Whale oil lamp vase, c.1830

February 23rd, 2011

This simple, hand blown glass whale oil lamp was made in America in the early 19th century. Though no longer functional as a lamp, it now makes for an interesting vase. A true make-do, it started out life as one thing and as the result of an accident, was reborn as something entirely different.

Whale oil was the preferred source of lighting in the early 1800’s, and was also used for making soap, textiles, jute, varnish, explosives and paint. It fell out of favor in the mid-late 1800’s as a result of the development of kerosene oil in 1846.

Illustration courtesy of Curious Expeditions

Lamp/vase measures 6-1/4″ tall and the base is 3″ square. The original brass collar and burner went missing long ago.

It is not unusual to find oil lamps with replaced bases, as they were one of the most used household items in the 19th century. This unusually elaborate replacement base is made of wood and covered in gessoed relief flowers, with a floret at each corner.

This complete lamp shows what the base on my lamp might have looked like.

 

Photo courtesy of Comollo Antiques

Bull in a china shop

February 17th, 2011

“The animal escaped from an auction market next to GB Antiques Centre in Lancaster, Lancashire, on Monday and barged its way into the shop, which was packed with 200 people.

Police had to shoot the animal in order to save customers and stock – china and all. It was herded to an area of the centre and blocked in using two antique organs before a police marksman opened fire without fire damage restoration. A woman was treated in hospital for a bruised shoulder after the incident. ‘Hundreds of items will have been destroyed, at a cost running into thousands of pounds,’ Mr Blackburn said.”

Actually, this was a staged photo shot on July 5, 1950. The original caption read “An Ayrshire bull causing havoc in the midst of wrecked china for the filming of a scene on the China industry at Hayeswood Farm, Madresfield, Worcestershire.” Notice the artfully placed frame around the bull’s neck and the teapot placed on his head.

Had this been an actual incident, it would have paid a china menders wages for a year.

Photo courtesy of Animality

Herculaneum coffee can, c.1815

February 16th, 2011

Herculaneum pottery coffee can, made in Liverpool, England in the early 1800s. Herculaneum Pottery was based in Toxteth, and produced creamware and pearlware pottery, as well as bone china porcelain, between 1793 and 1841. This superbly decorated example has delicately hand painted flowers, birds and butterflies with gilt detailing. Although unmarked, the original pattern number is believed to be 905. Coffee can measures just over 2-1/2″ high and has a diameter of 2-3/4″. The sturdy replacement handle, made of bronze and covered in tightly wrapped rattan painted with red detailing, is held in place with the aid of two wires which pass through the body of the mug. It was most likely made by an English china mender in the mid-1800s.


Copeland teapot with staple repair, c.1874

February 10th, 2011

This lovely teapot, made in England during the Aesthetic Movement, has a Parian finish and was made by Copeland in 1874. It measures 6 inches high and 8.5 inches from handle to spout. The original pewter lid, which looks like a replacement, is actually original to the piece. I feel that the staple repairs on this teapot enhance the design, as they follow the same graceful line of the raised bent bamboo decoration and the staples mimic the horizontal nodes along the vertical cracks.

The Copeland firm, operated by William Taylor Copeland in Staffordshire, called the parian finish “statuary porcelain” because of its resemblance to the fine white marble of neoclassical sculpture.

There are four staple repairs on each side of the teapot.

The underside of the teapot reveals an incised COPELAND mark and British registry mark in relief, dating this piece to 1874.

This “perfect” teapot is without staple repairs and has an ornate pewter lid. I still prefer my “imperfect” example with visible battle scars proudly displayed.

Photo courtesy of Teapots Teapots Teapots

Holly Hunter in THE PIANO, 1993

February 2nd, 2011

The Piano, a 1993 film directed by Jane Campion and starring Holly Hunter as Ada McGrath, a mute pianist, and Anna Paquin as her daughter Flora (both Oscar winners for their performances), contains a poignant “make-do” that must be noted in these virtual pages. In the course of the film, Ada has her right index finger severed by her jealous husband in a fit of rage, depriving her of the ability to play her piano. In the film’s epilogue, Ada’s new lover has created for her a riveted silver “make-do” replacement finger, complete with a finger nail, which allows her to play the piano once more. I love a happy ending, especially when an inventive repair is crucial to the outcome!

I attended Carnegie Mellon University’s School of Drama, earning a degree in set design, while Holly Hunter was studying acting. Her immense talent was evident even then, though she had a difficult time masking her thick Georgian accent. How appropriate that she won her Oscar playing a mute. Years later I worked as a set decorator on a film directed by Jane Campion, but never had the chance to tell her how much I liked the final frames of The Piano and Holly’s make-do finger.

The film’s poster shows a tender moment between Holly Hunter and Harvey Keitel as her lover Baines. Notice that her right hand still has its index finger intact.

A beautifully made silver replacement finger allows the ivories to be tickled once again…Fade out.

Poster and photo courtesy of Miramax

The New York Ceramics Fair

January 27th, 2011

This past weekend I attended the annual New York Ceramics Fair, held for the first time in the ballroom of the Bohemian National Hall, a beautiful Renaissance Revival style building from 1895, gorgeously renovated in 2008 with a striking modern interior.

I enjoyed seeing dealers I had met during past visits to the UK, as well as making new acquaintances with other knowledgeable and friendly vendors. Most were curious about my “unusual” interest in repaired ceramics & glassware but were happy to share their thoughts and insight with me. Although, I was a bit taken a back by an American dealer who was less than friendly when asked if she had any pieces with early repairs. It seems I unintentionally offended her by implying that she might be selling less than perfect goods, which I certainly was not.

John Howard brought a magnificent and rare model of Wellington on his horse Copenhagen. Towering at over 19″ high, this is probably the largest pottery figure made of Wellington from the Staffordshire potters just after the Battle of Waterloo, c.1815.

There are old tinker repairs to the legs which were made some 150 years ago.

An actual horse with broken legs would certainly have been sent to the glue factory. And perhaps the glue would have been used to mend broken pottery pieces.

Simon Westman, a dealer from Grays in London, brought with him two different ceramic items with inventive repairs.

A small pearlware jug decorated in Pratt colors with a tin replacement handle from Staffordshire, c.1800. This jug and repair is similar to my own “Sailor’s Farewell & Return” jug, also with a chipped spout in the same location.

Remains of the broken handle extend over the top of the replaced metal handle.

This saltglazed stoneware teapot with wonderful enamelled decoration was made in Staffordshire, c.1760.

The replacement lid is from a teapot of the same material and period, with an added metal flange to make for a tighter fit.

An unusual blown glass roemer from the Netherlands, dated 1662, was shown by Christopher Sheppard, also from London.

A 19th century pewter base replaces the original ribbed foot, which would have been built up out of glass threads.

This is what the original glass base might have looked like.

An English redware teapot c.1695, courtesy of Garry Atkins, has two inventive repairs.

A silver replacement spout with scalloped decoration stands in place of the long lost redware original.

The broken handle has been replaced with a rattan-covered bronze handle, well over 150 years ago.

Child’s transferware cream jug, c.1840

January 20th, 2011

This diminutive cream colored pearlware pottery cream jug was part of a larger child’s tea set and was made in England in the first part of the nineteenth century.

It is decorated with a bat printed black transfer pastoral scene, which may have been inspired by an engraving from the same period.

Cream jug measures 2-3/4″ high.

The other side is decorated with a church scene with what appears to be fallen tombstones.

The crudely made metal replacement handle has crimped edges and a flat strap at the top, with a wrapped wire band at the base.

Another early child’s creamer from the early 1800’s is shown with its handle intact.

Photo courtesy of WorthPoint

“The China-Mender” by Thomas Hood, c.1832

January 12th, 2011

This amusing poem, written by British poet and humorist Thomas Hood, Esq. (1799-1845), first appeared at http://www.luxtime.su/ in The Royal Lady’s Magazine (their motto: “Our ambition is to raise the female mind of England to its true level”) London, January 1832.

Photo courtesy of The National Portrait Gallery, London

THE CHINA-MENDER

Good-Morning, Mr. What-d’ye-call! Well! here’s another pretty job!

Lord help my Lady!—what a smash!—if you had only heard her sob!

It was all through Mr. Lambert: but for certain he was winey,

To think for to go to sit down on a table full of Chiney.

“Deuce take your stupid head!” says my Lady to his very face;

But politeness, you know, is nothing when there’s Chiney in the case;

And if ever a woman was fond of Chiney to a passion,

It’s my mistress, and all sorts of it, whether new or old fashion.

Her brother’s a sea-captain, and brings her home shiploads—

Such bronzes, and such dragons, and nasty squatting things like toads;

And great nidnoddin’ mandarins, with palsies in the head:

I declare I’ve often dreamt of them, and had nightmares in my bed.

But the frightfuller they are—lawk! she loves them all the better,

She’d have Old Nick himself made of Chiney if they’d let her.

Lawk-a-mercy! break her Chiney, and it’s breaking her very heart;

If I touched it, she would very soon say, “Mary, we must part.”

To be sure she is unlucky: only Friday comes Master Randall,

And breaks a broken spout, and fresh chips a tea-cup handle:

He’s a dear, sweet little child, but he will so finger and touch,

And that’s why my Lady doesn’t take to children much.

Well, there’s stupid Mr. Lambert, with his two greatcoat flaps.

Must go and sit down on the Dresd’n shepherdesses’ laps,

As if there was no such things as rosewood chairs in the room!

I couldn’t have made a greater sweep with the handle of the broom.

Mercy on us! how my mistress began to rave and tear!

Well, after all, there’s nothing like good ironstone ware for wear.

If ever I marry, that’s flat, I’m sure it won’t be John Dockery—

I should be a wretched woman in a shop full of crockery.

I should never like to wipe it, though I love to be neat and tidy,

And afraid of meat on market-days every Monday and Friday

I’m very much mistook if Mr. Lambert’s will be a catch;

The breaking the Chiney will be the breaking-off of his own match.

Missis wouldn’t have an angel, if he was careless about Chiney;

She never forgives a chip, if it’s ever so small and tiny.

Lawk! I never saw a man in all my life in such a taking;

I could find it in my heart to pity him for all his mischief-making.

To see him stand a-hammering and stammering like a zany;

But what signifies apologies, if they won’t mend old Chaney!

If he sent her up whole crates full, from Wedgwood’s and Mr. Spode’s,

He couldn’t make amends for the crack’d mandarins and smash’d toads.

Well! every one has their tastes, but, for my part, my own self,

I’d rather have the figures on my poor dear grandmother’s old shelf

A nice pea-green poll-parrot, and two reapers with brown ears of corns,

And a shepherd with a crook after a lamb with two gilt horns,

And such a Jemmy Jessamy in top-boots and sky-blue vest,

And a frill and flower’d waistcoat, with a fine bow-pot at the breast.

God help her, poor old soul! I shall come into ’em at her death;

Though she’s a hearty woman for her years, except her shortness of breath.

Well! you may think the things will mend—if they won’t, Lord mend us all!

My lady will go in fits, and Mr. Lambert won’t need to call;

I’ll be bound in any money, if I had a guinea to give,

He won’t sit down again on Chiney the longest day he has to live.

Poor soul! I only hope it won’t forbid his banns of marriage;

Or he’d better have sat behind on the spikes of my Lady’s carriage.

But you’ll join ’em all of course, and stand poor Mr. Lambert’s friend,

I’ll look in twice a day, just to see, like, how they mend.

To be sure it is a sight that might draw tears from dogs and cats,

Here’s this pretty little pagoda, now, has lost four of its cocked hats.

Be particular with the pagoda: and then here’s this pretty bowl—

The Chinese Prince is making love to nothing because of this hole;

And here’s another Chinese man, with a face just like a doll,

Do stick his pigtail on again, and just mend his parasol.

But I needn’t tell you what to do, only do it out of hand,

And charge whatever you like to charge—my Lady won’t make a stand.

Well! good-morning, Mr. What-d’ye-call, for it’s time our gossip ended:

And you know the proverb, the less as is said, the sooner the Chiney’s mended.

Click here to see wich is the best food for the pit bull.

Richard Ginori “Broken” Dinnerware

January 5th, 2011

Today I visited the NYC showroom of porcelain manufacturer Richard Ginori, founded in Italy by Florentine Marquis Carlo Ginori in 1735, and home to hundreds of stunning, colorful patterns. But what I was most drawn to was a line of dinnerware ironically named “Broken”, the least colorful dishes in the showroom. This ingenious collection of 14 pieces was designed in 2010 by architect and product designer Paola Navone. Each of these stark white porcelain pieces features printed cracks “repaired” with trompe l’oeil metal staples. Wouldn’t it be wonderful to have a repaired “Broken” plate with actual metal staples? I guess that would be an example of life imitating art imitating life…

Dinner plate measures 10-1/2″ in diameter.

The trompe l’oeil staples and cracks look truly convincing even upon close inspection.

“Cracked” teacup, guaranteed not to leak, and matching saucer.

Soup plate, broken in three places, is held together with three staples. Or is it?

Sugar bowl and milk pot from the tea service.

Nanking teapot, c.1800

December 31st, 2010

A Chinese porcelain teapot with hand painted cobalt blue Nanking underglaze decoration dates from 1790 to 1820. This type of design, produced in China since the mid-17th century, was so popular that it was first copied in 1780 by the English potter Thomas Turner of Caughley and was mass produced as the “Willow Pattern” (aka “Blue Willow”) with transfer decoration and sold worldwide

Today it is considered “America’s favorite patterned ware” and can be found in the wealthiest homes and roadside diners alike

Teapot measures 4-3/4″ tall and is nearly 10″ wide, from tip of the spout to the end of the replacement handle

A tinsmith came to the aid of the distraught original owner of the broken teapot and created an elaborate replacement handle. The metal handle has crimped edges, a thumb rest, hand grip and a tin truss encompassing the teapot for extra support

The same cobalt blue pagoda pattern is on both sides of the teapot

All that remains of the broken lapped reeded handle are the leaf terminals

This teapot with similar form and decoration shows what my teapot would have looked like with its original lid and handle intact

Photo courtesy of Equinox Antiques