A RECENTLY APPRAISED CLIENT'S COLLECTION OF "IMARI"

Any seasoned experienced appraiser of art and antiques will tell you that the main perk of our profession is the potential for learning as we work on our assignments.

I recently got asked to appraise a lovely collection in Coral Gables in which there was an enviably varied and instructive experience during which I was able to see, examine, touch and evaluate a small collection of "Imari" porcelains. I state this in quotation marks because, as any knowledgeable collector of Asian porcelain knows, Imari is a bright polychromatic Japanese made porcelain with underglaze blue and added colours - usually with gilded decoration.  Although serious connoisseurs and collectors understandably focus on Japanese Imari of the 17th,  and to a limited extent 18th Century, most of the Imari seen in the routine mid range auctions, in antiques shops and even on online venues is 19th and some is even 20th Century.  A good example if a fine quality 19th Century Japanese Imari lidded urn in this same client's collection is seen below. This handsome mantle urn was probably originally once part of a pair of which one was lost or broken in years past...

 
This collection also had a few charming decorative bowls and plates seen below with all the characteristics of Japanese Imari. Note particularly the emphatically underglaze blue. Though these are clearly more commerically produced wares dating from the second half of the 19th Century, by which time the Japanese were producing and exporting larger and less fine volume inventory for eager Western consumers.

 However, in the late Georgian Period from 1790 well into the middle of the 19th Century, English porcelain manufacturers were keen enough to sense the consumer public's desire for the riotous exuberance of much desired Japanese Imari and began to create Imari-inspired wares (to which I refer as "Imari" in quotation marks)  that were clearly of English manufacture and not without their own charms and decorative appeal.

Below, also in this same client's collection is a lovely small group of English early to mid 19th Century Derby porcelain clearly following the Japanese examples.

Though without a doubt, my client's finest example of such English wares produced in unapologetic imitation of Japanese Imari is this ravishing and sumptuously executed and decorated oval dish produced by Coalport about 1810.

Also in this collection was a partial Coalport tea set in a clearly Imari-inspired style but with an obviously looser interpretation. This set also dated from the reign of George III and was produced ca 1810-1820.

For any student of porcelain seeking a chance to handle a good varied collection in which the chance to compare the Asian ware next to the European wares produced in direct imitation of it was indeed a most appreciated learning experience. Many thanks to master porcelain scholar and appraiser Letitia Roberts, New York City, for her invaluable experience and assistance whenever expertise in European porcelain is sought!

A FRUITWOOD AND WALNUT CONTINENTAL BAROQUE TABLE

I was recently called to Sarasota by a New York contact who referred an appraisal assignment to me that proved most rewarding as it afforded me the opportunity to examine and value some really interesting mid value range Continental furniture and decorations from the 17th through to the 19th Century.

Not without some interest was this handsome and imposing Continental table which folded over to become a larger table. It is seen below when closed.

As with so very much (often most) furniture of this age, there was indication of some alterations. It's possible the top and base were remade from various 17th Century parts. The splits in the baluster legs and the mechanism of the top flipping open hinted at a probable later (most likely 19th Century) alteration.

At least I suspected the likelihood of that being the case. Although there were no traces of paint, it's also possible that much of this sort of furniture once had painted surfaces and decoration.

But in the end, for an appraiser - especially one like me who is particularly specialized in the study of French and Continental early furniture before 1830 - developing connoisseurship is an ongoing -and often humbling - voyage of discovery.  Regardless of what alterations may have transpired, this remains a largely interesting Baroque table contemporary with the age of Rubens with all the characteristic exuberance and somewhat "gutsy" charm one associates with furniture probably originating in Flanders or parts of Western Germany.

A LARGE INDO-SAVONNERIE WOOL CARPET, CA 1930-50

Appraisers often have to consult colleagues who are specialists in their respective field. I routinely consult Terry Kondralian, a 3rd generation carpet dealer, restorer and appraiser when I encounter Oriental carpets. In the instance of this carpet I had to appraise recently in a Coral Gables estate, I initially believed this to be a 20th Century French Savonnerie carpet based on 18th Century prototypes. But a general crudeness gave me an uneasy feeling. Altogether though, the carpet is not without its decorative appeal. And in the current market in which "traditional" Oriental and Eurpean carpets are not fashionable, there are some good opportunities for collectors not so keen on being in tune with the latest trends.

This carpet is very large. It measures 11'9" x 20'3". It was dirty and probably would have its colours resonate more after a professional cleaning or restoration.

However the characteristics of Savonnerie production were evident in the Rococo inspired floral design and the thick pile. What Mr. Kondralian pointed out to me was that Savonnerie was not above subcontracting work from factories in Asia after WWI of less costly imitation carpets of less refinement than the better French carpets. These were made to be offered to a wider consumer market of middle class buyers. Indeed, copies of Savonnerie and Aubusson carpets are still made in Asia - particularly in China. However these "vintage" carpets are finely made with more attention to detail then those being turned out in most current mass production. A detail of a corner shows the charm and quality of the design and execution.

A WHIMSICAL DELFT INSPIRED LATER POTTERY CHARACTER JUG

During the course of my appraisal work, I recently had occasion to enjoy examining this very fetching whimsical character jug in blue and white pottery that was clearly inspired by 18th Century prototypes made in Delft in the Low Countries. I found it in a Coral Gables estate here in S Florida. I was able to consult the erudite ceramics specialist Letitia Roberts of New York City about this admittedly curious and endearing jug. Ms. Roberts cited its rather tourist market stylized demeanor that indicated it was not quite as "earthy" as an 18th Century character jug would have been. Additionally, she pointed out that the jug could also be French as well as Dutch. It has a cryptic maker's mark on the underside of "A G Foreign". Ms. Roberts was certain it was of late 19th to early 20th Century date.

The jug depicting a harlequin seated and wearing a pointed cap that doubles as a lid over the spout. 

The jug is in good antique condition and it measures 12.75 inches high.

A LOVELY AMERICAN COLONIAL QUEEN ANNE HIGHBOY

Now and again, as an appraiser, I get the privilege of appraising a fine example of the category of period furniture my early years of training prepared me to appraise, but which is seldom available for an appraiser like myself, living in the regions outside of the more important cities such as New York, Boston or Philadelphia.

So when I was asked to appraise an estate with a nice varied collection of American, English and European antiques recently, I reveled in the challenge.

In this collector's estate was a fine example of an American Colonial Queen Anne walnut highboy. Its regional characteristics hinted at a CT origin. It was structurally sound. More exciting was the fact that it retained its original pine secondary woods and brass hardware! Regrettably, it was refinished - probably in the early 20th Century. In American furniture, changing the original finish represents a diminution of collector desirability and therefore of value. But this does not indicate that the piece was at all undesirable. Far from it!

The highboy is characterized by a fine proportion. It is surmounted by a simple flat top with a moulded cornice over 5 overhanging wide drawers in the upper body. 

The lower half has an upper wide drawer over a row of 3 drawers of which the central drawer has a finely carved fan. The lower case is decorated with a down swept  scrolled apron and rests on 4 somewhat heavy handed cabriole legs terminating in pad feet.  

The piece is not without a desirable and valuable provenance. It was acquired by the late client whose estate I was engaged to appraise recently in 2010. He acquired it upon the death of his wife in 1981.  And according to family oral tradition it was owned by her family since the 18^th Century when it was made for her direct ancestor William Hooper (1742-1790) who was a signer of the Declaration of Independence for North Carolina in 1776 whose image we see below. Not a bad pedigree! 

The highboy measures  74 inches high, 40.50 inches wide at the widest area being the feet, 20 inches deep at the deepest part.