Moorabool has a fascinating group of Derby ‘Seasons’, modelled as children with their respective attributes.
left to right: Spring, Summer, Autumn, Summer, Spring. We have no Winter….
They make for an interesting study, and show the development of the classic rococo-based Derby figures of the latter 18th century.
The earliest version appears during the mid-1750’s, belonging to a group of distinctly modelled figures that are often decorated in a muted pallet of colours, known as the ‘pale-family’. These appear with a flat slab base, and the modelling is a little stiff. Note this example has lost his hand & the wheat he holds in it.
Circa 1756
‘Summer’, Pale Family type, 1756-59. ref. Bradshaw ‘Derby Figures’ p72.
This example, in stock at Moorabool, is late in the ‘Pale Family’ period, or the very beginning of the next period, the ‘Patch Mark’ period, c. 1759-69. The base has an early, rarely-seen rococo scroll moulding, of quite flat form without piercing. The colours are the type used in the 1760’s.
This example, also in stock at Moorabool, shows the latter 18th century style of Rococo scroll base, with scrolls forming feet on which it rests, and a pierced panel to the center.
This boy is representing ‘Spring’, with a garland of flowers.
This example, also in stock at Moorabool, shows the latter Rococo scroll base, with scrolls forming feet on which it rests, and a pierced panel to the center.
Once again ‘Spring’, with a garland of flowers. Interestingly, he is not recorded in Bradshaw (Derby Figures), who has only a set of 4 ‘Adolescent Seasons’ listed that are all girls; these boys appear in the earlier sets and were obviously continued into the latter 18th century – it’s a puzzle why he has failed to record them.
Of course, other factories were actively making ‘Seasons’, with a particularly lovely ‘Spring’ by Bow being a recent addition to Moorabool.com’s stock:
Bow figure of ‘Spring’, with distinct blue enamels, c. 1765. See her here>
Welcome to our latest Fresh Stock. This one is a ‘Staffordshire Special’, with some early figures dating to the late 18th – early 19th century – as well as a good selection of classic Victorian pieces.
There’s a couple of Highwaymen, one titled ‘Dick Turpin’, the other facing horseman traditionally being his companion Gentleman-Robber, ‘Tom King’ (actually Mathew, not Tom….) .
There’s a lovely ‘primitive’ miniature group of Victoria & the love of her life, Albert. There’s cats, dogs, the Royal Children riding goats, and the exotic image of Lady Hester Stanhope riding her camel….
And there’s Mademoiselle d’Jeck, a 4-ton prima-donna…. (see more on her at the end of this post).
These subjects wouldn’t be hard to find on present day social media – and so, this Staffordshire Collection is a great illustration of the ‘Social Media’ aspect fulfilled by these charming, quirky figures from the late Georgian & Victorian eras.
This remarkable Staffordshire group tells the story of one particular elephant: ‘Mademoiselle d’Jeck’, the star of the stage in the decade after the Napoleonic Wars. Starting in England in 1806, she travelled back & forth between the Continent , England, and a tour of America before her untimely death in 1837. This figure dates to around that time, but commemorates an earlier stage appearance. In 1829, she had appeared with great success in the Paris Olympic circus, starring in the play ‘l’éléphant du Roi de Siam‘ (“The Elephant of the King of Siam”). After a short season, and a quick translation into English, the show was launched across the Channel, in the Adelphi Theatre, London, and ran from mid-1829 into early 1830. Mademoiselle d’Jeck was a 4-ton prima-donna…. with her behaviour earning her a reputation as an absolute monster, having broken many people’s bones, and even killing a number of her keepers.
And….she’s still around! Read all about her interesting but sad story as a travelling attraction on our special blog report here >
This rare Staffordshire figure is a visual record of an extraordinary theatrical spectacle, presented in the 1820’s to the eager audiences of London. Attributed in the playbill to Englishman Samuel Beasley Jr. and John Gallott, it was billed as ‘New and Gorgeous Serio-Comic Indian Burletta Spectacle’, and titled ‘The Elephant of Siam and the Fire Fiend‘. However…. an earlier play featuring the same elephant and storyline had opened in Paris in July the same year, at the Cirque Olympique of Antonio Franconi. This piece was entitled ‘l’éléphant du Roi de Siam‘ (The Elephant of the King of Siam) and was penned by Léopold Chandezon and Ferdinand Laloue.
above: 1 – 1829 Paris advert, at the ‘Cirque Olympique’. 2 – Staffordshire child’s plate, c.1830. 3 – Staffordshire group, c. 1840. 4 & 5 – Playbills in the Victoria & Albert Museum.
The plot is a classic romance, with the hand of a princess contested by two suitors, one good (Prince Almansor), one not so good…. and the elephant is the key actor as she thwarts the plots of the bad-egg.
Mademoiselle D’jeck was brought to England mid-1829 to appear on the English stage.
The ‘borrowed’ Elephant Extravaganza took place in December 1829 and into 1830, at London’s famous Adelphi Theatre.
Mademoiselle D’jeck, The Elephant at the Adelphi
Picture this: an enormous stage, meticulously reinforced for an extraordinary star—the Elephant of Siam. This marvel, titled ‘Mademoiselle d’Gelk’ (or D’jeck), wasn’t just a creature of size, but a performer of remarkable talent, commanding a nightly salary of twenty pounds—a princely sum indeed. She was 11 feet tall, 4 tons in weight, and a very pale colour.
Under the leadership of Frederick Yates, the Adelphi Theatre brimmed with innovation and daring. The elephant’s presence wasn’t mere novelty; every action woven seamlessly into the plot, showcasing not only her docility but her profound intelligence. She was tasked with opening chests, shifting a crown from the head of one character to another, and advancing the plot using her bulk to block the view, or in what is shown in this Staffordshire figure, holding her trunk up to the window of a burning palace so the princess can escape – by being grasped with her trunk and lowered to the ground! Considering the actors in the play were London regulars, and she came from France with just a few handlers/trainers who were not there for acting, it is remarkable that she was able to interact with so many different people, night after night – a true testament to her intelligence.
A side story here reinforces this: one particular keeper was not kind to her, using the prongs of a pitch-fork to make her behave; years later, when she had the chance, she killed him. At his inquest, there was little sympathy for him and little blame for Mademoiselle D’jeck, as it was clearly a case of an Elephant’s excellent memory leading to revenge for wrongs done…..
She had arrived in London in 1806, from India or Ceylon, a member of Mr. Thomas Atkins’ traveling menagerie. Travelling with a native mahout who had raised her as a baby, she soon showed signs of being the class ‘prima-donna’ of the entertainment industry: her original mahout was wounded in 1814, and in 1822 she wounded the menagerie’s owner, who sold her to Berlin; there, she continued to hurt those around her….
When she came to Paris to perform in the stage play written just for her, she was responsible for wounding her owner and fracturing the skull of her latest mahout.
After her London appearance at the Adelphi, she spent time touring England with ‘Astley’s’ – where she broke the arm of one handler, wounded and killed two others, and fractured the skull of another. Her reputation as a dangerous beast grew…. and so they shipped her off to perform in New York!
Tournai Museum – 19th c. plan
After her US tour, the 4-ton prima-donna was back on the European tour, with a modification to make her a little safer – her tusks were removed. However, there were dozens more incidents that left a trail of injured handlers. A final straw for Mademoiselle was an ‘incident’ that wounded a spectator, in Geneva in 1837, and she was put down.
Her hide was secured by a Paris naturalist firm, Maison de Deyrolle, and so Mademoiselle D’jeck lived on , in a way. As a skin, she was sold to Barthélemy Dumortier, botanist, director and founder of the Natural History Museum of Tournai, Belgium. A local cabinet maker was conscripted to build the underbody for the hide, and a local shoe maker spend a mammoth amount of time sewing her hide onto the ‘skeleton’ . The result is still there to bee seen in Tournai, where Mademoiselle D’jeck still stands proud, having survived both world wars. In 2018 was recognised by the Federation of Wallonia-Brussels as part of its ‘federal heritage’.
Mademoiselle D’jeck in Tournai today (front)
This rare figure would most probably date to the time of her turning fame: 1830 would be a touch early for this style of flatpack figure, and as her fame in London was that same year, it would have been in the following years that an image like this would appeal to the public.
Four Fresh pieces of English Earthenware, 18th century, just added to stock.
Creamware
Creamware is the term for an English earthenware body with a definite ‘cream’ tone, popular in the latter half of the 18th century and replicated across Europe. It emerged from the experimentation of Staffordshire potters seeking a local alternative to expensive Chinese porcelain around 1750. Their innovation yielded a refined cream to white earthenware with a lustrous clear lead glaze, prized for its lightweight construction and pristine finish, making it ideal for household use. It was not expensive to produce when compared with porcelain, but also not as robust; replacements were probably a necessity if you were using Creamware tea wares or tablewares. After its heyday in the 1780’s, Creamware remained popular well into the 20th century despite competition from other ceramic types. Today, it is valued for the pleasant off-white body and refined shapes often decorated with bright spontaneous on glaze enamel flowers.
Salt glaze refers to a distinctive ceramic made by the English potters in the mid-18th century, with an ivory-white stoneware body lightly glazed with a clear covering having a texture resembling orange peel. This forms on the white high-fired stoneware body when common salt is introduced into the kiln at its highest temperature. During firing, sodium from the salt reacts with silica present in the clay, resulting in the formation of a glassy sodium-silicate coating. This glaze can exhibit a range of slight hues, usually colourless but also found in shades of brown (due to iron oxide), blue (from cobalt oxide), or purple (from manganese oxide).
The result is a glistening white product, usually slip-cast and very lightweight & thin, yet also very tough. Forgive me for making the comparison, but it could be mistaken for a plastic! The glaze is transparent, and fits tight and thin against the body, meaning any moulded decoration is as sharp and crisp as the clay beneath. It has become a highly desireable field to collect in the English Earthenwares field.
The Chinese were fond of a red clay sourced near the city of Yi Xing, on the Yangtze River Delta. When Europeans started trading with them in the 17th century, the ‘Yixing Stonewares’ were a popular item. Naturally, the local European potters were keen to provide versions of this suddenly popular ware, and the potters of Delft, in Holland produced a ‘clone’ of the Chinese – often with the same decoration – in the latter 17th century, followed by the Eeler Brothers, Dutch silversmiths who came to London in the 1680’s and produced the first English redwares. Meissen was a latecomer, with J.J.Böttger discovering a fine high-fired red ware body now named after him in 1706. By the mid 18th century, the potters of Staffordshire and elsewhere were making Redwares.
Wedgwood c. 1820
Characterized by its rich reddish-brown hues derived from iron in the clay oxidising in the firing process, English Redware exemplified both utilitarian functionality and aesthetic charm. Crafted with meticulous attention to detail, these pieces often featured simple yet elegant designs, at first copying the imported Chinese wares, but soon reflecting the prevailing tastes of the era. Commonly used for everyday household items such as teapots, jugs, and mugs, English redware found its place in both rural cottages and aristocratic homes alike. Despite its widespread popularity, redware production faced challenges from the emerging dominance of porcelain and other fine ceramics. Wedgwood brought it back to the tasteful table in the late 18th- early 19th century with a refined version they called ‘Rosso Antico’, and other firms through the Victorian era continued to make ‘redwares’ in small numbers. The original 18th-century English redware remains a testament to the skilled craftsmanship and enduring legacy of the era’s pottery traditions.
Jackfield is largely a generic name for a class of black/brown bodied earthenwares with a glossy ‘black’ glaze. I emphasise ‘black’ as close examination reveals it is actually made up of mostly dark brown tones, which combined with a dark-toned clay body appears black to the naked eye.
Jackfield Teapot c.1780
Traditionally this type of ware was said to be made at a pottery works located at Jackfield, near Coalport in Shropshire – which became the name for the type. But excavations and other evidence suggest that at the same time, such pieces were also made in Staffordshire and at other ceramic centres. The shapes and mouldings are often closely related to the other bodies detailed in this article, showing the black products were made alongside red wares , cream wares and salt glaze. Perhaps ‘black wares ‘ would be a more accurate name, but the ‘Jackfield’ name persists.
Decoration was hard, as the black surface didn’t allow for the usual decorative technique. Rare ‘cold-painted’ examples show that some were decorated in colourful oil paints, often with dedications and dates, painted onto a piece to order by a retailer, independent of the potteries. Today, it is collected for the dramatic impact it makes in contrast to the usual white or off-white alternative wares.
Welcome to our latest Fresh Stock release at Moorabool.
This week we have a fine selection of English Porcelain figures, and a collection of English Enamel patch & snuff boxes.
Enamel patch boxes and snuff boxes were everyday items for fashionable 18th century people of social status.
Patch-box with mirror in lid
Patchboxes, as their name suggests, were used to store ‘patches’ – literally small wax-based cosmetic ‘boils’ that were seen as essential beauty products in the 17th & 18th centuries. This ‘beauty spot’ fashion had a practical origin; the diseases of the era would often leave facial scars, and a patch could be used to fill the mark; however, it obviously became something more, with perfectly healthy un-diseased beauties feeling they had to add artificial patches to their faces! The patchbox, with its compact size and elegant appearance, provided a convenient and stylish way to carry these essential fashion accessories on one’s person, ready to apply if needed. You can tell them by the mirror seen inside the lid – something seen into the modern era with the ‘powder-compact’.
Snuff boxes were used to store ‘snuff’ – essentially powdered tobacco, a popular stimulant in the 17th and 18th centuries. Snuff-taking was not only a social ritual but also a symbol of refinement and status. These boxes, often passed down as heirlooms, were prized possessions that reflected the taste and sophistication of their owners, making them cherished artifacts right to the present day.
One of these lovely enamel boxes isn’t what it seems: can you tell which?
SLIDE the line across to reveal the Sampson 19th century copy!
Derby Figures
Derby figures, originating from the renowned Derby Porcelain Factory founded by William Duesbury in 1756, represent a pinnacle of 18th-century ceramic artistry. These exquisite porcelain sculptures, often depicting scenes of pastoral life, classical mythology, or notable historical figures, are celebrated for their impeccable craftsmanship and artistic detail. From elegant ladies and gentlemen in period attire to elaborate animal and mythological motifs, Derby figures encompass a diverse range of subjects and styles, each meticulously sculpted and hand-painted with vibrant enamels. Reflecting the tastes of the aristocracy and burgeoning middle-class of Georgian England, these figures adorned the mantelpieces and tables of affluent households, serving as both decorative ornaments and symbols of status and refinement. Today, Derby figures remain highly sought-after by Collectors and Connoisseurs of Fine Things, cherished for their timeless beauty.
Welcome to another Moorabool ‘Fresh Stock’. This one features a collection of English ‘Art Pottery’ from the distinct Devon potters of Torquay. They’re always nicely made pieces, with a rich terracotta-toned body slipped in colours, often scratched-through or finely painted with stylish scenes, but most notable for their inscriptions. This gives rise to a popular nick-name, ‘Mottoware’.
We have some pretty fun ones, and they read like a scroll through some Instagram memes –
There would be no shadows If the sun were not shining ~ Empty vessels make the most noise ~ Don’t worry, it may never happen ~ To Have a Friend is to Be One …
Some were souvenirs – for example, the mini teapot is inscribed ‘The Oldest Chemist Shoppe in England, Knaresborough Est. 1720 ‘.
Among them are two particularly interesting pieces. One commemorates the friendship between Britain and the USA; the other is commemorating the Boer War.
“May They Ever Be United” -unusual commemorative USA & UK Torquay (Devon) art pottery mug c. 1917
This commemorative is a bit of a mystery; the inscription ‘May They Ever Be United’ suggests an event, such as the ‘Great White Fleet’ of 1907-09, where the US sent a group of their battleships around the world on a publicity cruise – including to Australia, where many souvenirs of the event were made. However, they never visited Britain!
Instead, the mug could have been made circa 1917, when America entered WWI on the 6th April. A thankful Britain hosted American ships & troops on their way to the battlefields, and a souvenir like this would have been readily sold to the visitors. They seem to be very scarce.
Rare Torquay pottery Boer War Commemorative ‘Tommy Atkins’ mug, by Aller Vale, c. 1900
This unusual piece was made to commemorate the Boer War. Marked ‘Aller Vale’, it was made at the Aller Vale pottery, Torquay.
The Torquay Potters
A quick history.
Torquay Pottery vase, c. 1910. This is reminiscent of Dresser designs of the 1870’s.
The Devon potters of the Torquay region were active back into pre-history, with a bountiful supply of rich terracotta-toned clay to use. In the late 19th century, the ‘Arts & Crafts’ movement arose, and the region came to support a flourishing industry into the 20th century of Art Potters.
The present industry was started by a Mr Allen, who established the Watcombe Clay Company Ltd on the outskirts of Torquay in 1869, with Mr Charles Brock of Staffordshire as the manager. In 1901 it merged with the Torquay pottery firm of Aller Vale, but continued to make ‘Watcombe’ marked pieces.
The styles of the group of companies in the area are often very similar – they were tapping into the same market, and the Arts & Crafts tradition provided a wonderful stimulus for shapes & decoration. Dr Christopher Dresser was the origin of some incredibly ‘modern’ designs produced at the Watcombe Pottery in the 1870’s, and this simplicity and elegance can be seen in the products of the Torquay potteries for the next few decades.
Another line sometimes seen were terracotta plaques, complete with moulded frames, ready to hang on the wall. Some quite talented artists used these as their ‘canvas’, painting in oils.
An example we have sighted comes with an interesting provenance: it has theme of Beatrice Charlotte Henty (1867-1950) on the back, with her address at ‘Tarring’, Kew. She was the granddaughter of James Henty, who is regarded as the first of the settlers to arrive in what is now Victoria in the 1830’s. The painting, of a shipwreck with survivors struggling ashore, is very well painted, and as there doesn’t seem to be any evidence of Beatrice being such a competent artist, the inscription is probably one of ownership – in fact, pieces like this were brought out to the 1880 Exhibition in Melbourne, and continued to be available in the luxury stores of Melbourne in the late 19th century.
The Torquay Pottery Firms include:
The Torquay Pottery at Heel Cross, Devon, (known as Watcombe after the nearby Country House) commenced production in 1875, making terracotta vessels and plaques as seen above. It was after their merge with nearby Aller Vale that they began to make the ‘Motto Ware’, and used their ‘Royal Torquay Pottery’ mark from 1924. The introduction of restrictions during WWII stressed the firm to the point of closure before the war finished, in the early 1940’s.
Aller Vale was one of the larger potteries in the Torquay group. Founded near Newton Abbot in 1881 by John Phillips, it was heavily influenced by the Arts & Crafts movement, and absorbed the Watcombe and Longpark potteries in the early 20th century, before being absorbed in turn by the Watcombe Pottery. It gained a ‘Royal’ addition to its name after visits and purchases of the wares by Queen Victoria’s daughter, Princess Louise, and Alexandra, wife of Edward VII. Liberty’s of London stocked Aller Vale slipware decorated pieces. It closed in 1932.
Barton Pottery was founded by four workmen from other Torquay potteries in 1922, and made a variety of ‘typical’ Torquay-style Motto Wares. By 1926 this partnership had broken up, and a Limited Company established – reflected in the mark. It closed in 1935.
Longpark Pottery was founded in 1883, but it was in 1903 when Aller Vale Pottery took them over that they began making the slip-decorated ‘Motto Ware’. As well as ‘LONNGPARK’, they used the name ‘TORMOHUN’. The firm was still running after WWII, but gradually declined, closing in 1957.
There are more firms not mentioned here, but this short list covers the examples you’ll find below. They’re a rather cheerful, even inspirational thing to collect – I mean the advice alone is worth it!
This rare piece of Wedgwood came to Moorabool recently, and is quite a remarkable piece.
Wedgwood ‘Egyptian’ Jug, registered 1854, at Moorabool Antiques, Geelong
Based on a Greek ‘Black Figure’ jug of the 4th century BC
Black body, added orange slip decoration
The ‘Egyptian’ name perhaps due to the Greek Sphinx depicted.
Made solely for Woodard & Hattersley, Cambridge, from 1854.
Rare Wedgwood ‘Egyptian Jug’, modelled in black basalt after an Ancient Greek oinochoe, with a faithful painted ‘black-figure’ style panel featuring a bird in flight flanked by two facing sphinx, defined by terracotta slip painted ground colour, with bands below to the foot & to the trefoil lip, the figures with white enamel highlights.
Large impressed registration triangle, with circular inscription “THE EGYPTIAN JUG / SOLD ONLY BY º / WOOLLARD & HATTERSLEY / CAMBRIDGE”. , also ‘WEDGWOOD” and modeller’s marks.
Wedgwood Egyptian Jug
This rarity was made for Woollard & Hattersley, who had the design registered in April 1854 as ‘The Egyptian Jug’ (ref. British Museum’s description), and made at Wedgwood. Established in 1761, Woollard & Hattersley were grocers, who also listed themselves as ‘ University Providers’. Their adverts list the various beverages they stocked, no doubt in great demand in the many Cambridge University halls. This jug is sometimes listed as an ‘ale jug’, and would be quite useful as one – perhaps a promotional giveaway of the early Victorian period….
Greek original, Attic, 5th century BC
It is a superb example of the interest in re-imagining the classical world through the ‘revival’ movements – with one glaring mistake: although claiming to belong to the ‘Egyptian’ removal, it is in fact a faithful copy of a Corinthian Greek archaic style oinochoe, dating to the 6th century BC!
There were several versions made. Although apparently not in the literature, there are two examples in auction records that have a clue to the ambiguous ‘Egyptian’ naming: they are impressed-marked “THE CANTERBURY JUG” instead of “THE EGYPTIAN JUG” – but then the decorator of the jug has painted over the top of the impressed mark, with “EGYPTIAN” !
A- example @ Moorabool Antiques, solid black body with red painted background EGYPTIAN JUG B- solid red ware example, the background painted in black – EGYPTIAN JUG C- solid black, red printed registration diamond, red painted background CANTERBURY / EGYPTIAN D- solid black, red printed registration diamond, red painted background CANTERBURY / EGYPTIAN
‘The Canterbury Jug ‘ was perhaps a reference to an example of a Greek oinochoe jug, in the collection of an antiquarian of the region, as yet untraced. The design was registered in 1854, but promptly re-named, as shown by examples with ‘Egyptian’ painted over ‘Canterbury’. The marking stamp was then modified for the following products, creating the inaccurate name ‘Egyptian Jug’. It is a rarity amongst Wedgwood products due to the registration & patron mark.
A curios example sold in America recently (C) bears the registration diamond for 1854, but also a painted inscription for the word ‘Egyptian’. Careful examination reveals a different impressed word beneath – ‘CANTERBURY’ – so originally it was inscribed ‘THE CANTERBURY JUG’. Another example was sold in America with the exact same feature (D), meaning it was not a unique production issue. We can conclude this mark was original, but for some reason, the name of the custom-order by Woollard & Hattersley was changed to ‘EGYPTIAN’. Subsequent productions also differ in the way the registration diamond is shown; one is printed on in red, while the other is impressed.
Based on a Corinthian Greek ‘Black Figure’ jug of the 6th century BC
Bow Porcelain has a keen following among collectors, valued for its cheerful, bright colours and quirky modelling.
A selection of Beautiful Bow, with bright Chinese-style flower decoration, 1750’s
Founded in the mid 1740’s by Thomas Frye, it produced a variety of wares in direct competition to the fellow-fledgling factory in the region, Chelsea. While Chelsea produced high-end luxury ceramics, Bow was happy to produce less expensive wares – and did so on a large scale, becoming the largest manufacturer of the period in England.
Like Chelsea, it was located within the bounds of present-day London – although in the mid-18th century, both places were still smaller hamlets on the Thames River, yet to be enveloped by the expanding metropolis.
Bow Porcelain from the 1750’s, showing the influence of Meissen in the ‘Fisherfolk’ figures, and Asian imports in the plate & coffee cans – all very much in fashion in the 1750’s.
The products of these early factories were a direct response to the red-hot London market for Asian Porcelain imports – so it’s hardly surprising that the pieces are often imitations of Chinese & Japanese designs.
Many items are copies of Chelsea forms, and Chelsea in turn copied the expensive imports from Meissen. We have several pieces in stock that follow this fascinating storyline……
By the 1770’s, the Bow style was overshadowed by multiple other porcelain manufacturers such as Worcester and Derby. Chelsea also found itself in trouble, and had their ‘strategic merge’ with William Duesbury’s Derby factory in 1770, which led to their closure a few years later. The same fate befell Bow, with the owner recorded as bankrupt in 1763, and the sale of moulds & equipment to Duesbury of Derby in 1776.
Prunus ‘Sprigging’, directly copying Chinese imports, 1750’s
Browse the latest uploaded Bow Porcelain collection below, or click the button to see all Bow Porcelain in stock.
Welcome to our first Fresh Stock for 2024. We have a fine selection of interesting items for you to browse, including Sterling, Old Sheffield Plate, Australian Pottery, and a whole range of ‘Green’ ceramics…..
The exceptional piece this time is a plate, which bears an original Exhibition label from 1876. With the place it was exhibited, and the name of the artist, we were able to discover a fascinating ‘back-story’ – with close links to Charles Dickens and an Australian High Court judge from 100 years ago…..
Ellen Ross ‘china painting “HOWELL & JAMES” of Regent Street, exhibition label 1876
This extraordinary example of Tournai porcelain shows the quality they were able to produce.
Tournai Sauceboat c.1770
Dating to circa 1770, the elegant form with robust yet stylish handle, and boat-shaped stand, is a premonition of the Neoclassical simplicity which comes to dominate French design in the last decades of the 18th century. While this aspect looks forward, the decoration is the opposite. It is taken from a print published mid 18th century, after a painting by Francois Boucher, and is the essence of the Rococo style.
The mark is always misunderstood: ‘crossed swords are Meissen’ is the usual assessment, however this piece is clearly soft-paste porcelain, not the hard-paste of Meissen. As a vast number of other makers ‘borrowed’ crossed swords, it is easily attributed to one of these fraudulent makers, like Samson of Paris. However…. this mark is well documented on Tournai porcelain. In the underglaze blue & white products, it is not uncommon. Gold on glaze is rare, but does appear on their better decorated pieces, suggesting it was a mark for their ‘premier products’.
There is a single example in public collections, not published in the literature. This is a sauceboat in the Philadelphia Museum of Art (id=#1968-172-1) , documented on their website. It lacks the stand, but has the same lavish decoration – with a few variations.
In the fore is our example; the back shows the Philadelphia Museum’s slight variation.
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