Welcome to another release of Fresh Stock. We have quite a backlog of fresh items to attend to – and don’t forget to take advantage of our current ‘FREE SHIPPING’ offer.
Bastille Day Special – Vive la France!
Today, we’re looking at our French stock as France celebrates Bastille Day & all things French. We have un grand choix d’antiquités Françaises. Savourer!
Often mis-labelled a ‘Toby Jug’, this is an early version of a comical jug that becomes popular in the latter 19th century, sometimes identified as ‘Puck’. We believe this head jug is a distinctive character, and as it belongs to the period of the French Revolution, his identity must be found in that timespan. His appearance matches that of Georges Jacques Danton (17591794), an important public figure of the late 18th century in France, and the perfect candidate for a slightly humorous head mug like this.
Contemporary French depictions of Denton give you a good idea of his appearance:
Is this Georges Jacques Danton? French Faience jug, c. 1795
Danton was President of the Committee of Public Safety, a part of the Revolutionary Government whose purpose was to protect it’s seat of power. As such, he was able to achieve dictatorial power for the committee; however, he soon found himself in trouble as the whole scheme got away from him. He be came noted for his corruption, and mocked by the general population. The infamous ‘Reign of Terror’ was fatal for him; beginning in 1793, preemptive executions of anyone suspected of being an enemy of the government took place, directed by the sinister Robespierre. Danton became a moderate, disgusted by the slaughter, and tried to calm things down. However, this very action led to his arrest and trial on April 3rd, 1794.
Hauled before the Revolutionary Tribunal with several other political moderates, he put up such a fight that it was feared he would sway the tribunal with his rhetoric. However, the decision had already been made. The acused were denied the right to have witnesses appear on their behalf, and then two days later the verdict was passed in the absence of the accused, who had been removed from the courtroom to prevent unrest among the trial’s observers. Their execution was scheduled for the same day.
Danton’s Execution, with his head fulfilling his last wish, 1794
Dragged to the guillotine with several others, he was executed.
“I leave it all in a frightful welter,” he said;
“not a man of them has an idea of government.
Robespierre will follow me; he is dragged down by me. Ah, better be a poor fisherman than meddle with the government of men!”
The reference to a poor fisherman’ was probably a reference to Saint Peter, as Danton had reconciled to Catholicism. His last words to the crowd were, “My only regret is that I am going before that rat Robespierre.”
Danton’s true last words, however, were addressed to his executioner:
“Don’t forget to show my head to the people – it’s well worth seeing” !
Danton’s Last Words
Events went as Danton foresaw. The committees presently came to quarrel with the intense opinions of Robespierre. Just three months after Danton’s execution, The Reign of Terror was ended when Robespierre was himself executed. His assent to the execution of Danton had deprived him of the single great force that might have supported him against the Revolutionary committee.
This remarkable head mug dates to this period of political upheaval. He wears the red, white & blue around his neck, in the high collared fashion of the time.
How ironic that his last words were lived out in clay, with an enterprising potter making a mug of his head, for all to see and remember the remarkable Danton, the moderate who tried, and failed to tame the Revolution.
This early English needlework is an exceptional example.
The Entire Textile – zoom in for detail….
At the Malvern Antique Fair in 1976, John & Lorraine Rosenberg of Moorabool Antiques purchased a framed needlework from another dealer. Placing it on their own stand for sale, it promptly sold to a local collector, who treasured it for the next 43 years.
She puzzled over its meaning and came to a remarkable conclusion: it depicts the events of the late 15th century, showing the fall of the Moors in Spain, and co-regents Isabella & Ferdinand II unifying the two kingdoms into the one Kingdom of ‘Spain’. It shows the three ships of Christopher Columbus….. and so much more, in a narrative of images, almost like a cartoon. Those familiar with the Bayeux Tapestry will understand the concept of telling a tale in thread. In 2019, it came back to Moorabool with the first elements deciphered above.
Since then, more and more of its remarkable tales have been untangled, and an exciting discovery can be revealed. This is a 500 year old ‘comic book’ with immense significance for British, Spanish, and American history.
More to come shortly – in-depth analysis & expert opinion to follow.
Each detail in this textile is intentional, carefully sewn in incredible detail over a great length of time. It was a tale that the author had to tell… but what is the tale, and why?
Unravelling the story has been a fascinating journey; we invite you to join us as we explore these details in a series of interactive presentations.
The 2022 AAADA Melbourne Antique Fair is ‘going back to where it began’ – the Malvern Town Hall.
It was here in 1959 that a young John Rosenberg attended, sharing a stand with Geelong antique dealer R G Hamilton, a good friend & influence on the young dealer. He was just 19 – still the youngest age for acceptance into what is now the AAADA. Today, his son Paul continues the family business – with a stand in almost the same place in the majestically restored main hall.
Moorabool has attended every Association fair since – and 2019 would have been the 60th consecutive – but it was postponed, and 2020 – and 2021 – were victims of restrictions – so this year, 2022, marks Moorabool’s 60th fair.
We’ve had a fantastic few days, a lot of catching up with our Melbourne friends… thank- you for all who said ‘hi’.
We also received a special surprise – there is a new ‘prize’, a silver cup awarded to the ‘most popular’ stand in the fair – ted by the visitors.
We were very surprised to come second – thank-you to all who voted!
Brought to the Fair, Melbourne 2022
These items are a selection of our stock seen at the fair. Use the ‘see all’ button to view the total fair stock.
It had an inscription on the back which gave us enough clues to find the original sitter, and we were delighted to discover the signature in the top right corner:
Pernooeau’s signature & the date 1751, signed in lead.
There was a modern label to the back covering, with a few details – probably copied from the previous covering. From this we can identify her: Jeanne-Marie Mallès, later Mme Tobie Clarke (1733–1821).
Jeanne-Marie Mallès was from a seafaring family, her father being a Captain in the East Indies Company. However, he died in 1744; Jean-Marie was fatherless when this portrait was done in 1751, and it was 7 years later she was married to Toby Clarke (1733–1821), merchant of Nantes. They had several children, and a daughter, Marie, married François-Claude de Karuel de Merey, capitaine d’infanterie, who died in 1804 – the year Napoleon crowned himself Emperor – probably no coincidence, with the war with England and Spain raging.
Correspondence with Mr Jeffares has resulted in the authentication of the signature, making it a ‘signature piece’, and it is now added to the online ‘catalogue resonné’ of Perronneau, listing of every example authenticated, part of the amazing record freely accessible on Mr Jeffares site, www.pastellists.com/ . You’ll find it as part of the following document:
An interesting note in Jeffares’ comments is that he sometimes dropped – or added – an ‘n’ to his name. Our example is the shortened version, Perroneau. There are also several other examples of his sitters ‘as Dianna’ , obviously an interesting option to choose when having your portrait done. How fascinating, this beautiful young lady who had lost her father aged 11, had this portrait done showing her as the strong Goddess of the Hunt in 1751, and only married 7 years later. You can see her character in the twinkle of her eye..
The wonders of the Middle-East have always appealed to the Western world. It has always been ‘exotic’ and associated with luxury due to the nature of the regular contact through trade. Persian rugs were the go-to for any Victorian household, and other textiles were in great demand – and expensive.
We have recently found some metalwork & ceramics that followed this route, all the way to Australia. Mostly from one Western District (Victoria) estate, they have been in Australia for generations – quite possibly since new. Australians have always been great travellers, and collectors. The nature of the passage to Australia through the Suez Canal meant constant contact with the Middle-East, and with the number of troops who pivited through there in both Wars, it is no wonder we find Australia a great place for discovering quality Arabic wares.
Views in Egypt, by Salt, 1809
These large-scale hand-coloured aquatints were an attempt by Henry Salt to express the scale of wonder to be seen in Egypt. Ruled by the Ottoman Empire until the French and then the English invaded, Egypt was not often visited in the 18th and early 19th century. However, once the British had the upper hand on the French, they made certain their influence was felt in the region. Henry Salt was trained as an artist, a student of Farrington and also Hoppner, R.A. – but came to love Egypt during his travels from 1802-1806, as secretary and draughtsman with George Annesley, Viscount Valentia. They embarked on a major tour of ‘The East’, visiting India, Ceylon, Abysinnia and Egypt. Salt’s drawing skills were utilised, being used as the basis for illustrations in his employer’s publication, ‘Voyages and Travels’. They were part of a large folio, “Twenty-four views taken in St Helena, the Cape, India, Ceylon, the Red Sea, Abyssinia & Egypt”, published 1809. These were the only two to depict Egypt. Salt went on to become British Consul-General in Egypt in 1815, where excavated extensively, procuring a large number of antiquities for The British Museum and for his own collection. He sent a large collection of antiquities to The British Museum in 1818. Many other pieces were sold to private collectors, the most notable of these being the sarcophagus of Sety I purchased by Sir John Soane and still to be seen in his house museum in London today.
The engine-turning is particularly interesting and is evidence of European technology in the Egyptian workshops during the 19th century. The concentric lathe needed for engraving these lines was a European invention of the latter 18th century.
The shape is common in Europe from the 18th century, particularly in Eastern Europe, and the flower knop is copied directly from a European piece of the 19th century. The intended market would have been the Eastern Europeans, although luxury European wares were also valued by the Ottoman Court, so it could have been for use in a great Ottoman household somewhere in the eastern Mediterranean.
A remarkable Egyptian silver coffee pot, after an Eastern European original, Ottoman period of Sultan Abdulaziz (1861-76)
Sultan Abdulaziz 1830-76
Ottoman silver of this quality is rarely seen. It would have been a very expensive luxury good, available for the Ottoman wealthy, or imported as an exotic import into Europe. Sultan Abdulaziz was the 32nd Sultan of the Ottoman Empire, and the first to travel through Europe. He was entertained by monarchs in the major European countries, with Queen Victoria entertaining him on her royal yacht in 1867 and making him a Knight of the Garter. He loved Europe’s technological progress, and was present at the ‘Exposition Universal’ in Paris in 1867. The Technology and Science from around the globe which he witnessed there led him to seek to bring the Ottoman Empire into the modern world. He was responsible for many rapid advances such as a postal service, the first railroads, and a navy that became the 3rd largest in the world after England & France. The European nature of this pot reflect this interest in the European world just next door.
Egyptian Silver Hallmark signature of Sultan Abdulaziz 1861-76
The marks are found on each component, ie. body, lid & flower knop. The ‘tourgha’ is the Islamic calligraphic signature of the Sultan, with each Sultan having his own. The form of this one places it in Egypt. Next to this is the sah mark, in this case stating ’90’ as the 90% assay of silver content. The mark of the maker is found engraved on the base, within two zig-zag lines. These lines were the result of the assayer taking a sample to test the silver content, and act as further proof of the .900 grade of the silver.
Ottoman Turkish Coffee Set, .800 Silver, Circa 1900
Sparkling Silver coffee set, including a long handled ‘cezve‘ coffeepot, covered in inscriptions. Turkish .800 silver, c.1900
A superb quality Turkish silver coffee set including the traditional ‘cezve‘ open-topped dingle-handled coffeepot with incredible Kufic script engraved around each piece.
Seljuk Islamic bronze basin, 13th century with a Moghul brass ewer, 18th century
This large basin was a symbol of status. Paired with a water-ewer, it was part of the ritual of hospitality to offer water to wash hands & feet – no doubt dusty from travel. What is remarkable is the size; it would have been brightly buffed originally, or plated in a shiny tin- and an impressive introduction to a visitor to a household. On the walls are panels of Kufic script, which when translated often wish the best blessings to the guests and household. Interestingly, there are a series of brass rings inlaid around the central flowerhead motif, an early instance of the complex inlaying of metals that developed in the following centuries.
Damascus Wares
These ‘mixed-metal’ items are collectively known as ‘Damascus Ware’ due to the Souq (markets) of Damascus being full of pieces for sale. However, it is a common form of craft from around the Ottoman Empire and beyond, going back to the Seljuk Empire of the 10th century.
The Seljuk were nomadic Turkic tribesmen, who overran the region in the 10th century, taking the great city of Baghdad in 1055, and under whose rule the ‘Golden Age’ of Islamic Art was achieved.
In the 19th century, interest in the earlier Seljuk period led to a renewal of the technique and elaborate designs. In Damascus and Cairo, the Souqs encountered by westerners were full of exquisite ‘Seljuk Revival’ pieces like the vase pictured to the right.
Early Islamic Inlay, Seljuk 13th century
This rare Islamic bronze dish is decorated with inscriptions, with 6 panels of script to the rim and 4 to the interior. Another 6 can be found along the outside wall, all in very stylized ‘kufic’ type script, which can still be translated by scholars today; usually it is a blessing for the food and the consumer, often sourced from the Koran. It is of a distinct angular form, and has been made by a combination of casting the body, then hammering & incising decoration. The body is very thick, and the result is surprisingly heavy.
It has some sections of copper inlaid as decoration, with the flower centers having rounded inserts and the structure of the central star with central copper strip. It also has silver, which has corroded; this was used for a series of crescent moons in the roundels, with a budding plant cupped by the crescent. It is tempting to see this as an early incidence of the Islamic Crescent symbol. However, while the Seljuk were Muslim, it wasn’t until the 15th century and the Ottoman Empire that a ‘crescent’ became the symbol for Islam.The other roundels have full flowers, and in combination with the new moon crescent, they are probably symbolic of ‘the cycle of life’. The quality of the bronze alloy is excellent, and this piece has survived in extremely fine condition.
Examples can be traced to Egypt, the Balkans, Turkey, Iran/Iraq, and of course Syria. With the rise of Islam, it became the perfect way to have both something incredibly precious & decorative, while showing correct piety; the calligraphic script is usually a quote from the Koran, often wishing health & prosperity. This script is an art form in itself, and when examining a piece, one can only admire the skill. Each metal – sometimes a bronze base with copper, silver and gold inlaid – is carefully hammered into a ‘trench’ prepared with a chisel, being careful to make the base of this incision broader than the surface cut. This results in the metal being hammered in being firmly fixed without any further work. It is then carefully smoothed & polished, sometimes engraved, leaving it proud of the surface. The entwined foliage knotwork designs are simply mesmerizing.
Most quality pieces we see are from the 19th-early 20th century, and they all look back to the earlier ‘Mamluk’ period – hence the term ‘Mamluk Revival’.
Turkish ‘Damascus Ware’ Coffeepot & 6 glasses with extensive inscriptions, c. 1900
Charger by Master Mahdi Alamdari (1957– ? ), 1970’s
The technique of ‘Qalamzani’ was skillfully developed in Qajar Persia (Iran), and continued into the subsequent Pahlavis period. It involves using a series of sharp chisels to gouge through a surface layer of metal, often revealing a prepared second metal beneath. We have a stunning example of Qalamzani work, a very large charger. This piece has is a masterpiece, and signed by Master Mahdi Alamdari. Born in 1957, he was in his early 20’s when this piece was created. We can date it through one simple fact: it has human images. There is a story being illustrated, probably from one of the multitude of legends Persia is so rich in. As outlined below, such an image would have been prohibited by the Sharia law of the post-1979 Islamic Republic, allowing us to date this piece to the late 1970’s.
A beautiful maiden plays the harp…. … to a party of men, one is almost asleep…… the moon with a mighty moustache looks on… … and is part of the signature of Master Mahdi Alamdari (1957– ? ). Superbly detailed designs reminiscent of the carpets of Iran.
If anyone knows their Persian stories, I’d love to know the tale this scene tells – drop us a message!
It is unfortunate that Iran has become severed from the Western World since then, and interesting to examine the path that led it there. Read more by clicking the ‘Road to Isolation’ below.
A brief history of Iran’s 20th century road to isolation.
During WWII, Britain used the ‘Persian Corridor’ to access their ally Russia, and to deny Germany access to the oil fields of the region. The Russian did not leave despite the Tehran Conference, where along with the USA, they agreed to leave Iran’s borders where they had been before the war. This led to one of the first confrontations between the USA and USSR which we remember as the ‘Cold War’: the USA then covertly performed their first ‘regime change’ by spearheading a coup to overthrow the only democratic government Iran has ever known, and installing an absolute monarch of their own choice. This Shah, Pahlavi, came to depend on the support of the USA to stay in power – which he managed to do for the next 26 years. The USA was of course thinking strategically; Iran had access to vast oil reserves, and was adjacent to the USSR, so a strategic ally in the ‘Cold War’ they were fighting. The 1960’s-70’s were a prosperous time for Iran, with plenty of USA & UK interaction, and a time when Iranian Arts & culture were readily available to the West. This was the date our large charger would have come out of Iran. This all changed in 1979; a festering unrest at the Western nation’s abuses over the past century – in particular, dissatisfaction at the Shah’s dependence on the USA – led to the ‘White Revolution’. The result was a Theocracy, the Islamic Republic of Iran – following the leadership of the Supreme Leader, Khomein. As a part of the strict Sharia (Islamic Law) ideology, images of humans & animals – ie. any living thing – were ‘strongly discouraged’. This stemmed from interpretations of the displeasure of Muhammad on seeing idols in his time. The traditional arts of the Persian world came to a screeching halt, with the vast majority of artists leaving Iran for Western exile in the following decade. The last 40 years have been isolating for Iran, as it has had the constant embargo on almost everything, and the heavy attention of the USA leaning on it. As a result, it is still a place of mystery, and the art & artifacts we come across have that same ancient sparkle of a far-away mysterious & exotic land, filled with wonderful treasures…
These colourful ceramics are from Iran, products of the pottery industry that flourished in the Qajar dynasty.
Otherwise known as the ‘Persian’ Empire, the Qajar dynasty controlled parts the area of present-day countries Iraq, Iran, and Afghanistan, as well as the southern parts of Georgia.
The Qajars ruled from 1779 to 1924, coming from Astarabad, south-east of the Caspian Sea. Under the Qajars the capital of this Persia Empire was moved to Tehran.
Selection of Qajar ‘fritware’ vases & tiles: the body is not just fired clay, but rather a ‘glassy’ silica granular slurry of sand and a very minor amount of clay, which fuses when heated, the fused surface keeping the piece structurally sound. If broken, a crumbly sand-like interior is exposed. The example at far right is several centuries earlier, being a fine example of Iznik production of the late 15th/early 16th century. It was on this legacy that the Qajar ceramics built their trade, often imitating much earlier designs.
Tiles were a useful wall covering that was both decorative and durable. Depicted here is perhaps the illustration from a legend – the man on his green-spotted horse appears to feed the circling spectacular bird with the extra large tail. This bird we can identify as a ‘Simurgh’.
The Simurgh – also called Huma – was a mythical bird which flew invisibly above the earth. With no legs, it could not land, and it never cast a shadow – except onto a King. The feathers often seen on a King/Shah/Sultan’s turban represent this divine anointing. It is a mighty and auspicious bird, bringer of great fortune, and features central to the early Persian tales.
It also represents the unattainable – always being unreachable high, perhaps the origin of the saying ‘aiming for the sky’.
Persian ‘Kitab-i hasha’ish’ – the Materia Medica of Dioscurides, Botanical Medical manuscript
This Persian manuscript page is a fascinating example of how the Islamic World preserved ancient knowledge during Europe’s so-called ‘Dark Ages’. It is from a ‘Kitab-i hasha’ish‘ – the ‘Materia Medica’ of Dioscurides, a 1st century AD physician of Greek origin, who had compiled the botanical medicinal knowledge of the period into a series of books. Originally in Greek, they were preserved through constant copying complete with illustrations in the Islamic world. They drew on all knowledge of the time, and Dioscurides claimed to have travelled far & wide as a physician with the Roman Army. This example has an illustration of an unknown bulb with groups of red flowers, the text explaining the usage of various components for various ailments, in flowing Persian calligraphy with important words in red. It is set within a frame of gold / black / red / blue carefully ruled lines, a style that appears on items originating in Isfahan, Iran – although they were made right across the Islamic world for many centuries, from the earliest in Baghdad in the 10th century to Morocco and India right into the 19th century.
This page is attributed to one from the 17th – 18th century.
Fresh on Moorabool.com – a collection of Greek Revival ceramics from Victorian England. Our Western society was based on the Classical past, and this is very obvious when we examine the objects and designs favoured by the later Georgians & the Victorians. While the frivolity of the Rococo commanded attention in the mid-18th century, the ‘swing of the pendulum’ changed the fashion by the end of the century to the polar opposite. The complex organic form of rococo scrolls are swept away, and are replaced by direct copies of the ancient ‘ideal’ designs of the Greeks & Romans. Across all aspects of Art & Architecture, classicism dominated the designs produced from the 1790’s well into the early Victorian period of the mid 19th century and beyond. In this timespan, some fascinating ceramics were produced – with interesting examples in the collection we are offering today.
John Flaxman R.A. ‘Minerva repressing the fury of Achilles’, illustration from an 1805 edition of Homer’s ‘Iliad’, engraved by William Blake, poet and engraver of note.
Greek Black-Figure Lekythos, illustrating a scene from the Trojan War – Achilles slaying the Amazon Queen Penthesilea, and realizing a moment later she was the love-of-his-life…. a Greek Tragedy. Attic, 510-500 BC. Moorabool Antiques sold archives >>
John Flaxman (British, 1755–1826) is the most famous of the ‘Neoclassical’ designers of Britain in the latter 18th-early 19th century. This was the period of great change in the visual arts, with the re-discovery of the ‘perfection’ of ancient Greek & Roman design, stimulated by the emerging ruins of Pompeii and Herculaneum. The British had secured the fabulous sculpture from the Acropolis in Athens, and installed it in the purpose-build chamber in the new British Museum. Flaxman created designs inspired by these sources, and they were endlessly published and used for countless architectural, decorative, and industrial designs. The classical literature such as ‘The Iliad’ and ‘The Odyssey’ were illustrated with engravings of their story, often directly copied from ancient Greek vases. Ceramics were a natural medium for re-creating the Classical Past, as hundreds of ancient Greek pots covered in painted scenes that were being extracted from tombs intact and admired by the intellectual Europeans.
In order to make these rare pieces accessible to everyone (and not just the wealthy & museums) copies were created, which we now label as ‘Grand Tour’ pieces – often brought back from Greece & Rome by the travellers of Georgian England. In England, the existing ceramic producers set out to create their own interpretations of this latest taste, with mixed results. Flaxman set out on his long career as a designer in 1775 working for Josiah Wedgwood, where he created very faithful versions of the ancient designs – and the many ‘classic’ Wedgwood blue jasper designs we associate with the name ‘Wedgwood’ today were by him. These Wedgwood designs were the pinnacle of taste for display on the mantelpiece in polite society drawing rooms, and reflected the perceived intellectual understanding of the classical past by their owners. The scenes had titles, and were illustrations of the Greek & Roman stories taught to any offspring of the wealthy.
However…. in time, the fashion permeated all levels of society, and rather than the intellectual pursuit of the elite, the classical designs came to be appreciated by ‘the masses’. The designs were curious links to the distant past – and the story-telling aspect of the scenes no longer became the focus, as the audience was not the intellectual scholar demanding accurate ‘Homeresqe’ details, but someone looking for a pleasing design for their teaset. This was the age of mass production, and the hundreds of small and large ceramic factories of Stoke-on-Trent and other manufacturing hubs produced endless variety of ‘Greek’ wares.
‘Greek Revival’ British Ceramics & glass at Moorabool Antiques, including Ridgway, Copeland & Garrett, Maws, and a rare Martin Brothers piece.
Copeland & Garrett designs
This fascinating pattern is titled ‘Herculaneum’ – refering of course to the Roman town covered in ash and hot mud by the eruption of Mount Vesuvius in 79 AD. However, the designs are not Roman, but Greek. It illustrates the blurring of the Classical World that the Victorians perpetrated. Copeland & Garrett was a partnership in Staffordshire which began in 1833, and ended in 1847. (having taken over Spode in 1833, and using the mark ‘Late Spode’ – while post-1847 it is just ‘Copeland & Sons’ – with the Spode name only being revived again for production in 1970)
This pair of Copeland & Garrett covered pots below are large examples of the ‘Greek Revival’ style, bearing some quirky figures of vaguely Roman style, repeating patterns taken from Greek 5th century BC ‘Black Figure’ ceramics, and using a printed outline which was then filled in with enamels. They also imitated the Greek added decoration, where white would be added over the top to define details. The result is certainly eye-catching – although nothing like anything the Greeks would have made. The ‘winged dog’ featured at the top of the page is a Whippet, given wings!
Copeland+Garrett ‘Greek Revival’ earthenwares of the 1840’s
The marks on this pair of covered jars allow us to date them quite precisely – while the ‘Copeland’ mark appears on three pieces, there is also the mark of the earlier partnership on one lid, ‘Copeland & Garrett’. This partnership – and mark – changed in 1847, meaning the pieces must have been made after this name-change, but not too long as there was one piece still waiting to be decorated in the workshop storehouse – the lid. Circa 1848 is the most probable date.
The ‘New Blanche’ was the name they gave to their white earthenware body, although it is not often seen marked like this.
Another trend in ceramics was to imitate the ‘Red Figure’ wares of Greece dating to the 4th century BC. These involved a black ground with the figures reserved to show the body colour through. The majority of pieces we see are from the firm of F & R Pratt. This firm had been printing on ceramics since the early Victorian period (c. 1847), and became especially famous for embracing the newly developed method of printing several separate colours onto one piece to provide full-colour ‘painterly’ decoration. Most famous of these wares are the ‘pot-lids’ – basically colourful throw-away containers made for various products such as ‘fish paste’ and ‘bear grease’.
Pratt-Maws ‘Old Greek’ wares, early 20th century
In the 1880s, they started creating Classical printed designs faithful to the prints of John Flaxman from 50 years earlier, accurately naming it ‘Old Greek’. The body isn’t expensive, being a thick white earthenware, and the printing process meant unskilled workers could apply the finely detailed designs quickly as a transfer – and then background would simply be coloured in with black glaze. The result was a pleasing ‘classic’ design, faithful to the ancient Greek aesthetics – produced cheaply, sold for a bargain price, and very popular for a long time. If you check below you’ll see the prices are still very tempting!
Later on, they allowed the Shropshire firm Maw & Co to print the designs. Best known for tiles, this large firm had the ability to produce vast quantities of the design, which continued for many decades, well into the 20th century. As a result, we see a lot of these pieces that were imported into Australia 1900-1920 as useful, decorative wares. These later pieces are easily identified by the rather splendid large ‘Discus Thrower’ mark printed beneath most pieces.
These interesting but inexpensive earthenwares come in a large number of shapes & sizes, from teapots to ashtrays. The ‘Old Greek’ designs clearly illustrate the idea of ‘mass produced culture’, which seems to have been extremely popular in Australia at the time, being so far away from the European cultural centers with their classical past. Our ancestors enjoyed a bit of Classicism around the house – and so do we still today!
Art Nouveau is literally a ‘New Art’. This stylish fashion emerged from France in the latter 19th century. It was a reaction to the re-hashed Classical and Rococo style that dominated European fashion in the 19th century. It is well illustrated by this superb Art Nouveau ‘stamp box’ in French silver & wood, with sensual flowing tendrils, like hair ringlets or organic growing plants.
French Art Nouveau Silver Stamp Box c.1900
Art Pottery flourished in the late 19th/early 20th century, and embraced the ideals of the Art Nouveau movement. This vase, from Belgium, has spiraling arms that look like they grew….
There’s another offshoot from Art Nouveau, originating in Austria and Germany, called ‘Jugendstil’ – literally ‘Youth Style’. This introduced more geometric elements alongside the Nouveau’s organic elements. This wonderful piece of design comes from the Würtemburgische Metallwaren Fabrik, WMF for short – a German manufacturer of high esteem. The egg-shaped copper body holds 6 eggs inside, which can be warmed with the small spirit burner placed on the platform between the legs. The supports are cast brass with stylish leaf-motif ends, and the legs are basically leaf-stems. The lid has a cross-form support, very geometric and not at all Art Nouveau, making it a fine example of Jugendstil.
In the same theme is this remarkable vase. English pottery, it was made at Bretby, circa 1910. White having some Nouveau elements in its form (the handles have eyes!), it also has a geometry to it that shows the Jugendstil influence – as well as the definite ‘Arts & Crafts’ idea of showing the raw materials & craftsmanship. In this case, it is deceptive, as the ‘copper’ finish is a glaze – and the ‘gemstones’ are also glazed pottery, made separately and attached!
Another interesting off-shoot looks to the Celtic world for inspiration. The Celtic Knot patterns, found on carvings and metalworks from 1st millenium BC European artifacts were well known in Britain, where the style flourished particularly in Scotland, Ireland and Wales. As part of the Arts & Crafts movement, these ancient designs were sometimes referred to by craftsmen, and the beaker below is one such piece.
Brannam of Barnstaple, 1903
Made at the Art Pottery works of Brannam in Barnstaple, it is decorated with two bands of pale clay in raised slip trails skillfully arranged into ‘Celtic’ knotwork, framing an amusing verse neatly incised through the green glaze in a method we call ‘sgrafitto’:
” Be aisy
If ye cant be aisy
Be as aisy as ye can”
This information is Brannam delightfully easy to describe, as they clearly inscribed it all on the base – ‘Brannam / Barnstaple / 1903’. It is also initialed ‘FB’ for the potter, Frederick Braddon, who quite possibly used the traditional potter’s method of drawing with clay slip – a cow’s horn with the tip cut off, allowing the pale slip inside to be applied in a controlled line.
Frederick Braddon’s lip trail Celtic Knots on the Brannam beaker, dated 1903.
It’s a wonderfully organic result, like the tendrils of a vine growing across the surface.
It therefore fits the definition of ‘Art Nouveau’ – in an Arts & Crafts / Art Pottery manner!
This handsome large piece of early Oak furniture is sometimes called a ‘Court Cupboard’, although this should really refer to a more open version intended to display the wealth of a household for all to see. With its enclosed doors, this example fits the definition of ‘cwpwrdd deuddarn‘, meaning ‘cupboard two-piece’. This literally describes their construction, in two parts, a feature that was not necessary in a construction sense, but certainly a help when being moved – speaking from practical experience!
They have their origins in the Medieval period, where a large, solid cupboard would act as a safe place to stash your valuables. Housed in the main chamber. they were the equivalent of a sideboard. You could keep all your pottery platters, mugs, the pewter – and in wealthier households, any silver plate that was needed to impress guests. The tops would surely have made a fine display space for status symbols such as nicely polished brassware and blue & white delft.
The Deuddarn presently at Moorabool Antiques, Geelong
What makes this example particularly appealing is the colour; it has a lovely honey tone, with an excellent patination. Some can appear ‘black’, and on closer examination, there is a layer of dark varnish over the oak. This varnish was a favorite of the Victorians who believed anything old, large & heavy had to be blackened to look authentic….
The date is original; it is wise to view such dates with scepticism, as they were also a favorite alteration of genuine pieces undertaken by the Victorians; however, the patination is consistent and the carving harmonious .
The initials are another part of the story; the represent a marriage, with the family name in the center starting with ‘F’. Their names were ‘W’ and ‘M’ – let’s call them ‘Wmffre & Megan Fluellen’. This lavish piece of furniture was commissioned for the well-to-do couple in 1694, quite possibly as a marriage piece.
In the wonderful 2-volume book on ‘Welsh Furniture’ by Richard Bebb, it was a pleasant surprise to discover a remarkably similar example. Page 325 bears several deuddarn examples from different regions, but no. 567 stands out: when viewed next to our example, we see the same principal construction methods, the same details such as the pendants or ‘droppers’ on the upper corners, but most of all, the doors have the same carving. This elaborate series of scrollwork is almost Celtic in appearance, and this is no coincidence; a strong association with the distant past was always present amongst the Welsh, and their ancient pagan memories of ritual spirals representing eternal truths were surely echoed in these designs.
#567: possibly Breconshire
The book places the origin of this piece as ‘possibly Breconshire’, a region of central Wales. Such opinions of regional styles are formed by furniture connoisseurs over a lifetime, depending on examining pieces that are in situ in undisturbed family farmhouses , and especially in the small local parish churches. What is fascinating is the dates found on both these very similar pieces. Our example is dated 1694; theirs is 8 years later, 1702. There are differences in the layout of the doors, and the doors on ours are all carved vs, just the top 3 of the illustrated. However, the similarities allow us to attribute this magnificent piece to ‘possibly Breconshire’, and isn’t it great to have an actual date – 1694 – rather than having to take a ‘Circa’ guess!
In today’s world-wide situation, ‘Armchair Travel’ is a necessity. The difficulty in heading off on a grand tour is huge, and the likelihood of being marooned somewhere due to closed borders is high. Stick to google street view exploration for the moment!
A recent discovery at Moorabool reveals the idea has been around a long time. Finely detailed and depicting an ancient ruin in a dramatic landscape, the work is signed Copley Fielding.
Copley Fielding watercolour, Ruins at Delphi, circa 1820
Copley Fielding (1787-1855) was a very talented artist of the Georgian period. Born in the Midlands in 1787, he was the son of a portrait painter (Nathan Theodore Fielding), who gave him the inspirational ‘Vandyke’ name as tribute to the famous artist. The inspiration worked, as he showed strong talent at an early age. In 1810, he entered the Royal Academy schools, being taught by John Varley and becoming a close friend of William Blake. The same year he was an associate exhibitor of the Royal Society of Watercolours (RWS), later serving as President. In 1824 he won a gold medal at the Paris Salon, alongside Constable. He exhibited constantly in the RWS exhibitions, and a smaller number of his oil paintings at the Royal Academy.
Copley Fielding ‘Delphi Ruins’
Anthony Vandyke Copley Fielding (1787-1855) National Portrait Gallery, London -by Sir William Boxall
Best known for his atmospheric ‘Romantic’ landscape views in the British Isles, and windswept seascapes, there are a small number of works in his repertoire depicting exotic overseas locations: Rome, Naples, and this example, the temples of Delphi in Greece. They are all imaginative – he never travelled out of Britain!
The scene in this work is the famous temple complex at Delphi, Greece. His direct inspiration would have been an artist’s sketch – it was a ‘top-10 destination’ for anyone with artistic ability on the ‘Grand Tour’, and in his RWS position he would have constantly come across people who had been there with their sketchbook. However, he has enhanced it to make it more impressive; the ruins are less ‘ruined’, the rounded form of the Tholos being remarkably intact, and the rectangular Temple of Apollo apparently still having its roof!
Copley Fielding’s ‘View of Delphi’ at Moorabool Antiques, Australia
The title on the old mount it is in is most confusing, and perhaps illustrates the nature of Copley Fielding’s inspiration: there is no ‘Temple of Juno’ at Delphi, although the mountainous scene is clearly meant to be Delphi. Several temples of Juno elsewhere in the Classical world survived and were sketched, but all are standard rectangular constructions. Clearly something got lost in translation between sketchbook and watercolour brush, by either the original artist, or the mount-maker of this work.
Copley Fielding’s Signature
The rare Copley Fielding depictions of foreign lands include Rome, Naples, Greece (such as ours) and exotic Middle-Eastern landscapes. They are all ‘flights of imagination’: he was a true ‘Armchair Travelling-Artist’. How interesting that this work depicts the Temples at Delphi, regarded as the very center of the world by the ancient Greeks, the start and finish of all journeys.
Copley Fielding’s background landscape.
His works are represented in a large number of major collections around the world, including the V&A and the Tate, London, The Met NY, The Art Gallery of NSW, and our very own National Gallery of Victoria in Melbourne.
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