February 28th, 2015
I don’t like to use the term “make-do” to describe antiques with inventive repairs, as I feel it diminishes the artistry and integrity of the piece. But this EAPG (Early American Pattern Glass) 5-1/2″ tall goblet in the Honeycomb pattern is a make-do in the best sense of the word, a fine example of Yankee ingenuity. Made in America between 1850-1870 during the Industrial Revolution, machine-made pressed glass examples such as this were mass produced and available to all.
Though more affordable than hand blown glass counterparts, this goblet was still cherished enough by its owner to be repaired after it broke. In this case, after the base snapped off, a simple unpainted and overscaled wooden base was attached to what was left of the broken stem. The result is a bit comical, as we are left with a short, stout goblet with an extra wide wood base that resembles half of a yo-yo.
This example with its original base shows what my goblet looked like before it took a tumble.
Photo courtesy of eBay
February 21st, 2015
Most people I encounter are astonished the first time they see broken ceramics held together with staples. I was, too, at a young age when I saw a small stapled dish. The first words uttered are typically “how did they do that?” If you type that very question into my search box on this page, a post from a few years ago will pop up and help answer that much asked question.
Sadly, most pieces repaired with staples, aka rivets, are not signed by the menders so we have no idea who repaired them. I have seen 18th century English and American newspaper advertisements and calling cards from tinkers and jewelers offering their repair services, as well as early prints showing “china menders” with their tools. Today, antique ceramics with staple repairs are not uncommon but many rare examples are quickly disappearing, as restorers will carefully remove staples, fill the holes and erase all evidence of the original “honest” repair. Although I have dozens of examples of early staple repair on a variety of forms, I still get a thrill when I encounter a rare or unusual example untouched by a modern restorer.
This porcelain plate was made in Jingdezhen, China, during the Qing dynasty (1740-1760) and measures 8-1/2″ in diameter. It is decorated in the Famille rose palette and features a large blue crab, crayfish, flowers, and a border with gilt detailing. Early in its life it was dropped, cleanly breaking it in half. An experienced china mender reattached the plate using six small evenly spaced brass staples. Repairs such as this are so tight and secure that the plate can be returned to the dinner table without fear of it coming undone. That is, unless another clumsy person lets it slip from his or her hands.
Another example, nearly identical to mine, is in the permanent collection of the British Museum. It was donated in the 19th century by Sir Augustus Wollaston Franks, described by Marjorie Caygill, historian of the British Museum, as “arguably the most important collector in the history of the British Museum, and one of the greatest collectors of his age”.
Photo courtesy of the British Museum
January 24th, 2015
Each year I look forward to attending the New York Ceramics & Glass Fair at Bohemian National Hall, for me the highlight of New York’s Winter Antiques Week. This year the fair has expanded to three floors of exhibition space, including more glassware and contemporary pieces than ever before. I enjoyed seeing Martyn Edgell and his booth chock full of colorful English ceramics, including shelves of dazzling mocha ware pottery. Leon-Paul van Geenen was back this year with a few examples with early repairs, as well as white Delft pottery, many pieces included in his recently published book, Delfts Wit. A handful of early white plates were give a modern spin on Japanese Kintsugi repair, done by artist Bouke de Vries.
Leslie Ferrin of Ferrin Contemporary had two booths of fine ceramics by leading international contemporary artists, including Vipoo Srivilasa, Sin-ying Ho, and Stephen Bowers, as well as modern examples incorporating inventive repair, which I was especially drawn to. Paul Scott, an English artist, has done extensive research and has published articles on the fascinating subject of early staple repair, incorporating it into much of his work. Francis Palmer and Mara Superior showed large vessels with Kintsugi repair and faux staples, making their pieces even more unique.
It was heartening for me to see so many examples of antique and contemporary ceramics with inventive repair in such a prestigious venue. It gives me hope that beauty in imperfection is now being embraced by more artists, dealers and collectors than ever before.
January 11th, 2015
This ornate sterling silver serving piece has a carved mother of pearl handle with an etched monogram. It was made during the later part of the Victorian period (1837-1901), most likely in England. Although I can not say for certain, its asymmetrical form suggests it to be a jelly server. It measures 8-1/2″ long.
At first glance you may wonder why this seemingly “perfect” server ended up in my collection of inventive repairs, but upon closer inspection, you can spot a subtle repair. The mother of pearl handle cracked in half at a fragile stress point and was reassembled using pins and a silver mount. Also, the neck has been replaced with two wires clumsily soldered to the blade. In my opinion, the pattern of the four pins on the front and the wonderfully shaped brace on the back only enhance the original design, adding a unique charm to this piece.
December 31st, 2014
Wishing you peace in the New Year!
December 14th, 2014
This handsome porcelain cup was made in England by Spode, circa 1820. It is decorated with a bat printed pastoral scene of a person approaching a cottage, with gilt trim at top and bottom. It measures 2-1/4″ high, with an opening of 3-1/4″.
At some point in the 1800s the cup was dropped and broke into three pieces. A china mender with a steady hand used eight tiny brass staples to hold the cup back together.