Archive for the ‘plate/platter’ Category

Royal Crown Derby plate, c.1880

Monday, June 28th, 2010

English pottery plate with popular “Japan style” decoration in the Imari palette of dark blue, red and gold on white. Plate measures 7″ in diameter and bears no manufacturer marks. Please see an earlier entry, “Wedgwood Imari Teapot, 1880” posted on March 13, 2010, which has a similar decoration

When the plate was dropped and broke in to seven pieces, a china mender used thirteen small metal staples to mend the breaks

White enamel paint was used to help mask the “unsightly” repair job

“Pleat & Panel” glass cake stand, c.1882

Friday, June 25th, 2010

Early American Pattern Glass (aka EAPG) cake stand in the “Pleat & Panel” pattern made by  Bryce Brothers in Pittsburgh, PA, dates from 1882. It measures 6-3/4″ high and has a 9″ x 9″ top surface

A simple metal sleeve encases the broken stem after it snapped. This is one of the more simple, yet effective repairs I have seen

An identical cake stand below did not suffer the same fate as mine and sports an unscathed stem

Photo courtesy of Silver Quill Antiques

6 matching “Log Cabin” plates, c.1790

Friday, April 30th, 2010

Every one of these six matching broken Chinese export porcelain plates is held together with large brass staples, visible only from the back. I imagine the complete set of dishes was much larger than the six repaired examples I own, but I am thankful someone weeded out the “perfect” ones and left me with the more interesting much preferred damaged goods!

Out of all of the different types of inventive repairs I have shown thus far, people seem to be the most fascinated with staple & rivet repairs. I will be showing rare illustrations and photos documenting this repair procedure in upcoming posts, so please stay tuned.

Plate 1, The champion with 14 staple repairs.

Plate 2, another winner and tied for first place with 14 staples.

Plate 3, repaired with an impressive 9 staples.

Plate 4, not too shabby with 8 staples.

Plate 5, another plate with 8 staple repairs.

Plate 6, still lovely with an impressive 6 staples.

This detail shows the rich cobalt blue under glaze “log cabin” or timber frame decoration, inspired by an English design by Spode. This pattern is also known as “trench mortar”.

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

Kangxi period dish, c.1700

Sunday, April 25th, 2010

A ribbed surface Chinese porcelain dish with the “Hundred Antiques” pattern is decorated in a famille verte palette, depicting culturally significant items of the period including vases, textiles and utensils.

After the dish broke and was repaired with metal staples, it was placed in an elaborate circa 1750 bronze rococo mount with cherubs.

10 metal staples were used to hold this dish back together again.

The dish alone is 6″ in diameter and measures 9-3/4″ long including the added bronze mount.

An unusual detail is a porcelain fragment from another broken object, added to the top portion of the mount.

If anyone has information on this mark, please let me know.

Clarice Cliff plate, c.1935

Saturday, 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.

Chinese “mille-fleur” plate, c.1865

Thursday, March 25th, 2010

I purchased this 7-3/4″ dessert plate about 20 years ago at a now, sadly departed antique china shop on Greenwich Avenue in NYC. There is nothing extraordinary about this piece, except that it reminded me of my parents collection of Chinese export porcelain, filling a wood hutch and corner cabinet in our dining room.

Beautifully detailed mille-fleur (“thousand flower”) design, rendered in the famille rose pallette, incorporates blossoming peonies, chrysanthemums, lotus flowers, morning glories, hibiscus, roses, daisies and lilies.

The lush border is filled with a variety of birds and butterflies.

This plate was cherished, even after it became broken and was repaired with five metal staples on the back.

These cracks are tightly held in place with staples attached well over 100 years ago.

Clews “Pittsfield Elm” plate, c.1825

Sunday, March 14th, 2010

Spending my teenage years in a small town in the Berkshires meant frequent excursions to nearby Pittsfield, MA, home of three faded movie theaters, a large library and a Mexican restaurant. Once I remember seeing a “Pittsfield Elm” plate for sale in my parent’s antiques shop and feeling a sense of pride that a local tree was immortalized on a plate. This treasured pottery plate was made by James & Ralph Clews at Cobridge Works, Cobridge, Stoke-on-Trent in Staffordshire, UK. They were made between 1818 and 1834 as a part of a highly collected line of Historical Blue Staffordshire pottery.

It has been held tightly together for over one hundred years with 5 flattened copper rivets, and measures 8-3/4″ in diameter.

This English pottery plate with deep cobalt blue transfer decoration is marked on the back WINTER VIEW OF PITTSFIELD MASS, CLEWS as well as impressed CLEWS WARRANTED STAFFORDSHIRE surrounding a crown.

The beloved “Old Elm” in Park Square, as seen in a 1855 engraving, was sadly cut down in 1861.

Photo courtesy of Image Museum

Chinese export platter, c.1770

Wednesday, March 10th, 2010

This Chinese export porcelain platter dates from 1760-1785 and has fine hand painted cobalt blue Nanking type decoration and an intricate Fitzhugh border.

Platter measures 12-1/2″ x 9-1/2″.

Itinerant menders repaired broken porcelain items such as this platter and charged per staple. 22 metal staples tightly hold the six broken pieces in place.

To me, the bottom side showing the staples is just as beautiful as the richly decorated top side.