An exciting find at Moorabool is this portrait silhouette of Sir John Franklin.
His name is very familiar in Tasmania; as stated on the back of this newly discovered portrait, he was Governor there 1837-43, and his name appears across the state with a town on the Huon River, and a major river which narrowly avoided being dammed, an electorate, plus his splendid statue in the middle of a fountain in Hobart.
This silhouette is a majorly important piece, being a very personal depiction for which he would have had to sit; a frontal painted portrait could be mocked up from a printed image, and often was of famous people (for example Napoleon). However, a profile must be drawn from life, and this portrait has a secret beneath the image in the form of an original ‘trade card’ for the artist; in this case, George Atkinson, ‘Profilist to His Majesty’ (George III) at no. 40 Old Steine, Brighton. What is exciting about finding the trade card is it allows us to date the piece to 1822 -1828, the years he operated out of that address.
During this time, Sir John must have visited and sat for his profile to be taken. Not for long – George Atkinson prided himself in his speed, advertising a sitting took ‘less than one minute’. One can imagine Sir John dropping in, dressed in his Navy uniform, before striding out a minute later to take the airs on the promenade at Brighton!
These portraits were the equivalent of a studio photograph today. Atkinson charged 10s 6d for a detailed profile, a not so insignificant amount. So who did he have a portrait done for – to whom was this portrait gifted?
A look at his activities 1822-28 provide the most likely answer. He was quite an active Navy officer, spending some time exploring the Arctic reaches above Canada, but still found time to marry in 1823 to a Romantic poet named Eleanor Porden. They had a child in 1824; she died in 1825. He was off on another Arctic expedition shortly after, returning to England in 1827. Was it at this time he visited Brighton, for a little R&R? Perhaps having a portrait done to give to a special friend of his late wife, Jane Griffin…. and perhaps it worked, as they were soon married, in November 1828. She was the fascinating strong-willed ‘Lady Franklin’, who came to Tasmania in 1836 and is considered by some to have been the driving force behind Franklin’s time as Governor. This portrait came from a local Victorian source, and perhaps came to Australia with The Franklins in 1836, only to be left behind in 1843 when they returned to England.
Internationally, Franklin has recently been of increasing interest due to his exploits after he left his position in Tasmania. This interest stems from the tragedy of his final adventure, his quest for a North-West passage through the Arctic ice above the American continent, a short-cut to the Pacific ocean that would have had great consequences for trade – if it had existed at the time. Ironically, with ‘global warming’ ships have recently been able to pioneer this northern route between the oceans – but when Sir John attempted it in 1845, he found no way forward. No way back either… surrounded by thick sea ice, he and his two ships on the expedition, Erebus and Terror were stuck. They were well equipped for such an incident, but a decision was made to try and walk out; all men and their commander disappeared in the Arctic wilderness, along with the ships. They had three years worth of provisions, but once that time was up the British Admiralty offered a £20,000 reward for resolution. Expeditions were mounted, but only a few graves and cryptic clues were found; Sir John Franklin and his 128 men had perished.
The recent interest came as a result of the excited announcement from Parks Canada in 2014 – they had discovered the wreck of Erebus. Two years later, their search revealed the Terror. Both are in relatively shallow and accessible waters, and dives on them have been nothing short of sensational; the state of preservation in the low temperatures is superb.
An announcement in April 2018 by the British Government has resulted in the British ‘gifting’ the remains to Canada; an exciting future awaits as plans are proposed to recover items from these incredibly important ships – indeed, perhaps even the ships themselves!
We are thrilled to have discovered this previously unknown silhouette portrait of Rear-Admiral Sir John Franklin.
Today is an important one in Australia; the 25th of April 1915 was a ‘coming of age’, the first military action as an independent dominion. While the troops of the young nation didn’t achieve what they set out to do, and 8,709 didn’t return, it resulted in a sense of pride in those who did return with tales of valor and mateship. Even in the midst of the military disaster it turned out to be, a sense of being ‘Australian’ arose. Although the last of the troops who served at Gallipoli have passed on, all around Australia the younger generations gather at dawn, remembering the sacrifice and bravery of past generations.
This image by Will Dyson, the first official War Artist for Australia, illustrates the sentiment 12 years later; two soldiers in full kit sit by the sea, but are just ghosts on closer examination with the coastline visible through their bodies. The caption reads “Funny thing Bill- I keep thinking I hear men marching!” – the memories of those who didn’t return are still sharp. This cartoon appeared in the Herald on Anzac day in 1927, and proved to be so popular another print run was ordered, on better quality paper and in a limited number. These ended up in various RSL clubs around the country, and it was perhaps in one of these that the collection of signatures along the lower edge were collected. While it has Dyson’s own pencilled signature, the others are unexpected and remarkable: they are all winners of the Victoria Cross in WWI, with one exception: Lieutenant General Sir John Monash. It is an apparently unique tribute to the Gallipoli spirit, put together by soldiers who were there.
Will Dyson was born in 1880 near Ballarat, and was self-taught as an artist. He obtained work with various magazines as a satyrical illustrator, and became good friends with Norman Lindsay, marrying his sister Ruby. He spent the war years in England, and volunteered his skills to the Australian Imperial Forces “to interpret in a series of drawings, for national preservation, the sentiments and special Australian characteristics of our Army”. In this capacity he travelled to the Western Front in 1916, and was appointed the first official war artist in 1917. He was wounded twice as he proceeded with the troops, recording a very human side of the great conflict. He returned to Melbourne in 1925 where he worked at the Herald. During this time he produced the following print (1927) , and returned to London in 1930 where in died in 1938.
Also in the Australian War Museum is another dramatic depiction of Australian Anzac spirit, the life-size bronze ‘Simpson and his donkey’, by ‘Peter Corlett (1944 -). This work was commissioned by the Government, and installed on Anzac Day 1988 at the front of the War Memorial in Canberra. At the same time, 12 smaller versions were made & sold, and Moorabool currently has one of these.
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John Simpson Kirkpatrick was actually a British merchant sailor who jumped ship to enlisted in Fremantle, using his middle name. On the first day of his arrival at Gallipoli as a stretcher bearer, he found an abandoned donkey he named
Duffy. The donkey helped Simpson carry the wounded who were still able to ride. This grainy photo was the inspiration for the legend, showing a wounded soldier being assisted by Simson down to the beach for evacuation to the hospital ships moored offshore.
We are honoured to have these reminders of the struggles that helped form Australia. I’ll finish with a group of prints that give a unique ‘Australian’ image to the warfare of WWI 100 years ago:
A fresh item to Moorabool is this quirky Ming Dynasty roof tile figure. As the name suggests, these were part of the roof decoration on Chinese buildings.
Many different ‘characters’ appear as roof tile figures, each with a symbolic purpose. Our Dragon is actually a water dragon, and he would have been the chief character in a whole line of little figures down the crest of the roof junction. He was given this position due to his ‘wet’ nature: he would ensure protection from fire for the wooden building beneath.
A very familiar installation of a similar dragon is in the Forbidden City in Beijing. On the roof of the Hall of Supreme Harmony (circa 1406) you will see 10 small figures (the more figures, the more important the building) – and at their top, a larger dragon – complete with the same toothy grin as our example. He’s done a good job as fire warden, protecting the structure for the past 400 years…. Scattered around the acres of other buildings in the complex are numerous other examples of the same.
What’s interesting are their intact ‘horns’, missing from ours. Examine our head and you will see the two holes they were once inserted into.
Only on the market once before, this is a remarkable Australian Pottery rarity – probably unique. Speculated to be a special commission or present, it was last sold in the 1980’s at Christies, Melbourne.
The board is by David Boyd, and is constructed from four large tiles divided into squares ,the ends inscribed with the starting home for the various pieces. This is fired in a wonderfully mottled ‘aged’ glaze.
The pieces are the work of Hermia Boyd, and each has powerful character; even the pawns are individual in features.
They echo the famous ‘Lewis Chessmen’, which date to the Anglo-Saxon period and are on display in the British Museum. The Boyds had lived and visited on numerous occasions, and made other medieval-inspired pieces – but apparently no other chess set….
This is a very unique piece, and destined for a worthy collection of Australian Pottery – or indeed would be equally at home amongst the fine art creations of the incredibly productive Boyd family.
Every so often, we discover a piece of supreme beauty and rarity. This piece certainly qualifies, belonging to the very earliest years of the French Royal factory of Sevres.
What makes this doubly special is that it has come back to us again after many years. It came out of an Australian collection late last century, and was purchased from us by a local collector of refined taste; now it is being offered as he disposes of his collection due to ill-health. Over the years he has sold most of his other special pieces, but this was his favorite which he kept until the end…..
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Provenance.
When it was sold the first time, we were not aware of a fascinating provenance. As often happens, while researching another object I stumbled across an illustration of a very similar jug – no, the exact same one – in the 1977 catalogue for the Mentmore dispersal sale. (Note: our jug is illustrated as ‘lot 2001’, but catalogued as ‘lot 2002’ – someone made a mistake!)
This memorable ‘Sale of the Century’, is documented in a 1977 news report seen here on YouTube. ‘Mentmore’ is one of England’s most amazing grand houses, and was built in the mid 19th century by Baron Rothschild in the Renaissance manner with no expense spared. This jug was therefore once part of the Rothschild collection.
Watching this grainy 1977 sale newsreport, I once again stumbled across the Vincennes jug; sitting in the great hall cabinets amongst a mouth-watering array of Sevres & Vincennes, you can make out the jug with its distinct gold silhouette birds.
A high-res black & white photo of the central Mentmore room also shows the jug, sitting at the far left of the left shelf second from the top.
With the dispersal of the collection in an epic 10-day sale in 1977, the jug somehow made its way to Australia. It appeared on the Australian market about 20 years later, when we purchased it for stock and it sold promptly to a delighted local collector.
Lavish is the word that best describes this Flight Worcester plate. It’s from the ‘Hope’ service, ordered in 1789 by William Henry, the Duke of Clarence, who was the third son of King George III and eventual inheritor of the British throne at the age of 64 after both brothers died without heirs.
The subject was chosen by him, and reflects his military career. Each piece has a different rendition of ‘Hope’ with her anchor, with a ship in the background. He had joined the Royal Navy in his youth, serving in North America and the Caribbean under Nelson. Nicknamed the ‘Sailor King’ when he came to the throne, it is little wonder he chose this nautical theme for his service.
Securing the service commission was a major event for the ailing Worcester factory, which had been purchased by John Flight in 1783. It was William’s second commission from the factory, the first being the ‘St Andrew’ service, celebrating his achievement of the Order of St Andrew, earlier in 1789.
John Flight recorded in his diary in January 1790:
‘We used our two best painters last week to make some very fine designs for the Duke of Clarence, we have already completed 3 plates and I have sent them to London. One is a gold arabesque design, another the figure of Hope, the other of Patience.’
A few days later on 24th January John Flight added:
‘Apart from the two plates mentioned… we have made two others with figures, Peace and Plenty. H.R.H. Duke of Clarence has decided on the Hope design with the decoration that we put on the Peace plate, he has ordered a table service that will amount to more than £700 sterling. He has given us a year in which to complete it…’
It is interesting to track down some original tabloid gossip from the period:
This news article intended to impress, inflating the price and the number of pieces. The comment about it being ‘particularly appropriate to the nautical profession of the royal proprietor …’ is interesting, as William was indeed a Navy officer. His father George III had determined he should join the Royal Navy, and so he entered the navy at 13 as a midshipman. He saw active service in the War of American Independence (targeted in a kidnap plot by an agent of George Washington in New York, 1782!), and became a friend of Nelson. He was placed on the Warwick under Captain George Keith Elphinstone, and spent time in the Caribbean. In 1789 he returned to England, where his father the King’s health was failing, but although he received promotions to rear-admiral, vice-admiral, and in 1799 admiral, the navy refused his pleas for a return to active service. When he gained the throne in 1830, he was affectionately known as ‘The Sailor King’.
Another news article, in the ‘Derby Mercury’ in 1791, quotes the same inflated price – 800 Guineas (more than the £700 Flight recorded in his journal) – but gets the number of pieces right at 296. The story related of his ‘Blue-blooded Britishness’ is fantastic – if it happened. He was offered a set of ‘Avignon China’ (French porcelain of some type) he refused, saying while OTHERS may be happy with foreign products, he wouldn’t even accept a piece of furniture that wasn’t British!
The back of this plate has a large pasted label, which declares the following:
Hope Service Label
Specimen of the Celebrated Service of Old Worcester
Porcelain, made and presented to Lord Nelson by the
Nation, bequeathed by him to King William the Fourth
who gave it to his son Lord Frederick Fitzclarence
and in whose Will the full particulars are given –
It passed by marriage to the Earl of Erol and was
his up to May 1893 when it was dispersed at Christies
and realised nearly the sum of £2000.
This is of course different to what has been described at the top of this page, and is a fascinating example of mis-information. This old label provides us with the source of this mis-information, the Christies auction which dispersed the service in 1893. They of course got their information from the Earl of Erol, who had inherited it from his father, the illegitimate son of William IV, Fitzclarence. It was in this will that ‘the particulars’ were given, and so the confusion appears to have arisen right back then, just the next generation from when it was a wonderful new service that impressed the nation.
The Royal French porcelain manufactory at Sèvres was well patronized by the French court, and the pieces they created were meant to be the most flamboyant and impressive luxuries imaginable. This pink ground cup & saucer certainly qualifies.
Important Sèvres cup and saucer, goblet et soucoup enfoncé, premiere grandeur , superbly painted by Antoine-Joseph Chappuis (aîné), with four panels of birds in landscapes, framed within rich tooled gold borders against a ground of blue and gold oeil-de-perdrix on a pink ground.
Crossed ‘L’s’ mark,
also date letter ‘M’ for 1765,
‘cp’ for artist Antoine-Joseph Chappuis (aîné),
incised cup repairer’s mark ‘00’ & ‘ae’
Madame de Pompadour was probably responsible for the inception of this unusual form of saucer, with its deep well ensuring the cup cannot be easily upset. The form appears in 1753, and as she was failing in health with tuberculosis, a socketed saucer negated the risk of spilling her drink due to a shaking hand or coughing fit. Factory records show that all examples of this type made were purchased by her until her death in 1764. The next recorded sale was in October 1765 to Princess Louise-Marie of France, youngest daughter of Louis XV. Its present whereabouts are unrecorded, and this example has a high possibility of being the goblet et soucoup enfoncé, premiere grandeur in question.
They were one-off products, and examples vary wildly in decoration. An example in the Getty Museum is thought to have belonged to Madame de Pompadour. It has a saucer with an unknown repairer’s mark (00), the same as on this cup. The gilding appears on numerous examples from this period, often with small inconsistencies such as can be seen in the above detail, where the gold doesn’t quite cover the ground.
The artist Chappuis ‘l’aîne’ was a long-term employee at Sèvres, being apprenticed as a répareur (maker) in 1756, became a painter in 1761, became the deputy ‘head of kilns’ in 1782 , andin charge of the kilns for the final year of his life in 1787.
His wonderfully vivid birds are distinct amongst the Sèvres artists repertoire, and a piece such as this importantgoblet et soucoup enfoncé, premiere grandeur show Sèvres at its best.
Provenance: The Antique Porcelain Company, NY
References:
Similar gilding canseen on a can & saucer in the British Museum, #110 in Dawson’s book ‘French Porcelain in the British Museum’, also #112.
An écoulle, cover & stand with the same decoration was sold as part of the Giuseppe Rossi collection, Sothebys London 1999 lot 518
A cup & saucer with the same ground, very similar birds by another artist, Aloncle, 1765, at Christies London 2015.
A wonderful teapot with the same unknown repairer’s mark (00), also painted by the same artist, Antoine-Joseph Chappuis (l’âiné), 1765, sold by Bonhams London in 2014.
We have found a number of outstanding items over the years, and many of these have left Australia for distant shores. It’s with great pleasure that we can announce the acquisition of our latest ‘Great Find’, the Sulkowski Charger, by our very local National Gallery of Victoria.
This is a large piece of porcelain, measuring 34.5cm across. It isn’t the largest from the service – there appears to be two sizes larger again – but it is an impressive piece, perfectly displaying the large & showy armorial device. It is this coat of arms that makes this so important; experts regard it as the earliest large-scale commission from the Meissen factory made for someone other than the owner of the works, Augustus II ‘The Strong’.
These arms are depicting a marriage, with the two shields beneath the crown representing each family. On the left is Count von Sulkowski (1695-1762), the high ranking court official. On the right are the arms of Baroness Maria Franziska von Stein zu Jettingen (1712-41) who he married in 1728 and had 7 children with. The production of a service such as this 8 years later is almost like a delayed wedding gift for himself; usually they are contemporary with the wedding, but remember the context: Meissen, the first producer of porcelain in Europe, was still in its infancy in the 1720’s, and we could argue that a service of such elaborate sophistication would not have been possible as the capabilities of the Meissen works were not yet experienced enough.
Alexander Joseph Graf von Sulkowski was Privy Councillor, Minister of State, and a Cabinet Minister to the King, Frederick Augustus. He was deeply involved in the Meissen factory, taking responsibility for the deliveries of porcelain to furnish the newly built ‘Porcelain Palace’ in Dresden, and also being responsible for the King’s treasure vaults in Dresden, known as the ‘Green Vaults’.
His origins & ascent to power is a tale in itself. Born to Polish gentry, rumour has it his mother fell under the spell of Augustus II ‘The Strong’, Elector of Saxony and King of Poland ( and creator of the Meissen porcelain factory!). Augustus II was known as ‘The Strong’ for his musculature, reinforced by his favourite party trick of apparently ripping iron horseshoes in half with his bare hands….. But there is another aspect to his nickname, the results of which were a debatable 354 illegitimate children!
Rumour has it that Alexander was one such child, and certainly Augustus II cared for the youth who came to the Royal Court at Warsaw in 1711 as a page. He entered the service of the crown prince, Frederick Augustus, who was one year younger, and they grew up together. He received his first title in 1712, ‘Master of the Horse’, and for the next seven years he & the Crown Prince went travelling through Italy, France, and the other German states. A couple of teenagers seeing the sights of Europe together, who can imagine what adventures they had…. certainly it would have been a bonding experience, and so Augustus was well established to rise in status in the court. He became a ‘Gentleman of the Bedchamber’ in 1726, married a court Lady-in-waiting in 1728, and became a Count in 1732. On 1st February 1733, Augustus II ‘The Strong’ died, and his heir Frederick Augustus ascended the throne. Straight away, Alexander was made Privy Councillor, Minister of State, Cabinet Minister and an Imperial Count. He also became a Count of the Holy Roman Empire. He was a Pole, and the only Pole to achieve such a lofty position in the court at that time. Like a Shakespearian play, the scene was set for his fall.
What is fascinating is that this very service has been blamed for his descent; it was so much showier & desirable than the King’s own services, and more importantly, he had not asked permission from the King – the owner of the works – before putting in his order. Certainly, he lost favour at the exact same time the pieces began to be delivered, and so Sulkowski lost his many positions of privilege & responsibility to another of Frederick Augustus’s ministers, Heinrich Graf von Brühl. Brühl takes on most of Sulkowski’s titles, including Director of the Meissen works, and straight away commissions his own grand, Baroque service – the delightful & iconic ‘Swan Service’.
The National Gallery already has a magnificent charger from Brühl’s service, and these two marvelous Meissen chargers will soon be housed together in the same cabinet – graphic depictions of a government power struggle 290 years ago that centered on Meissen, Europe’s first porcelain maker.
To be continued in Part 2…… once the charger is in place in the NGV!
For Australians, the First Fleet is the beginning of western culture and the foundation of our present society. Items connected with this remarkable period in Australia’s history are understandably scarce. Moorabool is very excited to have a fresh discovery with direct connections to Australia’s founding.
One of the most fascinating tales that can be told aboutAustralia is that of the founding of the British colony in 1788. Items connected to this event are extremely scarce. From a ceramic historian’s perspective, there is the remarkable Sydney Cove medallion, made by Josiah Wedgwood from clay sent back from Australia by Governor Phillip in November 1788. Phillip wrote back in July 1790, noting ‘ I return thanks for the Cup & Medallions ‘ – indicating he had already received back what could be classed as the first Australian Pottery to be made….although the kiln & sculptors were in England!
A recent discovery from the same period shares close ties with the first years of British settlement. It’s a coffee cup & saucer, well known as a distinct product of the Chamberlains Worcester factory from the mid 1790’s. It is painted in a fresh looking pattern with ears of barley bound by a gilt bow, and with an interesting central crest featuring a seahorse.
This is the important part; the crest will be familiar to anyone with a knowledge of the Newcastle University, as it shares a common origin, the armorial of the Shortland family. It was chosen as the symbol for the Newcastle University in the 1950’s due to an important connection: the site of Newcastle had been explored by a certain John Shortland in 1797, while in pursuit of runaway convicts from the fledgling colony of Sydney.
This revelation led to some fascinating research. Thefirst thing to note is there is more than one ‘John Shortland’ to investigate, and they have been hopelessly confused with each other in the past due to their similarstories. The Newcastle University’s adoption of the Shortland crest because of its association with the John who explored the area is one such mistake: the actual bearer of the crest was back in England at that time!
John Shortland (senior), right, was born in 1739, and died in 1803. He served in the Royal Navy1755-90, and having proved himself a capable logistics man, in 1786 was appointed naval agent to the transports of the planned First Fleet. He was in fact the ‘man on the scene’ at Portsmouth, responsible for preparing and distributing the stores and convicts aboard the 11 vessels that made up the enterprise: Governor Phillip only arrived two days before departure! JohnShortland Snr was a senior officer on board the Alexander, a convict ship with 210 men on board.
As a part of this preparation for the adventure of a lifetime, he was able to secure appointments for his two sons, John and Thomas George Shortland.
His son, John Shortland (Junior), left, was born in 1769 and also entered the Royal Navy, ending his life in a blaze of glory fighting off four French gunships in the West Indies in 1810. The post his father secured for him was that ofMaster’s Mate on the HMS Sirius, which was captained by John Hunter and carried Governor Phillip.
The departing fleet in 1787 therefore included both John Shortlands. After calling in at Tenerife and Rio de Janeiro, the fleet stocked up on provisions in Cape Town, departing for the last, long leg through the inhospitable cold Southern Ocean. This was an immensely brave undertaking. A modern equivalent would be sending a colony to Mars through the vast coldness of space, into an inhospitable and little understood landscape, carrying everything that would be needed for survival for the next few years – and discovering the land was already populated by a well-established culture that would very soon prove hostile. What a remarkable adventure the Shortland’s had….
The colony of Sydney began to take shape, and a pre-planned re-supply from England was expected any moment: however, it never came. The colony was critically short of food: some of the convict transports had been contracted out by the East India Company to collect tea in China bound for England, and had already left. On 14 July 1788, the Alexander under the command of Lieutenant John Shortland Snr,and three other ships left Sydney to make their way back to England and ensure supplies were sent back to the struggling colony. Things were so bad there was little food spare for the crew on the voyage. Two days out they parted ways, with two ships heading across the South Pacific to Rio de Janeiro, and the Alexander and theFriendship deciding to head to the north and reach the Dutch colony of Batavia. The other two ships limped into Rio several months later, having lost many crew and with those remaining so ill they couldn’t anchor their own ships.
The Alexander and the Friendship made their way up the eastern Australian coastline, around the east of New Guinea, and across present day Indonesia to Batavia. This was an epic journey through unexplored waters, which Shortland was able to document in great detail in his chart, published soon after his return to England in 1789. The work is a detailed map, suitable for use by any ships that might follow that route afterwards, and the acknowledging inscription bears the name of both the father, Lieutenant John Shortland, and the compiler of the map, Thomas George Shortland. Once again, the father had obtained a position for his son on board his ship, this time his second son as second mate.
Their adventures were intense, as wracked by scurvy and illness they made their way through uncharted waters. Things came to a head when the Friendship ran aground: there simply were not enough men to maintain both ships, and so the decision was made to abandon the Friendship and consolidate the crew on the Alexander. Things got even worse, and by the time they reached the coast of Borneo, only a single crew member was fit for duty aloft other than the officers. It was at this moment they found themselves the prey of pirates, who suddenly appeared in four large row-boats and attempted to intercept the ship. A shot fired from a cannon persuaded them to give up the chase. A few days later, they found themselves just a short distance from Batavia- but with only a single man fit for work, the decision was made to drop anchor, although the crew was unable to furl their own sails. A boat with a few barely capable men set out, and were able to bring the much needed assistance of able bodied men back, and finally the Alexander limped into Batavia on 19 November 1788. By late May 1789, she was back in England, and John Shortland Snr was able to deliver the official dispatches Governor Phillip had entrusted to him, revealing the sad state of the colony. He spent his remaining time in the Royal Navy agitating within the Admiralty to ensure the colony was provided for, before retiring in 1790. He was also very interested in further exploration in Australian waters, and we can credit him for urging the Admiralty to dispatch Mathew Flinders in HMS Investigator which resulted in the first circumnavigation of Australia.
Meanwhile, back in Sydney, John Shortland Jnr also had an exciting time. He was involved with the supply runs to Norfolk Island in the effort to keep the colony fed. In 1792, he returned to England, returning the following year to Sydney. Threeyears later, he was sent in pursuit of the audacious convicts who had stolen theCumberland, a locally built ship described as ‘the largest and best in the colony’. John Shortland Jnr was sent in pursuit, setting out in two whaleboats. One turned back, but Shortland spent several days exploring the area around Port Stevens, returning with a rough map of the area Newcastle now stands on, and bringing a sample of coal. In a letter to his father back in England he described the Hunter (or ‘Coal’) River he had found, and stated “In a little while this river will be a great acquisition to the settlement”.
He was a member of the criminal court in Sydney, but returned to England in 1800 just in time to be a part of the Napoleonic Wars, heading to Egypt in 1800 as agent of the English troops. After various other postings, he found himself fighting the French in the West Indies, and finally in December 1809 went ‘out with a bang’ fighting as Captain of the 38-gun HMS Junon, taking on overwhelming odds of two 48-gun and two 20-gun French ships. He died of his wounds in January 1810, less than 7 years after his father, and probably before he had a chance to inherit and enjoy the family china……
It is very rarely we get to discover a piece of ceramic as infused with history as this cup & saucer.
Pieces such as this with family crests were commissioned from the factory, and used in polite society while entertaining. When coming to a conclusion about who owned this set, the most likely candidate is John Shortland Snr.
The earliest date possible for Chamberlains Worcester porcelain of this type would be 1793, more probably 1795-1800.As John Snr had returned to England in 1790 and retired to be with his wife Elizabeth, he would have been at the right place, at the right time – with the right motive, to entertain his visitors with tales from his colourful adventures in New South Wales, all over a freshly brewed coffee…..
His son John Jnr however would have been heading back to the Colony in 1794, where he remained for several years. He had a spell in Egypt, then found himself in the West Indies fighting the French, where he met his heroic death in 1810. He never married, and ordering a fine china service was probably not on his agenda in the short spells that he was back in England.
We conclude that this fascinating piece of ceramic history belonged to John Shortland Snr, perhaps a well-deserved retirement present for himself and his wife. It is a wonderful link to the earliesthistory of our country, a prime piece to apply the maxim of ‘if only it could talk’…… Just imagine the tales it could have heard, of shipwreck, pirate attacks, strange new lands, the tropical paradises, and of the colony at Sydney Cove which John Shortland Snr could quite proudly say he was essential in creating.
Swansea Porcelain plate painted by Thomas Baxter with a Welsh subject, circa 1818
Produced for just a few short years in the early 19th century, Welsh porcelain is a rarity in the collecting world, and Welsh porcelain with Welsh subjects is almost unheard of. Add to this the name of the artist Thomas Baxter, considered to be the best of his time, and the result is simply stunning.
This is ‘The Bard’, a dramatic Swansea porcelain plate painted by Baxter, with a fascinating tale to tell.
Baxter is well known for his beautiful shell still-life pieces of shells or flowers. In such pieces he uses a similar format and technique as what we see in the Bard plate; a gloomy back-ground, slightly textured by stippling the paints on in a graduated palette, and the raking light that here highlights the face and front hand, is also seen in his shell-works.Baxter excelled in fine details, and the amount of realistic detail is certainly evident in the Bard plate, in particular the tendons and skin on his hand, and the hair that is buffeted by the stiffWelsh wind.
The subject is an ancient Druid playing a harp. In the complete source painting, his dramatic stance makes sense, as he is busy taunting the enemy (English) soldiers on the other side of a ravine.
The literary source is most likely a poem, ‘The Bard’,by the English poetThomas Gray (1716-71). Gray penned the poem, and published it with the help of his good friend Horace Walpole in 1757.
The source of this illustration seems to be an engraving from ‘Relicks of the Welsh Bards’, by Edward Jones. This was published in 1784, with subsequent editions in 1802 & 1808, a convenient date that links with the creation date of this Swansea plate.This engraving was based on a painting depicting Gray’s poem, an oil by the Franco-English artist Philip James de Loutherbourg.
A fascinating artist, he was a child protege artist in the late 1760’s, and came to London in 1771, employed by Garrick to paint the backdrops of theatre sets. His style is very dramatic, with sharp contrasts and dramatic skies. It is easy to see why Baxter was drawn to paint his scene, as it suits his own sense of drama.
De Loutherbourg’s ‘The Bard’is known from an 1840 copy hanging in the Museum of Wales, the original’s whereabouts is unknown. The British Museum notes that there was a drawing of this subject by de Loutherbourg in the possession of Horace Walpole, now in a private collection. Walpole was the patron who published ‘The Bard’ in 1757. This would presumably be the preliminary sketch for the now-lost oil. Perhaps Walpole also owned this oil ?
Did Baxter work from the above mentioned print, or did he in fact have access to the original now-lost oil? As a London based artist, de Loutherbourg’s works were also exhibited there, and so there is a high probability that Baxter would have seen the c.1775 original. Further supporting this is the amazing detail Baxter put into the hand, something that would not have been apparent in an engraving, but obvious in the original oil painting.
Baxter has adapted the composition to fit the plate, effectively shifting the view point lower and thus balancing the composition – but there’s no doubt the original painting, or the frontispiece of the book was the source for the plate.
An identical depiction of ‘The Bard’ can be found on a Chamberlains Worcester cup & saucer (right), painted by Baxter and titled underneath ‘Gray’s Bard’.
‘Relicks of the Welsh Bards’ is considered to be one of the first flowerings of the Welsh nationalistic spirit, being a compilation of music and poetry about the Druids and their Kin. When we consider the Swansea origins of the plate, and the possibility that this was painted while Baxter was resident at the short-lived Swansea works (employed 1816-19) , it doesn’t take much imagination to conceive a local patriotic gentleman with Welsh interests having a copy accessible……. possibly Dyllwin the proprietor of the Swansea works himself?
This previously unrecorded plate is a fresh discovery, having been catalogued previously as ‘Paris Porcelain’. It has been purchased by the Geelong Art Gallery, with funding from the McAllister Bequest.The Gallery has collected numerous examples of fine quality early 19th century painting on porcelain, and the plate is in good company alongside several impressive examples of Baxter’s work.
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