“Master Argus” glass goblet, c.1840

April 12th, 2010

An EAPG (Early American Pattern Glass) flint glass goblet in the “Master Argus” pattern, measures 7-1/2″ tall

What makes this replaced wood base so special is that is is made from lignum vitae, a trade wood known for its combination of strength, density and toughness. According to T.H. White’s “The Once and Future King”, Merlin’s magical staff was made of lignum vitae. Sadly, this type of wood is now listed as a potentially endangered species.

This goblet, also in the “Master Argus” pattern still has its original base

Photo courtesy of All Antique Glass

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Large white bowl from Seville, c.1820

April 12th, 2010

This heavy pottery bowl with a white tin glaze has a subtle blue line gracing the rim. I found it in a small, packed antique shop in Seville, Spain during a recent vacation

The hand woven wire web holds the many cracks in the ceramic together, enabling the bowl to be functional again. The web effect reminds me of a turtle shell pattern and is similar to the repair on a Tuscan pottery jug I found in Italy

A triangular formation of unglazed bubbles on the inside show where the bowl was suspended on stilts during the firing. The bowl measures 6″ high and is 15-1/4″ in diameter.

I display the bowl on my dining table, along with a Spanish tin glazed wine jug I purchased from the same shop

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Birthday cake with “inventive repairs”

April 12th, 2010

Bibiana, my dear friend and baker extraordinaire, created this amazing cake for my “special day” last February. It was covered with incredibly detailed pastillage “make-do” teapots, copied from my collection. She made edible mismatched handles, lids and chocolate “staples”. The eight layer chocolate cake with raspberry Bavarian cream filling and chocolate frosting was unbelievably delicious!

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Spode hunting scene jug, c.1830

April 10th, 2010

This small Copeland Spode pottery jug with white relief figures was made in Stoke-Upon-Trent, England.

The fox hunt, a popular image on ceramics in the 19th century, was based on an original Wedgwood design.

Jug measures 3-1/2″ tall.

A typical metal replacement handle, with tin bands along the top and bottom, secures the handle to the jug.

An identical jug can be seen in this photo (top row second from the right) from The Old China Book, first published in 1903.

This close up of the photo above shows what the original handle looked like.

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Wooden mortar & pestle, c.1875

April 10th, 2010

Large American primitive lathe-turned treenware mortar (with original red painted surface) & pestle, together measure 13″ high.

It was not unusual for wooden utilitarian items such as bowls and mortars to crack, due to a change in climate. Two steel bands were added to help stabilize the large break.

The underside of the mortar shows concentric lathe rings, reminding me of a 45 rpm vinyl record.

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Clarice Cliff plate, c.1935

April 10th, 2010

This 6″ diameter Biarritz plate was made in England by Clarice Cliff in the Taormina pattern, introduced in 1935. The art deco design was inspired by the small town of Taomina, on the east coast of Sicily, Italy.

These five large brass staples still hold the plate tightly together. I believe this is the newest piece I own with staple repairs, as most of my other examples date up to the early 1900’s.

Clarice Cliff was born in England in 1899 and died in 1972, working as an industrial artist for 41 years. She was quite prolific and became one of the most important art deco ceramic designers of the 20th century.

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Kangxi teapot, c.1690

April 9th, 2010

This unusual fluted beehive form (aka bell form) porcelain teapot from China was made during the Kangxi reign (1662-1723). It is decorated with a flowering plant design in blue under glaze, has an upright fixed handle and is raised on three small feet.

The stylized floral decoration in vivid cobalt blue is on each of the six panels.

Teapot measures 6-1/2″ high and has eluded me ever since I purchased it 15 years ago at the New York Coliseum Antiques Show, as I could not find any research on it.

At the time, it was one of the most expensive “make-dos” I had purchased, and it was my first piece adorned with a silver repair.

The replaced silver spout is of modest design, but was made by a silversmith sometime in the 1700s-1800s, and at considerable cost to the owner.

I was thrilled to have recently found this photo showing a complete, nearly identical teapot, shown here with its original lid and spout. This one sold at Christie’s in 2008 for more than four times the estimated price.

Photo courtesy of Christie’s

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Famille rose cream jug, c.1790

April 9th, 2010

My father gave me this Chinese porcelain baluster form sparrow beak cream jug for my 38th birthday.

It dates from the Qianlong period (1736-96) and measures 5″ high.

The sides are decorated with enamel floral decoration in the famille rose palette.

What really makes this piece exceptionable is the simply shaped, hallmarked sterling silver replacement handle.

I have not looked up these marks, but once I do I will be able to identify the maker and the year this handle was made. Until then, if anyone knows about these marks I would love to know.

This similar jug is missing its lid but still has its original handle, in the shape of a ruyi scepter.

Photo courtesy of Three Empires

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“Loop” pattern oil lamp, c.1875

April 8th, 2010

An EAPG (Early American Pressed Glass) kerosene oil lamp in the “Loop” pattern, made of flint glass with finger loop and brass ferrule. Measures 6 inches high.

The round glass base was replaced with an unusually shaped square replacement, beautifully made.

This is what the lamp looked like with its original base, burner, wick and chimney

Photo courtesy of LennyFran

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Famille rose teapot painted “en camaïeu”, c.1750

April 8th, 2010

Globular shaped porcelain teapot from China has a subtle, “en camaïeu” (monochromatic) iron-red enamel floral design in the famille rose style.

The same nicely painted decoration is found on both sides of the teapot.

Teapot was made for export to North America and Europe and stands 5-1/4″ tall.

When the spout broke off sometime in the late 1700s to early 1800s, the teapot was taken to a silversmith for replacement. A family of great wealth must have originally owned this piece, as the silver repair indicates.

Another example of a Chinese porcelain teapot with its original spout intact.

Photo courtesy of Pater Gratia Oriental Art

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