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>
Sometimes, things don’t turn out to be what they look like. While that’s usually a pre-cursor for disappointment when we discover something is made later, or badly damaged – our recent experience was quite the opposite… An enquiry about some ‘Dresden Cups’ with a photo of the two beautiful beakers illustrated here came to us. The pieces looked superb quality, and Sèvres would be a likely candidate – not Dresden, or Meissen as it is more familiarly known.
Handling them for the first time showed them to be even better than the photos. They are absolutely the most stunning items, and their condition exceptional. Turning them up reveals their surprise : a pair of crossed sword marks, for Meissen.
Definitely 18th century, and Vincennes/ early Sèvres style, but Meissen marks; clearly there’s a tale to be told….
A dive into the books brought up the answer: a rare moment in the world of Meissen, when it no longer led the way in porcelain taste in Europe, but followed the French. Once we had established the period, we were able to attribute the artist: Johann George Loehnig (1743 – 1806).
His work is rare. He was listed as one of the 1st-class artists in Meissen between 1764 and 1770. In 1786 he was still listed as a “…figure painter of the most exquisite class” in the manufactory’s list of painters. The artwork source for the lush and expressive putti were mostly provided by Johann Eleazar Zeissig (1737 – 1806), called Schenau, who in turn was inspired by François Boucher (1703 – 1770).”
Sèvres cherubs, 1758-9
Meissen cherubs, c. 1770
Meissen c. 1770
Meissen c. 1770
Meissen, the pioneering porcelain manufacturer in Europe, had led the field in discovering how to manufacture porcelain, inventing and defining the European taste for porcelain right from their first creations in the first decade of the 18th century. By the 1770’s, they had a large number of competitors, and lost their lead as innovators to other makers. There are several shapes ‘borrowed’ from France, and this cup shows the strong demand for the ‘French’ taste, decorated in a design that first appeared in Vincennes & Sèvres products in the 1750’s. While the Sèvres examples were based on the paintings and prints of Boucher, it has been suggested that the designs for the Meissen examples 25 years later came from the works by Schenau (Johann Eleazar Zeissig), Director of the Royal Academy of Arts in Dresden – who was himself directly influenced by the works of Boucher.
Very few examples are to be found of this direct copying, and appear to be limited to a few very exclusive tea sets – and chocolate, as seen here – made for the most wealthy of customers.
This cup, along with its companion, is said to have come to Australia in the 19th century, to be passed down several generations in Geelong, Victoria, before it was brought into our premises in Geelong in 2024.
Munich Museum tray – illustrated in ‘Meissen Porcelain of the 18th century’ by Hermann Jedding
There is a tea-tray in the Munich Museum which is so exactly related to this cup, we speculate it may be the original for a split-up setting – perhaps a teapot, a coffee/chocolate pot, a sugar bowl, and two cups & saucers sat on this as a dejeuner set. The main scene is Venus and attendant cherubs amongst clouts, while the small panels in the border feature trophies, with the borders around each being the exact leaf & flower design seen on this cup. There is an identical dentil border to the rim.
Above is a detail from Hermann Jedding ‘Meissen Porcelain of the 18th century’ p 104, pl. 179, showing a tray with the exact same figures, ground and fine gilt borders, described as being painted by Johann Georg Loehnig, who “…preferred preferred vessels in royal blue… which he painted with putti, lovers or portraits, often using the stippled dot technique”. He describes the borders: “etched gold tendrils and flowers… the refined delicacy of French taste was also sought in Meissen”.
The tray illustrated is in the Munich Bayerisches Nationalmuseum , dated 1770.
Compare to the border of these beakers – it’s the same, and assumed to therefore be from the same unique commission, circa 1770. This was not a ‘pattern’ of the firm, and each commission would be different in detail, such as the gilt borders. The cherubs and their clouds appear identical in concept – although no colour photograph of the tray could be found.
Two rare Meissen chocolate cups, of tall beaker form, superbly painted by Johann Georg Loehnig with two panels of cherubs in clouds, in his distinct ‘stipple’ technique, imitating Vincennes/Sèvres products of the mid-18th century, set within ornate leaf & flowers raised & tooled gold frames, the foot with a solid gold band.
Crossed swords mark in underglaze blue to each, also indistinct underglaze ground-painter’s mark, pressnumer ‘.9′ (or 6’) in the foot rim.
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.
An interesting rarity has just been unearthed at Moorabool.
Godden in his ‘Staffordshire Porcelain’ is the initial source of attribution, using the style of piece & pattern to date it to the 1820’s, and then refine it down to two possible makers with ‘D’ surnames. Drewry- also spelt Drewery – is the most likely of the two, in his opinion. They are recorded in the directories 1818, and disappear after the 1830 publication. Godden illustrates the London-shape teapot with the same pattern and ‘D’ mark on p415. Distinct to this maker (apparently not found elsewhere) is the plain handle form, without a spur on the inside towards the bottom; also distinct is the handle wrapping down the body and terminating by touching the actual foot of the jug.
A selection of similar patterns, made by the Hilditch firm. These are identified by marked examples, set out in a 2003 publication, ‘Hilditch Porcelain – A Collector’s Guide’ by Margaret Hewat & June M. Owen.
The similarity to the Drewry pattern is no coincidence; the Hilditch works were located in Lane End, Staffordshire, just over the road from the Drewery works. The engraver responsible for the copper plates used to print the transfer was not exclusively employed by these companies; rather, he would be a freelance operator, taking on the work when it was needed. Somewhere like Drewry would not need his services very often – this was pattern 65, and such printing plates could stay in use for many years before needing replacement. If you examine the details of the prints of these Hilditch products, and the other similar works such as Newhall, it is clear that the same engravers are at work for multiple firms – making this marked example an important clue to unravelling the correct attribution of these charming transfer printed wares.
from the ‘Transferware Collector’s Club’ database, on the ‘Teahouse Pattern’ jug illustrated below, with the note “The numerals “44” alongside the “D” mark are more likely a worker’s number than a pattern number”. We propose that it is indeed a pattern number, and should be read as ’77’ – see image below for the pattern.
This pattern is recorded by the Transferware Collector’s Club database as pattern #2552, titled ‘Pavilion & Tower’ ( no. 65) by Thomas Drewry & Son, Lane End, Staffordshire. A related pattern is their #3327, a pattern known as ‘Tea House’ (See photo below). In the documented example, there is a number next to the mark – as there is with this example & others of this pattern that have been recorded, all ’65’. Clearly this is the pattern number for this pattern, 65. The numbers on the ‘Tea House’ example are interpreted as ’44’, but seem to more likely be meant as ’77’ – just a few patterns along from this ‘Pavilion & Tower’ pattern. Comparing the two reveals a very close look.
Drewry Pattern 77(?) from The Transfer Collector’s Club website. Note the difference in the handle: this example is the same as the other numerous London-shape handles with a spur on the inside, while the (apparently) unique feature of the example we are documenting is having no spur.
Drewry & Son, Lane End, London Shape jug, pattern 65, marked ‘D’ in sunburst, at Moorabool Antiques, Australia
Example of Drewry porcelain London-shape teapot, pattern 65, now known as the ‘Pavilion & Tower’ pattern, here illustrated in Godden’s ‘Staffordshire Porcelain’
Drewry & Son ‘London Shape’ Cup & Saucer, pattern 65, circa 1818-30
This piece is a fine example of how time disappears in this field: unravelling the above story took quite a while, with widespread resources to consult and bring together to tell the story. And yet, look at the price: Rarity doesn’t necessarily mean ‘expensive’ !
We have some Fresh ‘Delft’ and ‘delft’ pottery. What’s the difference? -Capital D is for the Dutch Delft, while the English version is designated a lower-case ‘d’. France calls it ‘Faience’, Germany ‘Fayence’, and Italy ‘Maiolica’.
Of course, it’s all the same technology: Tin oxide (a white powder) is added to the glaze to make it opaque and white, similar to the more technical porcelain. The reason can be seen when there’s a chip that reveals the clay body underneath: inevitably, it’s a coarse reddish-brown colour, nowhere near as attractive as the tinglaze white for a background.
There’s a splendid pair of Sèvres dishes fresh to Moorabool.
Sèvres Porcelain, 1764
This shape is a compotier rond, and was a component of the large services, used alongside other shaped serving dishes in the centre of the table. A setting for a dozen might have two compotier rond, while the larger services, such as the massive Service Camaïeu Carmen de Fontainebleau (used by the Royal Family) had several dozen of this elegant dishes available.
Sevres 1764. Moorabool Antiques, Australia
The moulded pattern allows the beauty of the moulded porcelain to show in a way the more painted patterns cannot.
The elegant lotus flower design is borrowed from Chinese Export origins, where lotus-moulded dishes were a common sight in the early 18th century.
Sevres 1764. Moorabool Antiques, Australia
Louis-Françcois Lécot’s mark, ‘L’, on Sevres with ‘L’ for 1764. Moorabool Antiques, AustraliaSevres with ‘L’ for 1764. Moorabool Antiques, Australia
One of the dishes simply has the crossed ‘L’s’ mark, enclosing the date letter ‘L’ for 1764. The other example is the same, but also has a painter’s mark: ‘L’. This allows us to put a name on the painter of the flowers: Louis-Françoise Lécot . He appears in the factory wages lists in 1763, after possible earlier unpaid work as a pupil from about 1761. He worked as a flower painter in 1764 – but is then absent from any reference the following year, giving him the working period 1763-4…. a perfect match for this dish. He does re-appear, after spending 6 years somewhere else, when he is documented as a hard-paste artist in 1771 (as opposed to the soft-paste that was the only body available at Sèvres in the 1760’s). His work is then remarkable and distinct, specialising in dramatic imitation lacquer pieces, with gilt or platinum/silver chinoiseries painted in the highest Rococo manner, or the exotic ‘Etruscan’ grotesques inspired by discoveries in Italy during the 1770’s. These styles were the latest fashion for the French aristocrats, and bring to mind the lavish productions of the high-end Paris firms competing with Sèvres for the top-end customers. As Sèvres was the King’s factory, he enforced a monopoly on the industry, where colours & gilt decoration was exclusive to his own factory; the loop-hole found by eager factory owners was to attract an aristocratic patron to protect them – Clignancourt was under the protection of the Comet de Provenance (the future Louis XVIII) and Rue Thiroux was under the protection of the Queen, Marie Antoinette. Both produced very high quality hard-paste products in the 1770’s, and would have eagerly employed a Sèvres-trained artist such as Lécot. Locré & Russinger, otherwise known as La Courtille, was another such factory, minus the aristocratic protection; they ran afoul of the King’s Sèvres monopoly, with 2,000 pieces of illegal coloured & gilt porcelain being seized in 1780 – indicating they were producing a large amount of high quality hard-paste wares. Despite this set-back, they continued to make superbly decorated pieces as if nothing had happened….
Could Lécot have spent his time in some such Paris porcelain manufacture, learning the technique for decorating the hard-paste porcelain body? While he was away, Sèvres purchased the recipe for pâte tendre (hard paste) from Pierre-Antoine Hannong, the youngest son of Paul-Antoine Hannong, whose father had established the faience works in Strasbourg in the early 18th century . As often happens with generations, Paul-Antoine made a success of the firm when he introduced the first hard-paste porcelain production in France, in the mid-1750’s. He died in 1769, and his son, Pierre-Antoine became head. Two years later, he sold the secret of Hard-Paste to the Sèvres factory. They took a while, but once the right ingredients were sourced, Hard-Paste was made (alongside Soft-Paste) from the mid 1770’s onward.
A Lécot decorated Sèvres garniture, 1775-6 – sold at Christies NY in 2000 for $1.1 million US….
When he returned in 1771, Lécot was able to paint on the new Hard-Paste body. He worked on some truly impressive hard-paste orders, and all major collections seem to feature his dramatic 1780’s Chinoiseries. This early example of his Soft-Paste work from his brief appearance at Sèvres in 1763-4 is a lovely rarity.
ref. Rosalind Savill, The Wallace Collection Catalogue of Sèvres Porcelain, London, 1988, Vol. III, pp. 1043-4 for more on Leçot.
Jean Bouchet, active at Sèvres 1757-93
Sèvres cup & saucer, scenic panels by Jean Bouchet, dated 1781
This lovely cup and saucer are a ‘recently married’ pair. While the saucer has been in the Rosenberg Reference Collection in Geelong for a while as a fine example of Sèvres, the cup is a recent acquisition; remarkably, it is the same artist at work at Sèvres in the same year, 1781. While there is a difference in the details, the overall harmony makes them a delightful rarity. And of course, they have a story to tell…..
The artist is Jean Bouchet. He used a pictorial mark, a ‘tree’. While in the factory records – and the subsequent publications that used this as their source for what the marks looked like – he carefully drew a realistic tree with roots, trunk and layered foliage, while in practice he simplified it into something that looks like a furry lollypop…. This would have taken much less time & concentration!
Factory records with Bouchet’s ‘tree’ mark Mark on our Sèvres cup by Jean Bouchet, dated 1781Mark on our Sèvres saucer, scenic panels by Jean Bouchet, dated 1781The marks on the Sèvres cup & saucer by Jean Bouchet, with transmitted light to show the workman’s incised mark.
The cup and the saucer are both 1781, dated with the same ‘DD’ in a distinct cursive script, the hand-writing of Jean Bouchet; there is also his distinct mark, a tree symbol. He is recorded as active at Sèvres 1763-93, a painter of human figures, landscapes, and flowers. He is very well represented in major collections, with his small landscapes being very appealing to original customers and present-day connoisseurs alike.
Jean Chauvaux jeune‘s ‘bead’ borders
The cup has another painter’s mark also – ‘IN’, the mark of Jean Chauvaux jeune, a gilder active 1765-1802. As there is not a great deal of gilding on the cup, we would suggest he was responsible for the unusual ‘bead necklace’ painting of the borders, where they are given highlights & shadows to make them appear rounded.
The incised workman’s marks 36 & 48a are both recorded by Saville in the Wallace Collection’s catalogue, vol III pp1130&1133. ’36’ is recorded 1770-90’s, while ’48a’ is recorded 1777-92. There are no names associated with these individuals.
In the British Royal Collection, both ’36’ and ’48a’ are present in several assemblages, including a set of very similar cups & saucers from the same period.
Sevres Cup & a Saucer by Jean Bouchet, 1781. Moorabool Antiques, Geelong
A complete déjeuner by Jean Bouchet, in the V&A Museum, London
It’s rare to see a complete group of porcelain from this era still together. This set in the Victoria & Albert Museum, South Kensington, is a fascinating rarity to study. It was bequeathed to the museum in 2015, and leading expert Rosalind Savill has identified it as one of four déjeuners bought by Christian IV, Duke of Zweibrücken, on the 14th June 1775. This was just 3 days after the event of the decade in France, the coronation of Louis XVI which the Duke naturally attended. Their cost was 840 livres, the equivalent of tens-of-thousands in today’s currency…. an expensive souvenir!
The marks on Sèvres should follow the rules and be very logical, but in practice they can be quite random. The system was there to provide the company with a way of tracking the various production steps and those responsible for the work: in a perfect scenario, the répareur, or workman who puts it all together, incised his particular mark, and both the artist and the gilder would include their mark. Then the factory mark, the crossed ‘L’s’ for Louis were painted, and inside them the code for the year it was decorated.
As you can see in the dejéuner set examples above, this isn’t always the case: of the nine components of the existing set, just a single example has a painter’s mark, here the ‘tree’ of Jean Bouchet, and none have a year mark! It is only the monogram found on the tray, along with the factory records recording Bouchard’s work on the commission, and the solid provenance that allow this remarkable set to be dated. This helps explain the number of non-conforming Sèvres items we come across, which have no date code or artist’s mark. They were quite probably part of a set where only a few items were marked.
Reference: Savill, Rosalind: A Sèvres Porcelain Tea Service in the Victoria and Albert Museum with Surprising Credentials, French Porcelain Society Journal, Vol. II, 2005, pp. 39-46.
Of course, fraud is always a concern, and later-decorated pieces can often be non-conforming – but usually, a date code is part of the deception, with the first years ‘A B C’ for 1754, 55 & 56 being the favourite – the trouble is, the style of decoration & object type was often not yet invented at that date, a dead giveaway!
Welcome to our 2022 Special Gallery of Fresh Chinese items.
We’ve always stocked a good selection of Chinese items, and at present, we have a large number of items to share.
Of particular note below are the Ming Dynasty blue & white pieces. Part of a collection we are selling, the highlight is perhaps the Jiajing period dish, 500 years old and complete with a mark. This 4-character mark misses the important part – the name of the Emperor during the period it was made – but is also found on a very similar example in the British Museum. They have linked it to an example that has the complete mark, revealing it to be made in the time of Emperor Jiajing, who reigned 1522-66.
Ming barbed-rim dish, 1622-40Ming blue has a ‘wet’ characteristic, and burns black when thick An excellent example of the Ming Dynasty cobalt blue pooling into a ‘heap’ or ‘pile’, causing it to erupt through the glaze and burn black in the kiln.Jiajing period mark ‘Made during the Great Ming’
We have some quality Chinese Hardwood furniture to offer. A pair of cabinets make excellent display cases for any collector of Asian Antiques, and are available as a single or the pair. The long low table has handy compartments beneath, and is an excellent shallow size for small spaces, such as a hallway.
Chinese Hardwood furniture, beautifully made pieces that are very useful for both collectors and decorators.
Below are some lovely examples of the Tang & Ming dynasty pottery models. These items were buried as offerings, to ensure the deceased had a life of luxury in the afterlife. They are accurate models of everyday items, and allow us to vividly imagine everyday life in their time: in this respect, they indeed meet their purpose by bringing the past to life!
Blue and White porcelains have been the most popular Chinese Ceramics in Europe since the Ming Dynasty, and the same aesthetic is still popular today. The following examples are all Ming, dating from 500-
Vast amounts of Chinese Porcelain was made purely as Export Wares in China, with England, Europe, and America as the main destination. The shapes reflect this, as they are usually European rather than traditional Chinese.
Works on paper – or ‘pith’, the thinly-shaved core of a fast-growing tropical plant – are beautiful, rare survivors. The larger pieces are on linen, and were intended as ‘scrolls’, to be brought out and displayed when needed. The large example with the multi-figures is a family tree, an ‘Ancestor Scroll’ set in the interior of their house.
Welcome to our Fresh stock – on the First Day of Spring (for us Southerners!).
What better way to welcome Spring than with some Derby children with flowers…. and the Regency lacquer tray they are displayed on is simply sensational, converted into a ‘coffee table’ by mounting it on a bamboo base.
We have started to catalogue our large holding of Prints – and what better place to start than with our local views. You’ll find a good selection of S.T. Gill views of Geelong, from the 1857 publication ‘Views in Victoria’, or the 1890 re-print. In the near future, we have a lot of other interesting historical views from all around Australia – soon to be found fully sorted by region in the ‘Print Gallery’ we are preparing.
We have a fine selection of Fossils to offer, from several old collections that are being dispersed. Here’s a few, with many more to come. They make terrific presents….. Millions of years old for a few dollars!
A wonderful selection of Vienna, Meissen, Sevres and other finely decorated ceramics for your perusal! Mainly 18th century, you’ll find Bow, Worcester & Caughley, plus some French & German – but in particular, a fine selection of early Vienna porcelain.
This group of Vienna is a part-set, with just 3 pieces remaining – beautifully painted with flower panels on dark ‘earthy’ grounds, they are individual masterpieces in their own right!
Vienna Flower Painting 1785
The vienna is original 18th century; the Sevres cup & saucer, shown at the top & in detail here, is 18th century porcelain, but was decorated in the 19th century – by a very skilled artist. Stunning!
The Bow pieces in today’s ‘Fresh’ are rather fine examples of their early products of the 1750’s. The blue is a distinct lovely rich deep tone. The fluid quality of the painting is superb – echoing the imported Chinese Export wares of the period, but in their own way. The large charger has a number of very unusual features, including the central pagoda with its buttressed supports, and the speedy boat at lower left, piloted by a hunched over figure in the stern, the movement shown by a radiating wake!
Each piece has a damage – the charger a factory flaw to the central tree, the punchbowl a chip & crack to rim restored – hence their tempting prices, $1650 on the charger and $850 on the punchbowl.
Today, there’s some fine Japanese porcelain & sculpture freshly posted to moorabool.com, including some lovely early 17th & 18th century Edo period pieces.
Three types of Japanese Porcelain, Edo Period (1603-1867) : Arita ‘Sometsuke‘ wares (underglaze blue), Imari ‘kinran-de‘ (gold brocade) wares with iron-red & gold as well as underglaze blue, and a Kakiemon-type enamelled dish, (no underglaze blue) Aritia, early 18th century.
A boat-shaped dish with a ‘boating’ scene…. Imari ware, Edo period , 18th century. SOLD
Japanese Screen from Purrumbete, Western District Victoria, c. 1890
This magnificent large room-screen is Japanese, and typical of the luxury goods imported from Japan for the wealthy Australian land-owners of the late 19th century. It was purchased at the clearing sale of the Purrumbete Homestead, near Camperdown in the Western District of Victoria, and part of the original Manifold family’s furnishings. This magnificent Arts & Crafts house had been created from a smaller 1850’s house for them in the very early 20th century. This screen was no doubt a fitting from that period, part of the ‘Country House’ look popular at that time, with Japanese & Chinese items mixed in with traditional furniture against the stunning Australian-timber panelled walls and decorative woodwork to the ceilings. See the screen here >> The large late 19th century Japanese vases included in today’s ‘Fresh Stock’ were also sourced in the Western District of Victoria, probably originating from another grand home of this period.
A handsome George III ‘bachelor’s chest’, the name given to these small useful pieces that often have a pull-out slide shelf at the top, like this example. C. 1780. $2400 See this piece here >>
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