terminating by touching the actual foot of the jug.
A selection of similar patterns, made by the Hilditch firm. These are identified by marked examples, set out in a 2003 publication, ‘Hilditch Porcelain – A Collector’s Guide’ by Margaret Hewat & June M. Owen.
The similarity to the Drewry pattern is no coincidence; the Hilditch works were located in Lane End, Staffordshire, just over the road from the Drewery works. The engraver responsible for the copper plates used to print the transfer was not exclusively employed by these companies; rather, he would be a freelance operator, taking on the work when it was needed. Somewhere like Drewry would not need his services very often – this was pattern 65, and such printing plates could stay in use for many years before needing replacement. If you examine the details of the prints of these Hilditch products, and the other similar works such as Newhall, it is clear that the same engravers are at work for multiple firms – making this marked example an important clue to unravelling the correct attribution of these charming transfer printed wares.
from the ‘Transferware Collector’s Club’ database, on the ‘Teahouse Pattern’ jug illustrated below, with the note “The numerals “44” alongside the “D” mark are more likely a worker’s number than a pattern number”. We propose that it is indeed a pattern number, and should be read as ’77’ – see image below for the pattern.
This pattern is recorded by the Transferware Collector’s Club database as pattern #2552, titled ‘Pavilion & Tower’ ( no. 65) by Thomas Drewry & Son, Lane End, Staffordshire. A related pattern is their #3327, a pattern known as ‘Tea House’ (See photo below). In the documented example, there is a number next to the mark – as there is with this example & others of this pattern that have been recorded, all ’65’. Clearly this is the pattern number for this pattern, 65. The numbers on the ‘Tea House’ example are interpreted as ’44’, but seem to more likely be meant as ’77’ – just a few patterns along from this ‘Pavilion & Tower’ pattern. Comparing the two reveals a very close look.
Drewry Pattern 77(?) from The Transfer Collector’s Club website. Note the difference in the handle: this example is the same as the other numerous London-shape handles with a spur on the inside, while the (apparently) unique feature of the example we are documenting is having no spur.
Drewry & Son, Lane End, London Shape jug, pattern 65, marked ‘D’ in sunburst, at Moorabool Antiques, Australia
Example of Drewry porcelain London-shape teapot, pattern 65, now known as the ‘Pavilion & Tower’ pattern, here illustrated in Godden’s ‘Staffordshire Porcelain’
Drewry & Son ‘London Shape’ Cup & Saucer, pattern 65, circa 1818-30
This piece is a fine example of how time disappears in this field: unravelling the above story took quite a while, with widespread resources to consult and bring together to tell the story. And yet, look at the price: Rarity doesn’t necessarily mean ‘expensive’ !
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