APPRAISE MY ART

THE ASIAN MARKET

2011-10-22T12:56:00.005-04:00

Moonflask sold $2,658,500 at Christie's New YorkSept. 15-16, 2011

Call it the "Antiques Roadshow effect" but In recent years everyone wants to know which markets are hot and which markets are getting hotter. If you are new to the art market you might be interested in what's a steal as opposed to what purchases might rob you. Today, much of the talk in the art world surrounds the Asian market. The growing population of wealthy Chinese consumers has piqued the interest of art sellers from auction houses to art galleries. The excitement also includes lesser known but no less influential games players such as high end art fairs and investment funds.

Despite this, there seems to be a lot of confusion in the art world about what is actually happening, what is really selling, and if Asian buyers are invested in the market for the long haul or are just participating in a buying frenzy. Many see the Asian art market as the next bubble. Others see the Asian market as the next best bet. Below are some facts to help sort out the confusion and to help you understand if you are willing to take a risk.

THE MARKET

There is no doubt that the summer was slow in terms of art sales and that the Asian art market has become more volatile. However, this fall, Chinese art works stole the show. The sale of Chinese classical painting held at Sotheby's nearly doubled the pre-sale estimates while a moonflask dating from 1736-1820 sold at Christies for $2.7 million and an 18th-century jade melon box sold for $2.1 million. Further, if the location of high- priced, high- profile contemporary galleries are an indicator of where the market is going, then Asia is the place to be. Gagosian Gallery now has a location in Hong Kong while White Cube and Lehmann Maupin continue to say that they have plans to follow suit next year. In May the Art HK fair was purchased by the most prestigious of art shows, Art Basel. It is also important to note that that there are at least forty art investment funds now in China.

THE POTENTIAL SLOW DOWN

With every boom there is, if not a bust, then a slow down. ArtTactic's latest consumer confidence report indicates that there has been a downturn in consumer confidence since June. This decreased confidence is likely a direct effect of the slowing Chinese economy which has propped up the art community's confidence in the art market. There has also been growing debate about why the Chinese are collecting; many believe that the growing wealthy class see art as nothing more than an investment and that once they see a better opportunity they will sell, causing the market to flood with works and prices to go down. Further, while there continues to be an aggressive market at auction for the best pieces, recent results have proved that other works are selling below their low estimates or are being "bought in" by the auction houses.

THE CONCLUSION

The art market can be confusing during normal economic times. However, when the economy is volatile and a new group of wealthy investors begin to enter the marketplace, opinions about the state of the market can change with every sale. What has become clear over the last year is that auction houses, art galleries, and a number of collectors have made significant investments in the art and antiques of Asia. While current speculation in the market will likely ensure future investment in Asian art overall there is a good chance that today's results will be seen as the peak of a bubble tomorrow.

ETCHING-WHAT IT LOOKS LIKE & HOW IT IS MADE

2011-10-18T13:49:00.011-04:00

An etching begins by coating a copper plate with an acid resistant material such as wax. Once the ground is dry, the artist uses an etching needle to begin drawing a picture into the surface. Once the image is complete, it is dropped in an acid bath so that the acid will "bite" the exposed areas. The artist will then clean the plate, roll it with ink, and will put into a press. Numerous images can be formed this way.

There are several types of etchings but drypoint etching is one of the most desirable in the market. The lines produced by printing a drypoint are formed not only by the depressions in the plate as discussed above but also by the burr, or raised lines at the edge of the incised lines. If examined under magnification, the incised lines look like depressions in the earth made with a plow while the raised lines look like the dirt thrown to the side of the depression. Once printed, the drypoint appears rich in tone and a bit fuzzy.

Dry point etchings such as this one are often highly sought after as the raised lines more quickly disappear after each impression, rendering a less and less desirable image after each pass.
Many drypoint etchings have a sepia tone as seen in this work.

SEEING THROUGH THE VALUE OF MONROE'S X-RAY

2010-07-08T08:45:00.011-04:00

Marilyn Monroe's chest, x-ray, 1954, sold at Julien's Auction "Hollywood Legends" sale on June 27, 2010 for $45,000

One of the most talked about auction lots in recent weeks was the set of Marilyn Monroe chest x-rays that sold at the Hollywood Legends auction run by Julien's Auction at the Planet Hollywood Resort and Casino in Las Vegas. The selling price was $45,000. It seems that even the auctioneers were surprised by the figure as their estimated price was $800-$1000. Also, in Julien's Auction press release about the sale, the x-rays are just briefly mentioned while an entire paragraph is devoted to the therapy couch Monroe used in her doctor's office from 1960 until the time of her death.

When I first read about this auction I wondered about the provenance of the x-rays. With a selling price this strong, I assumed the proof of successive history of ownership was pretty solid but I was eager to find out exactly how the x-rays were obtained. According to news reports, the x-rays were taken in November 1954 at the Cedars of Lebanon Hospital in Florida and prove Monroe was suffering from endometriosis. According to London's telegraph newspaper, a young doctor obtained the x-rays for use in classes he taught at the center. When the doctor died, his daughter inherited the x-rays and put them up for sale. Although Monroe was in the process of divorcing Joe Di Maggio, the name on the x-rays read "Marilyn Di Maggio".

I also wondered how the auction house came to its estimate. Certainly an item like this is a little more unusual but was there anything of "like, quality, and kind" in which to compare? Certainly there have been many artists producing x-rays of flowers, still life, and other objects and turning them into fine quality photographs. A good example of this is the photograph below created by Helmut Newton of a hand wearing a Van Cleef & Arpels Diamond Bracelet. In April of 2010 this silver gelatin print sold at Phillips de Pury & Company for $18,000.

Newton was a famous German-Australian fashion photographer who's work was seen in magazine's like Vogue and Harper's Bazaar. Despite the artist's fame, it is not a good comparable. Although the image is of an x-ray the actual medium is a silver gelatin print photograph. Next, it is important to point out that there is an arm and a hand in the x-ray but the actual subject is the very expensive bracelet worn by the hand. In the case of the Monroe x-ray, it can be assumed that the primary attraction was not the person taking the x-ray but the actual subject of the x-ray. Therefore, a better and more logical comparable would be a different x-ray of Monroe or another equally famous person which has sold at auction. Believe it or not, such an x-ray exists. On September 4, 2008 the "Fame Bureau" in Dartford England sold the below x-ray of Elvis Presley's arm. Because Elvis lived during the same period as Monroe and is arguably just as famous as Monroe, this x-ray is a good comparable. The selling price on that day was £3,500 (approx. $5,300).

Finally, it is important to note all of the media attention this auction received in advance of the sale. From serious news organizations to comedy parody shows (see the Stephen Colbert coverage here), the attention surrounding these x-rays created a buzz that could not have been achieved otherwise. Although media coverage is not something appraisers usually discuss in relation to valuing objects, the effect of the media coverage and the excitement it creates should not be ignored. It would be impossible to look at an auction result of $45,000 for chest x-rays and not to acknowledge the effect of such publicity. Or, in the words of Stephen Colbert, "Good for you, whoever is making money selling a dead woman's private gynecological X-rays."

MAY THE FORCE BE WITH YOU--THE VADAR PROJECT

2010-07-07T12:25:00.015-04:00

On July 10, the 100 artworks of "The Vadar Project" will be auction at Freeman's in Philadelphia. The works, created by artists from the underground art scene as well as notable pop and surrealist artists will be sold beginning at 12:00 p.m. According to the press release, many of the lots will begin at $1,500. Most estimates range from $3,000-$5,000 with a few lots estimated to potentially reach $8,000-$15,000. Although the sale follows a ten day auction preview in Los Angeles, the exhibit has actually been touring the world since its premier in 2007. The exhibit was curated by Dov Kelemer and Sarah Jo Marks of DKE Toys.

The Vadar Project is a good example of an auction that will appeal to a wide variety of collectors. Those interested in Star Wars and toy memorabilia, pop art and underground collectors, as well as those who collect the works of individual artists.

You can find a full color catalog online here.

ARTWORKS ABOVE FROM LEFT TO RIGHT ARE AS FOLLOWS:

JOSH AGLE (SHAG), (B. 1962), Darth Tipua, Estimate: $4000 - 6000

ANTHONY AUSGANG, (B. 1959), Darth Vader is Gay, Estimate: $3000 - 5000

JOE HAHN, (B. 1977), The Revenge of Mr. Hahn, Estimate: $8000 - 10000

WADE LAGEOSE LAGEOSE DESIGN, (B. 1966), Untitled, Estimate: $10000 - 15000

PLASTICGOD, (B. 1973), Praise the Lord, Estimate: $10000 - 15000

CAMERON TIEDE, (B. 1972), Darth InvadedEstimate: $3000 - 5000

PARODY & THE WORKS OF JULIE HARVEY

2010-06-12T18:58:00.028-04:00

Parody (also called send-up or spoof), in contemporary usage, is a work created to mock, comment on, or poke fun at an original work, its subject, author, style, or some other target, by means of humorous, satiric or ironic imitation. -Wikipedia

Julie Harvey, Damien Hirst, 2005

Damien Hirst is a British artist best known for cutting up animals and displaying them in "vitrines". In the 1990s he became one of the leading figures of the "Young British Artists" and shot to fame with the help of "super collector" Charles Saatchi

Parody has a long history in art. From political cartoons of politicians to humorous paintings of self-aggrandizing individuals, artists have used their medium and their wit to call attention to the absurdities of those who they deem ridiculous, who take themselves too seriously, or who commit heinous and unconscionable acts. In recent years, parody has again taken a front seat in popular culture. Television shows like the Colbert Report (which mocks popular political pundits) to the Simpsons (which satirizes everything from the family to celebrities) have hit a nerve with the public. In these shows, "wit" is directy toward "folly".

Julie Harvey, Charles Saatchi, 2005

Charles Saatichi was the cofounder of Saatchi and Saatchi advertising agency until 1995. He is known as a "super collector" and owner of Saatchi Gallery. He helped boost the careers of many artists including Damien Hirst and Tracey Emin.

Similarly, a few artists have begun to create works which poke fun of the things that they deem worthy. A good example of this are Julie Harvey's "Go-Go Nudes", a series created in 2005. In these paintings, Harvey parodies big name artists, art dealers, and art promoters to spotlight them as media hounds and sensationalists. She does this by creating naked portraits of the subjects in silly poses. At the time of their creation, Harvey also created what one could think of as an interactive performing art piece choreographed to compliment the paintings. On March 11. 2005 Ms. Harvey hosted an art show entitled "Julie Harvey's Go-Go Party". It can be found here but is best described as an Austin Powers extravaganza with actors and dancers who schmoozed with guests. "

Julie Harvey, Tony Shafrazi, 2005

Tony Shafrazi is the owner of Shafrazi Art Gallery in New York. Although he handles the works of many art luminaries such as Francis Bacon and Keith Harring, he is best known for spray painting "Kill Lies All" on Picasso's Guernica. He said he did this to protest the commuted sentence of William Calley (who was sentenced for his role in the My Lai massacre) by Richard Nixon. Later, Shafrazi became the Shah of Iran's art advisor and assembled a 20th century collection on his behalf.

What does all of this have to do with appraising and valuing art? The fact is, every person involved in putting a value on items must understand what is going on in the marketplace as well what trends are becoming "hot" in popular culture. To understand the marketplace, appraisers must understand what subjects interest those who are willing to buy art. Although Julie Harvey's series, Go-Go Nudes caters to those who "know" the art world, it also speaks to the larger popular trend of "parody".

In case you are wondering, Julie Harvey's works range from $7,000-$14,000 depending on size. Her work is carried at Bernarducci Meisel Gallery on West 57th Street in New York. You can find it by clicking on "featured artists" here.

LITHOGRAPHIC FLAG-MORATORIUM

2010-05-29T14:37:00.021-04:00

Jasper Johns, Flag-Moratorium, 1969, offset color lithograph

***

Clients often ask for more details relating to the medium of their work. Most people understand different types of painting methods but are often confused about the processes involved in creating prints. It is important for any collector to understand how their work was made. The more familiar you are with the work of an artist and his working method, the less likely you will be to purchase something that isn't what it is purported to be. Lithography is one of the more complicated processes because it has changed and advanced so many times over the years.

At first, lithographs were made by drawing an image into wax which was applied to lithographic stone and then that image was transferred onto paper. Today, the process of lithography is still similar to the older process but the materials artists and printers employ are different. Instead of wax, today's artists usually use polymer which is applied to an aluminum plate. The image is then printed directly from the plate onto the paper. In the case of offset lithography, the process is different still. Modern offset lithography depends on printing plates which are coated with a photosensitive emulsion. The printer puts the image and the emulsion in contact and then exposes it to ultraviolet light. In the printing press, the plate roles against a rubber coated blanket and the image is then transferred to the paper.
During the 20th century, lithography was re-discovered as an art form by artists such as Picasso, Chagall, and Miro. Mourlot Studios in Paris began to encourage artist to work on lithographic stones which could be produced in small numbers and then used to advertise the work of the artists. During the 1960s, Jasper Johns began to use lithography to produce the majority of his prints.

The offset lithographic print above by Jasper Johns from 1969 is entitled, Flag-Moratorium and is a color offset lithograph measuring 17.1" X 25.9". It is number 107 from and edition of 300. It will be auctioned in Germany on June 12, 2010. The estimate in US dollars for this work is $8,677 - $11,156. You can view the auction here.

OLD INFLUENCING THE NEW INFLUENCING THE OLD

2010-05-06T10:40:00.007-04:00

The "style and spirit" sale held by Christie's (South Kensington, London) held on February 23, 2010 lived up to it's name. In a surprise result, an 1840s stuffed crocodile in a William IV period mahogany and glass cabinet on casters sold for $17,495.

Although this type of display may seem like a relic of the past, the concept has, in fact, been reinvented in today's world. No longer just an object of interest, stuffed or preserved animals have become "art objects". The most notable example of this are the pieces by controversial British artist Damien Hirst. Physical Impossibility of Death in the Mind of Someone Living from 1991 depicting a preserved Tiger Shark in a glass case was sold to the hedge-fund billionaire Steven A. Cohen for $8 million and is on display at the Metropolitan Museum of Art. One can't help but believe that Hirst was influenced by 19th century displays of preserved animals. In turn, the enthusiasm surrounding Hirst's work has created new interest in the older natural history displays.

Physical Impossibility of Death in the Mind of Someone Living, Damien Hirst

THE REAL ART MARKET

2010-02-14T17:19:00.008-05:00

L'Homme Qui Marche by Alberto Giacometti at auction

Newspapers and art journals have been screaming. "Alberto Giacometti Sculpture Breaks Auction Record", A Touch of Fame Works its Magic in the Market", "Giacometti: The plot thickens over spending man", "Giacometti Auction: Sotheby's Business Model Wins Again" and "Sotheby's Historic Sale". Of course these headlines are all referring to the the sale of L'Homme Qui Marche I" (Walking Man I), which sold on February 3, 2010 for a record breaking $65 million pounds. But what does such a sale mean for the art market and why did it happen now.

All of the hubbub surrounding the sale is great PR for Sotheby's and for the art market in general. But who would pay such a high price for the sculpture and why now? It is true that in the last five years Giacometti prices have been rising. It is also true that in the last year record prices have been set for sculptures by the artists Rodin, Brancusi and Degas. Perhaps one can conclude that a group of wealthy buyers are playing the "my sculpture is bigger than your sculpture" game. Certainly part of paying such an exorbitant sum is creating a stir and stroking the ego of the wealthy collector. After all, money not only buys taste in the art world, it often creates it.

But another, more complicated and compelling answer may be the real one and it goes back to the auction house PR machine. In order to generate buzz and create a sale, auction houses often begin calling around to their short list of wealthy and willing buyers. In his article Bait and Switch Charlie Finch, a writer with artnet magazine sums it up this way, "The game is simple: when museum holdings of great value cannot be sold, buyers at auction are not compelled to be identified and auction houses have willing arts journalists ready to sell the sucker public on another astounding record, which could easily have been pre-arranged to goose the market and provide a nice dividend to the auction firms, true value and the discerning eye which drives it cease to exist."

So this begs the question, is the art market actually rebounding? The simple answer is 'yes'. However, the more complicated and realistic answer is 'sort-of'. If you ask around at art galleries and smaller auction houses they will likely tell you that their overall sales have gone up a little or stayed exactly the same. Since the majority of items sold in any given year are not over the $1 million mark the real market is still in flux-a fact not surprising given the continuing state of our economy.

New Year's Antiques Auction

2009-12-27T10:05:00.007-05:00

An ideal museum show would be a mating of Brideshead Revisited with House & Garden. Provoking intense and pleasurable nostalgia for a past that none of its audience has had.

-Robert Hughes

Empire Dresser (19th century)

The New Year. A time to look forward, to reinvent, and rediscover who we really are. This time of year I often find myself thinking about New Year's past. What were people wearing? What kind of parties did they go to? What sort of furnishings surrounded them? In other words, as much as I like to look forward I also have a bit of nostalgia for a past I never knew. Merriam Webster's dictionary defines nostalgia as "wistful or excessively sentimental yearning for return to or of some past period or irrecoverable condition." When it is cold and dark and I find myself longing for a connection with days gone by, I can think of no better remedy than an auction. Below is one auction that looks like it will have a good selection of antique furniture and objects.

Meal Chest (this was a large chest for storing corn)

ANNUAL ANTIQUE & COLLECTIBLE’S AUCTION.
FRIDAY JANUARY 1ST 2010 @ 10:00 A.M
722 SOUTH FRANKLIN STREET “ST. RT. 122”
EATON, OHIO

Less than three hours north of Louisville, one and half hours east of Indianapolis and just one hour northwest of Cincinnati. Click here for a map

THANKSGIVING DAY PARADE

2009-11-25T19:02:00.003-05:00

Although artist Moisio Walfred died in 2001, his work has stood the test of time. Known for photographing cultural events of the 1930s, 1940s, and 1950s this photograph is no exception. The Macy's Thanksgiving Day Parade has been an American tradition for decades and this 1930s photgraph captures the spirit and emotions of this special day.
The photograph will be auctioned on December 3, 2009. Details below.

Artist: Moisio Walfred
Bio: View biography on artnet
Title: Macy's Thanksgiving Day Parade
Style: Contemporary (ca. 1945-present)
Medium: Photographs, Silver print
Year: ie. circa 1930
Size: height - 11 in, width - 14 in, depth - 0 in
Markings: stamped, on verso, 2005 #3 edition of 6. Image printed from original negative.
Estimate: from $900 to $1,200
BID HERE-AUCTION WILL BE HELD ON DECEMBER 3, 2009 AT 1:00 P.M.

LOUISVILLE EVENTS FOR 11-19 & 11-20

2009-11-19T13:16:00.003-05:00

When you are operating a small art gallery or a small museum it is difficult to get the public's attention. Below are two worthy events taking place over the next two days in Louisville. Both events are free and open to the public.

THURSDAY, NOV. 19, 2009

Lincoln: Presidency in Pictures

Get a good look at these historic images and then prepare to bid. Starting on Dec. 6 a duplicate of one of the works from the exhibit will be auctioned off in a silent auction.

Opening Reception: Thursday, Nov. 20 5:30-7:30

Illustrations from Harper’s Weekly & Frank Leslie’s, 1860—1865

November 19, 2009 — February 28, 2010

at the Portland Museum Albert Comstock Gallery

The Portland Museum

2308 Portland Avenue

Louisville, KY 40212

(502) 776-7678

MAPQUEST OF THE MUSEUM FOUND HERE

FRIDAY, NOV. 20, 2009

ILLUMINATIONS: TERESA WALLER

Waller is a local artist working in southern Indiana. While the official subject of many of the works are the leaves she depicts, the real subject matter is the way that light penetrates and changes the surface of every object it touches. Even the nudes appear to glow from within.

The opening will be Friday, November 20 from 6pm-8pm. If you work downtown stop by after work for free wine and cheese...who knows, you might just go home with something.

Gallery at the Brown

The Brown Hotel

335 West Broadway

Louisville, KY 40202

502-583-1234 x 7174

MAPQUEST OF THE GALLERY HERE

NOVEMBER 2009 ART AUCTION MARKET

2009-11-15T13:11:00.011-05:00

Jean-Michel Basquiat Brother Sausage, 1983, estimated $9 mil-$12 mil, Unsold, Christie’s New York, Nov. 10, 2009

LARGE AUCTION HOUSES

There has been some confusion about the art market. Is it up or is it down? The answer is it is up from a recent low point in the Fall of 2008 but it is still down from a high point in May of 2008. Overall, the market has been down since its highest point. However, the Fall of 2009 has brought some reason to celebrate.

September 15, 2008 was the day Lehman Brothers filed for bankruptcy and the day the western markets began to plummet in earnest. That date is also a good marker for the day the art market began to change course. Although Christie's had a record sale of $362 million just four months before, the Fall of 2008 could only be described as dismal. Potential sellers that were able to hold onto their works did so.

Andy Warhol200 One Dollar Bills 1962, Estimate $8,000,000—$12,000,000,sold $43,762,500, Sotheby’s New YorkNov. 11, 2009

But if Fall 2008 made art lovers think the market was doomed, then the Fall of 2009 should give them hope. On November 11, 2009 Sotheby's sold 52 of 54 lots which brought in $134,438,000 plus premium. The most exciting lot of the evening was Andy Warhol's 200 One Dollar Bills from 1962. That lot opened at $6 million and then jumped by $1 million bids until the hammer came down at $39 million ($43,762,500 with premium). Although pre-sale skeptics predicted the Warhol lot would 'make the sale' it was, in fact, not the only exciting lot. Alice Neel's work, Jackie Curtis and Rita Red helped set a new auction record high for the artist by selling for $1,650,500. Other new auction records set at that sale including Jean Dubuffet's Trinite-Champs-Elysees, 1961 ($6,130,500); Germaine Richier's , La Feuille bronze, 1948 ($842,500); and Juan Munoz's, Five Seated Figures, 1996 ($1,202,500).

This is not to say the the auction market has rebounded in full. While sales exceeding $134 million proves that the art market is moving up (Sotheby's May 2009 sale totaled just $125 million), it certainly does not come close to the high point in the market and estimates are still conservative. It is also important to note that there have been some disappointments in recent days as well. Just two days before the Sotheby's sale was Christie's Contemporary Art Sale on November 10. Connecticut horse farmer Peter Brant's painting entitled Brother Sausage (estimated $9,000,000-$12,000,000) by Jean-Michel Basquiat and his prized Andy Warhol painting entitled Tunafish Disaster (estimated $6,000,000-$8,000,000) both went unsold. Many in the artworld felt that Brant's desired price was too high while arnet.com said "Cynics may view the buy-ins differently, however, as a gambit to establish lower values for works that may become subject to a property settlement in a future divorce."

SMALLER AND SMALLER AUCTION HOUSES

YAYOI KUSAMA
Infinity Nets, 1991Acrylic on canvas. 36 x 23 3/4 in. (91.4 x 60.3 cm). Signed and dated "Yayoi Kusama [in English and Japanese] 1991" on the reverse. This work is accompanied by the Yayoi Kusama Studio artwork registration card.
ESTIMATE $35,000-45,000, SOLD at Philips De Pury on November 12, 2009 for $842,500

Phillips de Pury & Company Art Evening sale on November 12 was also successful selling 31 of the 40 lots offered for a total $7,099,250, within its pre-sale estimate of $5.7–8.1 million. With only five lots exceeding the $500,000 mark and not a single lot reaching $1 million, the overall result was a welcome figure. Just a year before Phillips de Pury had an unsold rate of 46 percent by lot and 51 percent by value.

An even smaller Auction house, Stevens Auction Co. in Aberdeen, Miss told Kovel's that their auction business is also doing well again.

THE ART OF ARNESON

2009-11-08T18:09:00.010-05:00

Yin and Yang (1992-2002), Robert Arneson, Bronze with white patina, edition 2/3, The blogger's husband posing with the statue. The artist had a keen sense of humor and probably would have like the correlation between the real and the fake heads.

Robert Arneson was born in Benicia California in 1930. After a stint teaching in a California highschool, he became interested in ceramics. In 1958 Arneson received an MFA from Mills College and in 1962 he became a professor at the University of California Davis.

Looking at Arneson's work today one might suspect the artist had a keen sense of humor. What one might not suspect is that the way he used ceramics was, for the time, ground-breaking. Until that time, most ceramics artists created pieces which were purely functional (think teapots, bowls, and tiles). Arneson broke away from that tradition and started creating non-utilitarian pieces. Soon, he became associated with a group of California "Pop" artists who created what was known as "Funk art".

Arneson also became known for creating a series of self-portraits in a wide variety of mediums. Each work depicted the artist with a different identity. In this way, he associated himself with larger issues such as suffereing, life, and death. This is not to suggest that the artist was not controversial. Arneson created many works which challenged authority, poked fun at public figures, and questioned the art world itself.

Robert Arneson, Portrait of George (Moscone), 1981 (7'-10" x 29")

The most famous of these works is a depiction of the San Francisco mayor George Moscone. Arneson was commissioned to create the sculpture in 1981 for the Moscone Convention Center just a few short years after the popular politician's 1978 assassination. When the bust was revealed, much of the public was shocked by the five bloody bullet holes on the pedestal, the words "bang, bang, bang" and "Harvey Milk Too!" Eventually, the Arts Council decided not to use the bust and a private collector purchased it.

The Egghead series (photo at top of page) were among some of the artist's last works before he died. They were originally commissioned for the UC Davis campus. Today the Eggheads are an important part of life on the campus. In fact, the artist specifically requested that the University never limit or inhibit the student's playful interaction with his sculptures. Because the estate of the artist owns the originals, 'editions' of the same works can be seen in other public locations. Recently, when I was in San Francisco, I saw Yin and Yang on the Embarcadero. Pictured above with my husband posing next to them, these pieces are bronze with a white patina are number 2 in an edition of 3.

Today, Robert Arneson's pieces continually sell privately and at auction. Some recent auction figures can be found below. The pieces that demand the most money are those that are more representative of the artist's point of view. Generally, this means they are political or funny. The first piece listed below was completed in a more traditional style and sold for just $3,585. The other pieces have sold or are estimated to sell for higher values because they better represent what collectors are looking for when buying an Arneson piece.

Robert Arneson
Title
Self-portrait
Medium
bronze with blue green patina
Year of Work
1990
Size
Height 7.2 in.; Width 4.2 in.; Depth 3 in. / Height 18.3 cm.; Width 10.7 cm.; Depth 7.6 cm.
Found./Pub.
Walla Walla ed.
Misc.
Inscribed, Stamped
Sale of
Bonhams & Butterfields: Monday, November 19, 2007 [Lot 01604]Made in California
Estimate
5,000 - 7,000 US$
Sold For
3,585 US$

(UPCOMING SALE)
Robert Arneson
Title
W.T.W. witness - William T. Wiley
Description
Robert Arneson (American, 1930-1992)W.T.W. Witness (William T. Wiley), 1980signed and dated 'Arneson 1980' (lower right)conte crayon, oil crayon, oil paste and oil stick on Reeves paper51 x 30in
Medium
conté crayon, oil crayon, oil paste and oil stick on Reeves paper
Year of Work
1980
Size
Height 51 in.; Width 30 in. / Height 129.5 cm.; Width 76.2 cm.
Misc.
Signed
Sale of
Bonhams & Butterfields Los Angeles: Tuesday, November 17, 2009 [Lot 02082]Made in California
Estimate
20,000 - 30,000 US$
Provenance
Morgan Gallery, Shawnee Mission, Kansas (label on the reverse)Hansen Fuller Goldeen Gallery, San Francisco, California (label on the reverse)Property of a Southern California Collection

Robert Arneson
Title
A nuclear warhead
Medium
ceramic
Year of Work
1983
Size
Height 16.9 in.; Width 18.5 in.; Depth 9.1 in. / Height 42.9 cm.; Width 47 cm.; Depth 23.1 cm.
Misc.
Signed
Sale of
Bonhams & Butterfields: Tuesday, November 18, 2008 [Lot 01119]Made in California
Estimate
12,000 - 18,000 US$
Sold For
32,400 US$

'AGE' DOES NOT EQUAL 'VALUE'

2009-09-13T15:06:00.020-04:00

Circa 1895, Household Sewing Machine Company, in the collection of the Henry Ford Museum

As an appraiser of old things, I can say with authority that there are many misconceptions about how or why some items are valuable and some are not. Recently, I appraised an item for $3000 and the client swore to me he knew it was worth more. Even after I showed him the most recent sales figures for the same item (with photographs) he was not convinced. It is hard for most people to separate their emotions from their possessions. Common objections are “my mother left this to me and she told it me it was very valuable", “someone once offered me a lot of money for this item”, or “I saw the very same item in a museum and they wouldn’t own something that was not valuable.”

It was the third objection that the $3000 man used as his objection. In our consumer-driven society we often forget that museums do not collect just what is valuable. They also collect items that relate to their collection and to the mission of the museum. Just because an item has historical significance does not mean it has great monetary value. Supply and demand are still applicable in the art and antiques world.

A good example of this is the late 19th century sewing machine. The sewing machine was one of the first machines found in many American homes in the 19th century. At the time, the machines were made by the hundreds of thousands and the technology used to make them was state-of-the art. The sewing machine pictured above was made around 1895 by the Household Sewing Machine Company of Providence Rhode Island. I took a picture of it last month when I visited the Henry Ford Museum. The Ford Museum's mission is to showcase the "genius of the American people" as well as "to bring to life the stories of ordinary people."Thus, the sewing machine was chosen because it is an example of an innovation that helped spur the American economy and average American households forward. The machine was a revolution in technology for its time. Today, however, the market does not financially reflect the historical importance of the item. Sewing machines were made in such large quantities that there are still many that exist today and there are not a lot of modern uses for them. Thus, the prices remain relatively low. Below are some examples of recent auction figures.

FROM LEFT TO RIGHT

1. Household Sewing machine with trunk and cabinet sold at Skinner Auctions on Jan. 24, 2008 for $50

2. Singer Sewing Machine sold at Homestead Auctions, Feb 17, 2008 for $30
3. Singer Sewing Machine sold California Auctioneers, March 16, 2008 for $70

BEING HUMAN ON LABOR DAY

2009-09-07T09:59:00.008-04:00

Made In China, Julie McNair

For the last eight weeks, I have been traveling more than usual to complete appraisal work throughout the country. In every city I visit, I try to carve out time at the end of the day or between flights to see an art exhibit or to experience a new museum. One of my favorite places in recent memorry has been Telluride, Colorado. Located in the southwest portion of the state, Telluride is an amazingly beautiful town with a rich history and a lovely art scene.

One day, during an early morning walk, I came face to face with the sculpture above and it immediately captured my attention. The sculpture entitled Made In America is one of the works featured in artist Julie McNair's latest exhibited, Being Human. The title, Being Human, suggests that the artist's intent is to capture what it is like to be human. But more than that, the artist is concerned with what it is like to be human in today's world. For instance Made in America is a depiction of a woman wearing the stars of the American Flag on her dress as she hides American Flag behind her back. Her facial expression is both proud and sad. Is this a comment on the decline in American manufacturing and its proud heritage or is it a comment about the American worker? Is the woman proud or ashamed of her country?

The answers are left to the viewer but the method of creation are readily apparent.
And thoses methods are both interesting and fully successful. Each sculpture has a different texture which is acheived throught the use of press molds, detailed by hand-painting, and then sealed with a post-fired patina. The texture and color help create a mood and personality for each figure. Today's viewer is more accustomed to viewing physically beautiful models as the subject. But McNair's subjects are not traditionally beautiful. Instead, they are interesting and flawed and this forces the viewer to focus on the artist's message or the particular issue she is exploring without wasting time on the beauty of the face or the body. McNair has said, “I start a piece with a specific idea, whether it’s a personal concern or more of a big picture dilemma. From that starting point I jump into the creative flow. The finished piece ends up embodying that energy.”

Julie McNair is a long time resident of Telluride, Colorado but she was not educated in the state. She received her undergraduate degree in sculpture from North Texas University and her M.F.A. in fine arts from the University of Wyoming. During her long arts career she has had varying jobs including grants writer, executive director of the Art League of Houston, Assistant Professor, and art gallery owner.

Being Human will be on display at the Ah Haa Gallery in Telluride, Colorado until September 24, 2009.

A GRAND DISPLAY

2009-07-24T14:36:00.005-04:00

In recent years I have begun to notice commercial fixtures showing up in my client's homes. Most people are familiar with the commerical grade stoves and refrigerators in high end homes but recently I have noticed commercial display cases showcasing everything from jewelry to vintage toys to a man's tie collection.

The case above is an Arts and Crafts jewlry case with a trestle base. It is described as having 'key and tenon' contruction and a shoefoot base with brass caps. The finish is original. It sold at Treadway Gallery in Cincinnati in March of 2007 for $600.

The case below is a Lavico Men's Jewelry Display case. it is made of clear glass and oak with three inner shelves and a lower storage drawer. It will be sold on July 29, 2009 at Tom Harris Auctions in Marshalltown, IA. The estimate on this case is $200-$300. To bid on this auction click here.

EVERYTHING OLD IS NEW AGAIN

2009-07-05T16:19:00.005-04:00

Monk on the Seashore, Caspar David Friedrich, c. 1809, Oil on Canvas, 3' 7.25" X 5' 7.25", National Galerie, Staatliche Museen, Berlin
Casper David Friedrich was admitted into the Prussian Royal Academy in 1811 based on the strength of this painting. At the time, the juxtaposition of the small monk against the vast expanse of sky was an unusual composition. Many believe that this painting is a self portrait of the artist and represents man's preoccupation with death and the vastness and endurance of nature.

Badwater Lake, Death Valley, CA, Easter Sunday, Joel Sternfeld, 2005, Chromogenic Print, 48" X 38.5", available at Rose Gallery (310) 264-8440
Joel Sternfeld is a contemporary photographer. He was born in 1944 in New York and is known for his large format, color photographs. Sternfeld often works with a tripod mounted view camera which allows him to explore his subjects from a distance. Although the artist's works are often said to continue the photographer Walker Evan's tradition of capturing "roadside America" the compositional similarity to the work of Friedrich is at once apparent. Further, the artist's objective also seems to be similar. Photographed at a distance, the figures in this painting appear small and insignificant compared to the large landscape.

Works of this size by this artist have recently sold at auction for around $17,000-$18,000.

THE EPERGNE

2009-06-28T19:19:00.006-04:00

English silver plated epergne with cut crystal bowls, 19" wide, 19" high, sold at Northgate Gallery on Dec. 3, 2005 for $1200

An epergne is a table centerpiece with a central bowl and arms which extend from the center. The arms also terminate in bowls or holders for fruit or flowers. The epergne's history has ties to the seventeenth century when foods that had been eaten from a common bowl began being served on individual plates.

Although records indicate that the first epergne appeared in England around 1720, there are no known examples from that period. However, the earliest known examples are very large with cast feet and hanging baskets. They were often used to save space on the table and provided a convenient way for guests to serve themselves smaller items such as nuts and fruit. Silver epergnes with glass bowls first began to appear around 1770. From the late 19th-early 20th centuries the form of the Epergne was briefly revived but mainly for decorative purposes. In America during that perioed, Gorham was one of the best makers of the Epergne. Today, Epergnes are regularly offered in the marketplace. Often they are glass, silver, or a combination of both. Below is an Epergne which will be sold in July at Brunk Auctions in Asheville, North Carolina.

four arms, scroll and floral decoration, cut glass bowls, unmarked, no monogram, British, early 19th century, 16-3/4 x 23 x 21-1/2 in. Repairs, post and arms bent., Brunk Auctions, July 11, 2009, starting bid $150, Estimate $300-$600

WHO IS J.R. SHOOTING?

2009-06-21T18:28:00.015-04:00

"There is nothing ugly in art except that which is without character, that is to say, that which offers no outer or inner truth"-Auguste Rodin

Character and truth are at the heart of the photographs of the French artist known as "J.R". His work is inspired by those that often have no voice. He travels to violent places and interviews people who have been the victims of rape, abuse, discrimination, and poverty. Once he has an idea of who his subjects are, he photographs them, blows up the portraits to larger-than-life size, and plasters them on walls, buildings, and landmarks around the area. In this way, J.R. has much more in common with the graffiti artists who question the way public space is used. Most recently, J.R. has traveled to Africa and Brazil to focus on the women who have suffered through civil war.
The exhibition of the photographs in public spaces has given a voice to those who would otherwise be overlooked. While a photograph in a small frame has to be sought out and examined, J.R.'s images are just the opposite. A photograph which takes up the entire facade of a building confronts every person who is walking down the street.

It would be difficult to valuate the large scale pieces. Like a lot of large scale art, not many people would have a place to hang these works. Secondly, it is unlikely that they could be removed from the buildings without being torn to shreds. Recently, there have been some small scale pieces by the artist which have sold at auction. The prices for those works can be seen below.

1

J.R.
Title: Favela
Description: signed, titled, dated 2008 and numbered 2/3 on a label affixed to the
Medium: chromogenic print on metallic paper, mntd on aluminum
Year of Work: 2008
Size: Height 31.5 in.; Width 56.3 in.
Edition : 2/3
Sale of : Sotheby's New York: Wednesday, May 13, 2009 [Lot 00305]Contemporary Art Day Sale
Estimate: $10,000 - $12,000

Sold For: $25,000
2

J.R.
Title:Ladj ly-Braquage
Description: signed, dated 2008 and stamped on a label affixed to the
Medium: photographic print on paper mntd on wood
Year of Work: 2008
Size: Height 27.4 in.; Width 41.5 in.
Sale of : Sotheby's London: Friday, February 06, 2009 [Lot 00173]Contemporary Art Day Sale
Estimate: 10,000 - 15,000 BP ($14,615 -$ 21,923)
Sold For: 26,250 BP ($38,220 )

KAWS CELEBRE

2009-06-14T19:16:00.019-04:00

Calvin Klein, Silkscreen on offset, 51.3 X 30.3, 3/5, signed Cornette de Saint-Cyr: Sunday, October 26, 2008, sold for $9,597

Brian Donnelly was born in New Jersey, educated at the School of Visual Art in New York, worked as an illustrator for Disney, became a graffiti artist in New York and currently works as an artist showing his work in galleries as well as designing his own line of toys and clothing for a company in Japan called Original Fake.

Kaws OriginalFake Pillow, Brown, produced by Medicom Toy, $78 sold here

Kaws first became well known as a a graffiti artist around New York by placing his art atop bus stop advertisements, billboards, and walls. He has said he chose the moniker "Kaws" for no other reason than he liked the way the letters looked together in his graffiti script. Today, the artist finds himself in a place many professional artists would like to be: He's famous. But it is not the kind of fame that makes him known exclusively among wealthy collectors and art professionals. Kaws was born in 1974. He is part of generation "X" (an interesting coincidence since he likes to use the "X" in the place of eyes in many of his works). But like many of his generation, he is a man of many income streams. There is the art which can bring in a lot of money. Wikipedia says that the artist's sculpture "Wonderful World" recently sold in Japan for $400,000. There is also the clothing line, the toys, and the knicknacks which appeal to an entirely different group of buyers. These items are affordable and allow a younger consumer to know and appreciate his work.

If creating a future market for his expensive works by grooming his young buyers now is an inventive tactic, then Kaw's ability to interest his own generation is nothing short of marketing genius. By taking familiar and comforting images such as the Smurfs, the Michelan Man, and the Simpsons and transforming them into something entirely new and recognizably "Kaws", Donnelly has enticed a market of buyers who find those images both familiar and new. And as any owner of Andy Warhol's Campbell's Soup cans could tell you: Familar + New = Vast Fortune.

Chum, painted cast vinyl, 2002, 13 X 8.5 X 4, edition of 500, stamped, Philips De Pury (London), Sept. 6, 2008, sold for $1,836

JUNE MEANS BUNNIES & ROOKWOOD

2009-06-05T16:03:00.008-04:00

Rookwood Bunny paperweight, 1961, cinnamon high glaze, impressed with Rookwood date and shape 6160. Estimate $250-$350

It is June which means it is time for the rabbits to start eating the vegetables in your garden. It also means that it is time for the Fine American and European Art Pottery and Art Glass annual sale at Cincinnati Art Galleries. The sale will take place on June 6th and June 7th.

Rookwood began in 1880 by Marie Longworth Nichols and ended production in 1960. Over the years, Rookwood followed the trends and became proficient in many styles including art nouveau, arts and crafts, and art deco. One thing that never changed was the company's quality. From the beginning, the company employed talented artists whose craftsmanship was second-to-none. Nichols desired for her company to be different than the other companies who produced commercial products. To differentiate her company, she hired artists who already had reputations as good painters and craftspeople. The early green and gold colors of Rookwood glazes came from clay in the Ohio Valley Region.

For more information or to view the auction online visit the Cincinnati Art Galleries website here.

THE MARKET IS DOWN BUT CASHBOX IS NOT HURTING

2009-05-27T08:42:00.007-04:00

Still Life with Cash Box, Roy Lichtenstein, 1976, sold at Christie's on May 12 for $1,986,500

The numbers are in and the market is down....again. On May 12, Sotheby's sold 39 of 48 lots for a total of $47,033, 500 while Christie's May 13, 2009 sale achieved $93.7 million and sold 49 of 50 lots. Artnet Magazine reported that the total price of the Christie's sale was down considerably from just twelve months ago. In May 2008 the sale price at Christie's for the night was $348 million. In fact, just six months ago, the total sum was $113.6 million. On the upside, the rate of decline during the last eighteen months has slowed and while there were some considerable 'deals', record prices were achieved at the sale. Among the record prices were David Hockney's 1966-67 work entitled Beverly Hills Housewife which sold for $7,922,500 and Roy Lichtenstein's Still Life with Cash Box from 1976 which sold for $1,986,500.

Engraved by Paul Revere in 1768 and handcolored in 1770 by Christian Remick, 9 3/4" X 15 1/2", sold at Northeast Auctions March sale for $469,000

It is not just the large auction houses which have reported high highs and low lows. At Northeast Auctions (Manchester, NH) March 21 & 22 sale the total realized price was $1.786 million. While 1000 of the 1103 lots sold, the prices for most of the lots were down considerably. The sale of a very nice Queen Anne highboy proved that even furniture was not immune. Just nine months ago the very same piece which sold for $90,000 brought $55,575 in this sale. In fact, it was just two rare lots that brought the total up for the night including a rare Paul Revere engraved print of troops landing in Boston as well as an ivory portrait in miniature of George Washington.

MEMORIAL DAY ART

2009-05-25T15:40:00.004-04:00

Philadelphia Patriotic Scene, Frank Godwin, Gouache on board, 18 1/2" X 17",
American Illustrators Gallery (212) 744-5190 Send Email

BASKETS AT EASTER

2009-04-12T13:45:00.007-04:00

If you celebrate Easter, you are probably familiar with the traditionally shaped Easter Basket. Usually, these "wicker" or "splint" baskets are made from williow, cane, or reed. In the U.S., Nantucket Baskets and Williamsburg baskets are common. You may be surprised to learn that basket making is one of the oldest crafts known to man. Because of the organic materials baskets are made from it is difficult to know just how old the craft acutally is. However, the oldest-known baskets have been carbon dated from 10,000 to 12,000 years ago. This is longer than any known examples of pottery. Today, the craft of basketmaking has evolved to suit the tastes of our times. Now, more than ever, baskets are more than utilitarian vessels. Consider the "Jacaranda Basket" seen above. This basket was made by Michael and Christine Adcock of Adcock Studios. Mr. Adcock studied art and ceramics at the University of California Santa Cruz, taking a traditional route in art by becoming a studio potter. On the other hand, Mrs. Adcock studied art at the University of California and then contacted traditional weavers who taught her the craft. Her route was less traditional as she arranged to live and apprentice on the Papago Reservation. Together, these two artists collaborate to create vessels made of clay and natural fibers. Like many other basketmakers throughout the world, their innovations have helped elevate the craft of basketmaking to an art form.

This Easter, as you watch the children gather their eggs in wicker (or plastic) baskets consider the ancient form. Remember that the shape of the basket is an ancient one that ties us to distant lands and earlier peoples. It reminds us that while many things may change many more remain the same. The art and craft of basket making continues.

PONZI SCHEME "MADOFF" WITH ART COLLECTOR'S CASH

2009-01-03T19:17:00.006-05:00

Jasper Johns, Diver, 1962 owned by Norman Braman is on ArtNews 'Ten most Wanted Works of Art" list

The Museum of Modern Art (MOMA) listed him as a benefactor in their 2005-2006 capital campaign but Bernie Madoff has likely hurt the arts more than any other individual in history with his Ponzi scheme.

For those that don't know, a Ponzi scheme is a duplicitous investment deal that involves the promise of abnormally high profits to investors. The money paid to early investors is gleamed from later investors rather than from returns generated by an actual business.

At age 95, Carl J. Shapiro, a prominent Boston art patron and the former director of Vanity Fair Corporation was one of Mr. Madoff's most unsuspecting victims. Shapiro and his wife, Ruth's namesake foundation, "The Carl and Ruth Shapiro Family Foundation" lost a shocking $145 million in the Madoff's Ponzi scheme. The Foundation was a large contributor to the Museum of Fine Arts, Boston, the Institute for Contemporary Art, Boston, and the Norton Museum in Palm Beach. Mr. Shapiro was also a strong advocate for the foundation of the Holocaust Memorial Museum in Washington D.C. Even more unfortunate was the fact that Mr. Shapiro was one of Mr. Madoff's most loyal investors and introduced him to many of his other future "investors" at their shared country club in Palm Beach.

But Mr. Shapiro was not the only wealthy art patron to lose money with Madoff. Norman Braman, a billionaire, former owner of the Philadelphia Eagles, and owner of many important and coveted paintings including Jasper John's Diver (which is on ArtNews 'Ten Most Wanted Works of Art' List) was also duped.

RARE FINDS FETCH RECORD PRICES

2008-12-17T12:04:00.017-05:00

Aubrey Beardsley, The Climax, Pen & Ink, Sold $213,300, Skinner, Nov. 16, 2008

♦

Last week I had a discussion with another art person about why understanding the history and availability of an item or item is important to market value. This led us into a deep debate about whether or not value is determined by more than past sales figures. As an appraiser, I know that it is, and, hoping that person will read this article I am going to illustrate the point.

Aubrey Beardsley (1872-1898) was born in Brighton England in 1872 but his family moved to London in 1883. After several different jobs including a stint in an architect’s office and with an insurance company, Beardsley settled on art as his profession on the advice of Sir Burne-Jones. In 1892 he attended the Westminster School of Art.

Eventually, Beardsley became a caricaturist, an illustrator, and most importantly a provocateur. He was, by far, the most controversial artist of the Art Nouveau period—often depicting dark subjects and the grotesque. But today, it is the work he completed while working with Oscar Wilde on his play Salome that has captured the art world’s attention.

An appraiser near Boston was conducting a routine inspection of an older client’s items when he walked into the bathroom and spotted two of Beardsley’s original drawings over the vanity. The drawings, entitled The Platonic Lament and The Climax are part of only 13 illustrations Beardsley completed for the Oscar Wilde play. Incredibly, the client inherited the works from his grandfather forty years ago and had no idea of their importance. Nine of the pieces are held by the Fogg Museum at Harvard and the whereabouts of these two pieces had been unknown for more than eighty years.

The Climax (pictured) was auctioned for $213,300 (a world record for Beardsley’s work) and The Platonic Lament auctioned for $142,200. Collectors realized that this was likely a once-in-a-lifetime opportunity to acquire two of the final three pieces of the suite created for Salome. Certainly it was not just those interested in collecting Beardsley’s works that were interested in purchasing the pieces. There are also those who collect items related to Oscar Wilde or to Wilde’s plays that were likely interested in the illustrations as well.

Some credit must also be paid to the astute appraiser who recognized the significance of the pieces when he saw them. What if the client had simply had an “estate sale” conducted by someone who was not familiar with Beardsley. Those pieces might have sold for a fraction of what they were worth or they may have never been discovered at all.

For those of you who are counting, there is still one missing illustration. It is entitled Enter Herodias and if it is found it could possibly break the record set in November.

ELLIS WILSON, GREAT KENTUCKY ARTIST

2008-11-29T13:43:00.014-05:00

Ellis Wilson, c. 1950s Oil on composite board, 30.5" X 29.25", Aaron Douglas Collection, Amistad Research Center, Tulane University, New Orleans, LA

Chances are, if you live in Kentucky, you have never heard of Ellis Wilson. Wilson was born in Mayfield, Kentucky in 1899. His works capture the average lives of black people and black culture in both the Southern United States and in Haiti. The artist was known for his proficiency with color and his ability to use simplified forms to the maximum effect. Although he attended two years of college at Kentucky State University, Wilson left at age 19 to study art at the Art Institute of Chicago. After graduation, the artist struggled for five years in Chicago trying to make it in the commercial arts business. Eventually, he gave up and moved to New York where he became very involved in the “New Negro Art Movement” of the 1920s and 1930s. He remained in New York for the duration of his life.
During the height of his career in the 1930s and 1940s, Wilson was well-received and gained some prominence but he was never widely known while he was alive. After the artist’s death in 1977, he was largely forgotten in his home state. Then, in the 1985 The Bill Cosby Show decided to use a Wilson painting on the set. In the episode, Mrs. Huxtable acquired the painting, Funeral Procession, from an auction for $11,500 claiming it was made by her “Great Uncle Ellis” and soon after Dr. Huxtable hung the painting on the mantle. The painting remained over the mantle for the duration of the Cosby Show and ultimately, the exposure revived the interest in the artist.
On December 6, 2008 Neal Auction Company in New Orleans will be offering the paintings below for sale. You can bid online here.

Ellis Wilson, Cooling Cylinders, Cooling, Oil on Silk, 16" X 20", Neal Auction Company (lot 390), will be auctioned on 12-6-08, Estimate: $15,000-$25,000, BID HERE

Ellis Wilson, Colonnade, Promenade, Oil on Masonite, 24.5" X 37.5", Neal Auction Company (lot 386), will be auctioned on 12-6-08, Estimate: $10,000-$20,000 BID HERE

THANKSGIVING ART

2008-11-26T21:17:00.007-05:00

Thanksgiving, John Currin, Ink and Gouache on Paper, 15" X 18",

Available Through Sadie Coles in London

John Currin was born 1962. His paintings depict provocative themes and he has often been accused of being a sexist. Despite this, Currin is noted for his technical skill, his studied compositions, and his exaggerated depictions of the female form. His work proves that he has a vast knowledge of both art history and popular culture.

ALLEN R. HITE TELEVISORS EXHIBIT

2008-10-31T11:55:00.009-04:00

During the years between 1891-1925, scientists began to figure out ways to send sound and image through space and through wires. Eventually, this created a new medium in the world. It also spawned new words such as "amplification", "motion picture", "radio", "electron", and "wireless" to enter the vocabulary.
Steve Gompf, the Executive Director of the Television Museum International (the man responsible for the show) says of this medium "The cathode ray tube has become a glass-faced altar." Perhaps that is why each antique "televisor" is placed upon its own pedestal- so that the viewing public can worship and appreciate their idols as individual givers of entertainment.
The exhibit will be on display through November 15, 2008 in the Schneider Hall Galleries on the University of Louisville's Campus. Admission is free.

PAINTING OF DEPRESSION-ERA KENTUCKY

2008-10-24T11:54:00.003-04:00

Man and His Daughter, Eileen Doman

In the early 1990s Eileen Doman began to paint. Until this time, the only predilection she had toward the artistic world was doing hair and painting fingernails in a salon. But once she started to paint, Ms. Doman found an outlet. In 1992 her work was shown at the Outsider Art Fair in New York and just two short years later she was given a solo show at Ricco-Maresca Gallery. By 2001 she had been the focus on "Face to Face with Connie Chung" and soon after the Whitney Museum of American Art acquired one of her paintings.

The people depicted in Eileen Doman's works are predominantly family and friends and the images are often taken from old photographs. Her Kentucky connections lie with her grandmother, Ida Bell who was from a rural part of the state. As a result, many of the scenes the artist paints, depict Kentucky during the depression.

Up for auction is the painting shown above measuring 20" X 24" and estimated at $800-$1200. It will be auctioned at Slotin Self-Taught Artist auction in Gainesville, Georgia on November 8 at 7:00 p.m. You may also bid online by clicking here.

THOSE WHO BUY ART AND MAD MAGAZINE

2008-10-17T20:13:00.003-04:00

Mad Magazine 1956 cover #30

by Norman Mingo

The New York Times reported this week that Sotheby's and Christie's brought $500 million worth of art work to Russia so that wealthy potential buyers could preview the works. The pieces include those by Kandinsky, Picasso, and Francis Bacon and will be auctioned later this month in London and in early November in New York. This was a smart move by the two giant auction houses who are doing everything they can to keep prices up during the economic crisis.

In other art news, three dozen pages of original Mad Magazine artwork are being offered for sale at Heritage Auction Galleries in Dallas. The complete sale is expected to fetch between $250,000-$400,000. Bidding will begin on November 14. An October 29 preview will be held at the Museum of Comic and Cartoon Art in New York from 10 a.m.-5 p.m.

MATTHEW HARRIS JOUETT - AUCTION

2008-10-13T20:43:00.011-04:00

On Saturday, October 18, Cowans Auction of Cincinnati will offer the above pair of portraits by Kentucky artist Matthew Harris Jouett (1788-1827). Both portraits are in period gilt frames and are said to have been purchased twenty years after the paintings were completed. The pair depicts Jouett's own brother, John and his sister-in-law Eliza Beverly Brown Jouett and they have never been outside of the family. They were included in the catalog of the artist's work published in 1939. Because of their very good condition, excellent provenance, and personal ties to the artist, the pair is estimated to sell for $50,000-$70,000. If you would like to bid on the pieces or you if you would just like more information, you can visit Cowan's website here.

ABOUT THE ARTIST

Matthew Harris Jouett was born in Mercer County, Kentucky on April 22 1788. Jouett studied at Transylvania University in Lexington, Kentucky before serving in the war of 1812. In 1816, Jouett left for Boston where he studied under the famed artist Gilbert Stuart. He soon returned home to Kentucky and established himself as the first prominent artist of the west. He died in Lexington in 1827.

WHAT IS HAPPENING IN THE ART MARKET

2008-10-02T12:31:00.006-04:00

Economic slowdown. What does it mean for the art market?

First, one must understand that the art market is constantly changing. With the fall of communism, the art market was opened up to a group of millionaires that had never before had the opportunity to purchase western works. Particularly affected has been 19th Century American Art.

Recently, Art Market Watch asked Artnet.com to crunch some numbers for the 2008 summer season. The full results can be found here. What the list showed was that prices for high priced artworks are going up. In the first half of 2008, new records were set for almost 1000 artists including Francis Bacon's Triptych from 1976 (seen above) which sold for $86 million. And on June 24, Monet's Le Bassis aux Nymphias from his waterlily series sold at Christies London for $80.5 million.

It is important to note that while prices for expensive works remain high, the number of wealthy Americans buying that art has gone down. This year, due to a weak dollar and because of the economic downturn, Americans are buying less while a group of ultra rich buyers overseas are buying more. According to a story from NPR on Morning Edition (June 25) these buyers are predominantly located in Russia and India. That was the case with the aforementioned Francis Bacon which sold to Russian billionaire Roman Abramovich.

Another way the economy has affected the art market is the way people buy art. Often, art investment groups are lending money to people who want to buy art and then they use the art itself for collateral.

Right now it is impossible to say how the stock market will affect the art market in the coming months but if the trends remain the same, the most prestigious works will continue to sell high.

ARTIST PROFILE - SHAYNE HULL

2008-09-23T14:09:00.011-04:00

Kentucky tends to be a conservative state when it comes to buying art. In my experience appraising art collections, most people who live here prefer realistic images painted with traditional techniques.

Although it could be said that artist Shayne Hull paints in a traditional manner, the portraits he creates are often witty, full of color, and although they are fairly realistic, they tend toward a more folk art tradition.

Hull recieved his B.A. at Corpus Christi State University in Texas in 1985 and he received his M.A. from The Maryland Institute College of Art in Baltimore. In Louisville, his works can often be found at Swanson Reed Gallery in Louisville.

Mr. Hull takes commissions for both people and pets. He charges $750 for a 16" X 16" portrait or $2,400 for a 36" X 48". You can visit his website here to view more of his pieces.

ELECTRICITY IN ART

2008-09-18T17:05:00.003-04:00

You don't know what you have 'till its gone.

I miss electricity. As I sit in a coffee shop 4 1/2 days after my electricity went out (due to Ike) I have been thinking about the way artists have explored the subject of electricity in art.

My immediate thought was local artist Ying Kit Chan. I was first exposed to this artist's work when I was a graduate student at U of L. One afternoon, taking a break from writing my thesis in the Bridwell Art Library, I wandered across the hall and discovered charcoal drawings the size of Mack trucks hanging on the walls. The drawings were depictions of telephone lines as seen from the ground, looking up. The dark lines against the white background created in such a large format was overwhelming, threatening, and thrilling. Artists have the job of exploring subjects in ways that average people don't think about them. Today, as I look at Ying Kit Chan's work I wonder if he was exploring the power electricity has over our lives. Because of my current lack of power, I know I am looking at his pieces in a different way than the first day that I saw them. Right now they are evil towers keeping me from hot coffee in the morning and the season premiere of my favorite television show.

ABOUT THE ARTIST

Ying Kit Chan was born in Hong Kong in 1953 and moved to the United States in 1979. He received his B.F.A. from the University of Oklahoma in 1981 and his M.F.A. from the University of Cincinnati in 1983. Currently, he is a Professor of Fine Arts and Head of Studio Programs at the Allen R. Hit Art Institute at the University of Louisville.

ABOUT THE DRAWING ABOVE

"Industrial Site"

Charcoal on Paper

42" X 84"

1992

Victoria & Albert Purchase Jagger's Lips

2008-09-10T13:44:00.002-04:00

On September 2, The Victoria and Albert Museum announced the purchase of the original artwork depicting the famous "lips" logo of the Rolling Stones.

Frontman Mick Jagger's lips originally inspired artist John Pasche in 1969 when the band approached the Royal College of Art in London after Decca Records could not provide a design that suited them. The lips sold at auction for $92, 500 in the United States.

Victoria Broakes, head of exhibitions, V&A Theatre and Performance Collections, said: "The Rolling Stones' Tongue is one of the first examples of a group using branding and it has become arguably the world's most famous rock logo

ANTIQUES LEGEND DIES

2008-09-03T11:46:00.002-04:00

Ralph Kovel, a leader in the antiques world died on August 28 after a short illness. Kovel and his wife Terry are known nation-wide as antiques experts and as the duo who produced over 90 books relating to art and antiques, including price guides and reference books. In fact, it was the Kovels who first had the idea to publish a pottery guide which listed pieces by factory markings instead of by country of origin. Long before the Antiques Roadshow, the Kovels were educating the public on art, antiques, and the market. The Kovels had a nationally syndicated newspaper column and produced television shows about antiques on HGTV, the Discovery Channel, and Public Television.

If you are not familiar with the Kovels or their guides you should be. For a small fee, you can subscribe to their website here (which has price guides, articles about antiques, collecting, buying, and selling) or you can purchase one of their many price guides or reference books here.

CARL CHRISTIAN BRENNER AUCTION

2008-08-27T19:15:00.003-04:00

In the 19th century anyone who was anyone in Kentucky owned a Carl C. Brenner painting. Brenner was a native of Germany but moved to Louisville in 1853 to begin a career as a sign painter. By 1871 he was painting landscapes and soon became known for his depictions of Beech Trees in Kentucky.

Up for auction on September 6 is this Brenner painting at Brunk auctions is Asheville, NC:

The best market for Brenner's paintings is in Kentucky so, if you are interested, you may be able to get a good deal. In recent years, interest in Brenner's work has been increasing. $2000 is the opening bid with an estimate of $4000-$8000.

Click here for more information or to bid

"(Kentucky, 1838-1888), "Boulder Canon, Colorado", original label verso with title, size and "No. 2", signed lower left "Carl C. Brenner/1882", oil on canvas, 30-1/8 x 25 in.; modern gilt wood and composition frame. Original stretcher and tacking edge, craquelure, slight stretcher marks, light grime, backed with plywood by artist but not laid down. Provenance: The Estate of the Late John Boone, Owensboro, Kentucky"

ILLEGIBLE SIGNATURES & OTHER MARKINGS

2008-08-25T13:05:00.004-04:00

Sometimes I go into a home and look at a painting only to find I can not read the signature. Other times, the signature is no more than a symbol or initials. In those cases (which are pretty common, quite frankly) I turn to the signature books. In the case of sculpture, the foundry name is often found on the base. In the case of both paintings and sculpture, the name of the company that supplied the materials (such as the canvas, paper etc.) might be located somewhere on the piece. Other names that might be on the piece include the owner's name or a gallery's name.

Always be aware that if an artist signature is on the piece it doesn't make it authentic. Find out as much as you can about the way the artist signed his/her pieces but also look at the piece and see if it "looks right." If there is a catalogue raisonne (a book of every known piece by the artist) get a copy of it and look up your piece. In other words, although the signature is important, it is not the final word when it comes to researching the maker of your artworks.

SIGNATURE BOOKS & OTHER RESEARCH SOURCES

Castagno, John, ed. American Artists: Signatures and Monograms, 1800–1989. Metuchen, N.J.: Scarecrow Press, 1990.
Castagno, John, ed. Artists as Illustrators: An International Directory with Signatures and Monograms 1800 to the Present. Metuchen, N.J.: Scarecrow Press, 1990.
Falk, Peter Hastings, ed. Dictionary of Signatures and Monograms of American Artists. Madison, Conn.: Sound View Press, 1988.
Jackson, Radway, ed. The Visual Index of Artists' Signatures and Monograms. London: Cromwell Editions, 1991.

Edge, Michael S. Directory of Art Bronze Foundries. Springfield, Ore.: Artesia Press, 1990.
Katlan, Alexander W. American Artists' Materials Suppliers Directory Nineteenth Century: New York 1810–1899; Boston 1823–1877. Park Ridge, N.J.: Noyes Press, 1987.
Katlan, Alexander W. American Artist's Materials: A Guide to Stretchers, Panels, Millboards, and Stencil Marks. Madison, Conn.: Soundview Press, 1992.

LAUNCHINGS AT THE LVAA

2008-08-22T15:37:00.005-04:00

Julie Leidner, Oil on Canvas

Tonight is the opening of Launchings at the Louisville Visual Art Association. Launchings is an exhibit which highlights the works of several artists who have recently completed their B.A. and are now in graduate school or are working in their studios.

Last night I had a sneak peak of the show and there are many interesting pieces for sale. Especially interesting were the wood block prints of Sarah Hall and the oil paintings of Julie Leidner. Ms. Hall has submitted two books of wood block prints which illustrate an epic poem or story while Ms. Leidner uses "traditional painting techniques to interrupt digital movie images. "

You don't need an invitation to attend...you just need to show up. Prices start at the reasonable level of $125. If you are a new collector, this would be a great place to start.

For more information visit the LVAA website here.
The LVAA is located on River Road at the water tower. For directions, click here.
Water Tower Hours:

Monday-Friday 9:00am-5:00pm
Saturday CLOSED
Sunday 12:00-4:00pm

OLYMPIC ART AND EXHIBIT

2008-08-18T20:51:00.012-04:00

If you are like me, you can't wait to tune into the Olympics every night after work. So imagine my joy when I arrived at the University of Louisville's Hite Art Institute (on my way to complete some research in the art library for work) to find an exhibit of Olympic art and memorabilia comparing the 1936 games in Berlin with today's games in Beijing. On display were some really exciting things including the 1936 Olympic torch, a 1936 Olympic poster designed by Franz Wurbel,

one of the rings presented to high ranking Olympic officials and bearing the swastika symbol, an original Athenian Lekythos depicting a chariot scene from 480 B.C. as well as two ancient gold leaves which were presented as victory fillets, and photographs of Jesse Owens running at the Berlin games.
In an adjoining room is the University of Louisville's newest collection of German Expressionist prints donated by Dr. and Mrs. Richard Edelson. Among the prints is a moving piece entitled "Warsaw Ghetto" completed by Jack Levine in 1969.

VALUES
On November 11, 2007, Jack Levine's lithograph "To an Unknown German Photographer in the Warsaw Ghetto" sold at Ivey-Selkirk for $275.

On December 4, 2005, Van Sabben Auctions sold the Franz Wurbel Olympic poster for 1,800 Euro or $2,120 US. The poster measures 39.8" X 24.6"

GALLERY INFORMATION
Exhibit runs through Aug. 28.
Gallery hours: 9 a.m.–4 p.m., Monday–Friday;
10 a.m.–1 p.m., Saturday.
Hite Art Institute Schneider Hall galleries, (map) located on Belknap campus
Admission is free and open to the public.

WHY PROVENANCE IS IMPORTANT

2008-08-06T13:22:00.014-04:00

Fake Armana Princess purchased by the Bolton Museum in England for £439,767

In the art appraisal business every item has a story. But not every story is true. In fact, that painting your mother told you was buried in the backyard during the civil war may have been made fifty years ago.

Enter the forgery business. Although art theft and the black market are often cited as the biggest problems in the art world, in fact, art forgery may be an even bigger problem. There is, perhaps, no better example of this than the case of the Greenhalgh family led by forger and once-aspiring artist, Shaun Greenhalgh. The family was convicted of a seventeen year forgery operation which spanned the years 1989-2006. During that time, the exact amount of forged pieces put out by the family is unknown. What is known is that Shaun Greenhalgh was prolific. In the Greenhalgh family, the forger's father, George, was the salesman. George was seemingly an unlikely art forger. Wheel-chair bound and grandfatherly, he wore thick glasses and lived in public housing. Because of that, he was never suspected. In fact, he was so good at talking and telling stories he sold many museums and auctioneers into believeing that his items were authentic.

Shaun, George, and Olive Greenhalgh

But what about provenance? Provenance is the provable successive history of ownership and it looks like the Greenhalgh family was good at faking it. Through the years the Greenhalghs established the legitimacy of their items in a variety of different ways. George's wife, Olive, said that her father owned an art gallery, there was the great-grandfather who was long dead but was said to have purchased things at auction, and a relative who worked for the mayor of Bolton and had received art as a gift for his service. The Greenhalghs were eventually caught due to the studied eye of Richard Falkiner of Bonhams auction house but not before they sold a fake Egyptian statue entitled The Amarna Princess for £439,767 or approximately $857,083 to the Bolton Museum in England.

So the question remains. If an art museum can be fooled how can I protect myself?

1. Check the provenance of the items. If there is a period of time where the item is unaccounted for don't buy it.

2. Check the Art Loss Register to make sure the piece is not known to be stolen.

3. Consult with a variety of different experts about your piece. Be willing to pay for an expert opinion

4. Look for inconsistencies. The Greenhalgh was eventually caught because of several anomalies with a piece they were trying to unload at Bonham's auction house. In fact, the cuneiform inscription contained a spelling mistake- an unlikely error for a piece that was "intended for the king."

MARVIN FINN

2008-07-30T09:22:00.013-04:00

Born the son of an Alabama sharecropper in 1913 , Marvin Finn left school in first grade to work the fields. In his spare time, his father whittled and eventually taught Marvin to do the same. Because he was from a large family Marvin Finn never had any toys. Instead, he began creating his own by modeling them after barn yard animals.

Mr. Finn followed one of his brothers to Kentucky in 1940, working at a variety of different jobs. In 1952 he married Helen Breckinridge and together they had five children. Mr. Finn's passion for carving wood continued and when his wife died in 1966 the grief-stricken Finn gave up his other jobs and started whittling toys full-time. Over the years Marvin Finn gained many admirerers including Phyllis George who established the Kentucky Museum of Art and Craft.

Marvin Finn died in 2007.

Below are some auction results from the last few years.

Marvin Finn-Outsider Art-"Ox" Paint on wood, Dimension: 16 x 13 x 10, Kimball M. Sterling Inc, Nov 3, 2007, sold for $200

Marvin Finn, "Pig" Paint on Wood, Dimension: 7 1/2" H x 11" L, Clark Art and Antiques, June 21, 2008, sold for $30

Marvin Finn- Threee piece lot-. Painted wood cutout. 24"-49" tall Provenance- Richard Edgeworh Outsider Art Estate, Kimball M. Sterling Inc, April 14, 2007, sold for $200

PAINTINGS FOR $125 OR LESS

2008-07-23T14:54:00.023-04:00

Today I found one of the best resources for good, affordable art. In fact, it is such a good website, I almost didn't want to blog about it because it may make the best paintings sell faster. However, my feelings of professional duty urged me to keep the public informed:

The site is called Daily Painters and it lists real paintings (not giclees or prints) by accomplished artists. Many, many of these paintings are listed for sale between $100-$125. For quality paintings this is really unbelievable value.

Andy Smith, Marbles in Sunlight, watercolor, 6 x 4 $100

Anne Fewell Marion Rose,
acrylic on gallery wrapped canvas, 8 X 8, $125

Hall Groat II, Bumblebee with Pennies and Quarters, 6 X 6, $100

ARE YOU GETTING A GOOD DEAL?

2008-07-19T20:35:00.007-04:00

Wayne Beam Morrell, Front Beach, Rockport 1975

Oil on Masonite

24 X 30, signed

estimate $4000-$6000

The image of "the beach" is iconic in American art. It conjures leisurely holidays and family picnics. Tempting isn't it? But if you haven't done your research, an image like this one may make you feel more stressed than relaxed. Are you getting a good deal or are they asking too much? How much have similar pieces sold for?
On Monday, July 20 (that's tomorrow!) Trinity International Auctions will be selling a wide variety of art pieces including the one above by Wayne Beam Morrell. Morrell is an American artist born in 1923. A similar piece, below, was sold in May of this year. This piece is the same measurement, the same medium, and is a very similar image to the one being offered at Trinity. It sold for $3450.

FRONT BEACH ROCKPORT, MASS, SUMMER 1989
24" x 30"
Oil/Masonite, Signed
Auction House: James D Julia, Inc.
Estimate: $4000-$6000
Sold: $3,450
05/10/2008

APPRAISAL TALK TONIGHT

2008-07-16T11:35:00.011-04:00

Tonight I am giving a talk at the Shively Branch Library in Louisville about how to research your artwork and how to understand the marketplace. If you are interested in attending, there is a brief article in the Courier-Journal about it. Below that, is a link to a map of library location. The talk is at 7:00 p.m.

COURIER JOURNAL ARTICLE

Map of the Shively-Newman Branch Library

KEEPING UP WITH EMERGING ARTISTS

2008-07-11T12:27:00.006-04:00

Bird's Nest by Keith Taylor archival pigment print

You probably know that one of the best ways to keep up with what is going on in the art world is to visit art galleries in every city you visit. But did you know that every year there are art shows put on by universities? This is one of the best ways to buy art. The artists are trained but they have not yet made a career so bargains are aplenty.
If you don't travel a lot or you are just too shy to go to a student show be sure to check out New Blood Art which specializes in affordable art for emerging artists from the UK. Locally, check out the University of Louisville's Belknap Gallery which has a variety of shows throughout the year.
Another option for good and affordable art is 20 X 200. This website describes itself best saying, "We introduce two new pieces a week: one photo and one work on paper. Each image is available in three sizes.* The smallest size is reprinted in the largest batch – an edition of 200 – and sold at the lowest price – $20. Hence the name 20x200."
Finally, the Saatchi Gallery salesroom online takes no commission from the artist and charges no commission from the buyers. All of the transactions go through Paypal. Perhaps the best part of this website is that there is an art forum, artists can create their own profiles, and there are a variety of mediums represented including painting, photography, and video art.

RESEARCHING YOUR ART & PROTECTING YOURSELF

2008-07-09T10:54:00.014-04:00

During World War II, the Nazis stole at least five million art objects from people and countries throughout Europe. When the war was over, the allies tried to find and return as many of the looted items as they could. Today, the search for Nazi stolen art continues with the help of museums, law enforcement, and websites such as the Art Loss Register which allows users to search a database of all stolen art and art objects.

It is important to know that there are no federal bureaus or departments which regulate the sale of art. Instead, art sales are governed by the Uniform Commercial Code. This code is enacted in various states and it says that art work must have a clear title, the item must be what it is purported to be, and it says that the person selling the artwork has to have the legal right to transfer the title. The problem comes in when the work was stolen generations before and has changed owners many times through the years. The fact is, theft nullifies title. If a claim is made in less than four years (or fewer in some places) then the person who most recently purchased the piece does not have a legal right to the artwork. When the statue of limitations is up, it would seem that the person making the claim that the property is rightfully theirs would be out of luck. That is not the case. If the person making the claim did not know who to sue because they did not know where the property was, then they only have to file the claim within the appropriate period after the location of the piece was discovered.

For this reason, it is imperative that you GIVE YOUR APPRAISER EVERY AVAILABLE PIECE OF INFORMATION and that your appraiser conducts due diligence. In fact, in the contract your appraiser sends you there should be a sentence that reads something like, "It is your responsibility to provide me with factual information within your knowledge, as may be requested. This includes, but is not limited to, bills of sale, insurance records, auction catalogs, exhibition records, and previous appraisals of said property." In the case that your work is stolen, the court will try to balance the steps you took to ensure clean title versus the steps the original owner took to report the loss and make it known to law enforcement and the art world.

BEFORE YOU BUY A PIECE OF ART MAKE SURE YOU:

1. CHECK THE ART LOSS REGISTER

2. CONTACT THE FBI'S ART LOSS PROGRAM

3. IF THERE IS A catalogue raisonné OF THE ARTIST WORK CHECK IT!

4. READ PUBLICATIONS THAT SPECIALIZE IN THAT TYPE OF ART

5. CHECK GOVERNMENT WEBSITES IF THE ARTWORK ORIGINATED IN ANOTHER COUNTRY

WHAT COULD YOU LOSE?

2008-07-06T20:21:00.010-04:00

Six months ago I appraised an artwork that had been in a fire one year before that. The only existing "before" photo was in black and white and was from 1952. Trying to prove that the painting was in excellent condition and had not suffered any damage between 1952 and the present proved to be very tricky for the client. The best I could do for her was to say what I believed was a direct result of fire damage and water damage caused by putting the fire out. Proving that there were no nicks or scrapes in the intervening years was entirely up to her. To get your insurance company to reimburse you for the full value of your artwork after the fact is very difficult when no photos or previous appraisals exist discussing the condition. And, as much compassion as I have when people break, lose, or damage their artwork I can hardly blame the insurance company for not reimbursing their clients for the highest value of the piece.

Damage of artwork is not reserved for just the casual collector. From time to time, institutions with entire departments dedicated to preserving, protecting, and hanging artworks has mishaps. Sometime between June 30-July 1, The Metropolitan Museum of Art's most important terracotta relief by the artist Andrea della Robbia (1435-1525) fell off the wall. The relief, entitled Archangel Weighing Souls had been exhibited in the same spot since 1996. Although the museum's spokesman Harold Holzer was quoted as saying the work was "eminently restorable" one can only hope the museum had very good insurance. To get an idea of how much Della Robia's work can be worth one only needs to look at past auctions. In February of 2003 a glazed terracotta piece by the artist was estimated to sell at Finarte Semenzato between $150,053-$171,489. Damage can hurt value even if the piece is repaired by the best experts in the world. And, as much as it hurts to see your piece is damaged, it is heartbreaking to get less money than you deserve because you did not have a preexisting condition report.

THREE THINGS YOU CAN DO TO PROTECT YOUR ART

1. (BEST OPTION) An appraisal is always best because your appraiser takes photos and gives a detailed description of your items. This is an unbiased report that your insurance company can rely on.

2. (BETTER OPTION) If you can not afford a complete appraisal have an appraiser come in and take photos and brief notes about each piece. This is a less expensive option and still provides your insurance company with unbiased evidence of the "before".

3.(GOOD OPTION) At the very least you should take photos of each artwork and each signature along with basic notes about size, framing, and condition.

BE SURE TO STORE AT LEAST ONE COPY OF ANY INFORMATION IN A SAFETY DEPOSIT BOX.

COLLECTING THE 4TH OF JULY

2008-07-03T14:23:00.015-04:00

4th of July, Kevin H. Adams , Oil on canvas, 20" x 20" in, $2800 R.H. Ballard Fine Art, Ltd. R.H. Ballard Fine Art, Ltd., (540) 675-1411
Holiday Collectors make up a good part of the collecting market. Although Christmas, Easter, and Halloween are probably the most collected area, there are certainly people who collect 4th of July art and memorablia. Below are a few items on offer in the marketplace right now

Coney Island, July 4th 1949, Andreas Feininger , 1949, Photograph, 16" X 20", Gallery M (303) 331-8400 Send Email,call for pricing

Rare Large Cotton 19th C American Thirty-Four "Great Star" Flag, Circa: 1860, 50.5" x 74.8"
Equinox Antiques & Fine Art (802) 362 - 3540 Send Email
Circa: 1860The Canton With Thirty-Four White-Painted Stars Arranged In A Five Point Star Formation On A Speckled Blue Field, Hand-Stitched To The Red And White Stripes, Mounted On A Wooden Frame, (Toning, Stains)

Red White and Blue,
Michael Mut , Installations, Contemporary (ca. 1945-present), Denise Bibro Fine Art (212) 647-7030 Send Email

PADUCAH ARTISTS

2008-07-01T19:56:00.006-04:00

Paducah, Kentucky. A mecca for artists. Started in August of 2000, Paducah's artist relocation program has become a model and an inspiration for artists and art programs throughout the country. The program gives artists a vested interested in Paducah and the art scene by offering affordable real estate, financial incentives, and help with marketing. As a result, there is a plethora of art talent in Paducah from every corner of the nation. To see a first hand account of how it has affected the life of an artist check out artist William Ferrar Renzulli's blog.
It is no secret in the art world that Kentucky art is under- valued. However, with programs like this gaining national attention, Kentucky art might just be a great investment for the future.

Work by Michael Crouse, an artist who relocated to Paducah from Huntsville, Alabama.

POPPY TALK

2008-06-30T16:50:00.010-04:00

Sometimes you come across an art website and you fall in love. Poppytalk is one of those websites. Poppytalk touts itself as an online "streetmarket showcase, to buy and sell handmade goods of emerging design talent from around the world."

If you are just starting an art collection Poppytalk might be a good place to start collecting. Like many "handmade" art sites, Poppytalk shows a variety of different types of items. For future value, etchings, woodblocks, lithographs, or other handworked print media is usually the best bet. Because giclees are machine produced reproductions, many appraisers believe that the future value will not increase (same goes for home computer printing). If you can, stick to originals or processes that computers were not involved in.

Heather Smith Jo nes, Thoughts of the Shore , 5" X 5", $45

Photography is the exception to the rule. Because of the nature of photography handmade prints are ok.

Green Island Studios, Blue Beach Days II, 8 X 8, $30

WILLIAM FORSYTH AT AUCTION

2008-06-25T13:46:00.007-04:00

On June 29 Dan Ripley's Antique Helper in Indianapolis will be auctioning these three drawings by Hoosier School artist, William Forsyth (1854-1935). The estimate for these three pieces (sold together) is $200-$400. The largest of the three measures 7" X 5 1/2".

WILLIAM FORSYTH was born in the river town of California, Ohio near Cincinnati. At the age of ten, Forsyth moved with his family to Versailles, Indiana and a few years later moved again to Indianapolis. As a young man Forsyth was always interested in art and he convinced his father to let him study with Barton S. Hays. Hays was one of the city's leading artists of the time as well as being one of William Merritt Chase's teachers. A little while after he began, Forsyth had to terminate his lessons for financial reasons. However, when his close friend Theodore Clements Steele began to study in Munich, another close friend, Thomas Hibben offered to finance Forsyth's study abroad in exchange for one half of the paintings he created while he was gone. Forsyth quickly left for Munich and studied there for several years. In 1888 the artist returned to Indiana and assisted Ottis Adams at an art school in Ft. Wayne. By 1891 he was again living in Indianapolis. Soon, Forsyth was one of the five artists associated with the Hoosier School.
THE HOOSIER SCHOOL of artists are credited with helping develop art of Indiana and the midwest. They were particularly important to American art because they intentionally tried to create a style of Impressionism that was unique to America. The recognition of the Hoosier School is also closely tied to the Chicago Exposition. Although they were based in Indianapolis, the artists particularly liked to paint rural areas. Forsyth loved southern Indiana, especially the country in and around Corydon.

INFORMATION REGARDING THE AUCTION OF DRAWINGS ABOVE
Dan Ripley's Antique Helper Auctions
2764 E 55th Place
Indianapolis, IN 46220
(located 2 blocks east of Keystone)
(317) 251-5635
For further directions, click here.
To bid online click here.

HIRING AN APPRAISER

2008-06-22T18:12:00.005-04:00

When should you hire an appraiser? It seems like a question with an obvious answer but in my experience it is not. Recently, I was contacted by someone who wanted me to look at his piece to "see if it was real" but didn't want to pay for an appraisal until he knew for sure. This wasn't the first time I received this type of phone call. People call me all of the time and say things like, "can you just look at it...I don't want to pay if it is nothing" I want to be helpful so I usually say, "sure." If it is an obvious fake then I will tell you but most of the time it would take quite a bit of research and the truth is, you would be better off hiring an authenticator. I was honest with that client.... so he called another appraiser. Authenticating and appraising are different professions. As an appraiser, I gather information. Some of the information is provided by the client and some is recovered through research. I do my best to make sure that the piece is what it is purported to be. There are instances when this isn't possible for me. I don't provide scientific testing or infrared photos. That is the job of an authenticators. They are part scientist and part researcher.

The most common reasons for an appraisal include divorce (for equitable distribution), insurance, estate (either estate planning or when someone dies), and donation. Sometimes someone "just wants to know what it is worth" and that is fine too. In every state there are qualified appraisers who understand how to craft an appraisal so it meets legal guidelines. They understand the different types of appraisals and they keep up to date on the laws, the tests, and different art scholarship. The two questions you should ask an appraiser are "Have you taken and passed USPAP?" and "Do you belong to an appraisal society?" Recently, the Appraisal Foundation determined there are 1 million persons performing appraisals. However, there are only 2000 members in the three appraisal societies. All three appraisal organizations require members to understand, remain certified in, and write reports according to USPAP. If your appraiser has does not belong to one of these societies and has not taken USPAP there is very little chance that they will be performing their job accurately.

I belong to the Appraisers Association of America, one of the three major appraisers associations for personal property appraisers. I do complete appraisals outside of Kentucky. Recently, a client with a second home in Florida sent me to that state because he trusted me to do a good job based on the appraisal I performed for him in Kentucky. I have also been hired as an appraiser in Ohio, Indiana, and Tennessee. In many states appraisers charge $100-$200 per hour. I charge much less than this so if there is a lot of work it may be more economical to pay the plane fare and hotel bill for me than for someone else. Then again, if you only have five pieces it would benefit you to use someone locally.

Before you hire an appraiser do your research and understand the appraisers qualifications! In the long run it will benefit you and help you get the best apprasial possible.

ARTIST HIGHLIGHT

2008-06-20T12:09:00.016-04:00

ORSON BYRON LOWELL

Born in Iowa in 1871, Orson Byron Lowell was the son of well known landscapist Milton H. Lowell. As an adult, Lowell developed his own reputation which was entirely different from his father's. The artist worked primarily as an illustrator and was known for his pen and ink drawings. By 1907 he was working for Life (a humor magazine at that time) and he gained a reputation as a cartoonist with a social message. For the rest of his career Lowell illustrated for magazines includeing Life, Judge and Punch, and The American Girl. He also created many drawings for illustrated novels.

On June 23, Winter Associates of Plainville, Conneticut will be auctioning a gouache on paper by Orson Byron Lowell(above). This piece, which depicts a bearded man sitting by a fireplace and resting his arm on a table is a good representation of grisaille (monchromatic painting, especially in shades gray which is a 2-dimensional technique used to depict relief sculpture) The estimate for this auction is $300-$500. You can bid online here. Comparables of past sales are below.

From Left to Right (All by Orson Byron Lowell)
1.
Title: TWO MEN IN STUDY
12" x 13"
Watercolor/BoardSigned Lower LeftLot: 66217
Auction House: Heritage Auction Galleries
Estimate:$400-$500
Sales Price: $299
06/05/2008
2.

Title: LINE UP OF WOMEN READING NOVELS
8" x 20"
Ink/BoardSigned Lower RightLot: 66218
Auction House: Heritage Auction Galleries
Estimate: $500-$600
Sales Price: $538
06/05/2008
3.
Title: SO SORRY, HAVE MADE MISTAKE
17" x 12"
Ink/PaperSignedLot: 66220
Auction House: Heritage Auction Galleries
Estimate: $300-$500
Sales Price: $418
06/05/2008

THE WRIGHT STYLE AUCTION

2008-06-18T17:49:00.010-04:00

Ellsworth Kelly

Blue/Yellow/Red (untitled)

USA 1970-1973

Screenprint on paper

17" X 18"

35/100 published by Harry N. Abrams Inc. & printed at Maurel Studios, New York

Signed and numbered

Estimate $2000-$2500

This weekend is the annual Wright Auction affectionately called "Mass Modern". The prices are a bit better than most Wright auctions but the design is still very good. Most of the items being offered are furntiture, lamps and the like but there is some artwork. You can view the entire auction here. You can order a catalog here.

Achille and Pier Giacomo CastiglioniGatto table lamps, pairFlosItaly, 1960spun fiberglass, steel13 dia x 23 h inchesSigned with decal manufacturer's label to interior of each example: $500-$700

Here is the contact information for the show:

312.563.0020 telephone

312.563.0040 fax

1440 West Hubbard Street
Chicago, IL 60622

AUCTION TODAY

2008-06-13T10:08:00.012-04:00

Beginning at 1:00 p.m. today Alderer Auction Company in Hatfield, PA will begin a fine and decorative arts auction. You can bid online here.

There are many wonderful paintings and decorative items to choose from. Above is a painting by the artist William F. Taylor (American, 1883-1970). It is entitled "The Great Sequoia", oil on board, 16" X 20" and is estimated to sell in the range of $2000-$3000. Click here to bid. Below is a comparable example and the price it achieved at auction.

William F. Taylor was born in Ontario, Canada in 1883 but his work is primarily associated with the New Hope School of Pennsylvania Impressionists. From 1905-1907, Taylor studied at the Art Students League in New York and later worked as an advertising editor for the New York Journal. In the 1920s he moved to Bucks County, Pennsylvania and in 1925 he moved to Lamberville. It was at this time that he became associated with the Pennsylvania Impressionists.

William F. Taylor, Oil on Canvas, 30" X 25", Estimate: $6000-$8000, Sold For: $2588, Alderfer Auction Company, 12-6-2006

Also up for auction is this Arts and crafts carved, gilt frame. It measures 22 1/2" X 20 1/2" and is estimated to sell between $600-$800. Click here to bid.

LOCAL AUCTIONS

2008-06-10T12:40:00.009-04:00

Everyone knows that the big auction houses list their items online. In many cases you can even bid online at the big auction houses. But if you live in Kentucky or Southern Indiana you may wonder where to find the best auctions for art and antiques. Wonder no more. Auction Zip takes the guess work out of finding local auctions. It may be frustrating at first to find out that the auction houses in our area rarely offer items online. After all, we are used to being able to place a bid at will. For convenience sake it is true that local auctions are not as convenient. It is also true that you can get a better deal because of it. Less competition means that you will probably spend less money. And most of the auctions list pictures so you can be sure that it is not a waste of your time.

One upcoming auction that looks promising is the Harritt Group Inc.'s Antiques and Collectibles Auction, Sunday June 29, at 12 Noon located at 119 East Chestnut Street in Corydon, Indiana. Below are a few pictures of items on offer. For more images click here.

ETSY AND ITS OFFERINGS

2008-06-04T20:10:00.007-04:00

If you don't know about Etsy you should. This website bills itself as "Your place to buy and sell all things handmade".
Over the years I have known many artists. Many times, young artists don't understand the market and, as a result, their work is overpriced. This is rarely the case with Etsy because artists can compare and contrast their work and their prices with other pieces of similar style, quality, etc.
One artist that has recently captured my attention on Etsy is Rania Hassan. The piece located in this post is entitled ktog 11, ktog meaning "knit together" and it is intended to be arranged anyway that is pleasing to the buyer. The price of this piece (or pieces) is $380.
The first paragraph of Hassan's artists' bio reads, "I am fascinated by the connections we find in our everyday experiences: from the isolation of communities on the subway, to the solitary experience of introspection, to the feelings of deep communion. How do we think of our place in this world? How do we fit in it?" If you would like to learn more about Rania Hassan you can visit her blog here.

EVENTS FOR CONTEMPORARY COLLECTORS

2008-05-28T21:35:00.012-04:00

Gerard Traquandi, XXLH0405, 2005, oil on canvas. The work of this French-born artist will be shown at Art Basel.

Contemporary art enrages many people. Not necessarily because of the subject matter (although that can be a reason) but because they feel it doesn't take any skill. I value art based on what it has sold for in the past so my job isn't to defend it. What I will say is that there are a lot of collectors who love contemporary art and go out of their way to collect it. These are smart people, people who have done their research and understand why a particular piece or artist is important. Contemporary art is new and exciting. For art collectors it is exciting in the same way that the Apple iphone was exciting to people who are fascinated by new technology. If you want to learn more about contemporary art then you must attend or follow the happenings of these events.

ART BASEL - June 4-8, 2008
Art Basel. Just the words make collectors heave a collective sigh. Like lovesick teenagers, contemporary collectors plan their life around attending this event and reveling in the art. Art Basel hosts 300 galleries from North America, Latin America, Europe, Asia, Australia, and Africa. Ranging from rising stars to contemporary masters most of the who's who of the contemporary art world attend. But Art Basel isn't just about the paintings. Everything including lectures, books, art shows on stage, and art exhibits will be displayed during the event.
THE TURNER PRIZE - Sept. 30, 2008- Jan. 1, 2009
The Turner Prize was developed in 1984 to "celebrate new developments in contemporary art." Since that time, the publicity surrounding the prize has become just as famous as the prize itself. Known for promoting outrageous art the prize has brought more than praise and criticism to the host museum, Tate Britain. It has raised the profile and the budget of the museum as well as being recognized as the giver of the most prestigious art award in Europe. The Turner prize is judged by an annually changing jury. This year the nominees are Runa Islam, Mark Leckey, Goshka Macuga, and Cathy Wilkes.

Cathy Wilkes: 'Non-Verbal' (installation view), 2005

THE VALUE OF DAGUERREOTYPE

2008-05-22T12:03:00.015-04:00

In today's market there are hundreds of collecting areas available to interested parties. In the world of photography, there are many sub- categories which interest collectors. Perhaps one of the most intriguing areas is that of the daguerreotype.

Louis-Jacques-Mande Daguerre announced his invention of the daguerreotype process to the public on August 19, 1839. It remained a popular medium until 1850 when faster processes became available. A daguerreotype is a process whereby silver is plated on top of copper and is polished and shined until it is mirror-like. The plate was then sensitized in a closed box over iodine until it achieved a rose color. The plate was then held in a container which did not allow light in and then transferred to a camera. After being exposed to light, the plate was developed over hot mercury until the image appeared. Finally, the plate was soaked in a solution of sodium thiosulfate and toned with gold chloride to fix the image.

UP FOR AUCTION TODAY AT BLOOMSBURY - DAGUERREOTYPE ABOVE
Stereo Daguerreotype untitled (draped female nude pouring from a teapot), 1850sPair of stereoscopic daguerreotypes, hand coloured, gilt highlights, arched top corners, edges taped. mount size 8.5 x 17.3cm (3¼ x 6_ in.) image sizes 6.5 x 5.6cm (2½ x 2¼ in.).(1) Estimate £500 - £700

ELECTION ART - GEORGE CALEB BINGHAM

2008-05-20T15:00:00.009-04:00

County Election located in the St. Louis Museum of Art, just 4 1/2 hours west of Louisville

Today is election day in Kentucky. To honor this great American process, I thought it would be appropriate to briefly discuss a great American artist who focused on painting American elections.

George Caleb Bingham (1811-1879) was born in Virginia but was raised in Missouri. Bingham is considered one of the first great artists of the west and the first artist of Misssouri. In 1847 the artist began his "Election" series of paintings which depicted America's deomocratic process. It also portrayed politics as they were in the American west at that time. Because these paintings were so sucessful, Bingham decided to commission a series of engravings based on his paintings. Produced in large quantities the engravings furthered the artist's reputation. The most striking aspect of Bingham's pieces is his ability to depict people of every age and social class with varying expressions and poses. Below are a few of the most recent auction results for some of his engravings in the "Election" series.

County Election

Handcolored engraving

26.2" X 32.6"

1854

Christies New York: Jan 29, 2006

Important American furniture, Folk Art, Silver & Prints

Estimate: $2000-$3000

Sold: $4200

Stump Speaking

Hand colored engraving and Mezzotint

20.2" X 30.1"

1856

Freemans: Thursday, Jan 25, 2007, lot 564

Fine Books, Manuscripts, & Prints

Estimate: $2500-$3500

Sold: $3854

ECONOMY, ART MARKET, AND JEFF KOONS

2008-05-16T04:57:00.023-04:00

If the economy is in a recession then someone forgot to tell the art market. On May 14 the Sotheby's New York contemporary sale realized $362,037,000 over 73 lots. This was touted by auctioneer Tobias Meyer as, "Our best sale ever with the highest total ever in our 264 year history." It was only the night before that Christie's contemporary sale realized $348 million over 57 lots. Although there were many highlights, one worth noting was Jeff Koons' creation entitled Caterpillar Chains. (see below)

Jeff Koons was born in York Pennsylvania in 1955 and studied at the Art Institute of Chicago and the Maryland Institute of College Art. Koons has long been known as a good self-promoter who relies on shiny, kitschy images to gain public attention. When he created a large gold leaf statue of Michael Jackson holding his chimpanzee, Christopher Knight of the Times referred to it as, "the largest porcelain knickknack in the world." It is just this sort of criticism and controversy that has helped drive the artist's reputation as well as his sales figures.

In the 1980s while Koons was still trying to make a name for himself he worked as a stock broker on Wall Street. This led to the perception that the artist was a product of the decade's overindulgent society. Coupled with his marriage to a Hungarian porn star, divorce from the Hungarian porn star, and a messy child custody battle, Koons was soon viewed in a negative light and the prices of his work began to fall (it would have been a good time to buy!) However, Koons found a way to recover.

After not being invited to participate in Documenta, an exhibit in Germany, the artist decided to unveil his work Puppy (first image on page) close by so that those visiting the exhibit would still see it. Puppy was a forty foot high West Highland Terrier made completely of live flowers. Needless to say, it stole the show and helped Koons' career.

Today Jeff Koons' work records record sales. This is an interesting fact considering the U.S. economy is in a recession similar to the one following the 1980s. At the May 14 Sotheby's sale Koons' work entitled Caterpillar Chains (seen above) from 2003 was purchased for $5,921,000.

Although Caterpillar Chains sold in the millions, not all of Jeff Koons' work is inaccessible to the average art collector. The artist's smaller works, particularly those produced in a series can still be purchased in the low thousand. On May 17 Puppy, porcelain, 1998, numbered 1044/3000 and measuring 17 1/2" high (white dog sculpture above) will be sold at Rago Arts and Auction Center. The estimate for this piece is $2000-$3000. This estimate is a little lower than the sale price of the same work (different number) that sold on 4-4-08 at Ketlerkunt in Hamburg for $5298. If you can't attend the live auction you can place a bid through ebay here.

Balloon Dog, 2002, 10.13 X 10.13, Porcelain

This is one of the shiny creations which is immediately recognizable a work by Jeff Koons. It will also be auctioned at the Rago auction and on ebay. The estimate is $3500-$4500. You can find that auction here.

ASIAN ANTIQUES EXPERT ARRESTED

2008-05-14T13:14:00.006-04:00

Outside of the appraisal profession, many people think that appraising consists of looking at a painting and then looking at comparable paintings to estimate what it is worth. This is what I call "the Antiques Roadshow" effect. And if it were truly that easy I don't think I would have a job. The truth is, appraising any object is very difficult. There are many factors to consider outside of price. Determining the appropriate market and understanding the laws behind each type of appraisal and everything that that consists of takes a lot of study. I spent a summer at New York University taking classes about how to appraise and I interned with another appraiser before I began. Yet every year I read books, take classes, and converse with my appraisal association and other appraisers to stay up to date.
This brings me to the story of Roxanna M. Brown. Brown is the director of the Southeast Asian Ceramics Museum at Bankok University in Thailand. On Friday she was arrested in Seattle and then later indicted by a grand jury in Los Angeles on on federal wire fraud charges and importing stolen antiquities from Southeast Asia. The affidavit also states that Brown allowed Jonathan and Cari Markell, owners of Silk Roads Gallery, to use Brown's electronic sigature on tax appraisal forms. It was claimed that these forms inflated the value of the antiques which were then donated to Southern California Museums. To see the full story read this.
Until all of the facts are revealed who knows what really happened. As an appraiser, what I can say is that although Ms. Brown was an expert in antiques she was likely not an expert appraiser. An appraiser would know that every object to be appraised should be carefully inspected and then comparable items should be discussed in relation to the item being appraised. She would have known that no one else should have been allowed to use her signature on tax forms because as an expert she is responsible for the values placed on the items. Ms. Brown also may not have understood the market place. For donation purposes the fair market and the retail market must both be examined. It is not as simple as saying, "this piece sold for $100 at auction so for retail purposes it is $200". Analyzing the facts and understanding why an item is being placed at a certain value is one of the most important parts of the job. Creating a report that is true to the Appraisal Foundation Standards, Uniform Standards of Professional Appraisal Practice (USPAP), and the standards of one of the three major personal property appraisal societies is mandatory as a self-proclaimed valuation expert. Although the case of Roxanna M. Brown looks like intentional deception, the truth is, she may not have known better.

THE TAFT AND DUVENECK

2008-05-10T15:04:00.014-04:00

In my last posting I described going to the world-famous Isabella Stewart Gardner Museum in Boston. Actually, I glossed over that museum in favor of discussing the MFA Boston because the truth is, I was disappointed in the Gardner. Perhaps that is what happens when you build something up in your mind only to arrive, pay, and find out that half of the museum is closed because of a concert. It is also disappointing when the staff yells at the visitors not to sit in certain areas and treats them like cattle. Because of its popularity, the museum is over-run with tourists. On a positive note, the collection is very interesting and the interior garden at the Gardner is beautiful.
If you really want a treat save your money and go to a historic house/art museum that is arguably better and closer to home, and less well known. The Taft Museum located in Cincinnati will thrill you if you are a lover of art, architecture, or history. The Palladian style home is considered to be one of the best examples of Federal architecture in the country. It was built in 1820 for Martin Baum and was later purchased by Nicholas Longworth. Mr. Longworth hired an African American painter named Robert S. Duncanson who created murals on the homes interior. Those murals are now considered the best example of pre civil war imagery anywhere in the country. Later, the home was owned by Anna Taft and her husband Charles Phelps Taft. Charles Taft was the brother of the president William Howard Taft. In fact, it was on the portico of the home where W.H. Taft accepted the nomination for president of the United States.

The Taft Museum has 690 works in its permanent collection. Among those works are some of the best examples of American 19th century painting any where in the world. Included in those works are several examples by the famous Cincinnati artist, Frank Duveneck. Duveneck was an American expatriate and the leading figure of the Munich School in the 1870's and 1880s. During that period Duveneck was noted for applying paint in blocks of color quickly and for creating figures which emerged from a dark background (The Cobbler's Apprentice shown above is an example). In today's market, the sales of Duveneck's work are all over the place. While the 1870s and 1880s are the periods he is most noted for, the brighter, more colorful paintings of his later periods (especially those when he was in Italy) have sold for higher prices at market. Below are a few of the most recent auction records.

Title: PORTRAIT OF A GERMAN PEASANT
16" x 13"
Oil/CanvasSigned Monogram Lot: 184
Auction House: Stair Galleries
Low Est.: $500
High Est.: $700
Sales Price: $2,500
04/26/2008

Title: PORTRAIT
15" x 10"
Oil/Canvas Signed
MonogramLot: 2016
Auction House: DuMouchelles Auction House
Low Est.: $5,000
High Est.: $6,000
Sales Price: $7,500
04/18/2008

Title: THE NEW ENGLAND COAST
10.13" x 14.70"
Oil/Canvas Signed
Lot: 35
Auction House: Sotheby's New York
Low Est.: $6,000
High Est.: $8,000
Sales Price**: -not sold-
03/06/2008

THE ART OF BOSTON

2008-05-08T09:52:00.007-04:00

Two weeks ago we took a trip to Boston. With all of the revolutionary war history, architectural history, and art history, I could hardly wait to feast my eyes on everything Boston had to offer. This was my first trip to that city.

The place I had longed to go for many years was the Isabella Stewart Gardner Museum. Now known as much for the March 1990 theft as it is for its extraordinary art collection, the history and mystery surrounding the museum fascinated me. On the day we finally decided to go there we also decided to visit the Museum of Fine Arts which is located just across the street from the Gardner Museum. Over the years I had heard so much about the Gardner Museum I never noticed anyone talk about the Museum of Fine Arts. Maybe because I wasn't expecting it, I was pleasantly surprised by how wonderful MFA, Boston is. With a fabulous American art and furniture collection I was in heaven. But it was their exhibition of the paintings by Antonio López García that really made me catch my breath. García was touted in the exhibition as Spain's oldest living artist. Although García is a realist, he is also so much more than that. While many artists work on a canvas only during certain times of the day (for the purpose of capturing the same light day after day) García is known to take years to finish his pieces so that he can capture the correct light for the time of year. The effect of this is startling. While his landscapes are realistic and purposefully detailed, they also catch a fleeting moment, the essence of the Spanish terrain and architecture, and they create a connection with the place that draws the viewer in. The exhibition contains sixty pieces and runs until July 1.

Because this is primarily an appraisal blog you may be wondering what the prices are for García's work. Below are some auction results

Title: Perro muerto (this is a landscape)
oil on board
28.7 x 39.4 in. / 73 x 100 cm.
1963 -
Signed
Christie's London: Thursday, February 9, 2006 [Lot 128]Post-War and Contemporary Art (Day Sale)
Estimate
25,000 - 35,000 BP (US$ 44,483 - 62,277)
Sold For
198,400 BP (345,043 US$)

Title: Mujer durmiendo (El sueño) (this depicts a person sleeping on a bed)
painted wood
47.6 x 80.7 x 4.7 in. / 121 x 205 x 12 cm.
1963 -
Signed
Christie's Madrid: Wednesday, October 5, 2005 [Lot 65]Arte Español
Estimate
400,000 - 600,000 Euro (US$ 498,132 - 747,198)
Sold For
684,000 Euro (818,181 US$)

APPRAISERS AND THEIR PRACTICE

2008-05-05T22:36:00.010-04:00

It has been a few days since I've posted because I am in Atlanta getting tested on Uniform Standards of Professional Appraisal Practice (USPAP). Although my head is spinning from all of the rule changes and updated information I really feel like I have learned a lot that will benefit my clients. USPAP can be confusing but it is really a comprehensive guide for appraisers (both for personal property and real estate). By December all personal property appraisers will have to take the test.

Although it would be impossible to discuss everything in USPAP, I thought it might be interesting for readers to see a few issues appraisers will be thinking about this year. In Standards rule 7-1, lines 1721-1723 state, "For this reason, it is not sufficient for appraisers to simply maintain the skills and the knowledge they possess when they become appraisers. Each appraiser must continuously improve his or her skills to remain proficient in peronsal property appraisal." I improve my skills in many ways including writing for this blog. In order to stay current and interesting, I am constantly researching the marketplace and writing about it.

It might also interest you to know that according to the ethics rules of USPAP "an appraiser must protect the confidential nature of the appraiser-client relationship." If an attorney requests a copy of the appraisal and they have not been named in the appraisal and the client has not given their permission, then the appraiser should not pass along the report. The appraiser should also not discuss the client's work with collectors, auctions houses, or even family members without the permission of the client. Of course, permission is often needed to complete research but this is something the appraiser and the client will need to discuss.

To find out more about USPAP click here.

KENTUCKY DERBY POSTER VALUE

2008-04-28T20:34:00.002-04:00

Over the years, I have been called into the homes of clients who wish to have everything appraised...including posters. Unless they are of the vintage variety (think old advertising posters) they usually don't have much value. This includes Kentucky Derby posters signed by the artist. That is not to say you shouldn't buy one. Kentucky Derby posters are a great way to remember a certain year you attended the Derby but they are not something that will greatly increase in value (at least not in your lifetime!) I am often surprised by the reaction of clients who think their posters should be worth a lot more than they paid ten years ago if it is signed by the artist. In the end, posters are computer-generated reproductions. They are colorful, decorative, and fun. But not valuable.
If you would like to purchase this year's Derby poster visit this site.

JUST SAY NO...TO CHINESE ART

2008-04-24T14:44:00.009-04:00

Yesterday, I posted an article about how hot the Asian art market is. I specifically focused on Japanese art. Today it is going to be a bit more political...Chinese art. According to Charlie Finch in an article on artnet.com entitled Fear Strikes Out "young artists in the Chinese academies are now career-oriented and not interested in politics and that Xu Bing, whose work long criticized Chinese government propaganda, has returned to China after decades as an expatriate." In a related story, bloggers Roger Simon and Ron Rosenbaum of Pajamas Media have started to solicit professional writers to focus on writing about boycotting companies that are sponsoring the Chinese Olympics. These writers claim that Chinese artists (and their work) should also be boycotted for providing the Chinese government another tool to use in the propoganda wars which propogate the atrocities in Tibet.

How will all of this affect the Asian art market? It is a fact that after any Olympics the economy of the area begins to improve. Undoubtably, a new interest in Asian art will emerge and the market will see a surge in sales. Or will it? China and Tibet are now seen in the news more and more. If the movement pushed by writers, academics, and celebrities to boycott anyone and everyone who supports the current Chinese government continues to gain momentum it may soon be unfashionable to collect Chinese art. Only time will tell.

GO RUN AND GET IT

2008-04-23T07:35:00.006-04:00

In Japanese, Kyōbai means "go, run and get it" and that is exactly what buyers did on April 3, 2008 at the auction of Japanese contemporary art, design and toys at Philips Dupury in London.
The sale, totaling £3,287,000 ($6.5 million) was a hit with buyers who are turning more and more toward clean lines, thoughtful color, and more modern design. Top lots include a fiberglass panda from 2003 by Takashi Murakami (ca. $2,716,000) and a Yoshitomo Nara portrait of a sinister little girl (ca. $144,000).

Chuckle (shown above) by HIDEAKI KAWASHIMA

If Japanese design interests you check out Kopilot in Louisville.

FAKE BRONZES

2008-04-16T19:54:00.007-04:00

original Jane DeDecker (left)

Fake Jane DeDecker (right)

Last week I spent several days inspecting "bronze" statues...and I became suspicious. The bronzes, while expensive, didn't seem to have the finishing touches that were required for a carefully crafted work. Then, I found Bronze Copyright. This is a group of artists who have gotten together to try and protect their work from people who steal their designs and then deceive the public. Often, the works are purported to be "crafted" by artists that don't even exist. The fakes I saw replicated Jane DeDecker's work. Once I saw the real thing I knew that my client's work was fake.

This is a massive problem for both the artists and the buying public. The artist's are losing money, the market is being flooded by fakes, and those that are buying are not investing...they are being ripped off.

REGIONAL ART FOR SALE

2008-04-13T18:43:00.004-04:00

Edward Timothy Hurley, commonly referred to as "E.T. Hurley" is most famous for being the leading Rookwood Pottery artist. Hurley studied at Cincinnati Art Academy under the famous Frank Duveneck. Although the artist was first popular for his art pottery, he later was known for his accomplishments in etching.

Currently, a wonderful selection of Hurley etchings is being offered at Treadway-Toomey Gallery in Cincinnati. One of my favorites is the etching at the top of this post depicting a circus scene outside of a tent with elephants, measuring 9" X 12" and on sale for $550. This rare 1936 scene captures bit of Americana and really showcases Hurley's skill.

NIGHTMARE ON APPRAISAL STREET

2008-04-09T18:14:00.013-04:00

Although I am still receiving tons of hits for this post, I have decided to take it down. Not because I think that I was wrong for pointing out the facts but because I simply don't have the time to answer all of the emails I receive about it.

To date, I have had two anonymous posts (strangely, one created a single page blog just to counter this post) claiming that the person I discussed was an ethical and honest man. I have also received quite a few emails from people worried that their pieces are fake and asking what they should do. These pieces were purchased from a wide variety of sources. I MUST ALSO POINT OUT THAT ALL PERSONS ARE INNOCENT UNTIL PROVEN GUILTY. For my part, I hope that all of this was just a large mistake on the FBI's part. I have to admit, stranger things have happened.

If you feel that you have been "taken", I would suggest contacting the art fraud division of the FBI found here. You can also contact an art appraiser in your area here.

ART CHICAGO

2008-04-07T20:29:00.010-04:00

Artwork by Jim Dine from last year's ART CHICAGO

One of the best things about living in Kentucky for art lovers and collectors is our close proximity to so many other cities and art venues. Nashville is to the South, St. Louis is to the west, Indianapolis and Cincinnatti are both to the north. And then there is Chicago. It takes five hours to drive to Chicago but with gas prices you are better off flying on Southwest Airlines anyway. Right now during the week of April 25 you can fly Southwest from Louisville to Chicago for $49 each way.

There is no better time to go to the windy city if you are an art lover. From April 25-April 28 Art Chicago will be taking place. This show is a combination of five different art fairs all operated by the Merchandise Mart. There will be 180 galleries at Art Chicago as well as an exciting display called "New Insight". "New Insight" will feature the works of the best art graduate students from Yale, UCLA, RISD, and several other programs. Although the pieces from "New Insight" will not be for sale, you can get a glimpse of what to expect from these up-and-comers or you can write down their names and contact them later. If you just have to purchase something there will be plenty for sale during the main event.

Tickets are $20 for a one day pass or $25 for a multi day pass. You can purchase them online or on the first floor of the Mart. The same tickets will also get you access to the antiques fair.

Dates and Hours:

Thursday, April 24—Opening Night

PreviewFriday, April 25, 11 a.m.–7 p.m.

Saturday, April 26, 11 a.m.–7 p.m.

Sunday, April 27, 11 a.m.–6 p.m.

Monday, April 28, 11 a.m.–4 p.m.

APPRAISAL FRIDAY

2008-04-04T12:12:00.000-04:00

It's Friday which means it is valuation day.

Gerry submitted a great serigraph by Charley Harper (see below)

Above: Charley Harper with one of his works

Charley Harper was born in West Virginia in 1922. During World War II Harper said he learned to sketch quickly. When he returned to the United States Harper first lived in New York and then moved to Cincinnati to attend the Cincinnati Art Academy (he later taught there).

The artist began his career as an advertising illustrator. Capable of creating realistic works he soon began to enjoy painting flat, graphic subjects and he began disliking the business of advertising. He died Sunday, June 10, 2007.
About your piece
Captivated by the way Koalas cling to their mothers, the artist once said, “Koalas "live Down Under, but they spend most of their lives up over”
2007 is said to be the year of Charley Harper. Not only did the Graphic Content at the Contemporary Arts Center create a tribute to Mr. Harper on its web site, his work was exhibited at Harper Studio at the Lloyd Library and the designer Todd Oldham released a book about him entitled, Charley Harper: An Illustrated Life. Mr. Harper’s work has also been seen on La-Z-Boy by Todd Oldham as well as appearing on napkins, plates, and other tabletop items by the gift company TAG.
At auction, Mr. Harper’s serigraphs often achieves over $100 and the replacement value can go well over $200. Down Under, Down Under is a highly desirable serigraph and because it is numbered and signed by this now deceased artist it is even more desirable. The value of this piece would range between $120-$250.

Charley Harper, Serigraph entitled “Down Under, Down Under”. Numbered and signed in the lower right corner “CA Harper”, measures 26 ¼” tall X 17 ¼” wide, edition of 2500

ARTIST KATHY SULLIVAN

2008-04-02T14:27:00.003-04:00

As many of you know I started the Gallery at the Brown and was the director/curator there for two years. I resigned in December because, coupled with my appraisal business, I was just too busy. However, before I left, I made sure to schedule a final show to coincide with the Kentucky Derby (it is the most important show of the year). The show is now an annual event and each year it features one of the best horse or horse-related artists in the state. This year, I scheduled Louisville artist Kathy Sullivan. Although Ms. Sullivan paints animals (including horses) I am most enchanted by her works depicting jockeys wearing silks. The bright colors, bold brushstrokes, and unusual perspective represent a new approach to a familiar subject. Gallery at the Brown's new director, Katie Bennett, has done a wonderful job taking over the gallery and she is currently hanging the show for the opening next week. If you are in the area beginning April 10 or over Derby don't miss this show!
Kathy Sullivan has long been involved with horses. However, it was not until the death of her own Thoroughbred that Ms. Sullivan became interested in horse racing for artistic reasons. When she began, Ms. Sullivan was a self-taught artist but more recently she has pursued an art education through the Art Institute of Chicago where she received a 2007 Recognition Merit Scholarship. She has also been mentored by the well known artists, Susanna Coffey, Jane Rosen, and Susan Howe.
Gallery at the Brown is located at 335 West Broadway on the Ground Floor of the Brown Hotel in Louisville Kentucky. They can be reached at (502) 583-1234 x7174. The Gallery hours are Monday-Friday 9:30 a.m.-9:00 p.m. and Saturday and Sunday from 10:00a.m.-6:00 p.m.

KENTUCKY IN NEW YORK

2008-03-31T14:00:00.006-04:00

Donna Nield, Empty Trees, 2008 acrylic on vellum, 8" x 10"

On the first Saturday in May all of the movers and shakers want to be in Kentucky. They come here to experience the horses, the hats, and the juleps. But sometimes Kentuckians find themselves in other places in May. This year, the Kentucky Derby will be on May 3 and, if on that day you find yourself in New York longing for a taste of the Bluegrass then head over to Smack Mellon. Smack-Mellon's mission is to "nuture and support emerging, under-recognized mid-career and women artists" by providing exhibition space, studio space, and equipment as well as offering six yearly fellowships. This year, Smack Mellon will be hosting the Kentucky Derby Party and Art Auction Benefit on Derby day. $250 will admit two adults and you are guaranteed to leave with a work of art (determined by a random drawing). The variety of artists is amazing at this year's auction and because the works are by emerging artists many will be a good investment. There are several Kentucky artist showing their works including Louisville's own Anne Peabody and Letitia Quesenberry who I blogged about last week. Smack Mellon is located at 92 Plymouth Street in Brooklyn.

2008-03-28T13:01:00.010-04:00

MINIMALISM MEETS THE MARKET

2008-03-27T17:20:00.008-04:00

Letitia Quesenberry received her BFA from the University of Cincinnati. She has had individual shows at Smack Mellon in Brooklyn New York, Gallery Hertz in Louisville, and Zephyr Gallery in Louisville. In fact, her work is being shown at Zephyr until March 29 (that is only two more days!). It is funny because this artist has shown her work on three other occasions at Zephyr and I have failed to see it until now. In fact, I had never even heard of Quesenberry before this year’s Zephyr show. And I am really involved in the art scene. I love gallery openings and I like to keep up with what is going on in the local market by visiting new shows. Somehow, this artist slipped by me…and I am sorry for it. Looking through Quesenberry’s portfolio from the last few years, I am stunned by her range, her changing focus, and her ability to stay true to her own vision.
In her current show, Quesenberry places figures against a stark ground. It is as if they have just walked in front of a movie screen with the projector blasting on them. The monotone background provides a foil for the shadows as well as contrasting the detailed sketches of the figures themselves. The artist’s use of color is also minimal and her style speaks to what is going on in the larger art market.Right now, minimalism is hot. At Christie’s on March 18-21, the Asian sale posted the highest figures ever boasting $80,068,489. And Asian, if you will recall, is a more streamlined, minimal style. If you look around, many of today’s successful artists are focusing more on minimalism and subtlety. In Louisville, that style is a little bit harder to find because collectors here tend to be more traditional. However, if your taste does run to more contemporary styles then Quesenberry’s work might be for you. Compared to many other cities in the U.S. we are really lucky to have an art market that is affordable and diverse.

FAKES ON EBAY COULD HAVE BEEN SPOTTED

2008-03-26T15:46:00.008-04:00

On March 19, Federal Investigators indicted seven people living in Chicago for dealing in fake art. The fake prints, sold primarily through ebay, included works said to be made by Picasso, Chagall, Warhol, Miro, Calder, and Lichtenstein. The charges were made after a raid in January of the Kass/Meridian Gallery on the Gold Coast.

Two of the dealers, Michael Zabrin and James Kennedy worked in Chicago. While Zabrin provided “certificates of authenticity”, Kennedy forged the signatures and then sold them at art shows throughout the country. Also charged were dealers Patrizia Soliani of Milan, Italy and Miami Beach and Gallery owner Jerome Bengis of Coral Springs. In the same indictment, Leon Amiel Jr., an art broker was charged for placing “shill” bids on the art on ebay to raise the prices. The fact that Amiel was involved at all makes the story even more alarming.

Leon Amiel, Sr. (Leon Amiel, Jr’s father) was the publisher of Modern American Art and was a major force in the art world. He owned Amiel Book Distributors Corporation and Leon Amiel Publishing. It is said that he was friends with Chagal, Dali, Miro, and Picasso. Before his death in 1988, investigators had already begun to look into Amiel’s dealings but when he died his company was taken over by his wife and two daughters. On March 2, 1992, the government filed a thirty count indictment against the Amiel family charging them with mail fraud in connection with the sale of fake prints.

Fake art, forged signatures, and shady dealers are the nightmare of every art collector. But you can take steps to protect yourself and to make sure your investments are what they are purported to be:
1. Ask the dealer for the provenance of the piece. That is, ask them for a documented history of the item. Once you have it follow up. If a gallery is listed call it and ask them what they know about the piece and how they acquired it. Keep doing this until there is no one else to call.
2. Don’t let a dealer appraise your works. It is a conflict of interest. They want you to buy the piece and that, in itself, is a conflict to remaining unbiased.
3. Do your research. If any of the thousands of people throughout the world who purchased the fakes mentioned above had done a quick internet search, they would have discovered that fake prints by these artists have flooded the market for years. Perhaps this would have raised a red flag.
4. If you are buying a very expensive piece, particularly if it is old, try to find out who the expert is in that area and contact them. Have them look at the piece and pay them for their expert opinion (you won’t be sorry!)
5. Hire an appraiser! An appraiser has an extensive knowledge of the market. Although we are not authenticators, we do have expertise, we are excellent researchers, and we are likely to uncover things you would not have expected. Most importantly, we are an unbiased party. We are paid if the item is deemed to be authentic or fake.

APPRAISE MY ART

2008-03-25T12:47:00.018-04:00

From now on, Friday will be appraisal day so send pictures of your paintings to appraisemyart@hotmail.com and who knows, maybe you will find a fortune in your attic!

I am doing this because I have had many requests from the public to offer this service. Although our local paper runs an appraisal column, it is nationally syndicated and does not focus on the needs of our region.

Please include the following information when sending in an appraisal request:

Your full name, address, email (only your first name will be published)

Clear photograph of the piece (please make sure it is not too big or too small)

Title of piece

Artist (if known)

Medium (oil on canvas, pastel, watercolor, lithograph etc.)

Close up of the signature (if any)

Size of image

Condition (is there a rip, water damage, faded spot, paint flaking etc.)

How much you paid for the piece

How you acquired the piece

I will only pick one piece per week so please be patient if you do not see your artwork right away.

THE ARMORY SHOW, NEW YORK

2008-03-24T12:23:00.011-04:00

The bird who asked me is I was a child

(MIXED MEDIA COLLAGE BY MIN KIM WHOSE WORK WILL BE SHOWN AT THE ARMORY SHOW THROUGH ATM GALLERY IN NEW YORK)

The Armory Show, New York City. A place where hot, living artists and contemporary galleries show artwork to the public. The tenth annual exhibition of the Armory Show runs from March 27-March 30 and costs $30 for general admission or $10 for students. To be considered for this show, galleries must submit an application which is then reviewed by a group of internationally recognized gallerists. This year’s committee hails from Stockholm, Paris, Berlin, Los Angeles, New York, and London.

But even if you plan on attending (and thousands of people do plan on it) will you be buying? With the unsteady financial markets making investors squirm will the contemporary art market waver as well? According to Art Tactic, “Art Market Confidence Indicator has dropped sharply (by 40%) from the last reading in May 2007. The confidence in the art market suffers on the back of a sharp drop in respondents’ confidence in the Western economies, triggered by the credit crisis in the final quarter of 2007.”
Despite this warning, artists are still painting, drawing, sculpting, and creating works that will be for sale at the Armory Show in a few short days. And if buyers are not buying as quickly or willing to spend as much money as they were last year then bargains will surely be aplenty.

SHOW INFORMATION

A list of galleries that were accepted into this year’s even can be found here.
The Armory Show 2008 Opening Day takes place Wednesday, March 26th for invited guests.
Opening Hours: Thursday, March 27 - Saturday, March 29 Noon to 8 pmSunday, March 30 Noon to 7 pm
The Show will be at Pier 94, which is located on Manhattan's far West side on the Hudson River. Directions can be found here.

HAPPY EASTER

2008-03-23T15:30:00.012-04:00

Beginning last year, eggs, nests, and birds, started to show up again in popular culture. From wedding themes to knick knacks for the home these items have helped spur a new area of collecting in art. Popular images include prints like the one on the left from 1890 which is priced for $25 to the oil on canvas on the right which measures 6" X 8" for $100 and was completed by a contemporary artist named Thaw Malin. Either way, you can buy an interesting depiction of a an age-old subject matter for a price that is reasonable and likely to stay in fashion and rise in value as the years pass.

WHAT TO LOOK FOR IN AN APPRAISER

2008-03-18T11:50:00.008-04:00

Choosing a good appraiser can be tricky. The truth is, anyone claiming to appraise personal property can do it...legally. At least until the end of the year. At that time, the IRS is going to require all appraisers to take USPAP (Uniform Standards of Professional Appraisal Practice). Until now, it was only highly recommended. So, when choosing an appraiser ask them if they have taken USPAP. Beyond that, finding a qualified appraiser is up to you. Here are a list of questions to ask:

1.) What sort of background do you have in art? (a degree in art is nice or years of gallery experience or auction experience)

2.) Did you attend appraisal school? (I went to NYU and got a certificate in Personal Property Appraisal...this is the recommended course by the Appraisers Association of America but there are some other good ones out there)

3.) Are you a member of an appraisal society?

Number three is very important because memberships in appraisal societies indicate that the appraiser has been held to a certain standard. They have had to take tests, submit appraisal reports or both. It also indicates that they are up-to-date on what is going on in the appraisal world i.e. changes to the law (just this year the IRS changed some of the guidelines for donation appraisals) I am a member of the Appraisers Association of America (www.appraisersassoc.org).

NEIGHBORHOOD ART

2008-03-17T09:59:00.002-04:00

Louisville's art scene is thriving. There are many galleries throughout the city and new ones emerging all of the time. One of my favorite galleries is B Deemer Gallery located on Frankfort Avenue in Crescent Hill. Brenda Deemer is the owner of B. Deemer. She has been working with fine art since 1972 and established her gallery in 1990. According to their website, approximately 50 living artists are represented by the gallery and half of those live in the Ohio Valley region. One of my favorite things about B. Deemer is Brenda's ability to pick art that connects with her viewers. Tosca on Shelby Street (image shown above) is an oil pastel measuring 26" X 36" and is priced at $3600 by Martin Rollins. A unique, Louisville scene, this painting caters to those of us who drive the streets in this area, who watch the sun rise over downtown as we drive into work, or feel a special connection with the architecture of this city. So much of the time those of us who live in medium or small sized cities don't see our lives and our surrounding represented in art. Throughout the decades our greatest artists have eventually left our cities and moved to New York or California to continue their art education or to make it to the big time. Today, perhaps more than ever before, Kentucky's artists are seeing the importance of their relationship to their city and their state and they are sticking around. With the advent of the internet this does not mean that they won't reach a larger audience. It does mean, however, that although the art is great the prices are not high (something that can rarely be said for art in New York). It also means that Louisville's art buyers are able to purchase a piece of their own history.

COLLECTING UNDER $100

2008-03-14T12:35:00.005-04:00

I am often asked by new collectors how to find attractive, affordable art. The answer is to look for talented students. At the end of the year MFA art students present their final thesis show. At some universities that art is for sale…at bargain prices. The year I graduated from Centre College, one student’s work was so popular it sold out in a single day.
Another option is to look for shows exhibiting work of “emerging artist.” This season, one such show is New Blue- Emerging Artists: First Kentucky Biennial at the Kentucky Museum of Art and Craft in Louisville. According to their website, many of the artists in that show are recent college graduates and new university faculty members. In other words, these are qualified folks who are still making a name for themselves. I can not think of a better way to buy.
A couple of years ago, I purchased a piece of art from Kopilot on a whim. I walked into the store for the first time and they just happened to be having a opening that night. I saw a small piece of art for $75 and I fell in love with it. In a matter of minutes I discovered that the artist was Louisville’s own Kathleen Lolly. Today, Lolly’s pieces are still relatively inexpensive but they have gone up in value. I noticed that some of the pieces which are similar in style, size, and medium to mine sell for around $200. Lolly’s work is still shown at Kopilot. You can also view her work on her website or at the Kentucky Museum of Art and Craft in the aforementioned show through May 24, 2008. There are also a lot of other really great artists exhibiting in that show and if you are looking to begin your own collection this may be the place to start. The Kentucky Museum of Art and Craft is open from 10:00 a.m. until 5:00 p.m. Monday –Friday and 11:00 a.m.-5:00 p.m. on Saturday.

INTERIOR DESIGN AND THE ART MARKET

2008-03-13T15:10:00.026-04:00

When most people think of the Bloomsbury Group the first name that comes to mind is Virginia Woolf. Bloomsbury was, in fact, the name given to a group of intellectuals composed of writers, intellectuals, and artist’s that met at Woolf’s home. The main artists associated with the group were Duncan Grant, Roger Fry, and Woolf’s sister, Vanessa Bell. The group met at Woolf’s home to discuss everything from politics, design, art, writing, costume design, and dramatics. Their meetings focused on using their talents to express their beliefs about the way they led their lives. Lives, that were deeply affected by the First World War and the Spanish Civil War.
I was first introduced to the art of the Bloomsbury Group when I was hired by an estate to appraise a large collection of paintings by Grant, Fry, and Bell. As I began to research and study the group I was surprised that the names of the artists in this group were not as well known as their literary counter-parts. Despite this, I was please to find out that there was at least one major dealer in England that specialized in the group as well as a growing number of collectors. I felt like I had come across one of the most important unknown collections in America. Then, earlier this year, I opened up Domino magazine and there, on the pages, was an entire article dedicated to decorating in the style of the bohemian Bloomsbury Group. A few weeks later, my Pottery Barn catalog arrived and again, there was a whole section devoted to Bloomsbury styles and fabrics. I was taken aback and thrilled. I also wished that the client from the estate I appraised had been around to see the world’s rediscovery of such an important style.
You may be wondering at this point how this affects the market. Only time will tell but when a major home retailer like Pottery Barn picks up on the style it is only a matter of time before people will be scrambling to find out everything there is to know about those behind the style. It is likely that the increased interest in the Bloomsbury style will increase interest in Bloomsbury paintings as well. In fact, that may already be happening. On November 6, 2007, a piece by Duncan Grant was sold at Sotheby’s London. The painting on ceramic tile entitled Still Life, measuring 24.4” X 8.66” was estimated to sell for $8,399-$12,510 but ended up selling for $19,550. At Christies in October of 2007 Grant’s watercolor, Study for panel to decorate the ‘Queen Mary’ sold for well above its auction estimate ($1031-$1444) and achieved $3353.
If this peaks your interest, it is not too late to get in on the action. On March 18 of this year, the oil on canvas entitled, Still Life with Jug and Pear measuring 20.47” X 30.31” will be auctioned at Sotheby’s London. The estimate for this piece is $7,986-$11,980.

KENTUCKY CONNECTIONS AT AUCTION

2008-03-12T14:55:00.005-04:00

Recently, I have noticed that some of my clients collect art because it makes them feel proud of their heritage. It's funny but that fact had not occurred to me until lately. Whether the piece is $1M or just $1, the connection to who they are as part of a race, gender, social class or as a part of a geographical location makes people feel more connected to the history of their people.

Up for auction on April, 11, 2008 at Stuart Holman in Cincinnati are three paintings by the Kentucky Appalachian artist/poet, Henry Faulkner. Faulkner was born in 1924 and soon became a ward of Kentucky welfare agencies. He had a difficult and tramatic childhood which translated in adulthood to hard partying and eccentric behavior. Today, this artist's work is highly sought after by Kentucky collectors.

AUCTION VERSUS ART DEALER

2008-03-11T13:32:00.018-04:00

Should I sell my work at auction or to a dealer?

When you sell your work you should expect to get the Fair Market Value for a piece. The IRS defines Fair Market Value in IRS Publication 561 as follows: “The price that property would sell for on the open market. It is the price that would be agreed on by a willing buyer and a willing seller, with neither being required to act and both having reasonable knowledge of all relevant facts.”
Confused? Don’t be. Fair Market Value is not the same as Retail Value and when you think about it logically it makes sense. When a private client approaches a dealer with a piece of art the dealer will offer them a certain amount of money. Once that piece is sold to the dealer the dealer will then mark the piece up and resell it. The price that they sell it for in their gallery is the Retail Value.
If you go to auction, bidders are competing against one-another until someone gives up and someone wins the piece. Usually, this price is also less than what a buyer would pay in a retail setting (many dealers buy pieces at auction as well). At auction, however, you will have to pay what is called a “sellers premium” which is usually around 10% plus charges for insurance and illustration.
The plus side of an auction (especially with a well-known auction house) is that it is well-advertised and if a piece is highly desirable, the price may go well above the estimate. The plus side of using a dealer is knowing the piece will be sold and not having to pay a premium.
Below are examples of the work of one artist, Alice Brown Chittenden and the prices achieved at auction and the prices a dealer would be willing to pay.
Cincinnati Art Galleries estimates that they would pay between $5,000-$10,000 for a work by this artist. Obviously they can’t name an exact price because a lot of the value is determined by subject, quality, condition, size, medium etc.
1.At auction, the highest price ever achieved for a Chittenden work was $16,500 but that was in 1992 and the painting was 24”X 40” for one of the best examples of her style entitled Chrysanthemums. (seen in the first picture).

2. A better, more recent, and more likely auction figure was the June 2007 sale of the oil on canvas Bouquet of blue Nemophila measuring 10 X 14 which sold for

$5,400

3. The April 2007 sale of the oil on canvas Zinnias in an Oriental Vase measuring 25” X 20” which sold for $3,500.

In the case of the first auction the painting was estimated between $15,000-$20,000. Even if a dealer was to offer the low amount, the seller would have come out ahead because after fees the seller made less than the low estimate.
In the case of the second auction the painting was estimated between $3000-$5000 so the seller probably came out ahead selling at auction.
In the third case, the estimate was $1200-$1800. In this case, the seller again came out ahead.

The key to selling any artwork no matter the price is to find out where the style or the artist is most popular and then pursue sales in that location. It is also important that you find out as much as you can about the art that you plan on selling so that you have the best possible chance of speaking with authority when you are ready to sell.

WHAT I'M INTO RIGHT NOW

2008-03-10T12:59:00.008-04:00

Because I am an appraiser people are always asking me what kind of art I like and what kind of art I collect. Sometimes these are two very different things. While some people love Renaissance Art and some people love Modern Art I tend to be all over the place. For me, art has to be taken in context. Some art is appropriate for my house and some is more fun just to study and talk about. If I have a strong love or hate reaction then I will likely enjoy researching it. Researching the history of a piece is what makes me love it. When I lived in London in 1997-1998 I got to see Damien Hirst's pieces in the flesh (pun intended). They repulsed me so I started doing research. In the process I was introduced to the other Young British Artists and I was hooked. Now, whenever I visit the Tate Modern I am always hoping to see the latest YBA work. On the other hand, some work is just visually stunning. I have to admit that I am also a sucker for good design. The internet has made a wide variety of art accessible and I, for one, am enjoying it. Just yesterday, I found the illustrations of Wendy Wonsuk Lee. Witty and well-designed this artist's work really has everything going for it.

PROTECTING THE VALUE OF ART

2008-03-08T09:41:00.015-05:00

Framing and/or preserving your art is one of the best ways to protect the value. Here are some tips when visiting your local framer:

1. Mounting:

If you image is on paper there are different ways to attach it to the backing board:

a: Museum mounting- This is really the best way to mount a high quality image. The framer uses a linen tape (acid-free) and creates "hinges" or gently tapes around the edges. The drawback is that over time you will probably see some wavyness (because the paper is not fully mounted to the board) which has never really bothered me but does bother some.

b: Dry Mount- A thin piece of tissue is placed between your image and the mounting board and then they are pressed together in a dry mount press. The tissue melts and adheres to your image and the board binding them together while the press flattens everything out. New technologies have made this process better (there is now heat release tissue) but all of that goo is not that great for valuable images.

c. Spray mount- This is the stuff you can buy in the craft store but it is often used for framing. The spray is in an aerosol can and the material is definitely not good for your art and almost impossible to remove without a professional restorer.

2. Backing Board and Matboard

Have you ever noticed a brown line around your image where the mat was once located or has your image developed a brown/yellow color or strange brown spots? All of these things indicate that your image has absorbed acid. You can fix this through restoration but you can avoid future damage by following the advice below.

Make sure you do not use, cardboard, posterboard, wood, or styrofoam. Acid-free matboard or acid free foamcore is the best option and it will help preserve your image for many years.

3. Space

If your image is anything other than a poster you do not want the glass to touch it. There are a variety of reasons for this. If you have a photograph and a drop of water gets under the surface of the glass (from cleaning) it will spread over the entire surface of the photo. If the image is a pastel, the glass will smear the image etc.

To keep glass away from the image use matboard or spacers. Matboard is usually only 1/16" thick. This thickness will not be enough to protect the art. To compensate, you will need to use a double mat to ensure proper spacing or a thicker mat (they are available at a higher price). The other option is a spacer. Placed inside the lip of the frame, a spacer acts as a little shelf for the glass, keeping it away from your artwork.

Remember, a good appraiser always checks for condition. Quality framing is a tool you can use to ensure your artwork retains its value.

Snow Scenes

2008-03-07T12:10:00.004-05:00

Posting will be light today...unlike the snow.

Up for auction on March 12 Victorian & Traditionalist Pictures at Christies (London, South Kensington) is this Thomas Sidney Cooper (1803-1902) watercolor and pencil on paper. It is signed and dated "T. Sidney Cooper. 1883" The estimate for this piece is 3000-5000 British Pounds ($5989-9982).

This time of year snow scenes may not be as popular and as a result you may be able to get a bargain. Yes, the pound is stronger than the dollar but this has scared away some bidders. Cooper's watercolors steadily acheived over $10,000 at auction in 2007. Looking at it this way, 3000 British pounds or $5989 would be a good investment. Traditional, pastoral scenes like this one are usually a safe bet in any kind of market.

KNOW THE HISTORY OF YOUR ITEMS

2008-03-06T12:30:00.006-05:00

This painting was stolen in Iraq in 2004 (Oil on Canvas 1958)

Art theft seems to be a theme this week but it brings up an important point when buying, selling, and appraising items. Along the same lines, fakes and forgeries are a huge problem in the art world. Every work of art has a history and being able to prove that history makes a huge difference. Consider the activities that took place in Europe during World War II. According to the “Nazi-Era Provenance Internet Portal” a website launched by the American Association of Museums “from 1933 through the end of World War II in 1945, the Nazi regime orchestrated a program of theft, confiscation, coercive transfer, looting, pillage, and destruction of objects of art and other cultural property in Europe on a massive and unprecedented scale.” While some of the objects were eventually recovered others have never been found or returned. Following this time, museums around the world continued to collect art and artifacts without fully researching the history. As a result, the original owners of some of the pieces began making claims of ownership. Today, museums have begun the long and arduous task of researching pieces in their collections, and, in some cases returning them to their rightful owners. Currently there are fifteen thousand thirty three objects from one hundred and nineteen participating museums listed on the website. Among the museums are the University of Kentucky Art Museum in Lexington and the J.B. Speed Art Museum in Louisville. The University of Kentucky Art Museum lists thirty pieces acquired during this period while the Speed Museum lists four paintings. The paintings at the Speed include, A Bacchanal by Jan Brueghel, Breakfast Still Life by Pieter Claesz, Flowers in a Glass Vase by Jan van den Hecke, and A Gallant Musical Pause at Delft by Jan Verkolje. According to Peter Morrin, Director of the Speed Museum, the provenance for the works listed on the website is incomplete. As research continues on the project and more is learned about the provenance of works in the Speed’s collection more works will be added. This raises the question of what steps the Speed would take if someone claimed that a listed piece was stolen from their family during World War II. According to Mr. Morrin, “Museums participating in the project are making their best effort to be as open in their dealings as possible. If a rightful heir finds that an object on the site is a piece they believe was stolen during World War II, they can contact the appropriate agency and begin the claims process.”
World War II is not the only instance when art and artifacts have been stolen during a time of conflict and have reemerged in another country. For years the Koreans have accused the Japanese of plundering artwork during their thirty-six year occupation of the peninsula. Due to the 1965 Japan-Korea Treaty, fourteen hundred items were returned. However, this was probably not even half of what was taken. Today Japan maintains ownership of many valuable items. Kwon Cheeyun, an art historian in Seoul told Newsweek International that, “35,000 Korean art objects and 30,000 rare books have been confirmed to be there too.” Beyond those numbers, there are probably even more items in private collections. In light of this, it was no surprise when Kakurinji Temple in Kakogawa, Japan was robbed in 2002. Among the pieces that were stolen was the Amida Buddha from Korea’s Koryo period. This was another instance when the robbers claimed a “moral purpose,” as the two Koreans who were apprehended in the theft said they were on a mission to reclaim pieces of Korean history.
With the invasion of Iraq, Baghdad burned and the Museums were looted. While the U.S. was required to ensure order and protect museums and other cultural institutions under the laws of war, Donald Rumsfeld told a Pentagon news briefing that “stuff happens.” He continued to say that, “it is a fundamental misunderstanding to see those images over and over and over again of some boy walking out with a vase and say, 'Oh, my goodness, you didn't have a plan.' That's nonsense." But today, years after Rumsfeld spoke those words it is now evident that the U.S. did not have a plan. At the time, the Deputy Director of the National Museum of Iraq blamed the U.S. forces for refusing to prevent the plunder of items that date back thousands of years. In fact, it is widely reported that U.S. forces only intervened once for a half hour in the forty-eight hour looting spree. It has also been reported that some of the looting that occurred in Iraq was planned in advance. Upon inspection, investigators noticed that some of the glass cases had been opened with keys and suspicions were raised about the items being sold abroad. To make matters worse, a February 15, 2005 article by Humberto Marquez for the Inter Press Service said that U.S. and Polish soldiers are stealing antiquities and selling them over the border. This is “the biggest cultural disaster since the descendants of Genghis Khan destroyed Baghdad in 1258,” Venezuelan writer Fernando Báez told IPS. It is his belief that the United States has not signed The Hague Convention or the 1999 protocol because the government knows that by not protecting the art and artifacts of Iraq it has violated that convention. However, Mr. Báez states that coalition forces are also to blame. It is not known how many more items will be missing before the U.S. leaves Iraq or how many will be recovered. If history repeats itself, cultural institutions may have to start researching the provenance of the pieces they acquired beginning in 2003.
What does this mean for the average collector? It means don't buy unless the dealer provides a solid provenance and then make sure you check out the provence before money is exchanged . To bring home this point I am going to end by telling you a story about a piece that I was hired to appraise about six months ago. I received a frantic phone call from a woman that I knew but who had never been a client. She had been promising her insurance company an appraisal for several itemized pieces for a year but had procrastinated. By the time she contacted me, they had given her three days before they were going to drop the items from her policy. She paid about $15,000 for one piece which was confirmed by a receipt from an antique dealer who was known to have a good reputation. A small bit of information on the receipt said that the piece was attributed to a particular artist by a known historian in that genre. An appraiser has to conduct due diligence so I called the antique dealer to confirm this information and to ask him if he had any supporting evidence. He said he did but told me to call him back. When I called him back he got very angry with me, yelled, and hung up the phone. This was quite a shocking experience because I was just practicing due diligence. He only needed to tell me that this was what the auction house provided to him and he knew nothing more. However, his abrupt, unprofessional behavior made me suspicious. I called around Italy and checked with some of the best experts in the world in that genre of art. They looked at the images and told me that they did not believe any expert would attribute that particular piece without a good deal of documentation. Further, they had never heard of the supposed “authentication expert” and I could not find evidence of her existence. Therefore, I had to claim that the piece was “in the style of” as opposed to “attributed to” which made a difference in the value. I also had to explain what happened with the antique dealer in the appraisal. My client was unhappy and the antique dealer tried to back peddle. I don’t know what happened after that. What I do know is that I did my due diligence and if that client ever tries to sell her piece at a high end auction they will also do their due diligence and she may not be able to sell the piece due to poor provenance and the unsupported claims made by the dealer.

THEFT ALERT

2008-03-05T14:08:00.011-05:00

On Monday, February 25, 2008, 175 pieces of Pottery including Rookwood, Weller, Roseville, Owens, Van Briggle, Hampshire, Pillin, and Fulper was stolen along with a cargo Trailer from Belhorn Auction Services in Hilliard, Ohio (suburb of Columbus). All of the pieces of this pottery were to go to auction at the American Pottery Association's Annual Convention on April 23-27. Money made from off the commission of the pottery sale was to benefit the American Pottery Association.

Although all of the names of pottery listed above are popular, Rookwood Pottery is especially desirable in our area due to the Northern Kentucky and Cincinnati connection. Rookwood can be easily identified as it is usually well-marked. The most famous factory marks on the base include a sun-like symbol which dates the piece. This system began in 1886 with a line (or a ray of the sun) added each year thereafter.

If you have information regarding this theft or if you recognize any of the attached photos please contact the Hilliard (Ohio) Police Department at (614) 876-7321. If you would like to see video of the vehicle, more pictures of stolen pottery, or other information regarding the theft please go to the Belhorn Auction Service website.

EAT

2008-03-05T12:57:00.003-05:00

Over the weekend I completed an on-site inspection for an appraisal in Maysville, Kentucky. When I was finished there were a couple of hours left in the day to explore. Located on the banks of the Ohio, nestled below a cliff, the town incorporates old architecture with a good museum and some interesting art galleries. The most unusual gallery was EAT (Exquisite Art Treasures). The gallery owners moved to Kentucky from Beverly Hills fifteen years ago and restored the old EATS building (so called because of the restaurant that used to be there.) Modern, a bit edgy, and very interesting, EAT could be located in New York. But it is not. It's in Maysville. Long time importers of stones and other natural treasures, the owners teamed up with jewelry artists to create one-of-a-kind pieces. There are also Geodes, mineral specimens, framed butterflies, fossils and other natural creations in the space. Angel Wings: Geode
Jewelry has long been considered a good collecting area. Although I do not appraise jewelry I know that a well-made item with good quality stones will bring top dollar in the future. As a collector you want to find good style, high quality, and something that is rare and coveted by many. Most importantly, you want your collection to consist of items that excite you. Maybe you can find your next treasure at EAT. At the very least, you will have the opportunity to visit one of the country's most beautiful and historic small towns.

LOVE...WHAT'S IT REALLY WORTH?

2008-03-04T10:57:00.014-05:00

painted aluminum
72 x 72 x 36 in.
Year: 1966 -
Printing/Casting:2000
Edition:5/6 Signed
Sotheby's Paris
December 12, 2007
Sold For: $1,227,352

Today I found this website http://www.1millionlovemessages.com/ which is dedicated to blogging about love and love messages. Although it has nothing to do with appraising or art, it did make me start thinking about famous art images depicting Love. Perhaps the most famous and iconic of all images relating to love is Robert Indiana's LOVE. This image was recreated in many mediums by the artist including oil, aluminum, silkscreens, rugs, and several more. The original image was made for the Museum of Modern Art's 1964 Christmas Card. Each of these pieces sold for different prices based on a variety of factors including, medium, year of production, color, quality, size, signature, and provenance.(successive history of ownership)
If you would like to see LOVE for yourself, the Indianapolis Museum of Art owns a sculpture version which they display outside the museum.

1.Screen Print in colors (left)
18.1 x 18.1 in.
Year: 1997 -
Edition: 38/150
Signed
Christie's New York
February 8, 2008
Sold For: 4,375 US$ PREMIUM
2.Oil on Canvas (right)
12X12 in.
Year: 2003 -
Description
stamped with the artists initials, VH and dated 03
Sotheby's London
February 28, 2008
Estimate: US$ 68,479 - 88,045, UNSOLD

BRINGING HOME THE BACON

2008-03-03T08:57:00.002-05:00

On paper, Francis Bacon probably wouldn't look that promising to wealthy collectors during the 1930s. Never formally trained in art, Bacon began paint before he moved to London in 1929. There, he established himself as an interior designer and as a furniture designer. By 1934 he was organizing group shows and solo shows and soon after destroyed much of his own work. He did not paint intensively again until 1944. After that date his works began to sell very quickly.

2007 was a very good sales year for Bacon's work. In fact, it was the best year ever. In that year seven canvasses sold for more than $10million a piece but on February 6th of 2008 experts claimed the market must be softening when a well-made Bacon triptych sold for just under the estimated value of £25 million and sold for £23.5 million ($46.3 million) instead. They could not have been more wrong.

By 1969, during one of his most prolific periods, Bacon finished Study of Nude with Figure in a Mirror (seen above). On February 27, 2008 this piece went to auction and sold for the auction night high of £19,956,500. This, during a sale at which new auction records were set for six other major artists. According to Alexander Branczik, a contemporary art specialist at Sotheby's "this would never have been sold at auction if it wasn't going to achieve £18m." In other words, the private collector noticed the rising prices of Bacon's work and knew that now was the right time to sell.

Ultimately, this is the point of this posting today. Most people will tell you to collect what you like and enjoy it without a thought to future value. I know from experience that even if collectors claim that this is their motivation, money always plays a part in it. Everyone wants to have good taste and everyone wants to make a wise investment. The only way to do this is to work hard at understanding the market you are interested in. Have the artist's prices risen in the last five years? If you have been looking at their work for a while do you think they show improvement or a development of style? Are they making work that reflects a new and exciting trend or does it look exactly like something that was made 100 years ago? Ultimately, this is what I do as an appraiser. I am constantly evaluating your work in relation to works of similar subject, style, size, condition etc. that have sold in the past. I am making value judements based on my experience looking at art and studying the marketplace. You too, can become an expert if only in a particular style or with a particular artist. Who knows, sooner, rather than later you might be bringing home the Bacon.

ART UNDER $2500

2008-03-02T12:07:00.002-05:00

You probably know by now that Louisville has a great art scene. Galleries abound in downtown, Crescent Hill, and the Highlands. But did you know that there are also a lot of great art buying opportunities in the surrounding areas?

One of my favorites is the Cincinnati Art Galleries http://www.cincyart.com/.

This auction house is one of the best in the region for high quality art. They specialize in Rookwood Pottery but also sell wonderful paintings, furniture and books.

As an appraiser, one of my jobs is to follow the trends in art. Like other creative forms, art reflects what is going on in society as a whole. Right now there is a pull toward clean lines and bright colors. Cincinnati Art Galleries show "Robert Herrmann - Cincinnati's Precisionist" running from March 8-April 12 is a good example of that trend. Herrmann studied art at the University of Cincinnati (among others). He created images of New York, Cincinnati, and Washington D.C. and his style is defined by the crisp lines and details of his images. This artist never showed his work in his lifetime and probably never sold anything during is life either. After his death in 1996, his pieces were shown in a one man show in Cincinnati. Today, they are being offered again. Although investing in art is tricky, Herrmann's work is still relatively inexpensive. If you like it (see picture above or go to the website) now may be the time to invest.

I WISH THE VALUE WAS HIGHER

2008-03-01T18:26:00.005-05:00

Today I did an appraisal of one painting which was 170 miles from where I live. Usually, I reserve distance appraisals for people with more than one thing but the client was enthusiastic about the historic aspect of the painting so I knew that it wouldn't be a wasted trip either way. Yes, value is important but historic significance is just as important in my opinion. If I complete the research and find out that the painting is only worth $100 I hope to at least give my client information about when the piece was created, who created it, how they were educated etc.

As an appraiser I want your art to be value. I take no pleasure in telling you that your piece is a 1990s photocopy with no value. But it is what it is. I don't make the decision about what the value of a piece is but too often the appraiser gets blamed. I have turned down jobs when a client calls me and tells me that another appraiser looked at the piece ago and said it wasn't worth much. The chances are, that appraiser was correct and I will just be wasting the client's time and money. If the client tells me that they have discovered important paperwork relating to the piece (like a receipt that it was purchased from the Kennedy Estate) then I will willing to reappraise the item. Most of the time though the piece has been inherited from a relative who told them that it was worth a certain amount and the client just can't get past it. Too often there are stories to go along with the piece that just can't be substantiated (like 'this belonged to Henry VIII mistress'). There are stories like that in my family too and I grew up believing them. It turns out that some of the stories are true and some of them are not. Do you remember the game "telephone". If the provenance (successive history of ownership) of the piece is not written down, it often gets confused after several generations. "This piece looks exactly like the one hanging Terra in Gone with the Wind but is just a reproduction" becomes "This piece was hanging in Terra during the filming of Gone with the Wind". Many people do not have enough emotional distance from their art (me included!) and can not see past the stories that have been passed down to them.

The one drawback of my job is that for better or worse I am the messenger. I tell you what other people would be willing to pay for your piece at auction or in a gallery based on what others like it have sold for in the past. I am also the one that has to tell you that it is not an original painting or antique poster but just a really good reproduction. So, the next time you need to get something appraised remember that the appraiser hops in their car and drives to your house with all of their fingers and toes crossed. After all, it is easier (and more fun) to be the bearer of good news.

STOLEN ART

2008-02-29T17:11:00.009-05:00

So you've had your artwork appraised by a qualified appraiser and you've itemized it on your insurance. Great! But what if it is stolen? Could it be replaced by a piece of similar size and quality or would you still be heartbroken? If so, the ART LOSS REGISTER may be for you.

ART LOSS REGISTER
This database is accessed and used by investigators and law enforcement worldwide. According to their website, 300,000 auctions per year are investigated. If you register your art with the ALR there is no charge. That way, if your artwork is stolen and then the thief tries to sell it at auction the ALR will notice and alert you. If your item is recovered you will be charged a recovery fee at that time. It is also important to note that works of high value will likely be investigated through this website by your appraiser. http://www.artloss.com/

FBI ART THEFT PROGRAM
This crime team is composed of twelve special Agents and three trial attorneys. They investigate stolen art by accessing the National Stolen Art File. The team was formed in 2004 and since that time they have recovered over 850 items worth more than $65 million. http://www.fbi.gov/hq/cid/arttheft/artcrimeteam.htm

GET YOUR PIECES APPRAISED BEFORE ANYTHING HAPPENS
What if something happened to your fine art? What if it burned in a fire, got water logged, or stolen? Have you had your pieces propery documented? An art appraiser can save art owners a lot of heartache by properly identifying and recording the artwork. When something happens to an artwork the insurance company will compensate you. Make sure that before something happens the appraiser does not have to rely on your description of the property. At that time, it may be too late. If you are not in the position to have your property appraised be sure to at least take photos and measurements. It is important to get a close shot of the artist's signature as well. Once you have completed this, take the documentation to a safety deposit box for safe keeping.