March 24, 2011

Cataloguing, not blogging....

I have not had a chance to blog for a while.... Far too busy cataloguing! We are printing another lavish full-colour Moorabool catalogue for 2011. Here is the first draft laid out on the floor:

Over 400 choice items, most of them fresh, 44 pages for your viewing pleasure. Print deadline is looming, and we will post out as soon as they are ready.
If you would like a copy, please contact us.

The Exhibition 2011 date has now been set-
Saturday April 16th
Opening 11am
in the upstairs gallery of our Geelong premises.

The entire offering will also be posted on our website as a Special Exhibition.

A preview is available.

March 08, 2011

Meet Jean-Jacque Pierre, an 18th century Sevres artist.

I always enjoy researching a piece of genuine Sèvres porcelain; it comes to life in a way that few other 18th century factories do, due to the extensive records kept at the factory, and the clues placed on the porcelain itself.

This superb plate with green ground has companions in the British Museum, the Quirinal Palace, Rome, and the Pitti Palace, Florence.

The mark is the crossed L's for Louis, with the date letter O for 1767, and an artist's mark - P'

This is the artist Jean-Jacques Pierre II, who happens to be one of the artists preserved in a group of sketches made from the life, preserved in the Sèvres archives.... Here he is!

Another clue is the inscribed initials in the body. These are the mark of the workman who made the piece, and a comprehensive list has been put together of the dates of pieces they worked on.
Here is the mark:

and here is the listing of the mark, referring to pieces made in 1770. Unfortunately, there are very few formers names recorded, compared to the artists, so we cannot name them.

So while there are a huge number of pieces of mock Sèvres out there, and pieces with later decoration, there is a way of using the clues above to verify the authenticity of a piece.
First, date it by the date letter. ('A' is the 1753 code, and only applies to a very specific group of styles made in such early years. It is also the most faked mark.) In this case, we have 1767 as the date.
Secondly, date the artist. He MUST be working at the works during the year the piece dates to! In this case, Pierre commenced work in 1763 and continued until 1798, so a 36 year career at Sèvres which includes 1767, and so reinforces the authenticity of this piece.
Thirdly, the workman's mark inscribed into the piece should be traceable, with hundreds recorded, and the records include the date range from year mark on the same piece. This date range should cover or come very clear to the date of the piece in question: in this case, 1774 in the recorded example is comfortably close to the 1767 date.
One final clue is well known to the fakers of all ages, and that is the 'dip hole' in the rim of the underside.

This is an artifact of the quality production at Sèvres: it is the only point touching in the kiln for glaze and colour firing, as a means of limiting any kiln flaws. It was observed on genuine pieces by the copy makers, who went to great lengths to place them in their own footrims- one example I have has 4 on one plate! However, the reason for the hole was perhaps unknown, and unused, and so will appear different in an original.
This reason was the high- tech firing method, which involved a 'tree' of metal arms in the kiln, with upturned spikes on their branches; this spike was the hanging point for the plate while firing. As a result, small flakes of metal oxides were often fused from the tip into the hole in the footrim, and examination under a glass should show a characteristic trace of this fascinating firing method. It was a difficult technique which was most probably beyond the abilities of the later fakers- or more probably, beyond their knowledge.

So with the positive answer to the above questions, we can conclude that this is a genuine Sèvres piece from 1767, painted by Pierre.

His painting was superb, his flowers and fruit comparable to the best factory artists.

This superb plate is now available at Moorabool Antique Galleries, as part of our stock.

March 02, 2011

A bowl with a dashing tale to tell....

This rare large pearlware bowl by Spode, circa 1815, has an interesting tale to tell.

Large Spode Pearlware salad bowl, printed in blue with a large version of the Boy & Buffalo pattern, within a moth & trellis border, the outer panels with smaller versions of the same pattern.
Paper label to base reads: Part of the Leeds ware Service, Presented to the Marquess of Anglesey, commemorating his return from the Battle of Warterloo, bought at Anglesey Castle sale October 1904
Circa 1815

Field Marshal Henry William Paget, 1st Marquess of Anglesey, KG, GCB, GCH, PC (17 May 1768 – 29 April 1854) is best known for his role in the Battle of Waterloo, where he was the second in command under Wellington. His charge with the heavy cavalry was a critical point in the historic victory of the day.
The Earl of Uxbridge was not Wellington's first choice at the time of the Waterloo campaign, perhaps because his rather dashing style did not win favour with the Duke; also an earlier elopement with Wellington's sister in law had left a quite understandable residue of animosity. On 18 June 1815, however, he distinguished himself time after time and had at least eight horses shot under him. At the end of the battle, while riding next to Wellington, his right leg was hit by grapeshot, leading to the memorable exchange as he said "By God, sir, I've lost my leg!" to which Wellington replied "By God, sir, so you have!"
His leg was amputated above the knee, without any medication, and he went on to have a long military and political career - with one leg. His leg outlasted him, being kept as a souvenir by the owner of the house where the amputation was done, where it survived until the 1860's as a must-see for the popular Battle of Waterloo tourists.

(Info sourced from Wikipedia pages)

I wonder if the Marques ever looked at the boy on the buffalo on his fine Spode service, and thought of those splendid days campaigning on horseback.....
Provenances like this are always problematic, as associating a piece with a famous person is an easy way to increase the price; however, the date on this service is spot on for the supposed date of presentation - 1815 - I wonder who did the presenting? As pottery, it would not have been the most expensive purchase, unlike Wellington's vast rewards from the people of London, including the famous Sevres Egyptian Service..... Something a little more basic, like his subjects on his estates, perhaps?

This rarity will be released for sale in our 2011 exhibition in Geelong, to be held in April.