This oval carved carnelian brooch with a pierced floral pattern in a simple silver setting was made in China around 1920. After it dropped and broke in half, a resourceful jeweler laced it back together with silver wire, using the pierced holes in the design.
Posts Tagged ‘Chinese’
This Chinese bowl, which measures 2.75 inches high and 5.75 inches diameter, is decorated with flowers, pagodas, and bridges in the Japanese Imari style and palette. It was made for export to Europe in the early to mid 1700s with just the blue underglaze decoration, but soon after arriving, it was overpainted in red and gold to keep up with the public’s new demand for colorful porcelain. This method of overpainting is often referred to as clobbering.
You may wonder why I am featuring a bowl that appears to have had its broken halves merely glued together. But the “Mifs Cox” red mark on the underside – she was most likely the original owner of the bowl – gives insight into how the bowl was repaired. An early form of ceramic repair practiced in England during the late 1700s to middle 1800s was called “china burning,” in which broken ceramics were re-fired at a low temperature, causing the broken pieces to fuse together. The most renowned china burner was Edward Combes of Queen Street, Bristol, who signed his pieces on the underside in red script, similarly to the mark on this bowl. I have a few examples of pieces repaired and signed by Combes and will post them in the coming months.
This early 1700s hexagonal porcelain plate was made in China during the Kangxi Period (1662-1722). It has an unglazed hexagonal rim and foot rim, with a cobalt blue underglaze garden design and floral border. It measures 9 inches in diameter.
After the plate took a tumble, it was put back together using three large metal staples, aka rivets, as well as an unusual pewter plug. Unlike the majority of the staple repairs I come across, the holes drilled to accommodate the staples go all the way through to the front, resulting in a nice dot pattern. With strong graphics appearing on the front and back of the plate, I deliberately display both sides.
This is one of the more unusual transformation pieces I have in my collection. Much like the butterfly painted on the reverse side, it began life as one thing and transformed into something entirely different. I call it a metamorphosis mug. Made between 1830 and 1850, this Chinese export porcelain mug in the Famille Rose Mandarin palette was converted to a milk jug with the addition of a silver spout. It has two decorated panels, one with a courtyard scene and the other with images of exotic birds, butterflies, fruits and flowers. It stands 4-1/2 inches high and is 5-1/2 inches wide from handle to spout.
The silver mount has an 1871 London hallmark. Although I have many examples of silver spouts, handles and lids, it is rare to find hallmarks that date and place a repair. I particularly like the ornate sparrow beak spout.
This mug was happy being a mug and felt no need to spread its wings and become a jug.
Photo courtesy of Mimi’s Antiques
This Chinese porcelain cup is decorated in cobalt blue with a Peerless Hero figure, stacked bottles and calligraphy taken from Wu Shuang Pu (Table of Peerless Heroes), a late 17th century book of woodcut prints by Jin Guliang. The cup measures 2-3/4 inches high, with an opening diameter of 3-1/2 inches.
After the cup broke in half, over 100 years ago, it was repaired with pairs of metal staples set in cement. Judging from the flattened lozenge-shaped staples made from repurposed wire, this repair was most likely done in the Middle East where itinerant china menders set up shop directly in the streets. But even with the doubled up staples and binding cement, more than a few staples have jumped ship, leaving just tiny empty holes as a reminder of its time in the china mender’s hands.
This Chinese export porcelain dollhouse miniature with blue underglaze floral decoration dates from the Kangxi period (1662-1722) and stands nearly 2 inches tall. Contrary to popular belief, miniatures like this were displayed in doll houses owned by wealthy adults and were not intended to be played with by children.
Surprisingly, this little gem was not always a sugar bowl but actually started life as a baluster form vase. After it took a tumble, a silversmith kept the surviving middle section, added a minuscule silver lid, handles and base, and voila…a sugar bowl was born. A tiny Dutch hallmark in the shape of a sword can be seen on the bottom of the base, dating it to 1814-1905. The small sword mark was used on silver pieces too small to accommodate full hallmarks.
Shown below is an intact miniature vase, standing just 2-1/2″ tall. It appears that the middle section on a similar vase was used to make the sugar bowl.