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Fresh @ – Splendid Dr Wall Worcester

Dr Wall Worcester Porcelain

February 23rd, 2022.

Welcome to our ‘Fresh Stock’ update – these items are fresh to our stock , and fresh to this website.

Today it’s some Wonderful Worcester.

Dr John Wall (1708-1776)
Founder of Worcester Porcelain
Worcester Porcelain Museum;

Dr Wall, or ‘First Period Worcester’, is the earliest period of this important English porcelain maker. Dr John Wall was a fascinating 18th century Gentleman, a practical doctor who helped found the charitable hospital at Worcester, becoming wealthy and well-known in the process.
In 1751, along with William Davies and 13 other businessmen, he established the Worcester works on the banks of the River Severn, Worcester. Davies was an apothecary, not far removed from alchemy in the mid-18th century, and actively experimenting in the quest for a porcelain body. Together with Wall, and the help of the group of investors, the distinct Worcester porcelain body was developed.
There were many other attempts at making porcelain in England at this time. Bristol had a porcelain factory, and Chelsea and Bow were active in London, while Derby also had a porcelain works. Liverpool, Lowestoft and Bristol followed soon after in their respective cities. 60 miles from Worcester, Caughley made almost identical wares (before the age of copyright…). The pottery makers of Staffordshire soon began their own porcelain production, and so there are quite a number of makers of porcelain in England in the last half of the 18th century.

Dr Wall Worcester dish, c.1770
Dr Wall Worcester dish, c.1770 – coming soon to

Confusingly, some of these other makers used the same ‘C’ crescent mark as Worcester. So how do we tell Worcester from the rest? A simple answer may be ‘Quality’. They always had a high standard, at least once they worked out how to consistently produce the same results from their kilns. But many other makers also produced high quality wares, and the decoration is often very similar, following the demands of taste. Without copyright, it was easy to copy a popular design.

The answer to identifying early Worcester is the body. They had developed a soft-paste, or artificial porcelain. Unlike the Chinese – and the Continental porcelains, like Meissen – it lacked a vital ingredient found in ‘true’, or hard-paste porcelain. This ingredient was responsible for the stability, or hardness of the body, and this in turn meant it was more durable. Especially important considering the teawares that came to be a major part of their business; if a teapot cracked when hot liquid was poured in, it was not good for business – and this was what often happened to the likes of early Bow and Derby. Worcester prided itself in the ability to withstand hot water ‘shock’ – but was resistant, not crack proof. We do see an awful lot of Worcester teapots with classic spreading hot-water cracks.

One of the 15 initial partners in the Worcester concern was Richard Holdship. He was somehow aware of a struggling porcelain manufactory at Bristol, the works of Benjamin Lund. This had begin in 1749, with the granting of an exclusive licence to mine ‘soaprock’ at the Lizard, Cornwall. When this special ingredient was combined with their clay, Lund’s Bristol porcelain had a different quality to other English porcelains of the period. The soaprock unified the body, allowing it to distribute heat better, for example when boiling water was poured into it. Lund produced a limited line of products for a limited time, and by 1751, was in financial strife. Holdship was able to come in and buy-out the works, including the equipment, workmen, even Lund himself came to Worcester to the new works there. Most importantly, the Worcester firm now had the rights to the soap-rock of Cornwall, and added to their clay, produced the fine body we are used to with 18th century Dr Wall Worcester.

Translucency-Caughley, Chelsea, Worcester- circa 1760’s-70’s

So how do we identify this Worcester body? A very simple process: hold it up to the light!
A porcelain body by definition is translucent. This means the light is able to penetrate into the structure of the fired clay, and some finds its way through. When it strikes the minerals inside – such as the soap-stone – part of the light spectrum will be absorbed, with the remainder of the spectrum escaping to the viewer’s eye, resulting in a certain colour tone. In the case of Worcester with the soap-stone, it’s a greenish tone we look for.

This of course isn’t definitive test – there are variations, decoration changes things, and other factories could also produce green-tinged bodies. But combined with visual cues like patterns and shapes, spotting Worcester becomes a much simpler task.

Dr Wall Worcester Translucency c. 1775
Dr Wall Worcester Translucency c. 1775

This week, our Fresh Stock release has a series of superb Worcester ‘Saucer Dishes’, painted in the various Rococo patterns of the later 18th century. Literally a dish-sized ‘saucer’ shape, there was one, or sometimes two included in a tea service, intended to hold the cake or nice little knibbles the ‘Lady of the House’ was to serve when offering tea in the fashionable sitting room to visitors.

Worcester 'Marriage' pattern, c. 17
Dr Wall Saucer Dish, Marriage Pattern, c.1785
Hidden Bow, Worcester Marriage Pattern, c.1785
Hidden Bow, Worcester Marriage Pattern, c.1785

The ‘Marriage’ pattern is beautiful, with hidden symbols of Cupid amongst the flower sprigs. Apparently George III liked this pattern, and had a service made for Kew House. The older tale was it was to celebrate his marriage, although there are no records as such; however, the name ‘Marriage’ for the pattern is totally appropriate considering the hidden symbols of a bow, a quiver, and a lover’s knot.

Dr Wall Worcester 'Powder Blue' plate, c. 1770
Dr Wall Worcester ‘Powder Blue’ plate, c. 1770

The ‘Powder Blue’ example is fascinating, in that the flowers are lavish and flamboyant – but the fan-shaped reserves are outlined in a simple straight line of gold, with no scrolls to be seen. This reflects an earlier period, when Chinese porcelains from the Kanxi reign were coming into Europe with similar decoration. The ‘powder-blue’ ground is literally created as it sounds – a powder of blue cobalt pigment is blown onto the piece, which is treated with an oil to make it sticky; where the white panels are to be, a paper stencil cutout is attached. Once fired, this leaves the white panels to be painted by the factory artists. in the case of this plate, the artist was very good – the same hand is at work on a jug in the Zorensky Collection, along with the very stylish flower sprays. This gilding is the thick & rich ‘honey gilding’ , once again created exactly as described – honey is used to suspend the gold and apply it to the porcelain, where it burns off & leaves the gold in place when fired.

Dr Wall Saucer Dish, French Shape, c.1770
Dr Wall Worcester Saucer Dish, French Shape, c.1770

The example with the urn in the centre is Dr Wall Worcester at its best. This fluted shape is known as the ‘French’ shape, and was very popular for tea wares. The combination of the central flower-clad urn and the colourful swags of flowers hanging from suspension amongst the rich gilding around the rim is enhanced by the startling splash of turquoise ‘caillouté‘ work, a French word meaning ‘pebbly’. It’s based on the luxurious Sevres imports of the time, and the whole look & feel of these flamboyant pieces deserve their ‘French’ title.


Remember, we post world-wide at the most reasonable rates – ask for a quote.

Fresh Worcester

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Some Art Nouveau & Jugendstil….

Art Nouveau

Fresh to Moorabool…
The Fresh Designs!

Art Nouveau is literally a ‘New Art’.
This stylish fashion emerged from France in the latter 19th century. It was a reaction to the re-hashed Classical and Rococo style that dominated European fashion in the 19th century. It is well illustrated by this superb Art Nouveau ‘stamp box’ in French silver & wood, with sensual flowing tendrils, like hair ringlets or organic growing plants. 

French Art Nouveau Silver Stamp Box c.1900
French Art Nouveau Silver Stamp Box c.1900

Art Pottery flourished in the late 19th/early 20th century, and embraced the ideals of the Art Nouveau movement. This vase, from Belgium, has spiraling arms that look like they grew…. 

There’s another offshoot from Art Nouveau, originating in Austria and Germany, called ‘Jugendstil’ – literally ‘Youth Style’. This introduced more geometric elements alongside the Nouveau’s organic elements. 
This wonderful piece of design comes from the Würtemburgische Metallwaren Fabrik, WMF for short – a German manufacturer of high esteem. The egg-shaped copper body holds 6 eggs inside, which can be warmed with the small spirit burner placed on the platform between the legs. The supports are cast brass with stylish leaf-motif ends, and the legs are basically leaf-stems. The lid has a cross-form support, very geometric and not at all Art Nouveau, making it a fine example of Jugendstil.  

In the same theme is this remarkable vase. English pottery, it was made at Bretby, circa 1910. White having some Nouveau elements in its form (the handles have eyes!), it also has a geometry to it that shows the Jugendstil influence – as well as the definite ‘Arts & Crafts’ idea of showing the raw materials & craftsmanship. In this case, it is deceptive, as the ‘copper’ finish is a glaze – and the ‘gemstones’ are also glazed pottery, made separately and attached!

Another interesting off-shoot looks to the Celtic world for inspiration. The Celtic Knot patterns, found on carvings and metalworks from 1st millenium BC European artifacts were well known in Britain, where the style flourished particularly in Scotland, Ireland and Wales. As part of the Arts & Crafts movement, these ancient designs were sometimes referred to by craftsmen, and the beaker below is one such piece.

Made at the Art Pottery works of Brannam in Barnstaple, it is decorated with two bands of pale clay in raised slip trails skillfully arranged into ‘Celtic’ knotwork, framing an amusing verse neatly incised through the green glaze in a method we call ‘sgrafitto’:

” Be aisy

If ye cant be aisy

Be as aisy as ye can”

This information is Brannam delightfully easy to describe, as they clearly inscribed it all on the base – ‘Brannam / Barnstaple / 1903’. It is also initialed ‘FB’ for the potter, Frederick Braddon, who quite possibly used the traditional potter’s method of drawing with clay slip – a cow’s horn with the tip cut off, allowing the pale slip inside to be applied in a controlled line.

Frederick Braddon’s lip trail Celtic Knots on the Brannam beaker, dated 1903.

It’s a wonderfully organic result, like the tendrils of a vine growing across the surface.

It therefore fits the definition of ‘Art Nouveau’ – in an Arts & Crafts / Art Pottery manner!

Some Art Nouveau in our stock

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17th February – Fresh @ –

February 17th, 2022.

Welcome to a ‘Fresh Stock’ update – these items are fresh to our stock , and fresh to this website.

Today it’s a selection of fine English furniture. The bookcase is the key piece, and yes, the contents below will be a ‘Fresh Stock’ in the very near future!

George III Mahogany Bookcase
George III Mahogany Bookcase

This George III bookcase is particularly pleasing in its simplicity, featuring an understated curved pediment without the usual moulding – and the unusual addition of moulding in the form of ‘Maltese Crosses’ to the fold-down flap of the Secretaire drawer. The interior is in satinwood, and has an extra-wide central ‘pigeon hole’ suitable for a laptop or tablet.

The pair of chairs are also Georgian mahogany, and rare as they have their original green horse-hair seat covers.

There’s a useful small Sutherland Table, with an unusual gallery placed between the legs.

You’ll also find scattering of Georgian porcelain, and some hard to find ‘dumps’ – glassworks doorstops.

Remember, for the furniture, we have delivery options up the East Coast or to Adelaide, ask for a quote.

Fresh Stock

Here’s the latest for you!
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16th February Fresh Stock: Egyptomania

The Lure of the Middle East

February 16th, 2022.

Egyptian embroidery wall hanging c.1915
Egyptian embroidery wall hanging c.1915
Watercolours depicting visits to the Middle East

Today we have some items relating to our fascination with Ancient Egypt.
Since Napoleon marched in and took over Egypt 1798 (and then the English kicking him out a few years later) the splendors of Egypt have captured the imagination of Western Cultures, inspiring them to create pieces in the same style – ‘Egyptomania’.
There’s a wall hanging depicting Osiris sewn onto Egyptian linen, a typical souvenir for a WWI ANZAC soldier to bring back from his adventures, either stationed in Egypt or passing through on troop ships – it would squash into a backpack easily.
There are some interesting watercolours from the 1910’s-20’s, when Egypt became fascinating all over again after the discovery of King Tut’s tomb in late 1922. The papers & magazines were full of photos of the Ancient Egyptian treasures emerging from the Valley of the Kings, and ‘Egyptomania’ took hold. From this time is a small brass box, the lid presenting a good facsimile of the incredible scene from the back of King Tut’s tomb.
From Egypt comes a pair of bronze ‘temple’ bookends, mounted on Egyptian banded alabaster. From around 1900, there are some English pottery vessels with Egyptian figures as their decoration, made at Doulton, Lambeth.
To round it off, we have also attached some of the genuine Ancient Egyptian artifacts we have in stock, at the end of this page. And for those interested, we have something extremely special coming to Moorabool shortly; a small selection of supremely rare Ancient Egyptian artifacts, including a New Kingdom limestone head of a nobleman, nearly life-size, and a Royal ‘shabti’ figure from an important cache of Royal artifacts from the Valley of the Kings…. it would have emerged from the fabled ‘1st cache’ of Deir el Bahri, 1881. More on that soon!

King Tut Box

The small box in today’s Fresh Stock is a detailed product made in the aftermath of the discovery & opening of King Tutankhamun’s tomb in Egypt in late 1922; the various elements of decoration have taken inspiration from the many photographs published over the next few years as the incredible contents of the chambers were brought to the surface, revealing to the world the dazzling splendors of New Kingdom Egypt.

King Tut box, 1920's
King Tut box, 1920’s

This source is evident when we examine the seated figure being attended to by a female on the lid, with sun-disk above literally reaching down to anoint the couple with hands depicted on the ends of the sun-rays.  This is  very close to the back decoration of the golden throne from the tomb.

King Tut’s throne back, circa 1330 BC

It is an image of matrimonial affection, as it represents his wife Ankhesnamun in a scene of ‘domestic bliss’. A closer examination reveals she has an oil vessel in her left hand, and is therefore rubbing scented oil onto his shoulders. Another sweet detail is evident on the original, but too small to repeat on this box lid; she wears a foot-bangle on her right foot, and the Pharaoh one on his left; these are the symbols of matrimonial bonding, as-in the wedding ring in today’s cultures.

To the right of the queen is a tall stand supporting an elaborate set of ceremonial adornments – a large circular headdress, and two broad collars. This sets the scene – at the end of the day, the royal couple taking a moment, having taken off their heavy headdress & collars, just sitting back and relaxing in their palace room….. 

The hieroglyphics on our box, while accurately copied as individuals, have been simplified for aesthetics, and yet can still be deciphered by the trained eye; to the left are the two royal ‘cartouche’ names for the couple, . The elaborate pillars to either side, and the petal-border to the base and complex layered upper border all reflect the overall design seen on the throne.

It’s a well planned piece of ‘Egyptomania’, created to meet the demand for the exotic splendor of Ancient Egyptian stimulated by Howard Carter’s incredible discovery in 1922.


‘Egyptomania’ fresh to stock

Ancient Egyptian artifacts already in stock

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February 11 – Fresh @

February 11th, 2022.

Welcome to our ‘Fresh Stock’ update – these items are fresh to our stock , and fresh to this website. With Valentines day just around the corner, we hope you love our latest additions…

Today, some fine 18th century enamels, elaborate flower encrusted marvels, and even some Sterling Silver teddybears……. these fun pieces were made right at the start of the ‘Teddy’ era, when Teddy Roosevelt was President of the USA – and a popular cartoon showed him refusing to shoot a bear cub on a shoot, labelling him ‘a big teddy-bear’…. from this, the first of our much-loved toys were made, and these rare silver pieces followed the trend.

SOLD! rare Stirling ‘Teddy Bear’ salt & pepper, 1909

Remember, we post world-wide at the most reasonable rates – ask for a quote.

Fresh Stock

Here’s the latest for you!
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24th January – Fresh @ – Staffordshire Figures

Staffordshire Figures

January 22nd, 2022.

Staffordshire Figures
Some real characters Fresh at Moorabool – Staffordshire Figures of the mid-19th century

Welcome to our ‘Fresh Stock’ update – these items are fresh to our stock , and fresh to this website.

Today it’s time for some Fresh Staffordshire!
We enjoy our Staffordshire for the stories they tell. This was their purpose – to represent an individual, a famous character, or an event. The equivalent of Facebook & Instagram in the 19th century!

Jenny Jones & Edward Morgan
Jenny Jones & Edward Morgan

This is an interesting theatrical group – based on a pop song of the time: Jenny Jones. That’s her, slicing up a bit of cheese & bread for her sailor, Edward Morgon, who has returned after 20 years sailing the world to his hometown, and his love.
The last verse says it all:

I parted a lad from the vale of my fathers,
And left Jenny Jones then a cockit young lass :
But now I'm return'd a storm-beaten old mariner,
JENNY—from JONES, into MORGAN shall pass,
And we'll live on our cheese and our ale in contentment,
And long through our dear native vallies will rove ;
For indeed in our hearts we both love that Llangollen,
And sweet Jenny Morgan, with truth will I love.
Wellington & Napoleon - Staffordshire Figures
Wellington & Napoleon – Staffordshire Figures, mid-19th century
Napoleon's Eagle
Napoleon’s Eagle

You’ll recognize these two characters: Napoleon, instantly recognizable in his costume, with his arm characteristically tucked into his waistcoat. He was a surprisingly popular figure amongst the English, who would have had recent memories of the turmoil he caused across Europe. The appeal was as a ‘Villain’ figure, alongside the various Highwaymen, Murderers, and Politicians that were made in large quantities. This particular representation of Napoleon is a scarce one, as he is depicted with a friendly Eagle – representing ‘Empire’, as-in the Roman Empire (with its Eagle symbol) has been re-created by Napoleon….
With ambitions like that, the figure of the Duke of Wellington was necessary to keep him in check at the other end of the cottage mantel piece – although this figure shows him in his political capacity, some years after ‘The War’.

Staffordshire Clock Group
Staffordshire ‘Scottish’ Clock Group, mid 19th century

Lastly, this curiously tall figure is ‘one with the lot’ – there’s dancing highlanders, a charming lion lurking beneath the red-brick bridge that forms the base, who has recently been ‘cuddling’ a deer (‘he’s just sleeping, kids!”) – and an eagle perched on top for good measure! The purpose of the whole piece is to give the impression to anyone peering through a cottage window that the house had a clock – and was therefore well off – although looking closer, you’ll notice it’s painted on!

You’ll find these listed in the ‘Fresh Stock’ below. There’s also good number of other Staffordshire figures to browse below, along with a fair few interesting pottery pieces.


Remember, we post world-wide at the most reasonable rates – ask for a quote.

Fresh Stock

Here’s the latest for you!
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Paris Streets & Scottish Towns: some early 19th c. Paris Porcelain Plates


Fresh to Moorabool are a series of scenic plates.
Dating to the earlier 19th century, they are stunning examples of quality china-painting, worthy of a ‘fine-art’ title.

Paris Scenic service, 6pc with superb painted street scenes, by Feuillet c.1830
Scenic dessert service, with superb hand-painted Parisstreet scenes, by Feuillet c.1830

The first is a ‘dessert service’ – not that it would be used for food! It is particularly flamboyant, with scenes of Paris (and one of the port of Marseilles) within flower wreaths, with panels of flowers on a green ground enhanced with raised gilt flowers…. evoking the luxury of the Royal French factory, Sevres. Clearly, this was made for someone to take a piece of France home with them – in a way, a superior souvenir! It features large hand-painted scenes to the base of each, including: The Pantheon, Versailles, The Gardens of Versailles, Palais Royal, Porte Saint-Denis, and a view of the harbour at Marseilles.

  • The Pantheon, Paris, painted on a plate by Feuillet c.1830
  • Versailles, on a plate by Filluet
  • Colonnade dans le Parc de Versailles, on a plate by Feuillet c.1830
  • Palais Royal, on a plate by Feuillet c.1830
  • Port de Saint-Denis
  • Paris Porcelain Scenic service, Marseilles harbour, by Feuillet c.1830

They are each titled with the identity of the view to the back, and are also all nicely marked – which is a terrific feature of Paris Porcelain of this period. The artists usually marked their products, especially those who had the better quality output. The idea seems to have been ‘advertising’ – a clear name and address stamped & fired onto the back allowed an Englishman, for example, to trace their source to the workshop – in order to buy his own souvenir of Paris!
At this period (late 18th – 19th century_ there were more ‘decorating studios’ than manufacturers of porcelain in Paris, decorating blank porcelain with their own patterns. The porcelain therefore is not necessarily the defining factor in identification of a piece. Thankfully, they made it simple for us with their marks.

Feuillet's mark, Paris Porcelain
Feuillet’s hand painted mark, Paris Porcelain c. 1830

This service is the product of Jean-Pierre Feuillet, the son of a pastry chef to the the Prince de Condé. He learnt to paint in Chantilly, at a school funded by the Prince. He must have really appreciated his father’s pastries, as when Jean-Pierre showed ambition to open a decorating studio in Paris, he did so under the Prince’s protection, in 1814. This establishment on the Rue de la Paix became renown for the highest quality decoration, a ‘supplier to the aristocracy’. As such, his styles were the absolute latest, featuring all the Neo-Classical lavishness of the Restoration period. Each piece is usually hand-marked ‘Feuillet’. He took on a partner, Boyer, who continued at the same address after Feuillet’s death in 1834, mantained the creation of fine quality porcelains, and proudly marked marked ‘Boyer, successor to Feuillet’.

Alongside this service is the following scenic plate with a rich ‘Empire’ gilt border.

View of Kelso, Roxburgh, Scotland, on a Paris Porcelain plate by Honoré circa 1825

This magnificent plate is the product of Edouard Honoré, a familiar name in the Empire period porcelains of Paris. His Uncle François was in partnership with the Dagoty brothers, and had produced some of the most stunning high quality Paris products of the earlier 19th century. In 1820 they parted, and Edouard Honoré seems to have set up his own studio & showroom on Petite Rue Neuve Saint-Gilles. His Uncle, François Honoré, had actually begun his business there in 1807, partnering with an earlier studio which he took over. When François Honoré and Dagoty parted in 1820, their studio and salesroom at 4 Boulevard Poissonière was superior to Saint-Gilles, and Edouard Honoré was established there by 1824. Uncle François remained in the background as a silent partner. This plate has the mark for this latter half of the 1820’s, with the Boulevard Poissonière address – but is interesting in that it doesn’t appear exactly in any of the reference books, being almost the mark referring the ‘Ancienne Maison Dagoty’, but leaving out that reference to the previous proprietor of the address, and being set as a straight line text rather than the curved version of the before mentioned.
(ref. de Guillebon, ‘ Paris Porcelain’ 1972 , p332 #74 for the closest variation, as mentioned)

Edouard Honoré
Our variation of Edouard Honoré’s mark, c. 1825. A variation to those illustrated in the literature.

The scene is, like the Feuillet plates mentioned above, inscribed on the back. However, there’s a rather odd problem!

Edouard Honoré
Kelso dans le Ronburgshire

The title to the back reads ‘Kelso dans le Ronburgshire’ – so we’re looking for a town called Kelso, in Ronburgshire. Sounds almost German – but a quick search reveals there is only one Kelso that is appropriate, and it is in the Scottish borderlands! And therefore, the ‘Ronburgshire’ is meant to be ‘Roxburghshire’, ie the Shire of Roxburgh, Scotland. This spelling is found in German language texts of the time, perhaps giving a clue to the origin of the scene depicted on the plate.

Kelso, depicted in an 1833 copy from ‘Minstrelsy of the Scottish Border’

As with the Feuillet service, the scenes depicted were copied from books of engravings. Sometimes the original can be found – nothing definite for theses examples yet. However, a German publication would be a great place to start researching this beautiful depiction of Kelso. The bridge over the River Tweed depicted was constructed around 1800, and the towers are that of the ruined 12th century Kelso Abbey.

English scenes like this are not common in Paris products of this period – no doubt, it was also part of a magnificent large service, each plate depicting a British scene. A perfect souvenir for a homesick Scot in Paris in the 1820’s!

Visit the page for the pieces mentioned in this article by clicking on their image below.

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22nd December -Fresh @

December 22nd, 2021.

Welcome to our ‘Fresh Stock’ update – these items are fresh to our stock , and fresh to this website.

It’s nearly Christmas!
Moorabool has been bustling with people sourcing special presents – the online aspect is no longer ‘Christmas’ valid, due to the postal time restrictions – but locals who can pop in are keeping us busy.

Celtic – Bronze Age – clasp, circa 800BC

We have also been putting a variety of Fresh items online, including some fascinating Antiquities and some fine porcelains, silver & glass. There’s a lot awaiting a photo opportunity or description to be published – so keep your eye on the ‘Latest Additions’ gallery.

Handsome Old Sheffield Plate ‘Cake Basket’, circa 1820, Fresh to Stock today

Now that Christmas is almost over, we have also started to progress with the new website setup. We didn’t want to risk any down-time while our valued customers were on the site securing special Christmas presents! In the New Year, you’ll see our New Website: an easier way to grasp the quantity & variety that makes up the stock at Moorabool Antiques.

New Years Day is the launch date for a fine selection of early porcelains, including Dr Wall Worcester, Sevres, and a selection of Bow and Derby figures.

Remember, we post world-wide at the most reasonable rates – ask for a quote.

Fresh Stock

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Latest Antiquities – Fresh @

December 15th, 2021.

We’ve been busy uploading a stash of fantastic Ancient Artifacts.

Roman Bronze Fittings
Roman Bronze Fittings & brooches

Many of these items were only ‘re-discovered’ during the recent months of lockdown, where we investigated the deepest storage rooms at Moorabool Antiques: here we found Paul’s accumulations of interesting artifacts, collected while in the UK as a student in the 1990’s. This was a time when metal detectors were becoming common, and every farmers field was apparently littered with delightful little bronze pieces from antiquity.

The Thames River in London was another prime hunting ground; after being used as a dump since prehistory, there was something from every period of history to be found there with a little effort.

Ancient Bronzes, and a rare Silver ‘Celtic’ Penannular Brooch

Paul was actively buying these small finds from the finders; anything they unearthed was their own to do with as they pleased, and while most would have a collection of their own, multiples or lesser pieces were happily sold off – and happily bought by Paul! Bundled up & shipped to Australia, with the intention of selling, they were forgotten about after the ‘big move’ of 2000, when we moved into our new premises. It was quite a pleasant shock to unearth a small crate, at the back of a store room, full of fascinating artifacts. Now the challenge is to catalogue, mount & present them online. We’re doing ‘spins’ of them as well, so plenty to see & enjoy if you like ancient items…

Remember, we post world-wide at the most reasonable rates – ask for a quote.

International postage is particularly unpredictable at the moment. We can use a superior service, such as UPS, which can have a UK/US shipment delivered within a few days – but the cost is considerably more, please ask for a quote if interested.
Australian deliveries can also be sent express, for slightly more, please ask.

Fresh Antiquities

Here’s the latest from the Past for you!

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11th December – Fresh @

December 11th, 2021.

Welcome to our ‘Fresh Stock’ update – these items are fresh to our stock , and fresh to this website.

French Bronzes
Fresh Delights @ Moorabool

Today we have a wide range of interesting potential Christmas Gifts – something for everyone!

There’s a small group of fine quality French bronzes, some delicate small pieces of ‘virtu’, and that gorgeous ‘doggy box’ with its googly eyes peering at you… how can you say ‘no’?

Chess, anyone?
Chess, anyone?

There’s a handsome chess set – Jaques, London, mid-19th century – and an incredible luxury boxed set of .950 standard Solid Silver teaspoons with very special sugar tongs, dating to circa 1900.

Luxury French Silver by Alphonse Debain
Luxury French Silver by Alphonse Debain

You’ll also find some really in-expensive pieces, the ‘extra presents’ we’re always looking for – such as a selection of Victorian pewter drinking tankards, many under $100. I use one on my desk here to keep the pens in.

Pewter Tankards
Pewter Tankards

Remember, we post world-wide at the most reasonable rates – ask for a quote.

Note: while we can post worldwide at reasonable rates, please aware delivery may be delayed due to covid shipping chaos.

We are expert at packing for a safe delivery of all our precious items…..

Fresh Stock

Here’s the latest for you!