An interesting rarity has just been unearthed at Moorabool.
Godden in his ‘Staffordshire Porcelain’ is the initial source of attribution, using the style of piece & pattern to date it to the 1820’s, and then refine it down to two possible makers with ‘D’ surnames. Drewry- also spelt Drewery – is the most likely of the two, in his opinion. They are recorded in the directories 1818, and disappear after the 1830 publication. Godden illustrates the London-shape teapot with the same pattern and ‘D’ mark on p415. Distinct to this maker (apparently not found elsewhere) is the plain handle form, without a spur on the inside towards the bottom; also distinct is the handle wrapping down the body and terminating by touching the actual foot of the jug.
A selection of similar patterns, made by the Hilditch firm. These are identified by marked examples, set out in a 2003 publication, ‘Hilditch Porcelain – A Collector’s Guide’ by Margaret Hewat & June M. Owen.
The similarity to the Drewry pattern is no coincidence; the Hilditch works were located in Lane End, Staffordshire, just over the road from the Drewery works. The engraver responsible for the copper plates used to print the transfer was not exclusively employed by these companies; rather, he would be a freelance operator, taking on the work when it was needed. Somewhere like Drewry would not need his services very often – this was pattern 65, and such printing plates could stay in use for many years before needing replacement. If you examine the details of the prints of these Hilditch products, and the other similar works such as Newhall, it is clear that the same engravers are at work for multiple firms – making this marked example an important clue to unravelling the correct attribution of these charming transfer printed wares.
from the ‘Transferware Collector’s Club’ database, on the ‘Teahouse Pattern’ jug illustrated below, with the note “The numerals “44” alongside the “D” mark are more likely a worker’s number than a pattern number”. We propose that it is indeed a pattern number, and should be read as ’77’ – see image below for the pattern.
This pattern is recorded by the Transferware Collector’s Club database as pattern #2552, titled ‘Pavilion & Tower’ ( no. 65) by Thomas Drewry & Son, Lane End, Staffordshire. A related pattern is their #3327, a pattern known as ‘Tea House’ (See photo below). In the documented example, there is a number next to the mark – as there is with this example & others of this pattern that have been recorded, all ’65’. Clearly this is the pattern number for this pattern, 65. The numbers on the ‘Tea House’ example are interpreted as ’44’, but seem to more likely be meant as ’77’ – just a few patterns along from this ‘Pavilion & Tower’ pattern. Comparing the two reveals a very close look.
Drewry Pattern 77(?) from The Transfer Collector’s Club website. Note the difference in the handle: this example is the same as the other numerous London-shape handles with a spur on the inside, while the (apparently) unique feature of the example we are documenting is having no spur.
Drewry & Son, Lane End, London Shape jug, pattern 65, marked ‘D’ in sunburst, at Moorabool Antiques, Australia
Example of Drewry porcelain London-shape teapot, pattern 65, now known as the ‘Pavilion & Tower’ pattern, here illustrated in Godden’s ‘Staffordshire Porcelain’
Drewry & Son ‘London Shape’ Cup & Saucer, pattern 65, circa 1818-30
This piece is a fine example of how time disappears in this field: unravelling the above story took quite a while, with widespread resources to consult and bring together to tell the story. And yet, look at the price: Rarity doesn’t necessarily mean ‘expensive’ !
The second porcelain manufacturer in Europe after Meissen (1709) was in Vienna, in 1718. While the initial establishment of private businessman du Paquier ultimately declined, it was revived by the state itself in 1744 when Empress Maria Theresa bankrolled the Imperial State Manufactory, Vienna. The blue shield mark came shortly after (sometimes called a beehive, as when viewed upside down it resembles one….).
Vienna figure of ‘Autumn’, circa 1765
This remarkable figure dates to the 1760’s, and along with others in the same theme, would have been part of a grand table decoration for the banquets of an important household. The figures depict idealic ‘pastorale pastimes’, such as the harvesting of grapes seen here, and show us a favourite occupation of the Rococo courts in Europe: dress-up balls.
Marie Antoinette as a shepherdess is an image well remembered in the present, and such themed events were a common occurrence in the 18th century. Grand balls were held with attendees all dressing in ‘pastorale’ costumes, imaginative interpretations of the life of the ‘common folk’. Imagine such a ball, with an associated dining experience included. Sitting at the table in one’s costume, there was a splendid representation of the pastoral ideal in the form of the colourful figures spread down the tabletop between the guests. They were the perfect conversation starters, and with the lively & expressive interactions of the characters seen in these Viennese figures, no end of witty comments would be possible.
18th century Viennese Table Figures in use
Vienna Porcelain c.1765
This example is one of a group of four figures depicting the seasons. With the grapes being harvested, it is Autumn; in the same Prague collection are two other figure groups matching (the key difference being 3-figures on a single oval base) – ‘Reaper as allegory of summer’ and ‘Ice skater as allegory of Winter’. Missing is a figure of spring; presumably the ladies depicted will have baskets of ‘spring flowers’ or fruits.
Viennese Porcelain c.1765
The modeller who incised ‘Q’ is well represented in any collection with early Vienna figures.
This example differs very slightly in the construction of the components, with the kneeling woman’s hand resting under the man’s armpit rather than on his coat tail, and her other hand not actually grasping the tool. The colour palette is the same yellow, pink, blue, and tones of green & brown, but the Prague example also includes two instances of gold being used.
Left: Prague collection Right: Moorabool Antiques, Australia
The definitive book on these early figures ‘Ceremonies Feasts Costumes : Viennese Porcelain Figures during the reign of Maria Theresia’ is a splendid 2007 publication with large clear illustrations, detailing hundreds of Vienna figures from the 1740’s until the 1780’s. A private businessman, Du Paquier, had started the porcelain works in Vienna as early as 1719 ( making it the second true porcelain manufacturer in Europe, after Meissen), but by 1744 he was financially struggling, and the Viennese State purchased the works. This was of course ruled by Maria Theresia, the Empress of Austria, and she loved a good party… the porcelain works were an excellent source of the needed table wares, and this included table figures.
Refer p148 of this book for an example of the above figure, also the frontispiece of the book; fig. 228 “Wine grower as an allegory of autumn”, c. 1765 (Decorative Arts Museum, Prague).
A curious ink sketch of the fabulous ’Wellington Shield’ has a story to tell. Arthur Wellesley, 1st Duke of Wellington (1769-1852) was the hero of the moment when he led the British & Allies to victory over the French at Waterloo in 1815. It had been 23 years of constant fighting with the neighbours – namely Napoleon’s France – and finally, there was the reality of a genuine peace. The National was truely grateful.
The Duke of Wellington, early 19th Century portrait @ Moorabool Antiques, Australia
The Silver-Gilt Wellington Shield, Designed by Thomas Stothard, made by Silversmiths Green, Ward & Green, and presented to Wellington in 1821 by the Merchants and Bankers of the City of London.
The Wellington Shield is a magnificent creation, paid for by The Merchants and Bankers of London as a token of thanks for keeping Britain free of Napoleon – and the essential trade networks flowing. Commissioned in 1817, it was presented in 1821. Now in pride of place amongst all Wellington’s treasures at his London home, Aspley House, No. 1 London Road (also a ‘Present’ from the grateful people!), it was lauded as the most spectacular silver charger ever made at the time. Inspired by the description of Achille’s shield in the Iliad, it shows Wellington being crowned by a winged Nike ‘Victory’ figure, surrounded by his loyal troops, and surrounded by ten detailed panels showing scenes from his career. Large and highly-detailed, it was examined, described, and replicated in publications across the British Empire. It was put on show every year at the annual ‘Waterloo Banquets’ held at Apsley House until Wellington’s death in 1852.
The shield can now be seen in Aspley House, part of the Wellington Museum, No1 London Road. Photo source: WikiCommons
We recently came across an interesting hand-drawn ink sketch of the Shield. Part of an anonymous sketchbook, the other side bears an image of two Indian soldiers, and a camel resting alongside a rifle. Other works in the album had European views, portraits of notables, and quite a few images of ports in Europe. How do we interpret this all?
The Wellington Shield sketch c. 1835The Wellington Shield sketch c. 1835
The reverse of the sketch bears these interesting studies.
Dating to the earlier 19th century, I believe it is the sketchbook of someone who really wanted to travel – but perhaps didn’t even set foot in the exotic locations depicted. It may well have been a young lady (there were some flower studies, always popular with young lady artists), who had the ‘wanderlust‘ to see the exotic sights that these images portray – but she could well have done it all during her idle time in the ‘drawing room’ of her family home, thanks to the array of newspapers and magazines that came readily available as the 19th century progressed.
This theory comes from the discovery of the source of this piece, and also from a clue that both images share: a very faint black smudging along the edges of all figures.
The Source
The Saturday Magazine March 1 , 1834
Left – image from the ‘Saturday Magazine’, March 1st 1834 Right – the sketch being discussed, desaturated for comparison.
This is the fine woodblock engraving which illustrated an article on the shield in the ‘Saturday Magazine‘, published March 1st, 1834. This was a small, illustrated magazine that was sold for one penny, ‘Under direction of the Society for Promoting Christian Knowledge‘ – although it’s contents are of social / scientific / political nature, not religious.
The publisher was John Parker (1791-1870). His father was in the Royal Navy, and Parker served his apprenticeship at a London printer, which he ended up managing. From 1829, he became the director of the Cambridge University Press – and the appointed publisher for the Christian Knowledge Society, for which the magazine was published. While he printed bibles, apparently when Parker introduced ‘steam power’ for the presses, the ‘Christian Knowledge Society’ revisited the technology!
This illustration of the shield accompanied a long article waxing lyrical about the shield and how it came to be:
“…..the Duke of Wellington, England’s great General …. had finally planted the triumphant standard of our country on the soil of France itself. ……. honours were heaped on him from all sides, and men taxed their ingenuity to devise modes in which they might best mark their gratitude to him. To this feeling, so universally displayed, is to be attributed the production of the Wellington Shield, one of the most magnificent works of art ever executed in the precious metals. “
The Wellington Shield – source in The Saturday Magazine, 1st March 1834
It is, however, reversed. How could this happen? The clue is the fuzzy, ‘bleeding’ nature of the principal outlines evident in the sketchbook, even on other pages.
Note the ‘bleeding’ to the dark outlines
This is evidence of the technique used: a primitive transfer, where the artist has used an ink to carefully trace the main features in the print, then placed the blank paper onto the still-wet ink. After some pressure, probably in a book press, the image would be transferred – somewhat fuzzy, and needing the secondary touch-ups and washes of solid colour to create the image as presented. As part of the process, the image appears in reverse – and tends to bleed.
Left: Thomas Stothard’s 1820 very accurate engraving of the shield. Center: woodblock from the 1834 ‘Saturday Magazine’ Right: the same detail in the ink sketch, reversed.
The differences between these details reveal the ink sketch is not copied from Stothard’s version, but is identical to the ‘Saturday Magazine’ version. The give-away is the bow beneath the laurel wreath – while it is complete with two loops on Strothard’s depiction, the Magazine has unravelled the loop, leaving it out on one side – and the artist of the ink sketch has followed this mistake.
left: Magazine, 1834. right: Ink sketch
This is a fascinating depiction of a historical artefact, from the time when Antiquity was the inspiration for heroic representation. The artist has used an interesting technique to replicate their own version in reverse – and the result is not unlike an ‘Old Master’ pen & wash drawing from a much earlier period.
A remarkable folio of 200 year-old Chinese paintings recently came to Moorabool. They are large-scale examples of the ‘China Trade’ paintings, usually seen on a smaller scale on ‘Pith-paper’. These are on a thicker paper, using Mulberry bark as the basis, hence known as ‘Mulberry Paper’. They were popular with the European traders who came to Canton to buy Tea, Silk, Porcelain, and exotic Eastern produce. Rare early examples can be the mid-18th century, but they became very popular by around 1800 as trade flourished. Their subject matter reflects this intention as a ‘souvenir album’ – the distant ancestors of the postcard folio of the modern tourist.
‘The Story of Tea’, small folio, ex-Moorabool Antiques
One theme was ‘The Story of Tea’, showing the process it went through from the bush to the tea chest- appropriate considering the intended customer, visiting European merchants. Another rarer series follows the manufacture of Porcelain.
By far the most popular subjects were the everyday people that visitors would have seen on the streets – the umbrella mender, the fish sellers, the hat maker. Crime & punishment folios featured many macabre details not suitable for children… Others have children playing with toys, the dress of the wealthy & court, and the bright & lively processions for various holidays and celebrations.
Camellia Sensis, tea plant, Chinese Export pith painting, Moorabool Antiques
A third group served as a ‘Visual Encyclopaedia’ – with subjects such as flower specimens, birds & fish specimens, ship types, and even ’Antiques’. This album we are showing here belongs to this group, a Musical Instrument ‘visual guide’.
Occasionally there are small-scale pith paintings of Chinese musicians playing the various instruments – but it seems these depictions of instruments on this album are quite rare. No comparable example could be found.
Chinese Pith Painting – a Musical Procession, c. 1830-50 Moorabool Antiques
They represent a large number of Chinese musical instruments, as were used in the early 19th century when they were painted. As a folio, they were a document of the types of Chinese traditional instruments, which brings to mind it’s purpose: to the Westerners who were often the clients for the China-Trade paintings, they were curios; to the Chinese, they would be a fine reference folio for the musically minded – a tutor to a prince, perhaps?
Ready to play….. a finely detailed Chinese Qing Dynasty Musical Instrument Painting depicting a ‘Qin’ harp, circa 1800- 1830
A total of 20 instruments are depicted, some single, several double, and two triple.
These works are for sale individually, or talk to us if you are interested in the complete group, or part thereof. Individual prices – $750 each, all 11 total price $7,000
Often mis-labelled a ‘Toby Jug’, this is an early version of a comical jug that becomes popular in the latter 19th century, sometimes identified as ‘Puck’. We believe this head jug is a distinctive character, and as it belongs to the period of the French Revolution, his identity must be found in that timespan. His appearance matches that of Georges Jacques Danton (17591794), an important public figure of the late 18th century in France, and the perfect candidate for a slightly humorous head mug like this.
Contemporary French depictions of Denton give you a good idea of his appearance:
Is this Georges Jacques Danton? French Faience jug, c. 1795
Danton was President of the Committee of Public Safety, a part of the Revolutionary Government whose purpose was to protect it’s seat of power. As such, he was able to achieve dictatorial power for the committee; however, he soon found himself in trouble as the whole scheme got away from him. He be came noted for his corruption, and mocked by the general population. The infamous ‘Reign of Terror’ was fatal for him; beginning in 1793, preemptive executions of anyone suspected of being an enemy of the government took place, directed by the sinister Robespierre. Danton became a moderate, disgusted by the slaughter, and tried to calm things down. However, this very action led to his arrest and trial on April 3rd, 1794.
Hauled before the Revolutionary Tribunal with several other political moderates, he put up such a fight that it was feared he would sway the tribunal with his rhetoric. However, the decision had already been made. The acused were denied the right to have witnesses appear on their behalf, and then two days later the verdict was passed in the absence of the accused, who had been removed from the courtroom to prevent unrest among the trial’s observers. Their execution was scheduled for the same day.
Danton’s Execution, with his head fulfilling his last wish, 1794
Dragged to the guillotine with several others, he was executed.
“I leave it all in a frightful welter,” he said;
“not a man of them has an idea of government.
Robespierre will follow me; he is dragged down by me. Ah, better be a poor fisherman than meddle with the government of men!”
The reference to a poor fisherman’ was probably a reference to Saint Peter, as Danton had reconciled to Catholicism. His last words to the crowd were, “My only regret is that I am going before that rat Robespierre.”
Danton’s true last words, however, were addressed to his executioner:
“Don’t forget to show my head to the people – it’s well worth seeing” !
Danton’s Last Words
Events went as Danton foresaw. The committees presently came to quarrel with the intense opinions of Robespierre. Just three months after Danton’s execution, The Reign of Terror was ended when Robespierre was himself executed. His assent to the execution of Danton had deprived him of the single great force that might have supported him against the Revolutionary committee.
This remarkable head mug dates to this period of political upheaval. He wears the red, white & blue around his neck, in the high collared fashion of the time.
How ironic that his last words were lived out in clay, with an enterprising potter making a mug of his head, for all to see and remember the remarkable Danton, the moderate who tried, and failed to tame the Revolution.
This early English needlework is an exceptional example.
The Entire Textile – zoom in for detail….
At the Malvern Antique Fair in 1976, John & Lorraine Rosenberg of Moorabool Antiques purchased a framed needlework from another dealer. Placing it on their own stand for sale, it promptly sold to a local collector, who treasured it for the next 43 years.
She puzzled over its meaning and came to a remarkable conclusion: it depicts the events of the late 15th century, showing the fall of the Moors in Spain, and co-regents Isabella & Ferdinand II unifying the two kingdoms into the one Kingdom of ‘Spain’. It shows the three ships of Christopher Columbus….. and so much more, in a narrative of images, almost like a cartoon. Those familiar with the Bayeux Tapestry will understand the concept of telling a tale in thread. In 2019, it came back to Moorabool with the first elements deciphered above.
Since then, more and more of its remarkable tales have been untangled, and an exciting discovery can be revealed. This is a 500 year old ‘comic book’ with immense significance for British, Spanish, and American history.
More to come shortly – in-depth analysis & expert opinion to follow.
Each detail in this textile is intentional, carefully sewn in incredible detail over a great length of time. It was a tale that the author had to tell… but what is the tale, and why?
Unravelling the story has been a fascinating journey; we invite you to join us as we explore these details in a series of interactive presentations.
It had an inscription on the back which gave us enough clues to find the original sitter, and we were delighted to discover the signature in the top right corner:
Pernooeau’s signature & the date 1751, signed in lead.
There was a modern label to the back covering, with a few details – probably copied from the previous covering. From this we can identify her: Jeanne-Marie Mallès, later Mme Tobie Clarke (1733–1821).
Jeanne-Marie Mallès was from a seafaring family, her father being a Captain in the East Indies Company. However, he died in 1744; Jean-Marie was fatherless when this portrait was done in 1751, and it was 7 years later she was married to Toby Clarke (1733–1821), merchant of Nantes. They had several children, and a daughter, Marie, married François-Claude de Karuel de Merey, capitaine d’infanterie, who died in 1804 – the year Napoleon crowned himself Emperor – probably no coincidence, with the war with England and Spain raging.
Correspondence with Mr Jeffares has resulted in the authentication of the signature, making it a ‘signature piece’, and it is now added to the online ‘catalogue resonné’ of Perronneau, listing of every example authenticated, part of the amazing record freely accessible on Mr Jeffares site, www.pastellists.com/ . You’ll find it as part of the following document:
An interesting note in Jeffares’ comments is that he sometimes dropped – or added – an ‘n’ to his name. Our example is the shortened version, Perroneau. There are also several other examples of his sitters ‘as Dianna’ , obviously an interesting option to choose when having your portrait done. How fascinating, this beautiful young lady who had lost her father aged 11, had this portrait done showing her as the strong Goddess of the Hunt in 1751, and only married 7 years later. You can see her character in the twinkle of her eye..
In today’s world-wide situation, ‘Armchair Travel’ is a necessity. The difficulty in heading off on a grand tour is huge, and the likelihood of being marooned somewhere due to closed borders is high. Stick to google street view exploration for the moment!
A recent discovery at Moorabool reveals the idea has been around a long time. Finely detailed and depicting an ancient ruin in a dramatic landscape, the work is signed Copley Fielding.
Copley Fielding watercolour, Ruins at Delphi, circa 1820
Copley Fielding (1787-1855) was a very talented artist of the Georgian period. Born in the Midlands in 1787, he was the son of a portrait painter (Nathan Theodore Fielding), who gave him the inspirational ‘Vandyke’ name as tribute to the famous artist. The inspiration worked, as he showed strong talent at an early age. In 1810, he entered the Royal Academy schools, being taught by John Varley and becoming a close friend of William Blake. The same year he was an associate exhibitor of the Royal Society of Watercolours (RWS), later serving as President. In 1824 he won a gold medal at the Paris Salon, alongside Constable. He exhibited constantly in the RWS exhibitions, and a smaller number of his oil paintings at the Royal Academy.
Copley Fielding ‘Delphi Ruins’
Anthony Vandyke Copley Fielding (1787-1855) National Portrait Gallery, London -by Sir William Boxall
Best known for his atmospheric ‘Romantic’ landscape views in the British Isles, and windswept seascapes, there are a small number of works in his repertoire depicting exotic overseas locations: Rome, Naples, and this example, the temples of Delphi in Greece. They are all imaginative – he never travelled out of Britain!
The scene in this work is the famous temple complex at Delphi, Greece. His direct inspiration would have been an artist’s sketch – it was a ‘top-10 destination’ for anyone with artistic ability on the ‘Grand Tour’, and in his RWS position he would have constantly come across people who had been there with their sketchbook. However, he has enhanced it to make it more impressive; the ruins are less ‘ruined’, the rounded form of the Tholos being remarkably intact, and the rectangular Temple of Apollo apparently still having its roof!
Copley Fielding’s ‘View of Delphi’ at Moorabool Antiques, Australia
The title on the old mount it is in is most confusing, and perhaps illustrates the nature of Copley Fielding’s inspiration: there is no ‘Temple of Juno’ at Delphi, although the mountainous scene is clearly meant to be Delphi. Several temples of Juno elsewhere in the Classical world survived and were sketched, but all are standard rectangular constructions. Clearly something got lost in translation between sketchbook and watercolour brush, by either the original artist, or the mount-maker of this work.
Copley Fielding’s Signature
The rare Copley Fielding depictions of foreign lands include Rome, Naples, Greece (such as ours) and exotic Middle-Eastern landscapes. They are all ‘flights of imagination’: he was a true ‘Armchair Travelling-Artist’. How interesting that this work depicts the Temples at Delphi, regarded as the very center of the world by the ancient Greeks, the start and finish of all journeys.
Copley Fielding’s background landscape.
His works are represented in a large number of major collections around the world, including the V&A and the Tate, London, The Met NY, The Art Gallery of NSW, and our very own National Gallery of Victoria in Melbourne.
Three early 19th century Wedgwood Pearlware pieces bearing the ‘Water Lily’ pattern, sometimes known as ‘Darwin’s Lily’.
A collection of a scarce Wedgwood pattern has recently come to Moorabool. What a fascinating tale this pattern has to tell…..
Commonly called ‘Darwin’s Water Lilly’ , or just ‘Darwin’, it is one of the few Wedgwood printed patterns of the first decade of the 19th century that was not Oriental in inspiration, and in fact an original creation.
The source prints for the Wedgwood pattern, from ‘Curtis’s Botanical Magazine’ and ‘The Botanist’s Repository’, dating to 1803-6
The inspiration for the design was pulled from several different engravings in Botanical magazines of 1803-6, and shows specimens of three types of the ‘Nymphaeaceae’ family, commonly called ‘water lily’ – left to right they are: 1 -‘nymphaea stellata’, or starry water lily, 2 -‘nelumbium speciosum’, or sacred Lotus of India, 3 -‘nymphaea lotus’, or Lotus of Egypt.
The original version designed in 1806 was printed in brown as a basis for enamel decoration; this is said to be the earliest instance of printing in brown that can be accurately dated.
The British Museum’s plate from the Darwin Family, delivered 1808.
The extra leaf in the 1815+ versions.
The difference between this earliest example and those slightly later is very subtle; a half-submerged leaf at 5 o’clock is the best indicator, not appearing in the 1807 version, but there by the circa 1815 examples.
Onglaze red was used from late 1809. In 1811 blue was introduced and become a favourite. Underglaze red appears in 1828. A later 19th century version was named ‘Old Water Lily’.
But why is it so often called the ‘Darwin’ pattern? It turns out it’s a family affair. In the British Museum is a plate, very similar to our brown printed example, and another is in the Victoria & Albert, both from the same source: the family of Charles Darwin. In older literature, there is a story about them being from a service made by Josiah I Wedgwood for his friend Dr. Erasmus Darwin, on occasion of his marriage in 1781. However, this date is far too early for the pieces we are examining. The present conclusion is it was designed by John Wedgwood – the eldest son of Josiah Wedgwood, a noted horticulturist who was co-founder of the Royal Horticultural Society, Kew.
Eramus Darwin, 1792-3, by Joseph Wright of Derby, now in the Derby Art Gallery.
It was ordered in 1807 by Dr. Robert Darwin, son of Erasmus Darwin, and father of the famous Charles Darwin. He received it in 1808.
Robert Darwin, from an oil painting by James Pardon (1811-1829) (source:wikicommons)
The Darwin family and the Wedgwood family were intimately linked. Josiah Wedgwood and Erasmus Darwin were both part of the ‘Lunar Society’, the incredibly forward-thinking group of scientists and engineers that regularly met to discuss the exciting new world of science & technology – and botany – that was emerging in the late 18th/ early 19th century. A friendship was obviously formed, and several generations of inter-marriages followed. Erasmus’s son Robert married Josiah’s daughter Susannah, and their son, Charles Darwin, married his cousin – Emma Wedgwood, daughter of the second Josiah Wedgwood and his wife Elizabeth. She was therefore the daughter of his mother’s brother, and genetic problems are obvious in the generations that followed… Much has been written about the irony of Darwin’s fascination with aspects of genetics and evolution in nature – including how in-breeding caused a species to be fragile – and he himself wrote of his genetic concern for his own family….
Analysing the image source reveals the draftsman who created the ‘Water Lily’ design used multiple images, combined. Four source botanical images have been identified in the literature, one of which is a double – the following diagram shows which part comes from which publication. (Slide the divide for the arrows. )
SWIPE LEFT & RIGHT TO ENGAGE THE LOCATION ARROWS
The use of five different prints, from two of the botanical journals of the time, shows the designer was well aware of ‘botanical correctness’. They keep the leaf type of all three specimens separated and correct, and by combining the two prints of the Nymphaea lotus – no. 3 below – they show their scientific interest in the accurate description of species the botanists were striving for. The suggestion that it was John Wedgwood, co-founder of the Royal Horticultural Society (along with Sir Joseph Banks) makes perfect sense.
John Wedgwood (1766-1844)
In the Wedgwood archives, a letter written to John’s brother Josiah Wedgwood II by the manager Thomas Byerley, states:
Onglaze red, c. 1815
‘Your brother is extremely active and intelligent, and is fast paving the way for a radical form, and will greatly benefit the concern ’.
Unfortunately, John retired from the firm in 1812, leaving just a handful of fascinating precise botanical statements as his ceramic legacy.
We’re pleased to have a selection from the earliest products of Wedgwood in this mesmerising pattern – a chamberpot and dish in the blue of the 1820’s, three red plates from around 1820, and an example of the earliest short-lived brown print. The final piece is a 20th century Wedgwood re-creation, limited edition for the Wedgwood Collectors…… enjoy!
Moorabool’s Wedgwood ‘Water Lily’ offerings, midyear exhibition 2021. All 1815-25 except for the tankard, which is 20th century.
This group of silverplate trophies are an interesting insight into the origin of Australian’s obsession with Sporting Events, which were used as a means of bringing the newly established colonial communities together and giving them a sense of ‘Pride of Place’ that is still very active today.
Moorabool recently discovered this trio of interesting local trophies, all won by a Mr R. D. Booth, Banks Club.
The first (on the right, above) is an elaborate fine-quality piece of English electroplate, engraved with fruiting vine & with handles dripping with grapes – a curious choice for the prize for the 1879 Colac Regatta. Most probably, it was simply a case of what was available in the English imports at the Melbourne jewler’s shops.
1879 was the first year that the event was held on Lake Colac, the largest inland lake in Australia. It required quite an effort to organize, with boats being transported overland from Ballarat, Geelong, and even Warrnambool to compete. The freshly laid Colac – Geelong railway connection allowed the logistics of transporting them such a long distance.
The Colac Regatta, 1879 – from the Australasian Sketcher, 1880
There had been an earlier ‘regatta’ on Lake Colac on March 29th, 1879; the newspaper reports on it wax lyrical, describing a crown of 2,500 people from Geelong, Ballarat, Melbourne, and everywhere in-between all having a jolly good time: the Colac Herald reports on April 1st 1879 the “flags of all nations were blowing”, and the sight of all the boats & flags “…brought to the recollection of many the youthful remembrances of bygone years.” – in other words, the gathering was a time of bonding by the settlers over memories of the ‘Old Country’, a nostalgic celebration of what was commonplace in Europe, but a first on this far-away picturesque Australian lake in the Western District of Victoria.
“Old and Infancy; the youth and beauty of Colac and district were there, all eager to witness the interesting excitement of aquatic contests”….
A Colac Regatta of the 1880’s
“One or two slight mishaps occurred during the day which tended to amuse those present more than mar the proceedings, and were caused by the capsising (sic) of three boats…. “ One of these was the Maiden Sculling Race: ” only two started. At the start both men pulled away together, but the ripple of the water was too strong for the frail craft pulled by Parkinson, and the result was that he came to grief by the boat swamping when about half the distance had been pulled….. (he) swam to one of the posts and clung there until he was rescued by one of the boats of the Colac club.”
A Yacht on the 1881 Melbourne Regatta Prize
Fine entertainment indeed! And it was this ‘ripple of water’ caused by ‘a strong breeze blowing incessantly during the day (meant) the water was rather too much ruffled for the rowing contest….”
The success of this regatta showed the potential for a regular event to be held on the lake, and also the inappropriate nature of the windy season at the start of the year; and so the committee decided to schedule one for the same year. This second event has gone down in history as the official ‘First Regatta’, held on December 13th.
Booth’s 1879 Colac Regatta Prize
This event built on the experience of the first, and was a major event for the town.The Most Hon. George Augustus Constantine Phipps, Marquess of Normanby, GCB GCMG PC, in his role as the Governor of Victoria attended until the 8-oared race, after which the crowd cheered him to his special train which was to take him ‘back to town’ (Melbourne). The Australasian covered the spectacle on December 20th, 1879: “That an inland town so far removed from at least two of the principal boating centers should have attracted such numerous entries … speaks volumes for the exertions of the committee to provide first-class sport on their beautiful lake.” The boats were again brought by train: “Several first-class yachts were brought down by rail from the golden metropolis at considerable trouble and expense, while two eights (from Melbourne and Geelong) … made the eights the feature of the day”.
Our cup was a prize for this 8-oared race, and was awarded to the Banks Club as 2nd prize, this cup going to R.D.Booth, the no. 6 in the boat.
The ‘Banks’ club is a famous Melbourne rowing club, established very early, in 1866 on the ‘banks’ of the Yarra River in Melbourne – from where it still operates, producing many champion rowers for the present Australian sporting world. It is the ‘Banks’ club not because of the location, but due to the Bankers who were the founders: only Bankers were welcome to join, and the fees per annum were rather high – £1/1/ to join, then £2/2/ per year – a substantial amount in today’s money. But with secure bank-jobs, and the captain a manager, money wasn’t really a concern – unlike the working class Footscray crew, as we will explore later on in this article.
Booth’s 1879 Colac Regatta Prize
In 1879, Banks Club packed their 8-oared clinker outrigger boat onto a Colac-bound train, and took on the teams of the Corio Bay Club (Geelong), Civil Service Rowing Club (Melbourne), the Ballarat Rowing Club , and the Barwon Rowing Club (Geelong). The prize total for this 8-oared, “about 2 mile” race was £105 – with first price being a decent £80. However, as only 5 entries were received (they were hoping for 8) this was reduced to £60 for first, £20 second and £5 third. The crew of 8 and their cox were all ‘weighed in’, with R. Booth being on oar no. 6, as recorded on our cup. They made their way out onto the lake towards a start position, all five crews trying to line up in a pesky breeze with limited success – and when the question came from the small steamer bearing the race official “….Are you all ready?”, several replied no – but the whistle was blown, and those not ready scrambled to catch up; Banks careered into Ballarat in the scramble, nearly fouling them, and the others gradually pulled away towards their goal. Like the Olympic commentators of today, the reporter described the flow of the teams as they pull up, then drop back…. “Ballarat seemed overmatched from the jump, and were in addition badly steered…. after the first half mile the Banks and Corio forged ahead gradually, Barwon having retired from the foremost position…” Then it all came unstuck for Banks:
When about half the course had been traversed, No 7 of the Banks caught a crab, and this accident, together with the advantage already possessed by Corio, enabled the latter to secure a lead of about a length, which was maintained the remainder of the journey, and Corio were proclaimed the winners by about a length.”
More suitable prizes for the occasion are the other two cups. These are splendid English silver plate examples, the base with coiled rope, the support modelled as three oars lashed together with a ribbon. These are marked ‘Lee & Wigfull Sheffield’, a manufacturer who specialised in sporting trophies, but only formed in 1879: these were brand-new designs from a freshly-formed English company. The cups are engraved with scrollwork framing panels to either side – one with a very nicely executed small sailboat. Once again, these were won by Booth as part of the eight oared race, and then the four oared – but this time on their home turf – in the Melbourne Regatta of 1881.
The fabulous ‘Clarke Challenge Cup’, by the Walsh Brothers of Collins Street. Note the detail of oars –
This event took place on the ‘Salt Water River’ – nowdays known as the Maribyrnong, flowing into the Yarra not far from its mouth. 7-8,000 spectators cheered them on, and The ‘Illustrated Australian News’ for 12th March 1881 carried the report along with an engraving of the winning moment for the Footscray crew, winning the Clarke Challenge Cup. This silver cup, valued at 100 guineas, was the most valuable race trophy in the world at the time, and is still held by the Footscray Club. It has two oarsmen perched on its shoulder, holding aloft their equipment on an angle – complimenting our trophies which would have sat alongside it, as prizes for the ‘Amateur’ races in 1881.
The Footscray crew dominated the race – as they had in their wins the previous 2 years – and this caused problems with the other teams, as these men were “…men who gained their living by manual labour”. This was seen as an unfair advantage, as the other teams didn’t, rather being ‘amateurs’ – ie most probably Clerks, or some other sort of desk-job. The issue raised was these ‘amateurs’ were unable to compete with “..those whose daily vocations are such that they may be said to be in training all year round.”! As a result, a definition of Amateur was arrived at, and applied to certain race classes,
Our trophies relate to the footnote at the bottom of this article, “The Banks Club won the Junior Fours and Eights in excellent style,…”. And on our smaller example, the committee has chosen to make a point about the amateur vs workman debate by inscribing
Maiden Clinker – Four Oared Race – Bona Fide Amateurs …. Won by Banks Club
Robert D Booth was an interesting character who loved his rowing: he has been described as ‘one of the greatest oarsmen of his time’. He was a bank clerk with the Commercial Bank when he joined the Banks Club, during which time he won these three trophies. Soon after, he was a part of the Melbourne Club. He represented Victoria in the ‘Intercolonial’ events for may years, beginning with a win in 1878 against NSW . His list of placings is impressive, with barely a 2nd-place marring the list of first place prizes. In 1887, he was part of the crew who won the title for Victoria against NSW on Sydney harbour. An interview with the Sydney Morning Herald on May 30, 1887 gives us a fascinating insight into this true Australian sportsman:
Mr. Robert D Booth, stroke of the Victorian crew, is a clerk in the employ of the Union Mortgage and Agency Company, Victoria, and a broad-shouldered, sinewy young man, affording in his person a good argument that the pen is not necessarily incompatible with muscular development. Mr. Booth’s physiognomy is an infallible and open index to his temperament A subdued, unostentatious manner, it is impossible to dissociate from it determination and tenacity of purpose, resettled by the square-cut features and resolute chin. Mr Booth, interviewed by our representative, said that he all along expected a close race, and the opinion was not shaken by the brave appearance presented by the New South Wales crew on Saturday. As to the victory and details of the race, he so as reticent and becomingly modest, although Mr Booth allowed himself to say, in a moment of excusable enthusiasm,that he never doubted the result for a moment, in spite of the opinions expressed in the press…..
The interstate rivalry is extremely clear in the rest of the article, a classic press-bashing that would not be out of place on the back page of today’s average paper….. Sport has not changed a bit beneath the surface!
Melbourne Regatta 1881
Seen as an ‘entertainment’, these nautical Regatta events – along with horse races, athletic meets, and cycling, were in fact an important part of forming a sense of unity – through competition – amongst what was a large and diverse group of new arrivals to the region. The sense of pride conveyed in the various paper’s reports at the time show a healthy competition between the various regional cities, and between the States of Australia that certainly still flourishes. These trophies, as reminders of the origins of today’s rivalries, are important historical memories.
Moorabool’s Guarantee: All items offered are as described regarding date, condition, and description.
We offer a money-back guarantee, for any return within reasonable time, excluding postage.
Buy with confidence!
POSTAGE
Getting your goods need not be expensive!
We make sure Postage is as affordable as possible – our experienced in-house team can ship safely anywhere in the world, for the best possible price.
Ask for a quote…
Use the ‘Compare Products’ below to keep track of items of interest.
