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’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
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.
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!
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’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 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
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.
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.
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.
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
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.
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:
“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!
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 Young Girl’
The frame and mount are original, with the backing paper replaced with opening to show back of photo.
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?
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.
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’.
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 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” – 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’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.
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.
Further Info on John Botterill & the Batchelder & Co Studio.
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
Micro-carving describes the feat of creating miniature artworks, with the favourite material being ivory due to its compact nature which carves easily and displays well. Set against the burgundy silk, this example is a splendid example of the technique.
Stephany and Dresch attributed micro carved ivory plaque, circa 1795, Moorabool Antiques Geelong
The technique is very reminiscent of the contrasting ceramic reliefs made famous by Wedgwood’s Jasperwares, and of the carved shell cameos with similar contrast. However, this ivory carving was magnitudes harder to achieve; the carving is independent of any support until it is attached to the backing. This piece consists of small number of pieces mounted together, with a separate roundel border. In order to lighten the appearance of the urn and its plinth, they have cut out straight lines, with several together only measuring a millimetre – some features such as the stems of the roses in the border garland are the thickness of a hair!
Stephany and Dresch (attributed) micro-carved ivory plaque, circa 1795.
Some of the best of the Georgian era were Continental emigrés, G Stephany and J Dresch. They established themselves in Bath and London, catering for the wealthy clients who were after miniature novelties for their snuffbox collections, or pieces of jewellery, or framed works suitable for a cabinet or wall.
Stephany and Dresch attributed micro carved ivory plaque, circa 1795, Moorabool Antiques Geelong
They promoted themselves as ‘…the most eminent sculptors in ivory in Europe who will execute any design for Rings, Bracelets, Lockets, or for Cabinet pieces’. Their work was ‘so fine that a glass is necessary to discover its beauties’. They exhibited a number of times at the Royal Academy, and were presented with a Royal Warrant by George III, titled ‘Sculptors in Miniature on Ivory to their Majesties’. The Royal Collection still has three pieces, portrait profiles of George III, Queen Charlotte, and the Princess Royal, Charlotte.
This superb micro-carved plaque is quite possibly by this premium English firm, or a Continental carver of similar talent.
An example in the Bath Museum: https://www.bbc.co.uk/ahistoryoftheworld/objects/QuVHVbowTFypssTZHk949Q
‘Grand Tour’ fan, Views of Rome, Italian c.1785
A sensational example of micro-carved ivory can be seen on this Neapolitan ‘Grand Tour’ fan of the 1780’s. It depicts a French-style Rococo ‘folly’, and shows great skill in keeping the sticks strong enough to still stand up to usage.
This flamboyant piece of glass is – believe it or not – Italian! Actually a stunning example of an interesting period in the development of the ‘Murano Glass’ we are familiar with, it dates to the later 19th century years when the revival of the Italian artworks was just beginning. It comes from the workshop of Antonio Salviati (1816-1890), who paired up with an English archaeologist, Sir Austen H. Layard, M.P. (1817-94).
Layard is an interesting character. While considered ‘English’ (sitting in British Government 1852-69), he was raised in Italy, buying a palazzo and living there – but is best known for his travels through Persia in the 1840’s, which resulted in identification and the first excavations in Nineveh, Nimrud, and Babylon. His discoveries form the greater part of the collection in the British Museum. While he was in Venice, he collected early glass and artworks, and came to befriend Salviati – after which they formed a company with one ambition, to revive the golden-days of Venetian glasswork.
Illustration depicting ‘Modern Glass’, 1868 book by Charles Lock Eastlake, 1868 -‘Hints on Household Taste in Furniture, Upholstery, and Other Details’- Charles Locke Eastlake 1868 – Murano Salviati Glass’
The result of this partnership was remarkable. Venetian glass making had stagnated, but they were able to kick-start it again in the later 19th century. They did this by looking backwards to the magnificent original Venetian creations of the 16th and 17th centuries – but as many of the techniques had not been used for generations, they found themselves re-inventing the sometimes very complex recipes from scratch.
Copper Aventurine glass from the Salviati workshop, Venice, later 19th century
This centerpiece is ‘Aventurine’, designed to simulate the semiprecious stone by the same name. It was developed in Venice, with legend of glass-making monks accidentally putting copper shavings into molten glass; however, an early 17th century date is now considered the first production of this glass type. It involves a mixture of copper, iron, and tin oxides, introduced into the glass mixture, which is then fired in a reducing low-oxygen kiln, causing them to form compact crystalline clumps which reflect the light in their unique manner. The new glass structure with the glitter effect is not stable and would deteriorate rapidly in the air, but a method of enclosing it in a layer of clear glass ensures it is preserved.
This large piece was sourced in Melbourne, and may have been here all of its life. The National Gallery of Victoria has a magnificent collection of Venetian 19th century glass, acquired in its early years, with a group of ‘modern’ glass selected for them by Antonio Salviati himself in 1874. When Melbourne hosted the massive 1880-1 International Exhibition, there was a splendid display of Murano glass, with many pieces ending up in the Gallery’s collection where they remain to this day. The Italian glass was highly popular with the Victorians- it was noted for its ‘ethereality’, and ‘might as well be called gossamer glass’ ! It was of course all products of Salviati’s company, the ‘Compagnia Venezia-Murano‘, and it won the highest prize, a gold medal indicating the First Order of Merit.
German/Austrian glass appears in this 1880 International Exhibition photo in the background, while the cuttings from the reports of the time describe the Italian glass display, and their ‘recent revival’. Speaking in general of the exhibits, the special correspondent states “It is to be hoped they will all remain in Australia to guide and emulate our young glass-workers”.
A general view across part of the 1880 Melbourne International Exhibition, showing masses of Ceramics+Glass – mostly British in this view. No photo of the Italian Glass has been found – yet.
First prize, Gold Medal awarded to ‘Compagnia Venezia-Murano‘
After the exhibition closed in 1881, 130 pieces were purchased for the Gallery. At the same time, the impressive wealth in Melbourne meant the top-end department stores were also offering these luxury products for sale.
Moorabool is very pleased to offer this remarkable large & early piece of Venetian Glass.
Not Melbourne, but the 1881 display in Milan’s ‘Exposition’ where Salviati once again took out top-prize for their glass. The background is an example of the mosaics they were producing.
In the Met Museum NY is this design for a similar centrepiece, note the gold inclusions. From a book of designs from Salviati’s “Compagnia Venezia-Murano”, dating to 1870’s-80’s.
Some more interesting connections, including designs from a design book at the Met Museum, New York.
In the Met Museum NY is this design for a similar bottle, note the two options: ‘for water’ (no stopper?) and ‘for wine’. From a book of designs from Salviati’s “Compagnia Venezia-Murano”, dating to 1870’s-80’s.
An early Salviati glass flask, in the Rosenberg Collection, Geelong
This extraordinary example of Tournai porcelain shows the quality they were able to produce.
Tournai Sauceboat c.1770
Dating to circa 1770, the elegant form with robust yet stylish handle, and boat-shaped stand, is a premonition of the Neoclassical simplicity which comes to dominate French design in the last decades of the 18th century. While this aspect looks forward, the decoration is the opposite. It is taken from a print published mid 18th century, after a painting by Francois Boucher, and is the essence of the Rococo style.
The mark is always misunderstood: ‘crossed swords are Meissen’ is the usual assessment, however this piece is clearly soft-paste porcelain, not the hard-paste of Meissen. As a vast number of other makers ‘borrowed’ crossed swords, it is easily attributed to one of these fraudulent makers, like Samson of Paris. However…. this mark is well documented on Tournai porcelain. In the underglaze blue & white products, it is not uncommon. Gold on glaze is rare, but does appear on their better decorated pieces, suggesting it was a mark for their ‘premier products’.
There is a single example in public collections, not published in the literature. This is a sauceboat in the Philadelphia Museum of Art (id=#1968-172-1) , documented on their website. It lacks the stand, but has the same lavish decoration – with a few variations.
In the fore is our example; the back shows the Philadelphia Museum’s slight variation.
Any conductor needs a few batons – and Moorabool has a few of these rarities ‘fresh to stock’.
They include three with inscriptions – some fascinating records of social history, one just a baffling enigma.
Perhaps you’re needing a baton for your Amateur Orchestra – like ‘Professor’ Arthur Hardeman? He was the recipient of a magnificent ebony example with silver mounts including an inscription winding its way down the shaft on a long silver ribbon: “Presented to Professor Arthur J Hardeman by members of the Richmond Amateur Orchestra as a Token of Esteem, 1897” .
Hardeman was a Melbourne musician, son of a Pianoforte dealer, and seems to have made his living giving lessons and performing with his ‘orchestra’. They gave him this magnificent Melbourne-made baton in 1897… as outlined in the newspaper article of the time:
Professor Hardeman’s Presentation Baton, 1897
There’s a wealth of social history to be explored on this subject, including the untold story of the ‘City of Richmond Coffee Palace’, and ‘Professor’ Hardeman’s interesting background.
There are several other batons also, all fresh to stock – quite a collection. The other definite Australian example is also ebony, and has a presentation inscription also: “Pres’ted to E. Sage Esquire, by the members of St John’s Presbyterian Choir, as a mark of esteem, 26/07/01”.
E. Sage’s Presentation Baton, Ballarat, 1901
E. Sage’s Presentation Baton, Ballarat, 1901
E. Sage was a Ballarat identity, very active in the musical entertainment world from the 1890’s. He taught piano and voice in Ballarat, and helped form a musical group, called the ‘Curlew Orchestra’, for the ‘purpose of promoting the study of instrumental music and the entertainment of the inmates of the charitable institutions, and generally assisting by concerts in aid of worthy objects’.
In 1902, for example, there’s a report of an event he presided over: “The members of St John’s Presbyterian choir visited the Orphan Asylum last night, and gave the children an evening’s entertainment. Mr D. N. McLean presided, and in a few happy phrases introduced the performers, and told the children that the public of Ballarat were greatly interested in them, and would be especially glad to see the Asylum band making progress….”
RUN FOR YOUR LIFE American silver & walnut conductor’s baton
Another rather puzzling baton has a cryptic message: RUN FOR YOU LIFE ….. is engraved onto the end. This example is American Silver, by Reed & Barton. It dates to the 1910-20 period – but nothing turns up valid to a musical origin when you look for the words inscribed. Maybe someone has an idea of what ‘RUN FOR YOUR LIFE’ might be relating to? Let us know, if you do!
RUN FOR YOUR LIFE – American Reed & Barton silver mounted baton, c. 1920
Antique Ebony Conductor’s Baton
The final one is just a nice baton, no inscriptions. It has a ribbed body, making it much easier to hold. All we need is an orchestra to try it out on……
While the vast majority of Victorian items we see are perfectly anonymous, once in a while we find a piece with an inscription or dedication; thanks to the excellent free resource that is Trove Australia, we can use such information as names, places & dates to find the original Newspaper reports of the events for which it was engraved.
A recent piece of local history which fits this scenario is a beautiful ebony & silver conductor’s baton, in original leather-clad case.
“Token of Esteem – Dec. 22nd 1897”
Arthur J Hardeman was born in Birmingham in 1864. One of five siblings, his father is listed in the 1881 census as living in Rudlan (Flint), Wales, occupation ‘Piano Forte Dealer’. In 1884, the whole family migrated to Australia on board the ‘Melanope’, still listed as a ‘Piano Forte Dealer’. The family lived in Richmond. Arthur set about becoming a teacher, advertising lessons from the Eastern Arcade in the city in 1886. He also advertised classes in Geelong, although he is still listed as living in Richmond.
He also had an idea of forming a musical group, advertising in the Age in January 1886: “AMATEURS.— Wanted. String Band, Pianist, Trombone, E flat bass, side Drum. Hardeman, Age office.”
The Richmond Amateur Orchestra’s first performance, October 10, 1894
The ‘Richmond Amateur Orchestra’ was formed in 1894 by a group of 25 local musicians under Arthur J Hardeman. Their first performance was on the 10th October, 1894, a Wednesday evening performance of ‘Jo Smith’s play “Drifting” ‘.
By 1897, the year this baton was purchased & presented to Arthur, there were 30 in the group. They provided music for numerous stage performances, as well as musical interludes for other stage shows.
The ebony is a luxury imported wood; the silver-work is not hallmarked but appears to be silver – the engraved maiden-hair ferns and inscription show the same metal throughout. It would have been made by one of the numerous Melbourne silversmiths, housed in a handsome silk-lined leather presentation box, and custom engraved for the musicians of ‘Professor’ Hardeman’s musical group in time for them to present it to him a few days before Christmas, 1897.
The inscription reads: “PRESENTED TO PROFESSOR ARTHUR J HARDEMAN BY THE MEMBERS OF THE RICHMOND AMATEUR ORCHESTRA AS A TOKEN OF ESTEEM DEC. 22ND 1897”
The event is recorded in the “Richmond Guardian” newspaper, Friday 24th December 1897:
“A very pleasant invitation social was given by the Richmond Amateur Orchestra to Mr and Mrs Arthur J. Hardeman at the Richmond Coffee Palace on Wednesday evening, 22nd inst. There was a large attendance, and the evening was a most pleasing one. Mr W. Spangler, on behalf of the members, presented their conductor, Mr Arthur J. Hardeman, witha handsome silver-mounted baton, in a morocco ease, and beautifully engraved., with inscription, Mr Spangler spoke in high terms of the worthy recipient, whom he hoped would be spared many years to employ the baton with his wonted musical skill. Mr Hardeman acknowledged the compliment paid to him in graceful and cordial terms. A capital programme of orchestral, instrumental and vocal items was gone through in a highly efficient manner, and dancing was indulged in later on. Mr Lee Murray acted as M.C. Great credit is due to the managers, Messrs LeBoeuf Bros, and A. Moorehead. The catering was carried out in an efficient manner by Mrs Coles.”
Moorabool is very pleased to offer this fascinating piece of social history. There’s also some interesting research below on the ‘City of Richmond Coffee Palace’, an undocumented piece of Melbourne’s history which we have unearthed in the process of researching this baton.
The City of Richmond Coffee Palace was a briefly popular entertainment venue. ‘Coffee Palaces’ were extremely popular in the boomtown days of late Victorian Melbourne, being an alternative to the pub -only more family friendly, without the alcohol. The ‘City of Richmond Coffee Palace’ was established with the funds of public shareholders in 1888 – but just 3 years later found itself in trouble, running at a loss. A ‘stormy’ public meeting was held in 1892, addressing concerns of profitability; the idea was controversially put forward to apply for a liquor license to make some money; naturally, the core of Temperance share-holders were outraged! It was wound-up as a share company in 1892, a director pinning the blame on the Bank of Victoria, which had raised the interest rate on the loan the company had from 6 to 8 %…… and a liquor license secured. It was still known as the ‘Richmond Coffee Palace’, but you could get a little bit of something else mixed into your coffee!
It was in this entertainment complex the party was held and this baton presented. It’s a fascinating piece of Melbourne’s history.
The City Of Richmond Coffee Palace, 232-234 Bridge Road, Richmond, constructed 1888. This is not documented elsewhere.
Today’s building, the 1888 facade still intact & Heritage protected.
Background story, 1888 Newspaper – The City Of Richmond Coffee Palace
Opening reported, 4th August 1888
Problems…. company winding up in 1892
The End of the ‘Coffee Palace’ concept, Newspaper report 1893 -The City of Richmond Coffee Palace
Australian Silver presentation conductor’s baton, Hardeman, Richmond Amateur Orchestra 1897
Welcome to the latest offerings from Moorabool Antiques.
Fresh to stock is a wonderful selection of Furniture, Silver, Pewter, Ceramics & Pottery with one thing in common….. they belong to the fertile artistic period in the late 19th/early 20th century, where styles such as the Pre-Raphaelites, the Arts & Crafts, the Art Nouveau, and the more ‘Modernist’ designs all found their roots.
Fire-screen containing an actual lyre bird’s tail between glass, circa 1900 – ex-Moorabool Antiques stock.
In Australia, the period saw a flourishing group of artists exploring the rest ideas from Europe, but giving them an Australian meaning. The elaborate Art-Nouveau style of the ‘throne chair’ in today’s Fresh Stock is a fine example: made from Australian hardwood, the remarkable design is a complete departure from the Victorian tradition of how a chair should look. The tall, skinny back is rather distinct, taking on the form of a lyre bird’s tail.
Australian Hardwood Art Nouveau chair, Lyre-bird back, c. 1910
One of the highlights of this year is the watercolour recently identified amongst the many paintings in the collection of the late John Rosenberg. It’s an Ida Rentoul Outhwaite fairy, familiar from the many children’s books she illustrated in the 1920’s-30’s. While her style is borrowing from the overseas greats of book illustration of the time – Beardsley, Rackham and Greenaways – she invents an endless contrast to anything else produced prior by incorporating the Flora & Fauna of Australia. (This example is not the best to illustrate this theme, as it has nothing Australian in it – the Blackberry being an introduced pest, and therefore also its attendant fairy!)
Ida Rentoul Outhwaite original watercolour, c.1933 at Moorabool Antiques
Spot the Difference!
While many of these are now broken up for their prints, this example isn’t a print: it’s an original pencil sketch, which has been coloured with watercolours & finished with her signature black ink outline and details. It is a prototype sketch for the illustration of ‘The Blackberry Fairy’, one of 6 colour prints included in her 1933 publication ‘A Bunch of Wildflowers’. It was badly framed in such a way that the signature – her initials ‘I.R.A.’ – were covered by the mount! Taking it off & discovering the printed version was quite a thrill: note the differences between our version and the printed version, indicating there must be another with the different details out there, from which the print for the book was made.
Silverplate jug showing Christopher Dresser influence, Henry Wilkinson and Co, made in 1892. This precise date is possible as the hallmark was only registered that year – and they also sold out & therefore ceased to use it the same year!
The greatest of the Art & Crafts ‘influencers’ was Dr Christopher Dresser. His design philosophy was radical in the Victorian world, which by the 1870’s was stagnating, repeating earlier designs in ever-more complex convulsions of rococo scrolls and classical columns. Instead, he looked to the East – being the first European to be granted a travel passport in Japan in the 1870’s, where he travelled from end to end, examining Japanese crafts and then bringing the simplicity and elegance of good design back to England. He spent a huge amount of effort influencing manufacturers to create elegant, useful wares. In today’s fresh stock are a number of pieces that look like they should be made well into the 20th century – but are in fact 19th century products. Dresser freely distributed his designs, and published a number of books on the subject; many potters and metal workers used these designs as they caught the attention of the ‘hip-crowd’ of the late 19th century. He was the ‘Social Media Influencer’ of his time!
Pair of Christopher Dresser candlesticks, designed & made 1885, probably by Benham & Froud for the Art Furnishers’ Alliance, London.
Designs of Dr Christopher Dresser, from his account book for Linthorpe Art Pottery, 1881. Now in the Getty, LA.
A case of mistaken identity…. this piece looks a lot like a famous Dresser design, and the craftsmanship is very similar to makers of Dresser pieces such as Benham & Froud – however, it is an industrial item, being an oil can from a canal boat! This reflects Dresser’s own philosophy very closely: form follows function: the broad base is stable in choppy seas, and the form is simple for a metal worker to create from flat sheets. The handle angle ensures steady flow of the contents, in all a very well designed piece, created by a practical industrial mind – just no Christopher Dresser’s.
Arts & Crafts Pewter vase, by W. Hutton, Sheffield, c.1905. The inset ceramic plaques are possibly from the Ruskin Pottery in Staffordshire, known to have provided similar pieces to other manufacturers. The design is very similar to those of Archibald Knox, at the same period, circa 1905.
WMF (Germany) Jugendstil candlestick, circa 1900
On the Continent, the Arts & Crafts movement took its own direction. In Germany, the Jugendstil , literally translating as ‘Youth Style’, produced some remarkable objects that still appeal to the modern eye due to their ‘sophisticated simplicity’. The candlestick shown here is WMF, circa 1900, and retains the rare original patinated finish. It has a style that could date to anywhere in the 20th century, but was actually conceived in the last years of the 19th – remarkable.
On a different trajectory was the French designs we know as ‘Art Nouveau’. This style borrowed from the preceding Rococo style, with organic forms that appear to grow – but took it to new extremes.
WMF Art Nouveau waternymph claret jug, circa 1900
Also by WMF is this remarkable claret jug. The very tall, skinny sea-green glass vessel is encased & protected by a flowing stream around the foot, from which emerge water-nymphs: the ‘waves’ are actually their long flowing hair. An organic handle that looks like it grew rises up to the pewter mouth, with a beautiful spray of flowers moulded in the round within the protected elbow.
It’s a splendid example of Art Nouveau at its best.
Pre-Raphaelite wall hanging, circa 1880
This large wall hanging is an example of anther closely related style of the period, the Pre-Raphaelites. Formed by mostly painters who sought to break away from the genre painting of the Victorian era, instead of looking for something new, they looked back – deciding that anything from Raphael onwards was not worth looking at, but the earlier artists were more valuable as as influence. This beauty depicted here in watercolour on a heavy fabric (probably upholstery fabric) is a fine example of the ideal; she is splendidly dressed in middle-ages clothing, and holds a book in one hand showing her intellect. Behind her is a landscape containing trees and a distant town amongst hills – the whole very reminiscent of the actual tapestry weavings of William Morris and his wife, May. While this example is ‘only painted’, it is very well done – the paints would have soaked into the fabric quickly, and great skill is shown in the control and tonal variation achieved. It is in fact a cross-over from the Textile Arts to the Fine Arts of painting – unfortunately not signed, but by a very competent artist. Presently unframed, it was once stretched on a wooden stretcher. It would be fine as a wall hanging as-is (if kept in a dark place) – or to fully respect it, we can have it framed in a UV-resisting glass frame to preserve it for the future.
Please enjoy all the other unmentioned pieces shown below!
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