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Ellen Ross, artist, with Dickens & Australian High Court connections….

Ellen Ross / Ellen Ross - Mallam - Artist

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 monogram mark
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), aged 18
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
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!

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First Fresh Stock release for 2024

Welcome to our first Fresh Stock for 2024. We have a fine selection of interesting items for you to browse, including Sterling, Old Sheffield Plate, Australian Pottery, and a whole range of ‘Green’ ceramics…..

The exceptional piece this time is a plate, which bears an original Exhibition label from 1876. With the place it was exhibited, and the name of the artist, we were able to discover a fascinating ‘back-story’ – with close links to Charles Dickens and an Australian High Court judge from 100 years ago…..

Ellen Ross ‘china painting “HOWELL & JAMES” of Regent Street, exhibition label 1876

Fresh………

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A rare fake ‘TP Dexter’ Sterling Jug: Silver Fraud!

Serling Silver Jugs

These three jugs look very similar, and yet only one is genuine.
Below is a Genuine engraved jug of 1798, a Victorian version of 1888, and another Victorian…. but with marks claiming it is Sheffield 1797.
Can you pick the fake?

Slide down the bar on below image to reveal the dates

Left ImageRight Image

Late 19th century Sterling Silver milk jug, of helmet shape, with elegant curved handle, the body with engraved lines to rim, a central reserve with initials ‘JJC’ to one side , the other blank. 
Hallmarked for Birmingham 1795, also ‘TL’ for an unknown maker –a mark used in documented ‘fraudulent’ pieces of Sterling Silver discovered in the premises of Reuben Lyon in the late 19th century.

FAKE sterling silver hallmarks
The FAKE sterling silver hallmarks, claiming to be Birmingham 1797

The fraudulent nature of this piece of Sterling Silver is an interesting study. 
The hallmarks are clear, and ye have something different about their wear; particularly notable is the background, which shows up lumps & bumps not usually seen in hallmarks. This is because normal hallmarks verified at the assay office have been struck into the piece using a die, with a flat end incised with the initials; the background is therefore flat. The ‘bumps’ indicate this piece is cast at the time of making, ie. there is some texture from the casting medium that cannot be buffed out from the recessed marks……… something that is only done by a forger. 
This maker’s mark ‘TD’ appears to be copying T.P. Dexter’s mark, which was only registered in 1805. As the registry of marks was not published or accessible in the 19th century like it is now, it would not have been possible for a forger to look up the active dates of a silversmith. In this case, it is a decade out, making identification easier. 
In 1899, the London Goldsmith’s Company published a booklet to expose a group of fakes they had detected and destroyed recently. At the premises of 70-year old Reuben Lyon of Holborn, more than 200 fraudulently hallmarked ‘Antique’ pieces were found by officers of the Goldsmith’s Guild, and the hallmarks of ‘around 50’ makers on the pieces recorded and published. The ‘TD’ mark is one of them. 

These pieces were destroyed by the guild. This is still their practice, and they constantly assess the trade in Anbtqiuue silver to ensure that fraudulent pieces are not circulating as genuine. A silver collector witnessed this in action in London recently: visiting one of the seller son silver, a man entered with a portable anvil, the fake was brought out, and completely mashed into a formless lump with a hammer!

Interestingly, an article written about forged silver at the time refers to the technique of casting marks, ‘…adopted by a forger a year or so ago, who recieved his due punishment…’ This suggests the evidence of casting in a piece puts it into an 1890’s context,  100 years after the marks they were depicting. 

The fakes were detected, and their source investigated by the Guild. Reuben claimed innocence, stating he had purchased the goods ‘from a man named ‘Clarke’ …. who had subsequently disappeared’. He was fined £3,000, an immense amount for the time. It was the end of him and his business…..


This was a time of intense interest in English Silver from the Georgian period, especially by the Americans – and the occasional Australian. I wonder if ‘Clarke’ tried selling to this lucrative market of wealth Australians, far away from the eyes of the Goldsmith’s Guild?
This jug came from a local source, and may well have been imported into Australia as an ‘Antique’ around turn of the century, despite it being pretty recently made! 

The irony is, this is now a rarity; in the UK, the Guild has ‘taken care’ of any examples, and only in a place like Australia are there examples to be seen…. at least knowingly!

Read more on the Reuben Lyon pieces here >

The London Assay Office report >

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Introducing…. artist A. E. Jobson 1868-1955

A E Jobson pastel - with restorations

An interesting recent discovery by Moorabool was this small pastel scene of an Australian beach.
Signed ‘A. E. Jobson’, it is an interesting chalk sketch, done on a coarse textured grey toned paper.

Looking for the artist proved to be pointless; they are not recorded anywhere, and seem to belong to the class of ‘talented amateur’. We believe we have a likely candidate, a local Melbourne author who used the name ‘A.E.Jobson’.

AE Jobson Signature
AE Jobson’s Signature


As with many artistic people, it seems that Jobson could draw as well as write. It was writing which came to dominate, as they found success when they began publishing their short stories.

A report in the ‘Queensland Times’ sheds some light:

they have obtained the ‘sole rights’ to a ‘remarkable clever series of stories’ which they promise are just like Sherlock Holmes….

The first story to be published is interesting. Titled ‘The Hercules Cameo’, it is a story about a carved cameo of Hercules – purchased at Christies for 3000 Guineas – stolen by a German prince, and recovered by a private eye named Russel Howard. Hobson clearly had an active interest in the art world.

Over the next few years, we traced 12 newspaper stories published by A.E. Jobson:

Over the next few years, we traced 12 newspaper stories published by A.E. Jobson:

  • 1: The Hercules Cameo
  • 2: The Seventh Burglary
  • 3: The Removal of the Millionaire
  • 4: The Case of Lord Ponderry
  • 5: The Scheming Lady
  • 6: The Two Wax Candles
  • 7: The Lady with the Pince-Nez
  • 8: The Modern Highwayman
  • 9: The Prince’s Letter
  • 10: The Man Who Stole the Child
  • 11: The Fire Insurance Matter
  • 12: The Open Shaft

But who was A. E. Jobson?

These ‘AE Jobson’ stories, and at least one published book, never give the name of the author beyond the initials. There is a distinct possibility that this was intentional, to hide the author’s true identity. The ‘Queensland Times’ article of 1909 does refer to ‘him’, but they were not necessarily aware of exactly who was writing the stories, being rather a long way away. This is something often seen in the world of literature. Clearly, some research is needed!

Searching the available records, two candidates appear with the right initials and in the right context, an Arthur Earnest Jobson, Banker in Sydney, and Adelaide Ellen Hobson, daughter-in-law to prominent Victorian businessman, John Jobson JP.
Nothing came of researching Arthur the banker, but Adelaide was a different matter.

John Jobson, Williamstown, c. 1895- father-in-law to Adelaide Ellen Jobson

Adelaide Ellen Jobson was born at Port Adelaide, 1868, the eldest in her family. Her father, Stedman, died in 1887. Three years later, she married Charles Jobson, son of John Jobson, JP, businessman, Williamstown Football Club president, & Mayor of Williamstown (Victoria) in 1885.  

The pastel has a certain ‘family’ feel to it: there are 6 children represented, plus a few adults. 

The scene could well be Port Phillip Bay, somewhere near Spotswood where a day’s outing with the family would be likely-  with Williamstown’s ‘back beach’ being a prime candidate. 

Williamstown back-beach, 1906 postcard

We propose Adelaide Ellen Jobson was a very creative lady, who raised a family of five, but longed to write and paint to express herself; when her oldest children were entering their teens, she would have had more time to dedicate to writing, and so her first few stories were submitted to the papers for publication. Over the next decade, she produced quite a number of fictional books. A quick read – as they are all rather short stories, suitable for a newspaper – certainly shows an active mind, and perhaps we can see a female perspective: one story, written in 1916, is an interesting study. 

It begins “Samson Greene was an artist, and it happened on one day in September, or it may have been in early October, that he was in Bathurst. Anyway, when he rose in the morning the sun was shining briskly upon everything.”   

The character Samson is something of an old-fashioned gentleman artist, but by the end of the story, he is helplessly in love with a girl he ‘accidentally’ met while out painting – except the whole thing is a set-up by the girl, who has set a trap for him which he falls for, hook line & sinker!  It has a definite twinge of ‘Barbara Cartland’ to it, and attributing it to a female author makes perfect sense. 

Adelaide Jobson, Beach at Williamstown, c. 1910
Adelaide Jobson, Beach at Williamstown, c. 1910

Her other artistic enterprise was pastel art. This small work documents a lazy day at the beach very well, with family members relaxing and children playing. She had five children between 1892-1909, so if this piece was dated to around 1910-15, the children shown could well be her own. The location is not distinct, but the general layout of the water/land conforms to the local area they grew up in; Williamstown has a beach with beautiful white sand like this, and the distant higher ground could be the far side of Port Phillip Bay, a scene still the same today. 

Martha Walter oil painting, beach scene
American artist Martha Walter, beach scene from the same period in oils.

An interesting comparison can be made with American artist Martha Walter. She was active in the early 20th century, the same date as the work we are examining, and the similarity is unmistakable. Rather than a direct influence, it is probably just a result of the shared ‘beach culture’ seen in America and Australia – the gathering of families, the bathing suits – combined with an impressionist style which was the international vogue at the time.
The price is certainly different, with Walter’s work bringing many thousands for even minor paintings!

Adelaide Ellen Jobson could have been a notable artist, but her success as a published author, and no doubt also her dedication to her large family, restricted her opportunities. She’s a talented amateur, previously unrecorded.

We’d love to hear anything else you may have to add to this very brief répertoire!

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A Phar Lap Australian Silver Charm

Sterling medallion commemorating Phar Lap win, 1930 Melbourne Cup

This rare piece of Australiana was produced in Melbourne by a local jeweller in solid Sterling Silver to commemorate the legendary ride of J.E. Pike on ‘Phar Lap’ where he won the Melbourne Cup in 1930 by 3 lengths.

J.E.Pike-Phar Lap Medallion 1930 Melbourne Cup Sterling Silver
J.E.Pike’s ‘Phar Lap’ Medallion, commemorating the 1930 Melbourne Cup win, Australian Sterling Silver

Sterling silver medallion with horse & jockey on front framed within a stirrup, engraved on reverse Phar Lap / Winner 1930 / Melb.Cup / J.E.Pike” , also marked with sculptor’s name ‘Hafner’, and hallmarked ‘925’ & printing press.

Phar Lap wins 1930 Melbourne Cup
Phar Lap wins 1930 Melbourne Cup by 3 lengths… the making of an Australian legend. The silver medallion was made to commemorate this feat.

The shape is reminiscent of religious pendants made to wear as ‘charms’ – however, the design of this piece has a major flaw that would not make it durable. All other charms have a suspension loop cast into the top: this plaque has a very thin wire loop soldered onto the back. This suggests it is just for short-term use – perhaps so you could pin it to a jacket lapel when you were attending the Melbourne Cup….?

It is certainly a rarity, with just one other example being traced on the market.

J.E.Pike-Phar Lap Medallion 1930 Melbourne Cup Sterling Silver Stirrup Commemorative
J.E.Pike-Phar Lap Medallion 1930 Melbourne Cup Sterling Silver Stirrup Commemorative
Emil Hafner mark on Sterling Silver Phar Lap Medallion
Emil Hafner mark on Sterling Silver Phar Lap Medallion

The sculptor’s name ‘Hafner’ gives us the context & date for the piece.
Emil Hafner (1917-2021) was a post-war immigrant artisan from Czechoslovakia. His speciality was die-casting, and he was responsible for a large number of medals, coins, and commemoratives produced in Melbourne in the second half of the 20th century.
Emil Hefner graduated in 1948 at the Art and Trade College in Czechoslovakia. Between 1948 and 1952 he worked as a gun-engraver and die-sinking in Germany and later England. After migrating, he continued his work in Australia with ‘K.G. Luke’ and later with the ‘House of Hawke’, as well as teaching part-time at RMIT (Royal Melbourne Institute of Technology) for nine years. He subsequently established his own company, Hafner Mint Manufacturing.
This silver medallion, commemorating the 1930 win of Phar Lap, would logically have been made in 1980 – celebrating 50 years since the event.

See Emil Hafner’s pieces in Museums Victoria Collection here >

J.E.Pike-Phar Lap Medallion 1930 Melbourne Cup Sterling Silver Printing Press Hallmark
Phar Lap Medallion with .925 designating ‘Sterling’ silver standard, and ‘Printing Press’ Hallmark for the silversmith. Note an apparent border for another hallmark protruding from the side of the printing press mark.
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C. Dudley Wood’s portrait of RAAF officer Peter N. Munro

Clifford Dudley Wood was born in Geelong,

This splendid wartime watercolour portrait depicts a very distinct character.

By his stripes he’s an NCO Sargent, and reading his brevet – the badge with ‘AG’ and a wing on his shirt – he was an air-gunner in the Australian Airforce.

It’s a signed watercolour by Clifford Dudley Wood. He was born in Geelong, studied at Swinburne in the early 1920’s, and exhibited with the Victorian Artists Society. He became a commercial artist, but always followed his own path in oils & watercolours. By the 1940’s he was a successful artist in his own right, being a finalist in the 1941 Archibald Prize twice . He has been described as a ‘Romantic Realist’.

During the War years, he was posted to both Queensland and Darwin, his role…. camouflage artist! While in military service, he produced a number of art works. Several feature RAAF officers, like this handsome one of WO Peter N. Munro of Orange.

Clifford Dudley-Wood's portrait of RAAF officer Peter Napier Munro, 1945


MUNRO, PETER NAPIER : Service Number – 405764 : Date of birth – 11 Jul 1918 : Place of birth – BRISBANE QLD : Place of enlistment – BRISBANE

Official Military Record Entry
PN Munro- RAAF - Dudley-Wood's inscription to the back.
Sgt. PN Munro- RAAF – Dudley-Wood’s inscription to the back.

Munro was a WO – a Warrant Officer – in the RAAF, serving in the No.21 Squadron.

No. 21 Squadron

No 21 squadron was formed in 1936 at Laverton, near Melbourne, and entered the war years with the task of training and convoy escort duty. As war with Japan became more likely, it was moved to Singapore, and then on to Malay in late 1941, where 5 days later they had their first taste of conflict, and it didn’t go well; they were pulled back to Singapore, then to Java, and shipped back to Fremantle in 1942 and disbanded.

21st Squadron undergoing training at Laverton – the man far left looks a little like PN Munro…

At this time, Munro was married:

A very quiet wedding took place at the Presbytery on Wednesday night, when Elizabeth Patricia (Beth), only daughter of Mr. and Mrs. Pat Williams, of Summer Street, was married to Sergeant Air Gunner Peter Munro, R.A.A.F., son of the late Mr. Munro and Mrs. Munro, of Brisbane. The bride looked very attractive in a beige tucked frock, white hat and gloves and navy accessories and a shoulder spray of lily of the valley……….

LEADER newspaper, Orange – Friday 30 October 1942:

One year later, Squadron No. 21 was re-formed in South Australia, and quickly transferred to Queensland with updated American planes. After four months of training, the 21st was transferred to New Guinea. Here it used Vultee Vengeance dive-bombers, but as the Japanese advance was stopped and then reversed, longer range aircraft were needed. No. 21 was withdrawn to Queensland, and the squadron trained on American bombers, the Consolidated B-24 ‘Liberator’. It was probably at this stage that Munro, the subject of this painting, was trained and became a part of the crew of MJ-W. A gossip column in the Orange ‘Leader’ follows his story:

Flight Sergeant Peter Munro received his promotion to the rank of Flight Sergeant in May last.

LEADER newspaper, Orange – Friday 3rd December 1943

October 1944 mentions a baby daughter has been born, and Peter Munro is home on leave from the Air Force. By the end of the year, the squadron transferred to Fenton airbase, south of Darwin, where a series of photos of the crew were taken. In the following photograph, we see the dapper Peter N. Munro, dressed in the same shirt with the same insignia with ‘AG’ indicating ‘Air Gunner’. This meant he had one of the most dangerous jobs of all: the gun torrent either at the front or the back was a primary target for any attacking aircraft, as it could potentially guard the bomber from any attack.

Left ImageRight Image

As you can see above, Munro is easily identified by C. Dudley Wood’s excellent watercolour depiction.

Meanwhile, the stiff resistance in New Guinea meant Japanese paused, then withdrew; No. 21 squadron flew constant missions from Fenton in the first months of 1945, making the use of the long range the bombers had.

The final conflict for the squadron were the landings at Borneo, with the Battle of Balikpapan on July 1st commencing with large landing parties of Australian troops, preceded by multiple bombing raids by the RAAF. These were the last flights, as enemy resistance was gradually overcome. Two months later, on the 2nd September, Japan surrendered. One more flight remained, and Munro’s flight home was recorded…..

Orange’s ‘Leader’ paper reports on the 14th September, 1945:

Clifford Dudley-Wood's portrait of RAAF officer Peter Napier Munro, 1945

“W.O. Peter Monro, R.A.A.F., left Borneo by plane on Sunday and was in Darwin for tea and Sydney for breakfast. He arrived in Orange on Tuesday afternoon for six weeks leave with his wife and baby Cherilyn.”

More gossip column reports speak of ‘Sergeant Air Gunner Peter Munro and his pretty young wife…. this attractive pair are always a welcome addition to the Orange Younger Set’.

We can see this character in the eyes of the handsome, strong character Dudley-Wood has painted.

So back to the original question: where did Clifford Dudley Wood and Peter Munro cross paths?

The base at Lowood, Queensland, was where they may have met, but Dudley Wood was also sent to Darwin. He may have come across Munro there, and there are a scattering of other military portraits it would be interesting to cross-reference with.

Being a commercial artist, it is probable that Clifford Dudley-Wood was able to secure commissions from people in the services like Peter Munro, as what better way to surprise a loved one – like Mrs Peter Monroe back in Orange – with an image of his very handsome mug in uniform!

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Australian Portraits: A ‘unique’ Sir Henry Parkes profile, + Miniature of Lady Parkes as a young girl.

Sir Henry Parkes & Lady Eleanor Parkes

Australia became a Nation in 1901, but it was a long process that made this possible. The six far-flung colonies had each developed in their separate ways, and it was the perseverance of Sir Henry Parkes that brought them together. He deserves the title ‘The Father of Federation’.

An amusing Australian adaptation…. Charles Dickens as Sir Henry Parkes!

Moorabool has recently discovered two items that relate to Sir Henry Parkes and his wife, Lady Parkes.
The first is a cast-iron plaque showing a portrait of a bearded gentleman. Mounted onto a turned cowrie pine back, it is typical of the Victorian plaques of notable people, made in large numbers to adorn public buildings like halls and libraries. This example is identified around the edge as ‘SIR Henry Parkes’.

Brass ‘Dickens’ plaque


HOWEVER…. it’s actually a terrific example of Aussie ingenuity.
You see, this is not intended as a portrait of Sir Henry Parkes – rather, it was cast in Britain in the 1860’s-70’s as the literary giant, Charles Dickens – who sported a similar magnificent beard and wild hair. Imported into Australia, and perhaps displayed on a library wall somewhere, when Sir Henry Parkes rose to fame in the latter 19th century, an enterprising scholar has added the inscription to make it the ‘Father of Federation’!

Henry Parkes, Fancy Goods & Toy Seller

Did you know the ‘Father of Federation’ spent a lot of his time retailing ‘fancy goods’ in Sydney? His adverts make fascinating reading, giving a glimpse into the parlours and nurseries of Sydney in the mid-19th century.

Here’s a sample – from the stock of Moorabool Antiques, 170 years later! His shop must have been a present-day Antique Collector’s Aladdin’s Cave….

Adverts for Parkes, 1840’s-50’s

Sir Henry Parkes would have felt quite at home at Moorabool Antiques…. he was a business man and craftsman, learning the trade of ivory-turning before migrating to Australia in 1839. He opened a shop in Hunter Street, Sydney, where he sold ivory products he made, as well as a broad range of imported decorative & useful items:

“Bohemian Glass, Vases of rich and various patterns, handsome China ornaments, PORCELAIN FIGURES From one inch stature, and comprising a hundred varieties. Also, FIGURES IN BISCUIT CHINA. Children’s China, dinner, dessert, tea, and coffee Services. CHINA PUNCH BOWLS, Vases, flower-pots, pomatum jars, match cups, mugs, cream ewers, plates, teapots, etc. ROSEWOOD DRESSING CASES, work-boxes, fancy baskets, FANCY SMALL WARES: TORTOlSESHELL, enammelled and fine leather ladies’ companions, alabaster and enamelled jewel boxes, tortoiseshell and sandlewood card caes, fine leather and enamelled netting boxes, alabaster and silk paper weights, enamelled letter cases and toilet stands, tortoiseshell and leather cigar cases…….”

Another advert from 1846 is fascinating, as it is solely advertising Pacific Tribal Artifacts:

“ISLAND CURIOSITIES – To Gentlemen proceeding to Europe – A variety of bows and arrows, clubs, spears, battle axes, canoe paddles, stone adzes and other South Sea Island weapons &ect.”

Sounds familiar…. you’ll find exactly the same at Moorabool Antiques today – but now they’re Antique!

The second ‘Parkes’ item is a very personal portrait miniature. Purchased in original frame and untitled, an investigation of the backing discovered two inscriptions: firstly, it is a hand-coloured photographic portrait, with a printed back stating it is ‘Photographed at Bachelder’s, 41 Collins Street E, Melbourne’.
Second, it has an inscription declaring it depicts ‘Lady Parkes as Young Girl’.

It suddenly becomes an important part of the story of Australia.

Portrait of Lady Parkes as a Young Girl
Portrait of ‘Lady Parkes as Young Girl’

The frame and mount are original, with the backing paper replaced with opening to show back of photo.

'Botterill Artist'.

The inscription on the back reads ‘PHOTOGRAPHED AT BATCHELDER’S 41 COLLINS ST E., MELBOURNE’, over which is inscribed in pencil ‘Botterill / Artist’.

The three ‘Lady Parkes’

Who was the subject?

Clarinda Parkes, 1880s

Lady Clarinda 1813-1888

There were three ‘Lady Parkes’, as Sir Henry always seems to have needed a companion – especially in his old age, where he had terrible luck with his partners.


His first wife, Lady Clarinda Parkes, was a Birmingham Dressmaker & Sunday-School teacher who married 21-year old Henry Parkes in Birmingham in 1836, when he was just ‘Mr Parkes’, son of a farmer and a novice businessman (which didn’t prosper for him). She came out to Australia with him, having their first child just 2 days before they landed, the first of 12. She had little public interaction, even when he became a notable in New South Wales government. She died in Sydney in 1888, aged 75 – and as this image we are considering is of a young ‘Mrs Parkes’, and is taken by a Melbourne photographer, it cannot be Clarinda who is depicted. She had 12 children, 6 of whom were still alive in 1888.

Eleanor Parkes, n.d.

Lady Eleanor 1857-1895

The second ‘Lady Parkes’ was Lady Eleanor Parkes, a Sydney resident who married Sir Henry a few months after his first wife had died, in 1889. She took a keen interest in Politics, particularly social matters such as the plight of the ‘waifs’, the homeless youth of the time. She travelled with her husband as his political position grew, and appears to have been actively interested and supportive of his policies. She died from cancer in 1895, and they had five children.

Lady Julia 1872-1919

The third ‘Lady Parkes’ was Lady Julia Parkes, an Irish migrant born in 1872, employed as Nanny & House-keeper in the Parkes household, where she nursed the weakening Lady Eleanor. She married the 79 year old Sir Henry in 1895 – just months after the death of Eleanor. This was the shortest marriage, as Sir Henry died just 6 months later, in April 1896.

Setting out the three ‘Lady Parkes’ as above makes him look awfully unlucky – and afraid of being lonely….
But unlike Henry VIII, he wasn’t desperately seeking an heir – he’d already fathered a dozen children. Rather, he sought someone of the opposite sex to make his home ‘homely’, a companion for his old age and protector of his children.

So which of the three is the portrait at Moorabool?

Clarinda, the first Mrs Parkes, who married him when he was just a lad of 21, was apparently the love-of-his-life for the next five decades – but it was only months after she died (after a long illness) that Eleanor was married to Henry. As a contemporary commentator said in the papers, ‘…the community was startled by a report which was published, that Sir HENRY PARKES had just been married”…. The shock wasn’t just that ‘….she is considerably younger than her husband’ – 32, when he was 74 – but also the fact they had been an item while his elderly wife was ailing, and in fact already had two children together! So the untold story was that Sir Henry Parkes had married his mistress after his wife had died. His political opponents and the papers made the most of the situation….

This relationship was contentious – his daughters were reported to have left the house in disgust, his servants all quit before he returned with his bride, and the doors of Parliament were closed to him due to his ‘indiscretion’.

Lady-Eleanor-Parkes aged 14, by John Botterill, 1870

It was justified in the press:

The facts of the matter are, we learn, that the aged statesman, feeling the loneliness of his life when State cares, gave him a brief respite, determined some short time ago—for he is not a man to dilly-dally in such an important matter—that his final days should be soothed and made happy by a second partner of his joys and sorrows. …..

However, the plan of being soothed by Eleanor came crashing down when she became ill and soon died, in 1895.

Sir Henry Parkes continued his career of scandal by marrying his housekeeper, Julia, only three months after Eleanor passed away! Julia was an Irish migrant, and had been employed as the housekeeper / nanny in the Parkes household. She nursed the ailing Lady Eleanor, and it is said that Eleanor herself requested that Julia marry the elderly Sir Henry Parkes. Although somewhat scandalous, this made sense in the Victorian world: there were five young children in the household, and Henry had died penniless and in debt. Julia fulfilled his wish – she dedicated the rest of her life to this step-family, never re-marrying and going to great lengths to provide them with a stable upbringing. She was a remarkable woman.

The Image: both a Photograph and a hand-painted Miniature.

Lady Parkes as a Young Girl
“Lady Eleanor Parkes as a Young Girl”

This very engaging image is actually an albumen silver carte-de-visite, the traditional way of providing images for family & friends; however, while most would be placed into specially made albums with spaces the exact size of the image, this example is intact in it’s original Victorian frame, and behind glass. This is essential, as the fine painted surface, applied over the photographic image, is very vulnerable. The effect is superb, to the degree that when this was sold as a portrait of an unknown girl, it was also described as a ‘portrait miniature’ rather than a hand-coloured photograph.

The work is produced in the Batchelder studio, 41 Collins Street East, Melbourne. This was established by the well-known American Batchelder brothers, who had come to the Australian goldfields directly from the Californian goldfields with the sole purpose of setting up a photographic business. While they had left by the stage this photo was taken, the studio name remained associated with the address for several decades.

41 Collins St E- premises of Batchelder & Co, upstairs.

Batchelder’s was regarded as a premium establishment, and many of the images of notable members of Melbourne society of the period were the product of the studio. In 1867, an advert reminds the public that Batchelder’s has now been going for 11 years – ie since 1856 – and has stored over 25,000 negatives in case you would like a re-print!

The image is signed in pencil to the back, ‘Botterill / Artist’. This is a very interesting detail: the ‘artist’ was John Botterill, described as miniaturist, portrait painter and professional photographer. He was active in Melbourne in the mid 1850’s joined the organising committee for the 1853 Victorian Fine Arts Society’s exhibition, to which he contributed eight works including a miniature self-portrait. In 1859, he is working as a ‘visiting master’ at  Woodford House, a school for Young Ladies in Park Street. In 1861, he joined Batchelder’s Photographic Portrait Rooms in Collins Street East, ‘engaged … to paint miniatures and portraits in oil, watercolour or mezzotint – these deserve what they are receiving, a wide reputation’. He also gained knowledge of photography from somewhere, so probably learnt ‘on the job’ in the busy studio. In 1866, he became one of the partners of the firm alongside Dunn & Wilson, and in 1867 the firm won a medal at the Intercolonial Exhibition for their tinted photographs. This was the work of Botterill, as the advertising from that year emphasises:

“…the PORTRAITS… painted by Mr J. Botterill, artist…. on view in the Fine Art Department , (at the) Exhibition, and to state that Mr Botterill is still at Batchelder and Co’s, 41 Collins St East..”

The use of ‘is still at‘ is curious, and perhaps reveals problems in the company. They parted ways at around this time. In his 1869 adverts, Botterill declares:
“J. BOTTERILL. Portrait
Painter and Photographer, REMOVED from
Batchelder’s to 19 Collins Street East”
He continues at this address for several years, before opening in Elizabeth Street for his final years. He died in 1881.

Lady Parkes as a Young Girl
“Lady Parkes as a Young Girl” – but which one?

Who is ‘Lady Parkes’?

The subject of this photo would be hard to place if it didn’t have the inscription, added to the backing of the original. Sir William Parkes had 3 wives, but we can identify who this one is by the fact the photography studio was in Melbourne. His first, Clarinda, was born in England in 1813 and far too old when they migrated to Sydney in 1839. The third, Julia was born in 1872 – probably after this photo was taken – so she’s not possible. The  second, Eleanor, was born in 1857, so is the right age for a Melbourne photograph in the late 1860’s, early 70’s.

John Botterill signature, Melbourne Artist c.1870
John Botterill’s signature, Portrait of Eleanor Dixon/Lady Parkes 1870

John Botterill signed this piece, on a Batchelder-branded photograph. Note there is no ‘partnership’ described, as was the case 1866-68. Having the partnership details removed would suggest it belongs to a transitional period – the photograph taken at 41 Collins Street East, with the painting done by Botterill a few doors down at his studio, 19 Collins Street East. There was still a strong connection, as after Botterill died in 1881, the Batchelder studio advertises that they have added the archive of Botterill’s negatives to their own extensive archive.

The final dating evidence is the arrival of Eleanor Dixon, the future Lady Parkes, in Melbourne as a migrant. She was from Wooler, Northumberland, one of five children, her father listed as a ‘Master Shoemaker’. He died in 1869, and several months later, Eleanor’s elder brother was married and promptly left for Australia. Eleanor and three siblings followed in 1870, accompanied by their mother.

Lady Eleanor Parkes as a girl, c.1870

1870 becomes the most probable date for the portrait. Eleanor would have been 12 or 13, an appropriate age for the girl in the photo, who still has her hair ‘out’, indicating she was not yet considered an adult. Around her neck is a black ribbon with large gold locket: this is typical Victorian mourning jewellery, and no doubt had a portrait of her late father in it.

Lady-Eleanor-Parkes aged 14, by John Botterill, 1870

We can imagine the scene: the newly arrived family caught up in the bustle & thrill of Marvellous Melbourne in the post-Gold rush boomtown, celebrating their new life with a very fine portrait. She engages the viewer with a very frank, inquisitive look. There’s a pink rose on her dress, and she is presented as a true ‘English Rose’, her hair spilling wildly out over her lace-trimmed dress, not yet constrained on top of the head in an adult style. For the young Eleanor, the future was as golden as the mounts of this image; anything was possible – and indeed, for a few years in the 1890’s she achieved something remarkable, marrying one of the most powerful men of the age, the ‘Father of Federation’.

On the theme of a ‘Golden Future’, there’s a wonderful image of Lady Eleanor Parkes on tour with Sir Henry: they were visiting the offices of Bushman’s Mine in around 1890; sitting to the right with her son is Eleanor, beside a very strong table on which sits a big lump of gold castings. The label at the front reveals its weight to be 1,347oz – and named “The Lady Parkes” in her honour!

Bushman’s Mine, Parkes: a 1,347oz ingot titled “The Lady Parkes”, with its namesake sitting to the side! Sir Henry is unmistakable on the other side with his wild white hair & beard.
1895 newsprint photo of Lady Eleanor Parkes
©Paul Rosenberg, Moorabool Antiques, Geelong.    Please contact if you wish to reproduce any part of this documentation.   Images from various online sources, mostly TROVE-accessed archives. 

Further Info on John Botterill & the Batchelder & Co Studio.

Left ImageRight Image
The 1866 partnership names appear on the lower image; the circa 1870 card back on the portrait of Lady Eleanor Parkes has had this removed, reflecting the updated state of the company.
1851 John Botterill miniature, English Market 2010’s
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Rarity in Miniature: micro-carved Ivory Rococo scene, c.1795

Micro-carved ivory plaque,

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
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, Moorabool Antiques Geelong
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
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
‘Grand Tour’ fan, Views of Rome, Italian c.1785
micro carved ivory Grand Tour fan, Italian c.1785 at Moorabool Antiques, Geelong, Australia

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.

See this item here >>

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A Salviati Aventurine Centerpiece

Salviati Murano Venetian glass centrepiece with dolphins, Aventurine, circa 1880
Antonio Salviati 1816-90

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.

ints on Household Taste in Furniture, Upholstery, and Other Details- Charles Locke Eastlake 1868 - Murano Salviati Glass
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”.
1880 Melbourne InternationalExhibition-Ceramics+Glass
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
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A Tournai Sauceboat

Tournai Sauceboat c.1770

This extraordinary example of Tournai porcelain shows the quality they were able to produce.

Tournai Sauceboat c.1770
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.

A stunning recent discovery shows Tournai porcelain at its best - a Sauceboat & Stand with Cherubs after Boucher, c. 1770
In the fore is our example; the back shows the Philadelphia Museum’s slight variation.