Sydney punch bowls
The Sydney bowls are the only two known examples of export porcelain from China with hand-painted Sydney scenes, dated to the Macquarie era (1810–1821). Punch bowls were produced in China for over three decades after the First Fleet arrived in Port Jackson , where British settlers established the Sydney Cove settlement in 1788 .
They are decorated with panoramic images of Sydney from the early 19th century combined with traditional Chinese porcelain decorations. The motifs were likely taken from illustrations by several artists working in Australia at the time .
Although the decorative bowls were representative items in the 18th and 19th centuries, it is not known who originally commissioned these bowls or for what special occasion they were made. Each of the punch bowls had multiple owners over time and were donated independently, one to the State Library of New South Wales (SLNSW) in 1926 and the other to the Australian National Maritime Museum (ANMM) in 2006.
Similarities and differences
Both Sydney bowls are Chinese porcelain from Guangdong . It was on the hard porcelain , a basic glaze applied. This was followed by an overglaze decor in Famille Rose style with polychromies - enamel colors and gilding. The punch bowls are similar in size: each is 45 cm (18 in ) in diameter, 17 cm (6.7 in) in height, and weighs approximately 5.4 kg (12 lb ). The foot ring is 2.5 cm (0.98 in) high and 22.5 cm (8.9 in) in diameter. While the painted indigenous Australian groups in the center of each punch bowl are identical inside, the panoramic images of Sydney Cove are not. The SLNSW bowl is the view from the east of Sydney Cove and the ANMM bowl is the view from Dawes Point on the west coast. This pairing follows a standard convention in the 18th and early 19th centuries for topographical painting. Two views were shown from the same location from opposite vantage points.
While the Cantonese ceramic painters used images of Sydney Cove and the group of Aborigines as templates, which were provided by the client for the bowls, the choice of painting the border and edge strips was usually left to the ceramic painters themselves. The traditional floral motif of such Chinese flowers as chrysanthemum , peony , cherry , and plum blossom was used for the inner border strips of both punch bowls in a similar pattern. However, the outer border strips differ considerably. The SLNSW punch bowl has a more traditional Chinese painting on the outer border strip in vermilion, pink and gold plating, whereas the outer border strip of the ANMM bowl bowl is decorated with looped circles on a blue cobalt background, edged with narrow gold bands. There are other differences. The SLNSW punch bowl has large, gold-plated monogram initials on the outside, the foot ring has a single narrow gold band and the lower edge is gold-plated. The ANMM punch bowl has no visible monogram, but the foot ring says “View of the Town of Sydney in New South Wales” in black.
Client
The two bowls were not part of normal dinnerware from China, but were ordered separately. The gold-plated monogram initials on the SLNSW punch bowl are perhaps the only available reference to the original customer of the bowls. The initials are difficult to decipher because parts of the engraving are no longer there. HCA or HA, TCA or FCA via B. Several candidates are possible: Henry Bathurst, 3rd Earl Bathurst and Sir Thomas Brisbane , Governor of New South Wales after Macquarie (1821-1825), but most likely Henry Colden Be Antill . On his arrival in Sydney on January 1, 1810, Antill was appointed aide-de-camp by the fifth governor of New South Wales Lachlan Macquarie (1810-1821). He was promoted to major in a brigade in 1811 and resigned from the British Army in 1821. Antill first settled at Moorebank near Liverpool , and then in 1825 on his estate near Picton - called Jarvisfield, in honor of Macquarie's first wife, Jane Jarvis. On August 14, 1851, he was buried at Jarvisfield. Antill had separated part of his property in 1844, which made the establishment of the Town Picton possible. When the State Library of New South Wales received their bowls in 1926, the Picton family Antill had no knowledge of the bowl's origins. In fact, there is no evidence that the punch bowls had ever been to Australia until they were donated to the State Library of New South Wales and the Australian National Maritime Museum.
Image origin
Sydney Cove
The sources of the two depictions of Sydney Cove and the Aboriginal group are unknown. The coloration on the pottery bears a common resemblance to contemporary images of Sydney Cove, which means that an original watercolor or hand-painted copperplate was used as a copy rather than a black and white image. In the case of the SLNSW bowl, the Sydney Cove picture is very similar to a copper engraving from a now lost drawing by the artist John William Lewin , which can be dated to the year 1814. This copper engraving from Sydney Cove appears on the cover of the second edition of A Statistical, Historical and Political Description of New South Wales and its dependent settlements in Van Diemen's Land etc. (London, 1820) by William Charles Wentworth , and a later, smaller version one of ten views of Port Jackson harbor illustrated in Map of Part of New South Wales (London, 1825) by publisher and engraver Joseph Cross. Lewin was Australia's first professional artist to create many paintings for Macquarie and his executives, as well as several commissioned works for the rancher and trader Alexander Riley . Lewin worked closely with Henry Cobden Antill. Both were part of Governor Macquarie's 50-person field trip that inspected the land and the new highway over the Blue Mountains from April 25 to May 19, 1815. The highway was built by convicts in 1814 after the first Europeans Gregory Blaxland , William Lawson and William Charles Wentworth crossed the Blue Mountains in May 1813.
In contrast to the SLNSW punch bowl, the source of the Sydney Cove image on the ANMM bowl bowl is not known in its entirety, so it is assumed that the original artwork made available by the client for the ceramic artists in China has been lost. The only known Sydney Cove view from this period is an original watercolor by convict artist Joseph Lycett , which was first engraved on page 86 in Views in New South Wales, 1813-1814 [and] An Historical Account of the Colony of NSW, 1820–1821 (Sydney, 1819) by soldier James Wallis (1785? –1858). A second similar copper engraving appeared on page 73 in a folio edition of Album of original drawings by Captain James Wallis and Joseph Lycett, ca 1817-1818 etc., which was published in 1821 by the publisher Rudolph Ackermann in London. However, the Dawes Point fortifications - laid out by convict architect Francis Greenway - and his gun emplacements dominate the foreground of both engravings. The ANMM punch bowl shows an older view. A grass slope is shown with a male and female Aboriginal in the same place. The Lycell version also has other important differences, including a less extensive view of the east side of the harbor.
A group of aboriginal people
The round image of a group of Aborigines forms the inner center of both bowls. The same image in both bowls implies that the Chinese ceramic artists used the same drawing as a template and that the bowls were made in the same place and at the same time. In the round picture you can see four male Aborigines with clubs, shield and spears, a woman with a baby on her shoulders - standing and moving slightly away from the other figures - and another woman intimidated by the men. An introductory wedding ceremony is presumably shown. As with the Sydney Cove picture on the ANMM punch bowl, there is no known illustration that the ceramic artists could have used to paint the group of Aborigines. The closest match is a drawing based on a now lost original sketch by Nicolas-Martin Petit . He was an artist who took part in the French expedition to Australia between 1800 and 1803 , led by Nicolas Baudin . Recent research suggests that a report to Emperor Napoleon Bonaparte was being prepared during the Baudin expedition about the possibility of conquering the British colony at Sydney Cove. As the expedition progressed around the coast of Australia, Petit began to specialize in creating portraits of Aboriginal people. The French expedition reached Port Jackson on April 25, 1802. One of Petit's drawings was copied and appeared as illustration 114 in the Voyage autour du monde: entrepris par ordre du roi (Paris, 1825), regarding a trip around the world (1817-1820) under the direction of Louis-Claude de Saulces de Freycinet . The engraving is entitled Port Jackson, Nlle Hollande. Ceremony preliminaire d'un mariage, chez les sauvages (pre-marriage ceremony of natives, Port Jackson, New Holland). The Aborigines at Port Jackson belong to the Eora tribe who live in the Sydney Basin . Only indigenous people are depicted on both bowls.
Sydney Cove Panorama
The panorama image on the SLNSW bowl starts with a view of the east bank of Sydney Cove. In the foreground is an octagonal, two-story, yellow sandstone house ① , which Governor Macquarie had built in 1812 for his favorite boatman and former water bailiff, Billy Blue . The drawing of the little house - now the location of the Sydney Opera House - bears no relation to its actual modest size. Billy or William Blue was an African-Jamaican who was sentenced to seven years in London for stealing raw sugar. On the left side of the house is a sandy beach where the Circular Quay ferry pier is now. Opposite the sandy beach is the First Government House ② , which is now the Museum of Sydney .
The Rocks District can be seen on the west bank with two windmills on the ridge. Known as Tallawoladah by the Cadigal Tribe , Rocks was home to the city's convicts. They built traditional houses , first of wattle and daub with thatched roofs , later with weatherstrips or quarry stone, roofed with wooden shingles. They took lodgers - the newly arrived convicts - who slept in kitchens and skillions. Some emancipated men also kept convicts as servants. After November 1790, large numbers of Aborigines came to visit and live in the city. In 1823 there were about 1200 people in The Rocks, most of them emancipals and convicts, and their children.
To the left of the Rocks District is a long, low barracks ③ , which was built around Barracks Square / Parade Ground between 1792 and 1818 - which is now Wynyard Park . From this location the New South Wales Corps marched in 1808 to arrest Macquarie's predecessor William Bligh - an event that later became known as the Rum Rebellion . To the east is St. Philip's Church ④ - the oldest church ( Church of Australia ) - built in stone in 1820 on Church Hill, today's Lang Park. In 1798 the original adobe church - at the place where the corner of Bligh and Hunter Streets is today - was burned down. The act allegedly came by disgruntled convicts in response to a decree from Second South Wales Governor John Hunter (1795–1800) calling for all colony residents, including officers and convicts, to attend Sunday services. The same thing happened to the prison before.
Further east along the ridge is Fort Phillip , with a billowing Union Jack , on Windmill (later Observatory) Hill, where the Sydney Observatory is now. Fort Phillip was commissioned in 1804 by the third governor of New South Wales Philip Gidley King (1800-1806), partly in response to external threats and partly to internal unrest that resulted in Australia's only major convict rebellion in Castle Hill in March 1804 reflected. This was dubbed the Battle of Vinegar Hill as most of the prisoners were Irish . Windmill Hill was chosen as the location for the fort because it was the highest point above the colony. It offered an excellent view of approaching ships from east and west of the harbor, the river and the road to Parramatta , the surrounding country and the entire city below.
Directly on the bank below Fort Phillip is the yellow, four- story Commissariat Store ⑤ , which was built by prisoners for Macquarie between 1810 and 1812. One of the largest buildings built in the colony at the time is now home to the Museum of Contemporary Art Sydney . On the waterfront on the right are department stores and the wharf house of the merchant Robert Campbell ⑥ , who was one of the colony's largest landowners. Today it is the location of the Sydney Harbor Bridge pylons, just to the left of Dawes Point. Three British sailing ships with billowing Red Ensign of the Merchant Navy or probably the White Ensign of the Royal Navy are at anchor in the bay along with four sailboats and five canoes.
The panorama picture on the ANMM punch bowl is dated between 1812 and 1818. The lookout point is below Dawes Point. Its flagpole is shown and the fortifications at Dawes Point, which were built between 1818 and 1821, are missing. You can look into Campbell's Cove, the immediate focus is on Robert Campbell's department store and the Wharf House roof of his residence. Extensive stone walls are depicted to the right of Campbell's Wharf between his property and the Rocks district. The First Government House can be at the top of Sydney Cove in the distance seen and on the east bank a small nod of Billy Blues House of 1812. The Governor and civilian personnel living on the parent eastern slopes of Tank Stream , compared to the disordered Western Part where the prisoners lived. The Tank Stream supplied the young colony with fresh water until 1826. Further it can be the Bennelong Point see. The Fort Macquarie is not shown. Construction work began on it in December 1817. Garden Island is next shown, the colony's first source of food. The distant view of the east bank of the harbor extends almost to the Macquarie Lighthouse - Australia's first lighthouse - built between 1816 and 1818 at Sydney Heads . There are seven sailing ships with billowing White Ensigns from the British Royal Navy in the harbor, along with three sailing boats and two canoes.
function
While drinking punch from bowls was an actual practice in the time, the Sydney Cove bowls were specially commissioned and were expensive items that served a different purpose. Such bowls were prestigious items owned by individuals of high standing in society, such as the first elected mayor of Sydney John Hosking - the two Hoskin bowls are the first Chinese objects to come into possession of the Australiana Fund - and the Punch bowl from fourth New York Governor Daniel D. Tompkins . The bowls may also have been commissioned as memorial gifts, such as the bowl for the Grand Lodge of Pennsylvania Union Lodge in 1812 , and the New York City bowl, which was given to the City of New York on July 4, 1812. It has also been suggested that the Aboriginal people depicted at the wedding ceremony made the Sydney bowls a marriage gift. There is also the possibility that the two bowls could be souvenirs of life in Sydney.
It is also possible that the Sydney Punch Bowls served other purposes - to promote the young settlements and encourage new settlers to colonize. In 1820, Alexander Riley, the patron saint of John Lewins, looked for ways to promote the new New South Wales colony. He said the following:
"It has long been a subject of our consideration in this Country that a Panorama exhibited in London of the Town of Sydney and surrounding scenery would create much public interest and ultimately be of service to the Colony."
This purpose is also clearly evident in the title of WC Wentworth's volume on New South Wales, which contains the copperplate engraving of Lewin's Sydney Cove picture. The full title ends “... With a Particular Enumeration of the Advantages Which These Colonies Offer for Emigration, and Their Superiority in Many Respects Over Those Possessed by the United States of America.” The bowls were also the opportunity to use topographical panoramic images in the form of an art to present a high status object and to present the new colony in a glamorous way, since it was only perceived by many as a distant convict colony at the time.
Ceramic origin
According to the records of the State Library of New South Wales regarding the acquisition of its bowl, William Bowyer Honey (1889-1956), Keeper , Department of Ceramics, Victoria and Albert Museum , an expert on Chinese porcelain and author of numerous, has on February 25, 1926 Books on the same subject, this punch bowl reviewed. Honey noted that the punch bowl was made in China during the reign of Emperor Jiaqing , who ruled China between 1796 and 1820. In 1757 foreign trade in Canton was restricted. Chinese exports, consisting mainly of tea, china and silk, had to be paid for in silver. The European and soon the American presence in the Thirteen Factories better known as Hongs at Canton Harbor (now known as Guangzhou ) was limited. The Cantonese hongs themselves were often depicted on the bowls - known as Hong bowls - while the depiction of the ports that traded with Canton - such as Sydney and New York City - are extremely rare. The canton system existed until the defeat of the Chinese Qing Dynasty by the British Empire in the First Opium War in 1842. In practice, no export porcelain was produced in China between 1839 and 1860 because of the Opium Wars. Trade with Canton subsequently declined due to the rise of Hong Kong as a center of trade - territorial cession to the British as a result of the Chinese defeat - and the subsequent establishment of 80 contract ports along the Chinese coast. The punch bowls were therefore made before this time - commissioned in Canton, where they were painted and glazed by Chinese ceramic artists. The unpainted bowls, however, were previously made in Jingdezhen - a town 800 km (500 mi ) from Canton - where the ceramic factories operated for nearly 2000 years and still do today.
20th century origin
The SLNSW punch bowl
The SLNSW punch bowl was the first of the two to become known to the general public. It was presented to the State Library of New South Wales by Sydney antiques dealer, auctioneer, and collector William Augustus Little in November 1926 - an event reported on November 3, 1926 in the Sydney Evening News . The discovery of the bowl itself was reported in several Australian newspapers in early March 1926, including The Sydney Morning Herald on March 4, 1926, entitled "Bookshop Find: Relic of Early Sydney." According to newspaper articles, Little purchased the bowl from the London second-hand bookshop Francis Edwards Ltd. at 83 Marylebone High Street and examined it a little later by an expert at the Victoria and Albert Museum (V&A) in February 1926. According to the newspaper articles, the V&A wanted to keep the bowl. The punch bowl indicated “paintings of Sydney in 1810, executed to the order of Major Antill who was Governor Macquarie's aide-de-camp.” Among the customers of Francis Edwards Ltd. were some of the great Australian collectors of the time, including William Dixson , James Edge-Partington , David Scott Mitchell, and the State Library of New South Wales itself.
Before Little was acquired, the bowl belonged to Sir Timothy Augustine Coghlan , New South Wales General Agent in London. Coghlan had purchased the bowl from a Miss Hall for his private collection in 1923 for £ 40 . The punch bowl then came into the possession of Francis Edwards Ltd. before Coghlan's death in London on April 30, 1926. Coghlan had personally acquired the bowl from a Miss Hall in 'Highfield' at 63 Seabrook Road, Hythe, Kent, England, a few months after she had decided that Punch bowl offered for sale to the New South Wales Government for £ 50. Previously, the Sydney teacher Jessie Stead visited Miss Hall on August 6, 1923 and suggested that the bowl should become the property of the City of Sydney. Jessie Stead later stated the following: She was informed by Miss Hall that her father had acquired the Punch Bowl in the late 1840s - the earliest dating of the Punch Bowl's origin. In addition, Miss Hall believed that the Punch Bowl was made for William Bligh, the fourth Governor of New South Wales (1806-1808). In 2002, the State Library of New South Wales digitized the images of the bowls with the support of the Nelson Meers Foundation. The bowl was one of the 100 extraordinary library objects exhibited by the State Library of New South Wales as part of the centenary in 2010.
The ANMM punch bowl
The second Sydney bowl made a detour to the Australian National Maritime Museum. The first historical mention of the punch bowl was in May 1932 when Sir Robert Witt , chairman of the British National Art Collections Fund , wrote to James Stuart MacDonald , director of the Art Gallery of New South Wales , asking if that was Sydney Museum is interested in buying a second bowl. The gallery director referred the offer in August 1932 to William Herbert Ifould (1877-1969), the Principal Librarian of the Public Library of New South Wales. Ifould wrote directly to Sir Robert Witt and informed him that the punch bowl was not needed because one was already in possession of a similar one. On October 31, 1932, Ifould received a message that in the meantime the owner of the bowl in England - whose name was not disclosed - had sold the bowl to another undisclosed buyer. The whereabouts of the punch bowl was unknown until 1988. In the original offer from Sir Robert - who was also the co-founder of the Courtauld Institute of Art in London - the presumption was expressed that the bowl bowl was made for the first Governor of New South Wales Arthur Phillip (1788–1795), who the Sydney Cove settlement established. However, there was no evidence to support this assumption with the letter.
In 1988, the bicentenary of the non-indigenous settlement of Australia was celebrated. At that time, interest in the lost second Sydney punch bowl reappeared. The bowl ultimately appeared in a catalog for an exhibition on Chinese export porcelain in the Newark Museum ( New Jersey ), titled Chinese Export Porcelain: A Loan Exhibition from New Jersey Collections. The Punch Bowl was on loan from former New Jersey Republican Congressman Peter Hood Ballantine Frelinghuysen (1953-1975). The discovery was made by Terry Ingram, a Sydney journalist specializing in antiques and art, who wrote about it in his Saleroom column titled Newark Museum packs Aussie punch in The Australian Financial Review on August 25, 1988. It turned out that the Punch bowl was acquired in the early 1930s by Frelinghuysen's parents in secret negotiations with the owner - the National Art Collections Fund at the time - which led to increased interest among Sydney cultural institutions. The discovery drew the attention of Paul Hundley, the senior curator of the USA Gallery at the Australian National Maritime Museum. In May 2006 the Australian National Maritime Museum (ANMM) announced that it had received the bowl as a partial gift from Frelinghuysen through the American Friends of the ANMM - a non-profit organization recognized by the Internal Revenue Service (IRS). As a result, Frelinghuysen received tax breaks. The Australian Financial Review reported on the acquisition in its Saleroom column entitled Museum bowled over on May 18, 2006. The bowl has since been exhibited by the Australian National Maritime Museum in the USA Gallery. It is one of the 100 Stories from the ANMM. The pictures of the punch bowl are available in digitized form in the ANMM catalog. They can also be viewed on YouTube. At the time of the acquisition of the ANMM punch bowl in 2006, the bowl bowl was valued at Aus $ 300,000 .
literature
- Cumming, Helen: An Unbroken View: Early Nineteenth-century Panoramas, exhibition catalog (PDF), Sydney: State Library of New South Wales, 2006, ISBN 0-7313-7166-6
- de Freycinet, Louis: Voyage autour du monde: entrepris par ordre du roi… exécuté sur les corvettes de SM l'Uranie et la Physicienne, pendant les années 1817, 1818, 1819 et 1820 , (digitized version), State Library of New South Wales, 1823
- Ellis, Elizabeth: Chinese puzzles: The Sydney punchbowls, Australiana 34, May 2, 2012
- King, CJ: The First Fifty Years of Agriculture in New South Wales - The Agricultural Settlement of the Macquarie Period (1810–1820) - The Township of Sydney , Review of Marketing and Agricultural Economics 16 (10), pp. 503–529, October 1948
- Le Corbeiller, Clare; Cooney Frelinghuysen, Alice: Chinese Export Porcelain, New York City punchbowl , The Metropolitan Museum of Art Bulletin, New Series (Metropolitan Museum of Art) 60 (3), 2003, doi: 10.2307 / 3269266
- McCormick, Tim: First views of Australia, 1788-1825: A history of early Sydney, Chippendale, NSW: David Ell Press with Longueville Publications, 1987 ISBN 0-908197-67-5
- Munger, Jeffrey; Cooney Frelinghuysen, Alice: East and West: Chinese Export Porcelain: Thematic Essays , Metropolitan Museum of Art, October 2008
- Staniforth, Mark: Tracing artefact trajectories - following Chinese export porcelain , (PDF), Bulletin of the Australian Institute for Maritime Archeology 20 (1), 1996
- Van Dyke, Paul A .: The Canton Trade: Life and Enterprise on the China Coast, 1700-1845 , Hong Kong University Press, HKU, ISBN 962-209-749-9 , Project MUSE, 2005
- Wallis, James; Oxley, J .: Views in New South Wales, 1813-1814 and Historical Account of the Colony of NSW, 1820-1821 , (digitized version), Manuscripts Catalog, State Library of New South Wales, 1821
Web links
- Australian History Timeline
- European discovery and the colonization of Australia
- NSW Colonial Chronology: History Services
- Pinterest - Chinese Export Porcelain: All about Chinese Export Porcelain of the 18th and 19th centuries
- Policing The Rocks. Part 1, 1788-1880: the Dirt on the Rocks: Sydney Harbor Foreshore Authority blog archive
Individual evidence
- ^ The Macquarie era , State Library of New South Wales
- ^ The Lachlan & Elizabeth Macquarie Archive (LEMA) Project , Macquarie University, 2011
- ^ Feller, John Quentin: Canton famille rose porcelain, Magazine Antiques, 124 (4), October 1983, p. 748
- ^ Feller, John Quentin: Canton famille rose porcelain, Magazine Antiques, 130 (4), October 1986, pp. 722-731
- ↑ a b c d Chinese export ware punchbowl featuring a scene of Sydney Cove before 1820, Manuscripts, Oral History, and Pictures Catalog , State Library of New South Wales
- ↑ a b c d e f g h i j k l Ellis, 2012, pp. 18–30
- ↑ a b c d Digitized punchbowl images in the ANMM catalog ( page no longer available , search in web archives ) Info: The link was automatically marked as defective. Please check the link according to the instructions and then remove this notice. , Australian National Maritime Museum
- ^ A b Chinese Export Porcelain Punch Bowl , Albany Institute of History & Art
- ↑ a b Ellis, 2012, p. 23
- ^ Henry Colden Antill , State Library of New South Wales
- ^ The History of Jarvisfield ( Memento August 1, 2013 in the Internet Archive ), Jarvisfield Estate
- ^ Macquarie (nee Jarvis) [1772–1796], Jane: The Lachlan & Elizabeth Macquarie Archive
- ^ Antill, JM: Antill, Henry Colden (1779-1852) , Australian Dictionary of Biography, Volume 1, 1966
- ↑ Jihn MacQuarie Antill, Maj.-General & Thomas Horan, postmaster , Australian Postal History & Social Philately
- ↑ Vincent, Liz: Picton - the early years , Internet Family History Association of Australia Local History Library, March 20, 2006
- ^ A b c Notes on the Chinese Porcelain Bowl (XR10), File Ap 64, Manuscript Note, Mitchell Library, State Library of New South Wales
- ^ About John Lewin: Wild Art , State Library of New South Wales, March 2, 2012
- ↑ McCormick, 1987, pp. 178f
- ^ Wentworth, WC: A Statistical, Historical and Political Description of New South Wales etc. (e-book ed.), London: Open Library , 1820
- ↑ Digitized image of Map of Part of New South Wales in Manuscripts catalog , State Library of New South Wales
- ↑ Joseph Cross, engraver , London Street Views
- ^ Macquarie's Crossing , State Library of New South Wales, March 29, 2010
- ↑ Martin, David: Cox builds the first road, 1814 , Info Blue Mountains History Plaza
- ^ History in Detail , Blue Mountains Australia
- ^ Joseph Lycett , State Library of New South Wales, April 30, 2010
- ^ Wallis & Oxley, 1821, p. 86
- ^ Blunden, TW: Wallis, James (1785-1858) , Australian Dictionary of Biography, National Center of Biography, Australian National University, 1967
- ^ Wallis & Lycett, 1821, p. 74
- ^ Marriage in Traditional Aboriginal Societies , Australian Law Reform Commission
- ^ A b Petit, Nicolas-Martin: The Naturalists, Australian Broadcasting Corporation
- ↑ Connor, Michael: History - The secret plan to invade Sydney , November 2009, Quadrant Online
- ↑ Bennett, Bruce: Exploration or Espionage? Flinders and the French, The Journal of the European Association of Studies on Australia (University of Barcelona) 2 (1), 2011
- ^ The Baudin Legacy Project, The Voyage , University of Sydney, March 10, 2012
- ↑ de Freycinet, 1823, p. 114
- ↑ Port Jackson, Nouvelle Hollande. Ceremonie preliminaire d'un mariage, chez les sauvages: The Freycinet Collection , London: Christie's, 26 September 2002, SALE 6694
- ^ Aboriginal history: The first Sydneysiders , City of Sydney, May 5, 2015
- ^ Sydney Cove West Archaeological Precinct , New South Wales Office of Environment & Heritage
- ↑ Grace, Karskens: The Rocks , Dictionary of Sydney, Dictionary of Sydney Trust, 2008
- ^ Whitaker, Anne-Maree: Wynyard Park , Dictionary of Sydney, Dictionary of Sydney Trust, 2008
- ↑ Images: The Rocks: parish Church of St. Philip , Sydney Architecture
- ^ Places of Worship , State Library of New South Wales
- ^ Ramsland, John: Prisons to 1920 , Dictionary of Sydney, Dictionary of Sydney Trust, 2011
- ^ Fort Phillip, Observatory Hill, Sydney , Powerhouse Museum Collection Search
- ^ Dunn, Mark: Fort Phillip , Dictionary of Sydney, Dictionary of Sydney Trust, 2008
- ^ Dictionary of Sydney staff writer: Commissariat Stores , Dictionary of Sydney, Dictionary of Sydney Trust, 2008
- ↑ Steven, Margaret: Campbell, Robert (1769–1846) , Australian Dictionary of Biography, National Center of Biography, Australian National University, 1966
- ^ Robert Campbell papers, 1829–1861 in Manuscripts, Oral History and Pictures Catalog , State Library of New South Wales
- ↑ Cumming, 2006, p. 4f
- ^ A b Chinese export ware punchbowl featuring a scene of Sydney Cove before 1820: manuscripts catalog , State Library of New South Wales
- ↑ Around the punchbowl , Sydney Living Museums, February 21, 2013
- ^ Parsons, Vivienne: Hosking, John (1806–1882) , Australian Dictionary of Biography, National Center of Biography, Australian National University, 1966
- ↑ Pair of (Hoskin) punch bowls, c. 1829 , Australian Historical Art Fund & Heritage Government Residences
- ↑ 1812 Grand Lodge of Pennsylvania Union Lodge punchbowl , Phoenixmasonry Masonic Museum and Library
- ^ Chinese export porcelain Masonic Punchbowl , Cohen and Cohen
- ^ New York's old Punch Bowl: has received many nicks during the Century, Los Angeles Times, November 17, 1912, p. 16
- ↑ Le Corbeiller & Cooney Frelinghuysen, 2003, pp. 50f
- ↑ Alexander Riley to Edward Riley, Riley Papers, A 110, in Alexander Riley - papers, 1804–1838 in Manuscripts, Oral History and Pictures Catalog , State Library of New South Wales, p. 15
- ^ Wentworth, WC: Statistical, Historical, and Political Description of The Colony of New South Wales etc. , (PDF), University of Sydney Library, 2003
- ↑ Cumming, 2006, pp. 1-3
- ↑ What is a hong bowl? ( Memento of July 27, 2013 in the Internet Archive ), Quezi.com, February 23, 2010.
- ↑ Massive chinese export punchbowl for American market with view of New York , MasterArt
- ^ Canton: Common and Unusual Views , Antiques and Fine Art Magazine
- ^ Overstreet Allen, Lorena: Chinese Canton Porcelain , Antiques & Art Around Florida, 1998
- ^ History of Canton , Canton China Virtual Museum
- ^ Perdue, Peter C .: Rise & Fall of the Canton Trade System 1: China in the world (1700-1860s) , (PDF), Visualizing Cultures. Massachusetts Institute of Technology, 2009, pp. 1-26
- ↑ Bookshop Find: Relic of Early Sydney, The Sydney Morning Herald, March 4, 1926, p. 11
- ^ Antiquarian Booksellers since 1855: The Company , Francis Edwards
- ^ David Mitchell, the Mitchell Library and Australiana, Government of Australia
- ↑ About Nelson Meers Foundation , Nelson Meers Foundation
- ^ Number 29 of the 100 extraordinary library objects: Mitchell Library Centenary Exhibition , Government of New South Wales
- ^ Mitchell Library Centenary Exhibition, State Library of New South Wales
- ^ Darrow, Carolyn: Focus on Orient in Newark Show, The New York Times, Oct. 14, 1979, p. 21
- ^ Christies Press Release: Exceptional collection of Chinese Export Porcelain from late US Congressman Peter HB Frelinghuysen, JR. , Christie's, December 19, 2011
- ↑ Ingram, Terry: saleroom Newark Museum packs Aussie punch, The Australian Financial Review, August 25, 1988, p 40
- ^ American Friends of the ANMM, Australian National Maritime Museum
- ↑ Hundley, Paul: Collections: Precious Porcelain ( Memento of March 4, 2016 in the Internet Archive ), (PDF), Signals (76) (Australian National Maritime Museum), September-November 2006, pp. 40f
- ↑ Strickland, Katrina: Saleroom column: Museum bowled over, The Australian Financial Review, May 18, 2006, p. 45
- ↑ 100 Stories from the Australian National Maritime Museum , Australian National Maritime Museum
- ^ Precious Porcelain , YouTube , Australian National Maritime Museum
- ↑ Australia: National Maritime Museum acquires valuable 'early Sydney' punch bowl ( Memento from March 4, 2016 in the Internet Archive ), (PDF), ICMM NEWS (International Congress of Maritime Museums) 28 (2): 6, 2006
