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The Boyd ‘Medieval’ chess set

A fascinating and most probably unique creation is also the most modern item in stock at Moorabool – dating to the 1960’s, it is an Australian Pottery ‘Medieval’ chess set, by David & Hermia Boyd, members of the remarkably artistic Boyd family.

Medieval Chess set by David & Hermia, 1960’s
David & Hermia Boyd Chess set
David & Hermia Boyd Chess set board

David Boyd (1924-2011) was born in Murrumbeena, Victoria, the third son of Merric and Doris Boyd. He met Hermia when she was decorating pots for his brother Guy Boyd in his Sydney studio. Married in 1948, they headed over to London in 1950, where they potted & painted for the next 5 years. After returning to Australia for a few years, they were off to Europe again in 1961, where they lived & worked in Rome and London, returning to Australia in 1975. It was probably during this trip they created the chess set, perhaps as a personal piece or a special commission. Certainly, it was not a commercial production and appears to have been only on the market once before, at Christie’s, Melbourne, in the 1980’s.

British Museum – Lewis Chessmen, 12th century

 

The board has wonderful mottled glazes, giving it an ancient feel, and is made up of four ’tiles’; these have firing fissures and cracks, and are mounted on a wooden backing with beading edge, all finished with a limewash. This work is probably by the hand of David, and is reminiscent of his other ‘Medieval’ sgraffito wares.

The set is very reminiscent of the ‘Lewis Chessmen’, a part set of 12th century Norwegian game pieces made from Walrus Ivory, discovered in the Outer Hebrides in 1831. Some of these would have been on show in the British Museum in the 1960’s when David & Hermia were in London.

 

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The pieces are all individual creations, and are probably the work of Hermia. It may just be my imagination, but one of the knights appears to have disguised initials….  ‘H / B’.

 

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See more on this remarkable set here >>

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Lest We Forget: Anzac memories

Simpson & Donkey, Bronze by Peter Corlett 1988

Today is an important one in Australia; the 25th of April 1915 was a ‘coming of age’, the first military action as an independent dominion. While the troops of the young nation didn’t achieve what they set out to do, and 8,709 didn’t return, it resulted in a sense of pride in those who did return with tales of valor and mateship. Even in the midst of the military disaster it turned out to be, a sense of being ‘Australian’ arose. Although the last of the troops who served at Gallipoli have passed on, all around Australia the younger generations gather at dawn, remembering the sacrifice and bravery of past generations.

Dyson Anzac Print 1927
Will Dyson ‘A Voice from Anzac’ Print 1927   -see it here>

This image by Will Dyson, the first official War Artist for Australia, illustrates the sentiment 12 years later; two soldiers in full kit sit by the sea, but are just ghosts on closer examination with the coastline visible through their bodies. The caption reads “Funny thing Bill- I keep thinking I hear men marching!”  – the memories of those who didn’t return are still sharp. This cartoon appeared in the Herald on Anzac day in 1927, and proved to be so popular another print run was ordered, on better quality paper and in a limited number. These ended up in various RSL clubs around the country, and it was perhaps in one of these that the collection of signatures along the lower edge were collected. While it has Dyson’s own pencilled signature, the others are unexpected and remarkable: they are all winners of the Victoria Cross in WWI, with one exception: Lieutenant General Sir John Monash. It is an apparently unique  tribute to the Gallipoli spirit, put together by soldiers who were there.

Dyson Anzac Print signatures
Dyson Anzac Print signatures – Will Dyson, A Jacka W Dunstan

Dyson Anzac Print signatures
Dyson Anzac Print signatures – J Monash, R C Grieve, G M Ingram

Will Dyson was born in 1880 near Ballarat, and was self-taught as an artist. He obtained work with various magazines as a satyrical illustrator, and became good friends with Norman Lindsay, marrying his sister Ruby. He spent the war years in England, and volunteered his skills to the Australian Imperial Forces “to interpret in a series of drawings, for national preservation, the sentiments and special Australian characteristics of our Army”. In this capacity he travelled to the Western Front in 1916, and was appointed the first official war artist in 1917. He was wounded twice as he proceeded with the troops, recording a very human side of the great conflict. He returned to Melbourne in 1925 where he worked at the Herald. During this time he produced the following print (1927) , and returned to London in 1930 where in died in 1938.

The original drawing in the Australian War Memorial, Canberra. Moorabool is pleased to offer the above work.

Simpsom & his Donkey - Peter Corlett 1988
Simpson & his Donkey – Peter Corlett 1988

Also in the Australian War Museum is another dramatic depiction of Australian Anzac spirit, the life-size bronze  ‘Simpson and his donkey’, by ‘Peter Corlett (1944 -). This work was commissioned by the Government, and installed on Anzac Day 1988 at the front of the War Memorial in Canberra. At the same time, 12 smaller versions were made & sold, and Moorabool currently has one of these.

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John Simpson Kirkpatrick was actually a British merchant sailor who jumped ship to enlisted in Fremantle, using his middle name. On the first day of his arrival at Gallipoli as a stretcher bearer, he found an abandoned donkey he named

Simpson & his Donkey Duffy
Simpson & his Donkey Duffy

Duffy.  The donkey helped Simpson carry the wounded who were still able to ride. This grainy photo was the inspiration for the legend, showing a wounded soldier being assisted by Simson down to the beach for evacuation to the hospital ships moored offshore.

 

 

We are honoured to have these reminders of the struggles that helped form Australia. I’ll finish with a group of prints that give a unique ‘Australian’ image to the warfare of WWI 100 years ago:

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A scroll with a tale; an Ethiopian Coptic Scroll brought back from the Abyssinia Expedition, 1868

Ethiopian scroll

An interesting recent arrival at Moorabool is literally Magic…..

EthiopianScroll
The Ethiopian Magic Scroll, 19th century or earlier

This curious artefact came from an elderly local lady, who challenged me: ‘I bet you don’t know what this is’ and was amazed at my guess of an Ethiopian magic scroll. I had never held one, but knew of them. She went on to explain how an ancestor had taken part in the Abyssinia Expedition and brought it back with him in a tin. The family had kept it as a curio; now she was the last of her family, with no-one to pass it on to.

The ancestor was a British Army captain, and was one of the 13,000 British and Indian soldiers involved in a campaign to Ethiopia in the 1860’s. Ethiopia, then known as Abyssinia, was a mythical place, the home of the Queen of Sheba from biblical days, and the mythical Prester John in the middle ages. Legend tells of a son being born from the meeting of King Solomon and the Queen of Sheba, Menelik. Certainly Christianity spread there very early, by the 4th century AD. Their first bishop was consecrated in Alexandria, and it is the Egyptian Coptic version of Christianity which survived until the present day in the remote highlands, despite waves of Muslim settlers along the coasts.

The Abyssinia Expedition has been described as “one of the most expensive affairs of honour in history”. The honor of course was the British Empire’s. They were caught up in a difficult situation in a far-off foreign land; a local ruler, Tewodro,  had sought help from the powers of the day to consolidate his power over present-day Ethiopia  – in particular, he was after technology, realising that modern weapons would swiftly defeat his tribal competitors. He tried Russia, Prussia, Austria, the French, and the English. Queen Victoria sent

The Abyssinian Prisoners 1868
The Abyssinian Prisoners 1868

him a silver pistol, but no help. Disgruntled by lack of interest in his campaign, he snatched a visiting missionary; when a party set out to seek his release, they were captured as well, and imprisoned in his fortress of Magdala, deep in the Ethiopian highlands. Anyone sent to negotiate was added to his hostages, including the British consul: he ended up with dozens of prisoners.

Queen Victoria had had enough; the British Empire had been mocked! She announced the decision to rescue the hostages on 21st August 1867. While similar hostage rescues in our present age often include helicopters and quick extractions from hostile lands, for the Victorians it was a massive effort. Sir Robert Napier led the expedition, which landed in the Gulf of Zula in December 1867. Magdala was only 640km away, but it was a waterless hostile badland, and took 3 months of marching. Imagine, 13,000 soldiers with 26,000 helpers to look after them using 40,000 animals…. including 44 Indian elephants to carry the large cannon!

Once there, action was swiftly over. Tewodro’s troops caught the British by surprise on a platteau, and swarmed down from their hilltop positions; the well trained British quickly responded, with the inevitable massacre of the tribal attackers, many with just spears agains the superior British guns. A few days later they were able to bombard the fortress, blow the gates, and swiftly took over. On entering the last stronghold, they found Tewodro had taken his own life – with the silver pistol given as a gift by Queen Victoria!

The soldiers destroyed the stronghold, setting it on fire. The Christian Coptic church was looted, with large gold & silver crosses being taken along with many religious works – including scrolls such as the one we are discussing. They were regarded by the Victorians as ‘magic scrolls’, evidence of superstition and ‘whitchcraft’, and therefore worthy of a place in any Cabinet of Curios.

EthiopianScroll

For the Ethiopians, they were believed to hold protective and healing powers, and were carried by the owner at all times. These were inscribed in ‘Geez’, the liturgical language of the church, with prayers, spells and/or charms which offered protection to their specific owner – to undo spells, restore health, combat sterility and even ward off demons. The text was often taken from sacred books such as Gospels and because of this, the scrolls were tolerated by the Ethiopian Church in spite of their connection to magical practices.

The process would begin with the selection and sacrifice of a particular animal. The owner would bashed in the animals’ blood as part of the process of purification. Three strips of parchment were then made from the skin of the animal and stitched together to form a single scroll equal in length to the height of its owner – ours is 135cm.

During crisis, these scrolls were carried on one’s person, and were kept close when sleeping to ensure protection. When the British Soldier acquired this 140 years ago, he protected it in a airtight tin, meaning this fascinating artefact has survived in remarkable condition.

See the item in our stock >>

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The Boyd Chess set; a unique joint production by David & Hermia Boyd

The Boyd Chess set, 1960’s

Only on the market once before, this is a remarkable Australian Pottery rarity – probably unique. Speculated to be a special commission or present, it was last sold in the 1980’s at Christies, Melbourne.

The board is by David Boyd, and is constructed from four large tiles divided into squares ,the ends inscribed with the starting home for the various pieces. This is fired in a wonderfully mottled ‘aged’ glaze.

Boyd Pottery 'Queens' by Hermia Boyd, 1960's
Boyd Pottery ‘Queens’ by Hermia Boyd, 1960’s

The pieces are the work of Hermia Boyd, and each has powerful character; even the pawns are individual in features.

They echo the famous ‘Lewis Chessmen’, which date to the Anglo-Saxon period and are on display in the British Museum. The Boyds had lived and visited on numerous occasions, and made other medieval-inspired pieces – but apparently no other chess set….

This is a very unique piece, and destined for a worthy collection of Australian Pottery – or indeed would be equally at home amongst the fine art creations of the incredibly productive Boyd family.

 

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Vincennes covered jug 1753-4

Every so often, we discover a piece of supreme beauty and rarity. This piece certainly qualifies, belonging to the very earliest years of the French Royal factory of Sevres.

What makes this doubly special is that it has come back to us again after many years. It came out of an Australian collection late last century, and was purchased from us by a local collector of refined taste; now it is being offered as he disposes of his collection due to ill-health. Over the years he has sold most of his other special pieces, but this was his favorite which he kept until the end…..

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‘Mentmore’

Provenance.

Mentmore Sale Catalogue 1977When it was sold the first time, we were not aware of a fascinating provenance. As often happens, while researching another object I stumbled across an illustration of a very similar jug – no, the exact same one –  in the 1977 catalogue for the Mentmore dispersal sale. (Note: our jug is illustrated as ‘lot 2001’, but catalogued as ‘lot 2002’ – someone made a mistake!)
This memorable ‘Sale of the Century’, is documented in a 1977 news report seen here on YouTube. ‘Mentmore’ is one of England’s most amazing grand houses, and was built in the mid 19th century by Baron Rothschild in the Renaissance manner with no expense spared. This jug was therefore once part of the Rothschild collection.

Vincennes jug (left) in the Mentmore cabinets, 1977
Vincennes jug (left) in the Mentmore cabinets, 1977
The Vincennes jug in the Mentmore cabinets 1977
The Vincennes jug in the Mentmore cabinets 1977

Watching this grainy 1977 sale newsreport, I once again stumbled across the Vincennes jug; sitting in the great hall cabinets amongst a mouth-watering array of Sevres & Vincennes, you can make out the jug with its distinct gold silhouette birds.

Mentmore 1977
Mentmore 1977

A high-res black & white photo of the central Mentmore room also shows the jug, sitting at the far left of the left shelf second from the top.

 

 

With the dispersal of the collection in an epic 10-day sale in 1977, the jug somehow made its way to Australia. It appeared on the Australian market about 20 years later, when we purchased it for stock and it sold promptly to a delighted local collector.

 


please note: this piece has sold.

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Stunning Sèvres discovery, by Antoine-Joseph Chappuis (l’âiné), 1765

Sevres socketed cup & saucer with birds by Chappuis, 1765-15584

A SÈVRES CUP AND SOCKETED SAUCER

(GOBELET ET SOUCOUPE ‘ENFONCE,’ 1ERE GRANDEUR)

The Royal French porcelain manufactory at Sèvres was well patronized by the French court, and the pieces they created were meant to be the most flamboyant and impressive luxuries imaginable. This pink ground cup & saucer certainly qualifies.


Sevres socketed cup & saucer with birds by Chappuis, 1765-0
Sevres socketed cup & saucer with birds by Chappuis, 1765
Sevres socketed cup & saucer with birds by Chappuis, 1765-15598
Sevres socketed cup & saucer with birds by Chappuis, 1765

Important Sèvres cup and saucer, goblet et soucoup enfoncé, premiere grandeur , superbly painted by Antoine-Joseph Chappuis (aîné), with four panels of birds in landscapes, framed within rich tooled gold borders against a ground of blue and gold oeil-de-perdrix on a pink ground.

Crossed ‘L’s’ mark,

also date letter ‘M’ for 1765,

‘cp’ for artist Antoine-Joseph Chappuis (aîné),

incised cup repairer’s mark ‘00’ & ‘ae’


Madame de Pompadour was probably responsible for the inception of this unusual form of saucer, with its deep well ensuring the cup cannot be easily upset. The form appears in 1753, and as she was failing in health with tuberculosis, a socketed saucer negated the risk of spilling her drink due to a shaking hand or coughing fit. Factory records show that all examples of this type made were purchased by her until her death in 1764. The next recorded sale was in October 1765 to Princess Louise-Marie of France, youngest daughter of Louis XV. Its present whereabouts are unrecorded, and this example has a high possibility of being the goblet et soucoup enfoncé, premiere grandeur in question.

 

Sevres socketed cup & saucer with birds by Chappuis, 1765
Sevres socketed cup & saucer with birds by Chappuis, 1765

They were one-off products, and examples vary wildly in decoration. An example in the Getty Museum is thought to have belonged to Madame de Pompadour. It has a saucer with an unknown repairer’s mark (00), the same as on this cup. The gilding appears on numerous examples from this period, often with small inconsistencies such as can be seen in the above detail, where the gold doesn’t quite cover the ground.

The artist Chappuis ‘l’aîne’ was a long-term employee at Sèvres, being apprenticed as a répareur (maker) in 1756, became a painter in 1761, became the deputy ‘head of kilns’ in 1782 , and  in charge of the kilns for the final year of his life in 1787.

His wonderfully vivid birds are distinct amongst the Sèvres artists repertoire, and a piece such as this important  goblet et soucoup enfoncé, premiere grandeur show Sèvres at its best.

 


Provenance: The Antique Porcelain Company, NY

References:

Similar gilding can  seen on a can & saucer in the British Museum, #110 in Dawson’s book ‘French Porcelain in the British Museum’, also #112.

An écoulle, cover & stand with the same decoration was sold as part of the Giuseppe Rossi collection, Sothebys London 1999 lot 518

A coffee can & saucer with similar ground, also with birds by  Antoine-Joseph Chappuis (l’âiné), 1766,   at the Victorian & Albert Museum, South Kensington

Similar items at auction:

A cup & saucer with the same ground, very similar birds by another artist, Aloncle, 1765, at Christies London 2015.

A wonderful teapot with the same unknown repairer’s mark (00), also painted by the same artist, Antoine-Joseph Chappuis (l’âiné), 1765, sold by Bonhams London in 2014.

A cup & saucer of the same form, birds by Aloncle, 1763, sold at Christies NY 

Sevres socketed cup & saucer with birds by Chappuis, 1765-15579
Sevres socketed cup & saucer with birds by Chappuis, 1765