This article was written by Allison Eckardt Ledes and originally appeared in the May 2007 issue.
There is nothing more frustrating to the passionate ceramics collector who has been searching for a certain vase, teapot, or plate to add to his or her collection and has finally found it, only to discover that there is a chip, crack, or missing piece. Even more upsetting is to accidentally drop or knock over a favorite object and have it shatter into several pieces. These are the types of damages that lead museums and collectors to seek the services of Echo Evetts Ceramics Restoration of Greens Farms, Connecticut.
Evetts studied sculpture, drawing, and the design and manufacture of pottery at the Sir John Cass College in London. She began her career in England and then moved to the United States, where she has lived and worked for many years. Among her clients are Historic Deerfield; the San Antonio Museum of Art; the Museum of Fine Arts, Boston; the Wadsworth Atheneum Museum of Art in Hartford; the Asia Society and Museum; and the Japan Society Gallery in New York City; along with private galleries and collectors.
After identifying the type of ceramic—earthenware, stoneware, hard- or soft- paste porcelain—Evetts discusses with the collector whether the object is to be conserved or restored, and if it is for display or to be actually used. If the decision is to restore the piece, she then inspects it with a magnifying glass for previous repairs, which must be cleaned of epoxy resin adhesives, shellac, animal glues, rubber cement, and old paints and varnishes. Each of these substances requires a different procedure of removal depending upon the composition of the ceramic body.
Once cleaned, the damage is further assessed and restoration begins. Pieces of a broken plate must be bonded together. If there are chips, cracks, or missing pieces, they need to be filled in. Extensive damage—such as missing limbs, handles, openwork borders, or bocage-requires making molds and then attaching the replacement elements. The next step is to paint over and glaze the repair in order to disguise it, for which the matching and application of paint requires time, patience, and the conservator’s artistic skill and knowledge. Gilded pieces present a difficult challenge in matching the bronze lusters or gold leaf. The final step is to refinish the surface; it is either toned down if too highly glossed or polished if the surface is not glossy enough.
While specializing in early Chinese ceramics, especially neolithic and Tang Dynasty, Evetts is also an expert at restoring English and European ceramics, especially figures with missing pieces. She can also advise on the best preservation methods, display, and climate control for a collection. Echo Evetts Ceramics Restoration can be found online at echosceramicsconservation.com, or contacted by phone at 203-256-1892.
