Posts Tagged ‘metal spout’

Georgian Castleford teapot, c.1810

Sunday, July 20th, 2014

This handsome Castleford-style teapot with neoclassical design was made in England in the early 1800s. It is made of fine-grained unglazed black basalt stoneware with a hinged lid set in a scalloped rim and fastened with a metal pin. It measures 5-1/2″ tall and 8-3/4″ from handle to spout. Two different classical tableaux in detailed relief are on each paneled side, with acanthus leaves at the top and the bottom.

When this teapot was dropped over 150 years ago, the spout broke in two places and the knob came undone. Typically, fragile lids on teapots with this design snap off so I am surprised that this lid remains intact. A 19th century tinker repaired all of the broken bits by attaching two metal sleeves around the breaks in the spout and riveted on a new metal replacement knob. The metal repairs were originally painted black to blend in with the black basalt color of the pot, but time and age have peeled away the paint, leaving a pleasing patina to the metal. There is a later putty repair to a crack on the underside which is useless now, but I imagine it served its purpose at the time it was applied.

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This example with nearly the same form, shows what the original spout and knob would have looked like on my teapot.

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Photo courtesy of D. G. Barsby Antiques

Miniature Chinese Kangxi teapot, c.1720

Sunday, June 29th, 2014

This wee globular form teapot was made in China during the Kangxi period (1661 – 1722) and measures just 2-1/2″ high and 4-1/4″ from handle to spout. It has Famille Vert decoration of floral bouquets tied with ribbon in blue underglaze enamel, iron red and green washes, and gilt highlights. The domed cover, decorated with plum blossoms, has a tiny vent hole, just as its full-size counterpart would have. I believe that this was part of a larger tea set purchased for a child from a wealthy family, as only the upper class were able to afford imported Chinese porcelain.

Without seeing the coin to show the lilliputian size of the teapot, I doubt you would have guessed that this is a miniature. The exquisitely crafted metal replacement spout and rattan-covered bronze handle are superior to the more standard repairs seen on most other miniatures. It seems that someone truly appreciated the stellar repair work, as is evident by the teeth marks at the end of the spout. Perhaps this was just a child’s way of saying “This new spout tastes better than the old one. Thanks, and job well done!”

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This nearly identical miniature still has its original handle and spout, but I think my teapot is the more interesting one of the pair.

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Photo courtesy of eBay

“Not a make-do” Yixing teapot, c.1890

Saturday, June 7th, 2014

I purchased this little teapot thinking it was an example of Chinese Yixing ware with an elaborate early repair. It measures 7-1/2″ from spout to handle and is about 4″ high to top of finial. The shape appears to be typically Yixing but the brass lid, spout and horizontal strap, as well as the unusual incised mark on the underside, made me a bit suspicious. Now I feel the teapot dates from the latter part of the 19th century and was made in China for export to the Middle East, and that the mark on the base is Arabic. The brass spout and lid were most likely a part of the original design to help prolong the life of the teapot and not added to replace broken or missing parts. Learning to know the difference between a piece with an inventive repair and a piece that was designed with metal mounts can be a valuable, though sometimes a costly, lesson. Luckily, I did not pay very much for this “not-a-make-do” teapot.

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Soft paste parrots teapot, c.1770

Saturday, May 24th, 2014

During one of my early trips to the UK in search of ceramics with inventive repairs, I found this charming Chinese soft paste porcelain teapot decorated in the famille rose palette and painted with colorful parrots and flowers in polychrome enamels with gilt highlights. The teapot measures 5″ high and is 9″ wide from handle to spout and was made during the Qianlong period (1736-1796) for export to Europe and North America.

After a tumble, the fanciful spout, which most likely matched the bamboo-form handle, broke off and was replaced by a more streamline metal one with a decorative backplate. Curiously, the handle did not suffer from the fall and remains intact. There is no way of knowing what happened to the original lid, but it has been replaced by a 20th century silver plated cover that fits snugly but looks nothing like the porcelain original. If only this pot could talk!

This teapot with similar form shows what the original spout and lid on my teapot might have looked like before it took a tumble.

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Photo courtesy of Earle D. Vandekar of Knightsbridge Inc.

James Giles Studio overpainted teapot, c.1740

Saturday, April 26th, 2014

This fascinating globular shape Chinese porcelain teapot from the Qianlong period (1711-1799) bears little resemblance to its original form. It was first painted in China with cobalt blue underglaze decoration of mountains, trees and buildings, but soon after it was exported and arrived in England, the local taste for simple blue and white decorated porcelain had waned. In order to keep up with the new demand for more colorful wares, many of these pieces were overpainted or “clobbered” with additional decorations and colors, to appeal to the changing taste in porcelain design.

A fine example, this teapot’s decoration, overpainted in the “Grape and Vine” pattern in black and pink with gilt highlights, appears to have executed at the James Giles Studio in London. James Giles (1718-1780), a porcelain decorator and son of James senior, also a china painter, maintained a studio on Cockspur Street near Trafalgar Square. His wealthy and royal clients included Major-General Robert Clive, Princess Amelia, and painter George Stubbs.

After the appearance of the surface decoration was altered, a more drastic metamorphosis was about to take place. We will never know the exact cause of the teapot’s losing its original spout and handle, but it is conceivable that a fumble resulted in the necessary trip to a metalsmith for repairs. A silver rococo replacement spout, a wood and metal handle, and metal staple repairs to the lid were just what the doctor ordered to rejuvenate the patient and send him home, altered in appearance but able to function once again, pouring tea. Teapot measures 4-3/4” high, 7-1/2” long.

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This globular teapot shows what the original handle and spout might have looked like when my teapot was new.

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Photo courtesy of eBay

Chinese Batavian ware teapot, c.1750

Sunday, February 9th, 2014

This globular form teapot was made in China during the Qianlong dynasty (1736-1795) for export to Europe and North America. It measures 5″ tall and 7-1/2″ wide from spout to handle and is decorated in the rouge-de-fer palette, with painted flowers in asymmetrical reserves using red, orange, and black enamels with gilt highlights on a chocolate brown ground. Batavian ware, aka Capuchin ware or Cafe au lait, was highly favored by the Dutch and named for the city of Batavia (today Jakarta, the capital of Indonesia), the center of Dutch trade in the 18th century.

An iron sleeve with sawtooth edge covers the tip of the broken spout, replaced in the 19th century by a local tinker or itinerant china mender. A simple loop iron handle, bearing the remains of white gesso, replaces the broken original. Unlike many similarly replaced metal handles I find wrapped in rattan, this one shows evidence of being an armature, upon which layers of compound were applied then painted to emulate the original form and surface. As this type of unstable compound deteriorates over the years, dealers and collectors have been known to chip away at it, exposing the bare metal. The conservator in me likes an original crusty, compound-laden handle but the collector in me prefers a more esthetically pleasing clean metal surface.

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This teapot, with nearly identical form and decoration, still has its original handle and spout. But in my humble opinion, it is not nearly as interesting as mine.

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Photo courtesy of LiveAuctioneers

Chrysanthemum Factory jug, c.1815

Saturday, February 1st, 2014

This large cream colored milk jug with sprigged decoration of hunters, horses and hounds was made in England in 1815 and bears the mark of the Chrysanthemum Factory, so-called because of the design of the pad mark on the underside. It was made by Charles Bourne and Chetham & Robinson and proved to be a popular design, as it was manufactured in many different forms, sizes and colors.

The striking dolphin shaped spout is minus its original lower half, replaced with a silver one by a tinker or jeweler long ago. It was expertly made as a cuff, snugly attached to the broken remains encased within. The ill-fitted lid, which came with the jug, seems to have been added at a later date by a previous owner. The jug stands 7-1/4″ tall without the lid.

Thanks to Benjamin Allen, whose Facebook group Sprigged & Relief Moulded Jugs helped to identify this piece.

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This small cream jug gives you an idea of what the original spout on my larger jug looked like before it was brought to the tinker for repair.

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Clobbered globular teapot, c.1750

Sunday, 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

Leeds creamware teapot, c.1770

Saturday, August 10th, 2013

I had been looking for an 18th century creamware teapot for many years so I was excited to have recently come across this appealing example with a most unusual, if not unique, repair.

This globular teapot, which measures 5-3/8″ high and 8″ wide, has an entwined strap handle with floral and leaf terminals and a cover with a pierced ball finial. The hand painted floral polychrome decoration is in tones of purple, green and persimmon. It was made in England during the last quarter of the 18th century at Leeds, a factory famous for developing creamware, a new type of earthenware using white Cornish clay and a translucent glaze.

Sadly for the owner, the original spout succumbed after an unfortunate accident (luckily, no charges were brought up and no bail bonds company existed back in the day if there were), while remarkably the more delicate handle remained intact. Happily for me, though, sometime in the early 1800s, the teapot was brought to an expert metalsmith who fashioned a unique replacement spout in what appears to be Britannia metal, a pewter-type alloy composed of tin, antimony and copper. The metal spout, expertly executed with precision and artistry, appears have a  modern steampunk attitude. To me it looks like a crooked finger urging “come here!”

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The underside reveals an early gummed paper label marked “Leeds” and a price of £4, which I would happily have paid. Of course it cost me a bit more, but I have no regrets.

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This example, with similar form and decoration, shows what my teapot’s spout would have looked like had it not broken off. But I much prefer my unique example with the juxtaposed metal spout.

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Photo courtesy of eBay

Tiny Chinese Imari teapot, c.1700

Saturday, June 22nd, 2013

Though this octagonal-shaped Chinese porcelain teapot from the Kangxi period (1662-1722) appears to be a miniature, it is indeed a functioning vessel. Tea was only for the wealthy in the late 17th century; brewed in highly concentrated batches in tiny teapots and consumed in small amounts. This fine example, which stands nearly 4″ high, has cobalt blue underglaze decoration with iron red and gilt detailing. The remains of the original porcelain spout have been replaced by a much smaller silver cap, most likely in Amsterdam in the 1800s. As a precaution against loss, the lid has been shackled to the handle using a fine-link chain. This embellishment may have been added at the same time as the replacement spout.

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This nearly identical teapot with the same form, size and decoration as mine shows what the original spout looked like before the addition of the silver replacement.

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Photo courtesy of Pater Gratia Oriental Art