Posts Tagged ‘staples/rivets’

Bloor Derby coffee can, c.1810

Saturday, August 18th, 2012

Colorful porcelain coffee can exquisitely decorated in the French style, made between 1806 and 1825 in London by Derby at their Nottingham Road factory. The wishbone form handle was detached over 150 years ago and riveted, soon afterward, back onto the body by a skilled metalsmith. It is marked on the underside with a red crown, crossed batons a “D” and (pattern number) 770, all hand painted in red.

For another example of an inventive repair in the same porcelain pattern, see “Wounded survivor” teapot, c.1810

Now that I own two pieces from this stunning tea set, I am on the hunt to find the remaining pieces. But naturally, I will turn away from “perfect” examples and only rescue the ones with inventive repairs!

 

Worcester porcelain plate, c.1770

Saturday, August 11th, 2012

Porcelain plate made in England by Worcester in the late 1700s is brightly decorated with cartouches containing colorful floral sprays surrounded by gilt scrollwork and a scale background of mottled cobalt blue.

Unsigned plate measures 9-1/2″ in diameter.

Although most items I have seen repaired with metal staples are holding multiple pieces back together, this plate has bronze staples stabilizing cracks against further damage. I like how the symmetrical pattern of the cracks and the staples form an almost perfect peace sign.

Shelley Art Deco cup & saucer, c.1930

Saturday, February 25th, 2012

“Vogue” shaped porcelain teacup in the bright yellow Sunray pattern 11742, designed by Eric Slater for Shelley and introduced in August 1930. Discontinued in 1933, due to impractically designed hard to hold cup handle.

Teacup has footed conical form and measures 2-1/2′ high and the saucer is 4″ in diameter.

Stamped in green on the bottom: Shelley; ENGLAND; Rd 756533 with pattern number 11742-4.

A close up of one of the metal staples which was drilled through the outside of the delicate cup, holding the 2 broken pieces together.

The inside of the teacup reveals the ends of the staples flanking the crack.

This “perfect” example can be seen in the ceramics collection at the V&A  Museum in London.

IMG_0180

The New York Ceramics Fair, 2012

Saturday, January 21st, 2012

On Wednesday of this past week I bundled up and made my annual journey northeast to The New York Ceramics Fair, located on the Upper East Side of Manhattan. Each year at this time I look forward to attending the event and have been doing so since 2004. It’s always a pleasure to see the dealers and to drool over their fabulous merchandise, hoping that I will see some wonderful examples of inventive repair.

Leon-Paul van Geenen brought this amazing 17th century Dutch or German roemer with jaw dropping repairs.

Two brass palette-shaped plates, convex on the outside and concave on the inside, have been riveted together to conceal a large hole in the center.

The inside of the goblet shows the hammered ends of the rivets holding the plates in place.

The stem also has a unique repair; a plate with initials and a date of 1718, most likely the date of the repair and the initials of the restorer.

This is an example of a roemer without repairs, and in my mind, the less interesting of the two!

Another example of inventive repair brought by Mr. van Geenen is this small stoneware jug made in Sieburg, Germany.

The jug has three molded figural medallions, the center one with a man’s face and a date of 1595.

But what interests me the most is a lead plug with an incised cross, sealing a small hole on the side of the jug. I have not seen this type of simple yet effective repair before and will now be on the lookout to find other examples.

Heart-shaped metal brace on Chinese bowl, c.1770

Thursday, December 1st, 2011

I have never seen another repair quite like this. The porcelain bowl itself is fine but unremarkable: made in China in the mid-1700’s for export to North America and Europe, decorated in Famille Rose enamels with large stylized flowers and cobalt blue underglaze leaves.

But what makes this piece truly remarkable are the figural repairs. Rather than using standard metal staples or straps to join the broken pieces of the bowl, an inspired metalsmith cut three different shapes to form a unique bond. An unmistakeable heart-shaped brace sits below a strap shaped like a scepter. Each of these has short metal pins attached, which pass through small holes drilled into the side of the bowl.

This short metal strap, straddling a crack, resembles a bow tie.

Bowl measures 4″ high and has a diameter of 8-1/4″.

A single red blossom surrounded by spidery blue leaves is found at the center of the bowl and a decorative border is painted along the inner rim.

The inside of the bowl reveals the carefully hammered ends of the metal brace pins, which are mostly masked by the deep cobalt painted decoration.

“Farmers Arms” harvest jug, c.1805

Saturday, October 15th, 2011

An English pearlware “Dutch” shape jug made in Staffordshire, England in the early 1800’s. It is decorated on both sides with a black transfer decoration with red & yellow overglaze washes and silver lustre bands at the top and bottom. Although it has been beat up over the past 200+ years, is riddled with numerous chips and cracks and lost its original handle along the way, I am glad to have plucked it from near oblivion.

The banner proclaims “INDUSTRY PRODUCETH WEALTH” along with images including a bee hive, shafts of wheat and farm tools.

Jug measures 4-3/4″ tall.

Below a banner which reads “TRUST IN GOD” is the verse:

“SUCCESS TO THE FLEECE

THE PLOUGH AND THE PAIL

MAY TAXES GROW LESS

AND THE TENANT NE’ER FAIL”

The replacement metal handle with thumb rest has been painted silver to blend in and appear more pleasing.

A metal bolt, securing the metal handle to the body of the jug, can be seen from the inside of the fragile jug.

This example has the same form and silver lustre decoration as my jug and shows what the original handle might have looked like.

Photo courtesy of Powerhouse Museum

Chinese charger with 35 staples, c.1730

Friday, September 9th, 2011

This large porcelain charger, made in China during the Yongzheng period (1723-35), measures 13-3/4″ in diameter. The famille-rose palette with predominantly pink colored enamel is made from colloidal gold, a suspension of gold particles mixed into the glaze.

The polychrome decoration of a large tree on a terrace with over-scaled flowers is painted in shades of green, pink and blue on a pale green ground.

After this charger was dropped and broke in to over 20 pieces of varying sizes, an itinerant china mender made it whole again by carefully drilling holes in to the underside of the porcelain and securing 35 metal staples to either side of the cracks.

The disarray of cracks and staples make a wonderful pattern of their own.

These unusual metal staples have a deep ridge running through each length.

“Wounded survivor” teapot, c.1810

Wednesday, May 25th, 2011

What do you do when a staunch survivor of over 200 years and with multiple battle scars exposing its difficult life appears with a fresh wound? This teapot arrived from overseas with a shattered handle, much to my dismay. I have often said that there is nothing as redundant as a “broken” make-do so I plan on repairing the handle with an inventive repair of my own. Stay tuned.

Lushly decorated porcelain teapot with bun feet and matching stand, made in Derby, England around 1810. Teapot measures 6″ tall and 11″ wide from the tip of the spout to the end of the broken handle.

Hand painted polychrome decoration features a stylized gilt cachepot surrounded by elaborate scrollwork, floral flourishes, bunches of grapes and a Greek key border.

Well over 100 years ago, the tip of the damaged spout was fitted with a gilt-finish metal replacement and the neck was repaired with 5 metal staples, overpainted in white enamel to blend in.

The matching oval tray measures 6-1/2″ x 8″…

with a symmetrical break…

held back in place with the aid of 6 metal staples.

Marked on the underside with a red crown Derby mark and pattern number “770”.

Canary yellow mug with 46 staples, c.1820

Wednesday, March 2nd, 2011

This canary yellow pottery mug with silver lustre bands and decoration was made in England in the early 19th century. I recently purchased it from a dealer in the UK who used the “tankard” as his pencil cup. He wrote me “(It) sits on my desk. Only dealers appreciate it! My customers think I am crazy”. I, of course, do not think he’s crazy and it’s too bad his customers did not appreciate it, nor see the beauty in the patterns made by the multiple repairs. It did take a little bit of convincing for the dealer to agree to sell it to me and after I told him “please consider how happy the mug will be living in America with other wounded survivors!”, we agreed on a fair price. I sent payment, the mug arrived 2 weeks later and it has become my new favorite piece!

Measures 3-1/2″ tall, 3-5/8″ diameter.

Every angle reveals more and more staples…

Comical poem printed on the front reads:

“The maltster doth crave

His money to have,

The distiller says have it he must;

By this you may see,

How the case stands with me;

So I pray don’t ask me to trust”

After this mug was smashed, the body was held together with the aid of 40 metal staples of varying size and the handle was repaired with 6 metal bands. It must have been truly cherished by whoever had it repaired.

I love the stylized sunbursts, enhanced by the addition of metal staples, on both sides of the mug.

Copeland teapot with staple repair, c.1874

Thursday, 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