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Five 19th C Kangxi Revivals
Recently I started buying damaged items. I believe we are getting closer to a point when obtaining a nice Chinese porcelain piece earlier than 1900 without any faults will get much harder and rarer. Therefore I stopped being fussy and I keep looking for items like that.
The whole lot was very inexpensive, I do admit they are not in their finest hour, but I love them and I find them a bit better quality than on usually seen 19th C pieces.
Possibly I will try to resell it, I want to do few last fairs in 2020 but I'm thinking of keeping for myself 2 of them - the tallest ones.
The two on each side, that's a pair - they're identical.
What are your thoughts?
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Yes I agree with you on keeping the two larger ones. I especially like the dragon example.
For whatever reason the Chinese buyers tend not to buy broken or extensively damaged porcelain. Unless of course it's either imperial or rare works.
Will you perhaps have them repaired professionally? I would probably. I am waiting for our covid 19 lockdown to end so I can have a guangxu period ginger jar repaired.
I am very happy you like the two larger ones. I do have a rather good and extremely cheap restorer based in Poland and in pre-covid situation it was relatively easy for me to have it there delivered by my folks who were visiting me in UK regularly. Now it's a different story... I must admit kintsugi technique seems quite tempting to try. It looks really cool especially on b&w pieces! Some people don't like that, I do and I find those repairs very attractive. I have a wonderful and quite large punch bowl 18th C export with lovely ornaments, such a beauty, but the body is mainly plain with too many cracks. It has been glued back together quite well and with this one I would rather go for a proper restoration that could mask completely the damage - I classify this one as a bit more classy item that deserves getting to original glory. I will post pictures later, maybe you could advice me otherwise?
I might give it a go with this kintsugi repairs myself, winter is on its way, it's going to be a perfect time for some crafty evenings and experimenting on cheap Guangxu pieces doesn't seem like a horrible sacrilege to me.
Good luck with your jar as well!
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As with Mark, I would keep the two larger examples, they are aesthetically and visually more appealing. I am sure your restorer could ‘breath new life’ in to them - as/when the present situation improves ...!!
There is nothing wrong with buying damage examples, some of my best pieces had varying degrees of such when acquired ...
And in doing so, you can enjoy beautiful objects which are, normally, beyond most collectors reach ...
@adrian Do you know of any good video link examples where these repair techniques can be learned a little?
My favorite is the smaller one with the most damage to it. I think it has a very attractive design.
Scroll down to the movies section here at the Bidamount forum there is a video "Broken Porcelain fixed perfectly"
I do love the dragon one. Indeed better painting quality than usually.
Perfect pieces are very hard to find. I don't mind a hairline, even broken pieces, but when it has missing pieces that is where I draw the line. Except when it's a rare piece, I see it as a piece we can learn from.
That small one is also interesting and I like it as well. Unfortunately I do not know any good videos to recommend in terms of learning that technique. I was only reading about it. I have my own ideas of approaching it my own way, but that would be entirely experimental approach 🙂
I think that in a matter of few weeks I will give it a go with some other broken items I have. I will post the before and after photos, but only if I can satisfy myself with final results 🙂
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@adrian I know several potters and I wonder if any of them would have knowledge about these things? I think i will look into it. Peter mentions in his videos that we can get repairs done and makes it sound like it isn't that costly, but It remains an unknown to me.
Always good to talk to ceramic potters. They have some great insight into technical details about gas fired versus wood fired kilns.
This book is very helpful
There is a world of difference between repairs where you have the broken shards and a skillful repairer puts the item back together using modern non staining adhesives and where there is missing shards that have to be re made and fitted. The material used to fill in the missing area will over time degrade differently to the rest of the item no matter how much care and skill the repairer has and in my opinion end up looking uglier than before the repair was made. Most museums that repair items do it in such a way you can see the repair but the missing section is filled in, so there is not a jarring to the eye chip or crack. With Adrian's fine pots with such large area's and finial to be modeled and a large amount of over painting to be done if they were mine I think I would go for the museum type of repair. 1 guess it comes down to how long you intend to keep an item if you intend to sell them after a relatively short time then perhaps the invisible type of repair might be best but you have to declare a repair on sale and you may not recover your costs first class invisible repairs can be very expensive due to the time it takes and materials used.
I have mentioned before I will post another item deserving some treatment. The Kangxi revivals I will try with them a kintsugi repair at some point during the winter, I'll see what will be left from this lot, but with this bowl I think I would go for a proper restoration to see again this lovely piece in nice condition.
What do you think?
The bowl is lovely decorated and it is quite large as well. Diameter is 28.5cm and height is 12.5cm
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