Gaudy Welsh lustre jug, c.1840

December 8th, 2013

This type of pearlware pottery “Dutch” shape jug, decorated in the Oyster pattern, was manufactured in England and Wales between 1820 and 1860, although about 80% of the production of this popular form and pattern was done in Staffordshire, England. Standing nearly 5″ tall, it is hand decorated with cobalt blue underglaze and pink lustre, green, and burnt orange overglaze enamels. Although this is not a hard to find jug, I have yet to see one with this type of seemingly simple, yet elaborate inventive repair.

Sometime in the 19th century after the jug was dropped, causing its handle to break into four pieces, a repairer decided to reinforce the broken pieces, rather than create a new metal replacement. The simple loop handle now contains three metal rivets attached through holes drilled at each broken joint, an iron cuff at the bottom, a ring at the top attached to a rivet drilled through to the inside rim, and a splint made from two thin copper wires soldered to the ends and riveted along each joint. I applaud the anonymous repairer who took a different approach with this type of unusual repair and am glad to have the outcome of his creativity in my collection.

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This jug with the same form and decoration has its handle intact.

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Photo courtesy of Ruby Lane

Pierced creamware fruit basket stand, c.1790

December 1st, 2013

This 8-1/2″ round creamware fruit basket stand with nine lobed pierced openwork panels was made in England in the late 1700s. Creamware, a lightweight form of earthenware with a transparent high gloss glaze, was developed by Wedgwood in the mid-1700s and became so popular that it was soon copied by rival potters in Staffordshire, Derby and Leeds. It was originally paired with a matching basket, pierced to allow the fruit to breathe and not spoil as quickly. Because the openwork pattern is so delicate, many surviving examples are damaged. But I have not seen many with this unusual repair, which at first glance appears to be a standard staple job. Upon closer inspection you will see the “staples” are actually tightly wrapped bundles of ultra-thin brass wire. Many of the wire reinforcements pass through the open pierced pattern, making good use of existing holes straddling the cracks. This piece ended up with stains, no doubt a result of the dark fruit juice dripping out of the basket above and seeping through the cracks of the light colored, soft-paste pottery.

Though cracked and stained, it is a welcomed addition to my collection, especially since it was recently given to me by my high school French teacher who carried it on her lap during a flight from her home in Belgium to New York. Merci beaucoup, Marianne!

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Both the fruit basket and matching stand pictured below are in tip-top shape, neither in need of wire reinforcement.

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Photo courtesy of 1stdibs

“Cat Tails & Fern” pattern goblet, c.1880

November 23rd, 2013

This EAPG (Early American Pattern Glass) goblet was made between 1880 and 1890 in Pittsburgh, Philadelphia by Richards & Hartley Flint Glass Co. EAPG, strictly an American invention, was manufactured throughout the US during the Victorian period, from 1850 to 1910. It is estimated that there are upward of 3,000 different patterns, although closer to 1,000 patterns were most commonly used. This goblet, in the Cat Tails & Fern pattern, measures 6″ high and has a visible 3-mold mark.

After the base snapped off, I am assuming sometime in the early 1900s, an itinerate mender or perhaps the original owner attached a 6-sided brass sleeve to hold the two broken pieces back together. This subtle yet effective quick-fix repair did the trick to make the drinking vessel function again. I like the addition of the tiny red gummed label on the bottom with a cryptic “9999” written in cursive ink, the meaning known only to the original scribe.

This goblet with the same pattern is one of 1,100 donated to the Shelburne Museum in Shelburne, Vermont, by Dr. Elizabeth Garrison in 1987.

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Outtakes from The New York Times

November 17th, 2013

Nearly 3 years ago Andrea Codrington Lippke wrote an article about me and my collection which appeared in The New York Times. The result of that amazing exposure was overwhelming and I still get emails from collectors and curators worldwide who read the article. I was thrilled to be on the cover of the Home & Garden section and ended up with a 1-1/2 page article with photos, as well as an online slideshow which included 10 more images. But a few photos never saw the light of day. Please take a look at this trio, which were shot for the article but ended up on the cutting room floor.

The assembled items for this monochromatic still life include a silver mounted Jackfield teapot, “Scottish Thistle” crystal cordialetched glass celery vase and silver resist lustre jug. The cluster of 3 objects on the right are metal chisels made from engine parts, “made-do’s” in their own right, which Mark found in a recycling shop in Mali.

These pieces all have sterling silver repairs, some with rare hallmarks. As most items with inventive repairs are unsigned, I yearn for anything showing a repairer’s mark. The helmet form cream jug, out of focus in the back, has a uniquely repaired handle made from a silver spoon. The sparrow beak jug in the center has a simple loop handle with silversmith’s hallmarks, and the Chinese Imari mug on the right has an exquisitely crafted replacement handle. Stay tuned for information on the cut crystal goblet at the far left, which I will post in the near future.

And this is the vintage medical cabinet where I keep some of my favorite pieces in my collection, on perpetual rotation. If you look carefully you will see early Micky Mouse collectibles and unusual miniatures mixed in.

Thanks again to Andrea Codrington Lippke and Ira Lippke for their beautiful writing and photography!

Photos courtesy of Ira Lippke for The New York Times.

Badly damaged Chinese teapot, c.1780

November 9th, 2013

What a sad little teapot this is. Once pristine, this late 18th century Chinese porcelain globular-form teapot with Mandarin decoration in the Famille Rose palette has suffered years of abuse and neglect. It stands 5-1/4″ high and is 7-1/2″ wide from the tip of the spout to the end of the handle. I am told the hand painted decoration shows the Qianlong King making a secret visit to the river bank. Not only did the original porcelain loop handle fall off after the teapot slipped from the hands of whoever was serving tea or tidying up, but the body cracked and is chipped in numerous places. Regardless, the teapot must have been highly valued, as it was brought to a china restorer who created a rattan-wrapped metal replacement handle sometime in the 1800s. The lid did not fare well either, as after it shattered into 6 pieces at a later date, it was hastily glued back together, leaving many large gaps. But at last it ended up in my collection where it proudly stands alongside hundreds of other wounded survivors living together in solidarity.

This teapot, with similar form and decoration, shows what the original handle on mine would have looked like.

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Photo courtesy of William Word Fine Antiques

King George VI & Queen Elizabeth loving cup, c.1937

November 2nd, 2013

This colorful porcelain loving cup was made by the Paragon China Company in Stoke-on-Trent, England, in 1937 to commemorate the coronation of King George VI and Queen Elizabeth. The figural lion handles and pastel colors give it a distinctive Art Deco look. At first glance the cup appears to be in tip-top condition, but upon closer inspection you can see all is not perfect for the royal couple. I imagine that after a robust toasting to the King and Queen, the loving cup clanked against a large stoneware tankard and broke in half. Surprisingly, it was not glued back together but brought to a china repairer who applied metal staples to make it whole again. With the invention of new types of glues and cements, developed for use during World War II, civilians were doing their own repairs at home, so by the mid-20th century, traditional staple repairs were becoming obsolete.

It seems that the china repairer or the owner of the cup couldn’t leave well enough alone and tried to mask the repair by painting over the staples. They did a decent job, however, matching the colors of the mug as they painstakingly matched each brushstroke of the pattern beneath.

The broken cup has been restored…long live the King! Long live the Queen! Long live the Art of Inventive Repair!

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English diptware jug, c.1800

October 27th, 2013

I purchased this 7-3/4″ tall jug from a collector last February and it quickly became one of my favorites. The simple form, hot chocolate colored glaze, and impressive tin handle with strapping make it a visual delight. When I brought this jug to one of Don Carpentier’s workshops at Eastfield Village this summer, he marveled at it and said it was something special. So rather than try to describe it myself, here is what Don had to say:

“It is a baluster form English earthenware jug 1790-1810.  It is technically know as diptware because it was decorated with slip. The design at the rim inslip-inlaid checkered rouletting.  Made by impressing the design in the leather hard clay on the lathe with a roulette tool and then flooding the area with dark slip.  When the slip sets up to leather hard it is put back on the lathe and trimmed down flush with the surface of the body and the design is inlaid.”

The tinsmith who crafted the metal replacement handle did a fine job securing it to the jug, by means of straps running diagonally across the ovoid form. He also added a comfortable hand support, thumb rest and small curled flourish at the bottom. Sadly, some of the jug’s best features are covered by the tin handle, such as the intricate leaf terminals and almost half of the checkered rim. But without the added handle, the original owner would not be able to use the jug for its intended purpose and I would have nothing to write about today!

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This jug with similar form and rouletted black slip-filled herringbone mid-band, shows what the original loop handle on my jug may have looked like.

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Photo courtesy of Prices4Antiques

Clobbered globular teapot, c.1750

October 13th, 2013

This globular shaped porcelain teapot with straight spout, loop handle and domed cover was made in China for export to London in the mid-1700s, where it was decorated with branches and leaves in cobalt blue underglaze. It measures 4-3/4″ tall and 7-1/4″ from the end of the handle to the tip of the spout. But after living in London as blue and white teapot for nearly a century, it went through a colorful transformation.

Although blue and white decorated Chinese porcelain was in high demand up until the mid-1700s, it soon fell out of favor as more colorful porcelains started appearing on the market. In trying to keep up with the sudden demand, and while attempting to get rid of the less desirable blue and white pieces, clever European merchants struck gold. They simply painted over the existing blue and white decoration with an overglaze of additional colors. This practice, called clobbering, is also known as Amsterdams Bont when done in the Netherlands in the Imari style and palette. A translucent green wash covers most of the teapot’s surface, revealing traces of the original blue leaf decoration, now accentuated in gold. Additional stylized flowers, leaves and borders are painted in polychrome washes and heavy enamels with little regard to the pattern beneath the surface. Some artists paid more attention embellishing the original designs but on this piece you can see faint traces of the original blue peering through, like the shadow of a fish swimming in murky water. Many purists find the colorful additions gaudy and an abomination but I rather like them, seeing it as another form of making-do.

The silver spout with scalloped plate is a replacement, made in the same style and form as the porcelain original, mounted by a silversmith over 200 years ago.

I originally listed this as an example of “Amsterdams Bont”, clobbered in the Imari style in Amsterdam. I was informed by one of my subscribers, an expert and author in the field of clobbered ceramics, that my teapot was actually overpainted in London during the first quarter of the 19th century in colors better suited for the Regency / Brighton Pavilion taste. Thank you Helen Espir for the much appreciated information.

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This is what my teapot may have looked like before the original spout was replaced and before it was overpainted in London, about 75 years later.

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Photo courtesy of eBay

Nelson commemorative jug, c.1805

September 28th, 2013

This colorful “Dutch” shape jug with transfer decoration and overglaze washes was made in Staffordshire, England to commemorate Vice Admiral Horatio Nelson, who died in battle at the Battle of Trafalgar in 1805. After he was killed by a French sniper, Nelson’s body was preserved in brandy while being transported by ship back to England for burial. Nelson become one of Britain’s greatest war heroes and is memorialized by many London monuments, including Nelson’s Column in Trafalgar Square.

In 1797 during the unsuccessful Battle of Santa Cruz de Tenerife, Nelson tragically lost an arm. The ship’s surgeon, James Farquhar, wrote in his journal: “Compound fracture of the right arm by a musket ball passing thro a little above the elbow; an artery divided; the arm was immediately amputated.” Legend has it that within 30 minutes of treatment, Nelson was back in battle commanding his troops.

It seems this jug, too, has been to battle, as sometime in the mid-1800s it’s original handle snapped off and was replaced by a metal one. The itinerant tinsmith did a fine job fashioning a simple yet sturdy loop handle with thumb rest and small flourish at the bottom, which might have been his signature embellishment. It’s a shame that Lord Nelson couldn’t find a replacement for his own missing arm, as seen by the empty draped sleeve in his famous portrait by Lemuel Francis Abbott.

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This jug, also commemorating the death of Admiral Nelson and with similar form, shows what the handle on my jug might have looked like before it was wounded in battle.

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Photo courtesy of Toovey’s

Inventive repairs in Colonial Williamsburg

September 14th, 2013

This past July I took a drive down to Virginia to visit Colonial Williamsburg, where I spent some time with Angelika Kuettner, Assistant Curator of Ceramics and fellow enthusiast of antiques with inventive repairs.  Angelika was most generous with her time and showed me recent acquisitions as well as some of her favorite pieces on permanent display in the DeWitt Wallace Decorative Arts Museum’s collection and research center. After going behind the scenes to view some recently acquired items, we walked through the public galleries, where I was pleased to see many examples of inventively repaired items and, in addition, a couple of historical references within the exhibit.

One large showcase, filled with ceramics, includes a small group titled Repaired Goods, with this explanation: “Ceramic tablewares could sometimes be mended in a manner that permitted continued use. The metal handle on the small Chinese porcelain cream jug, for example, is an early replacement that allowed it to function properly. Similarly, the silver mounts on the rim and foot of the German stoneware jug were no doubt applied to cover chips…Badly broken ceramic plates and dishes, however, were tossed on the trash heap, or, in some instances, mended with rivets so that they could be displayed but not used.” I believe many stapled pieces were indeed still used for years after they were mended and not just displayed.

Another well designed display, Good Housekeeping, has a sign which states: “It was the responsibility of the mistress of a well-to-do household to oversee the proper care of her family’s fine possessions…If broken or damaged, objects were often repaired rather than discarded. During the seventeenth and eighteenth centuries, many a craftsman in both Britain and America earned a substantial part of his livelihood mending and cleaning older metal, ceramic, and even glass objects. The shop records for the Massachusetts silversmith Paul Revere, for instance, document that he repaired a glass dessert pyramid, probably by attaching silver bands and rivets to damaged areas. More frequently, metalsmiths in Williamsburg and elsewhere took out dents, replaced missing parts, and cleaned and polished vessels of all sorts.”

I am grateful to Angelika, and the others in her department, for their appreciation of inventively repaired items, and for displaying them proudly alongside the “perfect” examples in the museum’s vast collection.

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Photos taken at Colonial Williamsburg’s DeWitt Wallace Decorative Arts Museum