An example of an “Enrico” painting, otherwise known as a “starving art painting,” which were as mass-produced as a painting could be.

The 14th item in this series of Unloved Antiques is really more decorative arts than antique, but we get a huge number of requests for information regarding this item, more than for just about anything else. It’s what I call the “starving artist” painting. Based on the number I see, I think every home in North America has at least one over the mantle or in a spare bedroom.

By definition “starving artist” painting are those semi-impressionistic paintings in a heavy Impasto* style, and most depict Parisian street scenes, cafes or crashing waves on a beach, with a lighthouse perched on a cliff in the distance. Most tend to have single “first name” type signatures, such as “Enrico” or “Ricardo”—in some cases the signature is almost illegible—and sometime the last two digits of a date; E.G. “76” for 1976. It’s not uncommon to find almost identical examples of these painting showing up on online auctions sites or free appraisal forums.

At one particular forum I participated in some years ago, we had six people within one week respond to an initial request for information about their “Enrico,” saying they too had the exact same picture, but with different signatures.

While this seems puzzling to the owners of such paintings, it’s really not all that complicated. These paintings are produced as multiples of the same scene under contract for art wholesalers. Art wholesalers have been staging traveling “Starving Artist” or “Art on a Fence” sales in hotel conference rooms since the 1970s. These events are usually heavily advertised as a chance to buy “Genuine Oil Paintings at discount prices,” also offering upscale framing options, on which they make most of their profit. Each sale will have a wide selection of painted scenes, if a particular street or beach scene sells well, the wholesaler will order multiples of it for the next show. The signatures on these paintings are often just pseudonyms, the real artist’s name or even where they were painted remaining unknown.

Values for these paintings depends a great deal on the quality of the painting, subject matter,
size and the frame, but for the most part, at auction it’s not uncommon to see such paintings sell
for less than $50. Still, one has to be very careful when dealing with oil paintings; to release any possibility of doubt, any example of original artwork such as an oil painting or water color
should be examined by a qualified fine arts appraiser.

———————————

*Impasto: In English, the borrowed Italian word impasto refers to a technique used in painting,
where paint is laid on very thickly, usually thickly enough that the brush or painting-knife strokes are visible. When dry, impasto provides texture, the paint appears to stand proud above of the canvas.

———————————

Previous “Unloved Antiques” articles:

• Unloved Antiques: ‘Limited Edition’ Collectors Plates
• Unloved Antiques: Singer Sewing Machines
• Unloved Antiques: Decorator Prints
• Unloved Antiques: Commemorative Whiskey Decanters
• Unloved Antiques: ‘Bronze’ Flatware
• Unloved Antiques: 1847 Rogers Brothers Flatware
• Unloved Antiques: Hummel Knockoffs
• Unloved Antiques: National Geographic Magazines
• Unloved Antiques: Dragonware
• Unloved Antiques: 19th Century Religious Prints
• Unloved Antiques: Depression Glass
• Unloved Antiques: Stradivarius-Style Violins
• Unloved Antiques: 19th-Century Pump Organs

Mike Wilcox, of Wilcox & Hall Appraisers, is a Worthologist who specializes in Art Nouveau and the Arts and Craft movement.

———————————

WorthPoint—Discover Your Hidden Wealth

An Art Deco figurine WorthPoint member Anne P. bought at a charity auction. After giving it a good once-over, she noticed the piece was signed and there was a foundry mark and started wondering who made it, when and what it might be worth. The answers were: Pierre le Faguays, 1926 and a lot more than she paid for it.

Anne P. has an interesting figurine that she bought at a silent auction fundraiser last month. She bid on it because it was the only thing at the sale she was remotely interested in and buying it would support a cause she felt strongly about. She’s since had the time to examine it, found it was signed and had a foundry marking. At the sale there was not much information provided other than it was a “Art Deco-style figurine, circa 1960.” Now that she’s found a signature, she’s interested in finding out its true origins, how old it really is, and if she got a good deal at $125. Anne contacted WorthPoint’s “Ask a Worthologist” service to inquire about this piece, its origins and value. Her inquiry was forwarded to me, here’s her question:

“I bid on this figurine at a silent auction for a local Green initiative project. Everything in the sale was donated, but most of what was in the sale did not appeal to me, except this piece. It was just listed as “Art Deco-style figurine, circa 1960” and no other information was available about it. The woman who had donated it had herself only owned it briefly and knew nothing about it other than what an interior decorator friend had told her. When I was thinking of where to put this piece for display, I decided to examine it and found two markings on it: a name that looks like Fayral and some kind of company stamp. The figurine appears to be bronze and is about 11 inches tall. I’ve heard that signed bronzes are generally the originals and I’m curious about who made it, how old it is and what it’s worth.”

Here’s my response:

You did well on your purchase. “Fayral” is one of two pseudonyms (Fayral and Guerbe) used by French sculptor Pierre le Faguays (1892-1956 ). “Fayral” and “Guerbe” were the family names for his mother and his wife, respectively. He was born in Nantes, France, and became famous for the illusion of movement he gave his dancers, winning him a medal of honor for his work in 1927. He was a close friend of Max Le Verrier*, owner of the Le Verrier foundry, which produced most, if not all of his pieces.

The Le Verrier foundry mark, which identifies this piece as an original.

The originals have a foundry mark, like the stamp you mentioned in your request. The Fayral figures have been known to be recast from original molds and modern copies are still in production, which has depressed prices for older examples without foundry marks. The one you own is an original, circa 1926, and is cast in white metal with a bronze patina. This patina is part of its original design and, whatever you do, please resist the urge to polish it! That would ruin its value.

In the current market, comparable examples with the original Le Verrier foundry marks sell at auction in the $800-$1,200 range.

* Max Le Verrier, (1891-1973), a fine sculptor in his own right, opened his own foundry in 1926, casting pieces for a wide range of French sculptors of the period, including Pierre Le Faguays, Marcel Bourain, Janle, Denis and Charles. From the very beginning, his foundry had a reputation for very high quality work and exceptional detailing .

Mike Wilcox, of Wilcox & Hall Appraisers, is a Worthologist who specializes in Art Nouveau and the Arts and Craft movement.

———————————

WorthPoint—Discover Your Hidden Wealth

This is a good example of an 1890s print of a young girl crossing a treacherous bridge with rotten boards, escorted and protected by her Guardian Angel. Like many, the print itself has been cut down to fit an existing frame, in the process removing the name of the publisher, date, title and the artist. Most framed prints of this type often sell for less than $45. However, the frame is often worth much more than the print, as in the case of this large hand-carved Black Forest frame, which can sell for more than $150.

The tenth item in this series of “Unloved Antiques” is late 19th- to early 20th-century religious prints, such as those depicting Patron Saints, Guardian Angels or the Madonna were very popular from the turn of the 19th century through the 1930s. Virtually any Catholic home—particularly those of European origins of the period—would have an image of a Patron Saint in the home.

Depending on the family occupation the Patron Saint could mirror the families’ livelihood, such as Peter the Apostle, the patron saint of popes, fishermen, fishmongers, sailors, bakers,
harvesters, butchers, glass makers, carpenters, shoemakers, clockmaker, blacksmiths, potters, masons, bridge builders, cloth makers. Or it could be St. Anne, who is the patron saint of housewives, grandmothers, cabinet makers, unmarried women, women in labor and miners.

While not mass produced in the modern sense of the term, these images were printed in very large numbers, marketed through church fundraisers or awarded as prizes for perfect attendance at Sunday school or as Confirmation gifts. In some cases, these prints a were part of a family shrine displayed on the mantel piece along with other religious symbols, or simply hung on the wall in a place of reverence. The one shown above is a good example of an 1890s print of a young girl crossing a treacherous bridge with rotten boards, escorted and protected by her Guardian Angel. Like many, the print itself has been cut down to fit an existing frame, in the process removing the name of the publisher, date, title and the artist. In some cases, these prints have been matted, with the matting covering the publishing information.

The only way to view this information—if it is still intact—is to remove the print from the frame and matting. Removing the old paper backing and matting will not lower the value of prints like this and replacement of both will actually enhance what little value they have rather than depress it. Most framed prints of this type often sell for less than $45.

However, examples like this one in a nice, large hand-carved Black Forest frame* can sell for more than $150, largely due to the value of the frame rather than the print. Dealers often buy religious prints with salable frames like these and replace the print with more marketable examples of the same period.

* Black Forest frames of this type generally date from the late 19th century and are generally referred to as “Black Forest Carvings,” after the fact that most of them were thought to have been produced in the Black Forest region in Germany. Black Forest carvings are more often than not actually Swiss in origin rather than German. However, recent research indicates the bulk of it was made in the Swiss town of Brienz, where by 1910 some 1,300 carvers were working in the vicinity to fill the demand of Victorian tourists who were taking in the spas of Brienz, Luzern and Interlaken.

———————————

Previous “Unloved Antiques” articles:

• Unloved Antiques: ‘Limited Edition’ Collectors Plates
• Unloved Antiques: Singer Sewing Machines
• Unloved Antiques: Decorator Prints
• Unloved Antiques: Commemorative Whiskey Decanters
• Unloved Antiques: ‘Bronze’ Flatware
• Unloved Antiques: 1847 Rogers Brothers Flatware
• Unloved Antiques: Hummel Knockoffs
• Unloved Antiques: National Geographic Magazines
• Unloved Antiques: Dragonware

Mike Wilcox, of Wilcox & Hall Appraisers, is a Worthologist who specializes in Art Nouveau and the Arts and Craft movement.

———————————

WorthPoint—Discover Your Hidden Wealth

WorthPoint member Melanie R. inherited this bronze figurine some years ago from her aunt, who collected horse racing memorabilia for years. She doesn’t want to sell it but is concerned about insurance coverage in case of fire or theft. She contacted WorthPoint’s “Ask a Worthologist” service to inquire about this piece, its origins and value.

Melanie R. inherited this bronze figurine some years ago from her aunt, who collected horse racing memorabilia for years. Melanie has no idea where it was purchased; only that it had graced the fireplace mantel since the 1970s, when she was a little girl. She doesn’t want to sell it but is concerned about insurance coverage in case of fire or theft. She contacted WorthPoint’s “Ask a Worthologist” service to inquire about this piece, its origins and value. Her request, printed below, was forwarded to me:

“I inherited this bronze from my aunt years ago. It’s signed J.W. Goodand measures about 13 inches high and about 15 inches long. My aunt was crazy about race horses and used to go to the races whenever she could. She collected mainly porcelain horses and autographed and dated photos of grand champions like Seabiscuit and Northern Dancer. I always liked this bronze best; it was the first thing you saw when you went into the living room, sitting right on the fireplace mantel. I don’t want to sell it, but I need to know a bit about it and a value for insurance in case I have a break-in or a fire, I’d also like to know if I can polish it because it has tarnished look to it.”

Here’s my response:

The signature stands for John Willis Good, who was born in London, England in 1845. Beyond that, there is not much biographical data is available about the man, who committed suicide at at the age of 34. What is known is that he took a probationary course at the Royal Academy of the Arts in London and went on to study under the sculptor Sir Joseph Edgar Boehm (English, 1834-1890). Good exhibited at the Royal Academy 15 times between 1870 and 1878, with pieces titled “Putting Hounds into Cover” in 1870, “In the Paddock” in 1874 and “Hunter” in 1878. He also exhibited a collaborative work with the painter and sculptor Charles Lutyens entitled “Prince of Wales, a Celebrated Clydesdale Horse” in 1873. Good shot himself in his studio on Fulham Road in London in 1879.

This example however is not actually a piece originally made by Good, but based on his work. Such pieces are generally referred to being “after” an artist’s work, and this one would be termed “After Willis Good.” Most such pieces were made after his death and well into the 20th century; this particular piece is still in production and sold by a number of foundries. Values for a bronze figure in an artist’s style depend a great deal on their vintage, the size, quality of the casting and condition. No attempt should be made to polish this piece; the weathered bronze patina is original to this pieces design and adds to its value. All that’s required of bronze figures is regular dusting.

Currently, the work of most 19th century sculptors is being reproduced on a grand scale, which has had a negative effect on the secondary market. This one appears to be a later example of a type recast since the 1970s. That said, the replacement cost even for a fairly modern example like this is still close to $1,000.

Mike Wilcox, of Wilcox & Hall Appraisers, is a Worthologist who specializes in Art Nouveau and the Arts and Craft movement.

———————————

WorthPoint—Discover Your Hidden Wealth

“Cupid Awake” by photographer Morris Burke Parkinson. This print was produced from 1897 through to the 1920s, if not later, and distributed by the Taber Prang Art Company of Springfield, Mass., and often sells for less than $50 in a good frame.

The third item in this series of “Unloved Antiques” (read the first two installments here and here) is the Decorator Print, like this one titled “Cupid Awake” by photographer Morris Burke Parkinson. This print was produced from 1897 through to the 1920s, if not later, and distributed by the Taber Prang Art Company of Springfield, Mass., and often sells for less than $50 in a good frame.

Such old prints are often the fodder for “Lost Treasures” stories one often finds in the media, such as “Old Print Found at Curb Worth Thousands!” or “$5 Yard-Sale Art Find Turns Into $80,000 Winner” headlines. While this does sometimes happen, the odds of it happening to you or me are right up there with winning the lottery; something like at 14 million to one. Even at these odds, we all still keep an eye out for that neglected Picasso in the dumpster, the Raoul Dufy watercolor in an outhouse at a country auction and the perennial favorite, rare Currier and Ives prints, like “Home to Thanksgiving,” in a box lot of old sealers.

The fact is that these finds are generally low-cost copies of the works of a famous artists, made from the turn of the 19th century through the 1940s and sold in Five & Dime stores. Some, particularly the Currier and Ives variety, were formerly a page from an insurance company or feed store calendar Grandma thought too pretty to throw out and framed it. So, apart from stories in the media of great finds, why are these prints believed to be so valuable? Like many unloved antiques it’s all about perception and the aura of mystery. Unlike a great many antique items such as china, figurines, furniture and lamps that are identifiable by well-documented markings, the markings on prints are often deemed the realm of the art expert’ to decipher, and the general public the perception often is that if an Expert is Needed = Big Value. While experts do have their place, and should be consulted if there is any doubt at all, there’s much you can do on your own to determine what you are looking at.

There are whole books devoted to identifying prints, their editions, biographies of the artist and the publishers involved, and I highly recommend that anyone interested in such information to pick them up. But there is one simple trick you can use that eliminates much study of those dusty volumes and requires only the use of a dollar-store magnifying glass and remembering one small word: “Dots.”

Copies of original prints are images made up of thousands of tiny colored dots. You can usually spot these dots with a cheap magnifying glass.

Mass-produced 20th-century prints are produced much in the same way newspapers put photographs into print: with an image made up of thousands of tiny colored dots (as can be seen in the blown up image above). If you look closely at a picture in a newspaper, the entire image is made up of a series of tiny dots, looking almost like a honey comb. The vast majority of original prints are various forms of etchings, engraving or lithographs, all of which have their own unique markings, and require some training and practice to identify, but one thing they won’t exhibit is the all-over honey comb of dots found on a mass-produced print.

Mike Wilcox, of Wilcox & Hall Appraisers, is a Worthologist who specializes in Art Nouveau and the Arts and Craft movement.

———————————-

WorthPoint—Discover Your Hidden Wealth

This lithograph print in the style of George Wright is something that often comes in for appraisal. Those new to the subject will often have a hard time telling the difference between lithography, etchings, engravings and offset printing.

One item we see more of than just about anything else in the appraisal & antique business are late 19th- to early 20th-century “equestrian prints,” generally depicting fox hunting, or as Oscar Wilde put it, “The unspeakable in pursuit of the Inedible.”

Equestrian prints of were quite popular during this period, most were based on the work of famous 18th- and early 19th-century artists. The prints themselves were produced in a variety of formats, such as lithographs*, etchings, engravings and offset printing. The one above, like most of this type is a late 19th-century English print, this one is after originals by George Wright (British, 1860-1942), who is best known for his horse portraits, hunting and coaching scenes.

Each type of print has its own value, lithographs and etchings produced by permission of or by the original artist tend to be the most valuable, as their production is limited by the process itself to under 1,000 copies, as the quality of the print declines with each copy due to the wear on the printing plate or stone. Prints of this type are generally marked with the title of the print, the name or signature of the engraver/artist, the publisher, date and address. In some cases, an edition number can also be found, which indicates the number of the edition and size of that printing run, for example the numbers “250/800” would indicate the print was number 250 of 800 copies printed.

Unmarked prints, such as the one depicted, are nearly always mass produced “offset printed” examples, produced much the same way as modern posters. These were made in great numbers to fill the rising demand for decorator art by the middle classes during the late 19th century. In many cases, such prints were often used on calendars, and later cut down to fit existing frames, the titles and artist’s reference removed.

Values for these pieces are still rather modest because they still remain available in large numbers. Today, the mass-produced examples like this one—matted and in a good frame—often sell as decorative pieces in the $75-$150 range.

* If you come across a print and are not sure what you are looking at, use these definitions to determine what you are looking at:

Lithography (if you are not sure, it is pronounced: le-thah’gruh-fee): In the graphic arts, a method of printing from a prepared flat stone or metal or plastic plate, invented in the late 18th century. A drawing is made on the stone or plate with a greasy crayon or tusche, and then washed with water. When ink is applied it sticks to the greasy drawing but runs off (or is resisted by) the wet surface allowing a print—a lithograph—to be made of the drawing. The artist, or other print maker under the artist’s supervision, then covers the plate with a sheet of paper and runs both through a press under light pressure. For color lithography, separate drawings are made for each color.

Etching: An intaglio printing process in which an etching needle is used to draw into a wax ground applied over a metal plate. The plate is then submerged in a series of acid baths, each biting into the metal surface only where unprotected by the ground. The ground is removed, ink is forced into the etched depressions, the unetched surfaces wiped, and an impression is printed. Also, both the design etched on a plate and an impression made from an etched plate. Too often confused with engraving.

Engraving: A method of cutting or incising a design into a material, usually metal, with a sharp tool called a graver. One of the intaglio methods of making prints, in engraving, a print can be made by inking such an incised (engraved) surface. It may also refer to a print produced in this way. Most contemporary engraving is done in the production of currency, certificates, etc.

Offset Printing: The printing process in which an inked image on a metal or paper plate is transferred to a smooth rubber cylinder and then to the paper.

Mike Wilcox, of Wilcox & Hall Appraisers, is a Worthologist who specializes in Art Nouveau and the Arts and Craft movement.

———————————

WorthPoint—Discover Your Hidden Wealth

Sam L. bought this ugly brute because he felt sorry for him, but he didn’t know a thing about him. He engaged WorthPoint’s “Ask A Worthologist” service to discover its value.

Sam L. bought this bronze figure at an antique store about five years ago. He found it so ugly he almost felt sorry for it and brought it home. The dealer who sold it specialized mainly in furniture and didn’t know much about it. After many inquiries about it, he recently he decided it was high time to find out more about it. He contacted WorthPoint’s “Ask a Worthologist” service to check its value and history. The question was forwarded to me. Here’s Sam’s question:

“I bought this poor, ugly thing from an antique dealer. The place was mainly full of furniture, and the dealer said it came in a trunk he had bought at contents sale and that was all he knew about it. He only wanted $300 for it and I figured it had to be worth at least that much. It looks like some kind of Oriental monster. He measures about 20 inches tall. A number of people who are into art and decorating commented on it at a party I had recently, and I felt a bit embarrassed that I hadn’t a clue what it was. I don’t want to sell him; I just want to know more about this ugly brute’s history, his value at auction and if I should polish him.”

Here’s my response:

Based on your images, this is a Japanese bronze figure of an Oni, which is a sort of Japanese devil. The Oni are creatures from Japanese folklore, and depending on the translation, described as demons, devils, ogres or trolls. They are popular characters found a variety of Japanese art and literature. The depictions of Oni usually portray them as humanoid, but hideous, with wild hair, sharp claws and devil-like horns on their foreheads. Some Oni are made with unnatural features such extra toes, fingers or an odd number of eyes.

Most measure between 10-20 inches in height and can be found holding lotus leaf trays, incense burners, or—like yours—just standing guard. The alien appearance of these pieces is heightened by their tarnished appearance, which highlights their odd features of these Japanese bronzes. This tarnish is referred to as “patina” and is part of its original design; no attempt should be made to polish this piece in any way, as the patina on it is part of the original decoration. A dusting once in a while is all that is required.

In regards to value, comparable bronze Oni to yours now often sell at auction for more than $2,500.

Mike Wilcox, of Wilcox & Hall Appraisers, is a Worthologist who specializes in Art Nouveau and the Arts and Craft movement.

———————————-

WorthPoint—Discover Your Hidden Wealth

Mechanic Fire Society fire buckets painted by John S. Blunt.

I came from a town right outside of a small New Hampshire historical harbor city, Portsmouth. It was first settled in 1630 and has wonderful early brick architecture and early wooden homes and structures. It is a treasure trove of regional antiques of all sorts. There are many renowned pieces originating from Portsmouth, including exceptional furniture in the Colonial & Federal era. My father was lucky enough to buy a historical waterfront home that was built in 1672. When he bought the property, it was loaded full of period antiques, which he sold at auction for the owners for a whopping $40,000 in the early 1970s. That was a very big auction then. To compare the scale of it, my father bought the real estate for $30,000.

There are still a number of homes that have never been out of family ownership in this town; they are passed down from generation to generation and often full of period antiques. A lot of antiques were disposed of over the years and some pieces migrated to the attics & barns in various stages of repair. There is nothing like being in the auction business when someone calls you to come empty out one of these amazing places. You get all dusty and dirty, but the treasure hunt is on and what a rush.

A fraternal organization contacted me in 1980s and said it was bequeathed a few items from a historical family where the last of the generations had recently passed. When I first arrived they said that I should not get too excited, it was only a few pieces. There were three unsigned portraits, consisting of a couple and a single woman. It was obvious the paintings were by the same hand and they had a great folk art look to them. They were all seated and I remember the couple had matching opposing drapes in the background. The backs of all the canvases had a red tint, which was unusual to me. Then they brought out a pair of fire buckets and I thought my eyes were going to pop out. They were beautiful decorated with dramatic eagles and had the family’s name and both were inscribed “Mechanic Fire Society” in banners.

A pair of portraits of a lady and a gentleman by John S. Blunt.

Fire buckets were made of thick leather hide and tightly stitched. They are tanned or painted and almost always stenciled with the family name and sometimes decorated. They have a swinging handle joined by rings to the bucket itself. These buckets were for the use of a fire brigade that was organized by creating a line of people from the fire to a water source. Sometimes the water was several blocks away, so you can imagine the scale of people that could include performing the task. The buckets would pass empty from hand to hand traveling to the water and back full to douse the fire. The Mechanic Fire Society was one of many organized societies in Portsmouth that were trained to perform this task. Fire buckets hung just inside the door of these early homes and usually had a bed wrench and a valuables bag inside them. You may think it is humorous to have a bed wrench, but beds were treasured in colonial times and they were made to quickly knock down and get out onto the street for safekeeping. Owners of the properties in danger would race back and forth grabbing what they could before fire engulfed their home. Furniture often had brandings on them of the family’s name so they could be identified post fire. These are called firebrands and are often mistaken as the furniture maker when found on pieces.

Getting back to my new consignment, I asked what information they had about the lot. The only information they had was, they assumed everything originated in Portsmouth.

I knew I had something good, but had to think on how to start my detective work. I called an old friend, the late Joe Copley. I had become friends with Joe and there was no one who knew more about Portsmouth-area history and the early artisans then he. Joe always shared his knowledge freely and had amazing in depth stories. He would never take a fee for any research he did or any of his information. I would ask him how he knew so much about whatever it was we were talking about and he’d simply reply, “Joe Knows” with a smile.

Unknown lady with gold comb by John S. Blunt.

Mrs. Miller of Newton, New Jersey, c. 1830 by John S. Blunt.

So Joe came over to my auction gallery the next day to look at the pieces. While looking at them one at a time he kept saying, “hmm, yah, hmm.” After a few minutes, he said that he was pretty certain that the whole group, even the fire buckets, were painted by the same artist, John Blunt. He suggested that I go to the Portsmouth Athenaeum Library and see what they have for the fire society related to the family’s name on the fire buckets. The Athenaeum is a beautiful, early brick building with many early local historical treasures. I went there the next day and asked if I could look through everything related to the Mechanic Fire Society. I scanned through the minutes of meeting after meeting and—eureka!—found the induction of the family named on the buckets.

The Internet was not around in 1980s to surf for additional information. I had to go to the Portsmouth Public Library to find out about the artist. With help, I found the Portsmouth, N.H., artist John S. Blunt (1798-1835). There were no images of his work available in the public library at that time. I later realized I walked right by a John S. Blunt landscape on my way up the stairs to the Athenaeum Library. I asked for help once again at the Athenaeum, and they told me about a book to send away for on the artist titled “The Borden Limner.”

The work produced during John S. Blunt’s short life was unknown for many years. He was coined the “Borden Limner” after portraits in New Bedford, Mass., of Captain Borden and his wife. The Borden Limner was later identified as John Samuel Blunt through the artist’s ledgers by comparing entries to known portrait examples. The late Dr. Robert Bishop discovered this through his research. There were 250 entries of works by Blunt, and only 121 have been located today. Deborah Child is currently working on the Blunt catalog raisonn’e and eagerly looking to locate more works.

I sent away for Dr. Robert Bishop’s book and waited an eternity for it to arrive. Pre-Internet, this is what you had to do . . . wait.

I remember the package finally arriving and I was very excited to see the images were in the exact style of the portraits I had. The red paint on the back of the canvas I spoke about earlier was noted. As I looked through the pages and, low and behold, there was an image of fire buckets with identical style and quality decoration as the ones I had in hand! Mechanic Fire Society fire buckets were listed in John Blunt’s ledger as well.

I now felt confident to advertise the pieces as the works of John S. Blunt. When I contacted the consignors to talk about my discovery, they revealed that they had been offered $5,000 for the lot. They asked me if it would be a good idea for them to accept the offer instead of selling at auction. I gave them a guarantee of $15,000, which is something I rarely do. You have to remember that even though 1980s was not that long ago, prices for objects like these were lower then what they are today.

I spent a little extra on my brochure and on advertising. I featured the fire buckets in trade and local papers everywhere. I had a copy of the Mechanic Fire Society minutes and Robert Bishop’s book for display. I was all ready to go.

Piscataqua River from Noble's Wharf, Portsmouth, New Hampshire, painted by John S. Blunt.

When auction time came around, there were people I had never seen before at the preview and one of them eventually became a very good friend of mine. He was talking to a well-dressed gentleman and as they were looking at the fire buckets for a good deal of time. I heard him say, “You really have to own these.” The gentleman said, “I suppose I do.” I was asked what the estimate was on the pair and I was telling everyone that is was $5,000 to $10,000. I kept waiting for someone to say I was crazy because fire bucket had never really sold that high before.

Auction day came and it was a full house, the consignors were there and everybody became quiet when the fire buckets hit the stage. They started out at $5,000 and quickly made their way to $20,000. Just when I was ready to say “SOLD!” a new bidder jumped in—the “well-dressed gentleman.” When all was said and done, they went out the door at $32,500, a new world record. The paintings sold for around $12,000-$15,000 a piece. The consignors could hardly contain themselves in their seats.

My friend’s client was indeed the proud new owner. He resold them about 10 years ago at an auction for $88,000. It goes to show, when you buy the best, nine times out of 10, it is a wise investment.

A lot has changed since 1980s and a $30,000 item is no big deal in today’s auctions. For me, it was really exciting at the time. Thanks to my good friend Joe Copely, I had a great deal of fun researching and nailing down the Borden Limner’s work.

Since that time, the Athenaeum Library has been renamed: “The Joseph P. Copley Research Library.” As I mentioned above, Joe gave his information freely. During his life, Joe gave of himself for the preservation of Portsmouth’s history and he left his research library to Athenaeum. I dedicate this article to the memory of my old friend.

Martin Willis is Worthologist and auctioneer who owns Tiburon Arts Consulting. You can hear his podcasts at the at Antique and Auction Forum, featuring interviews with key players in the antiques and collectibles trade

———————————

WorthPoint—Discover Your Hidden Wealth

An engraving of the “Naval Engagement Between the Monitor and the Merrimac,” originally painted by James Hamilton. The engraving is by Samuel Sartain.

The greatest expansion of maritime trade, and perhaps the greatest output of steam and sailing ships, occurred between 1850 and 1920. Coincidentally, this period is often referred to as the “Golden Age of Ship Portraiture.”

The Civil War (1861-1865) was the first American war that used vessels driven by steam instead of sailing ships. Few noteworthy examples of Civil War naval art are known because steamships did not inspire artists as sailing ships had. James Hamilton (1819-1878) was one of the few artists inspired by steamships. He is known for his painting of the “Naval Engagement Between the Monitor and the Merrimac.”

“Off The Battery,” by James E. Butterworth, is a good example of his typical, small work. It not only shows Castle Clinton at the southern tip of Manhattan, but also the forest of sailing ship masts that dominated the skyline. This piece sold for $211,500. May 2000.

The end of the “age of sail” had a wide effect on maritime economy, as well as maritime artists. James E. Buttersworth (1817-1894) was a highly regarded maritime painter who switched from views of full-masted sailing ships to yachting subjects. He famously portrayed scenes of the America’s Cup competition, which began in 1851.

“Menemon Sanford”by James Bard, 1851.

Other painters chose to paint the growing number of steamships. Critics consider three painters to be the best in steamship maritime art. James Bard (1815-1897) was one of the first to paint early steamships. In the 1830s and 1840s, he worked with his twin brother, John Bard, who was also a maritime artist at the time. In 1849, James went out on his own and became noted for his steamship scenes in lower Manhattan and along the Hudson River.

The "Shelter Island," by Antonio Jacobsen (1850-1921). Built in 1886, the "Shelter Island" ran from Sag Harbor to Shelter Island, Southold and New York.

Antonio Jacobsen (1850-1921) was born in Denmark and immigrated to New York in 1871. He painted primarily steamship scenes on the Hudson River and the New York harbor. It is estimated that 70 percent of his 4,000 paintings depict steamships. Some critics claim that his sea and sky backgrounds are monotonous and dull, but most consider his portrayal of the steamships themselves among the best.

The Swedish steam freighter Sune of Halmstad in heavy sea, by Reuben Chappell.

Reuben Chappell (1870-1940) was an English painter who specialized in both steamships and sailing vessels. His paintings of steamships are almost always shown in broadside with the vessel slightly tilting towards the viewer. This gives a glimpse of the detail on the deck.

A seascape with steam and sail-powered ship, signed “TW,” sold in June 2006 for $1,840.

Due to the relative scarcity of steamship paintings of the period, they have become highly collectible. Paintings and prints of steamships can be acquired more reasonably than comparable pictures of sailing ships. A collector who wishes to acquire contemporary nautical paintings should look into the American Society of Marine Artists’ annual exhibition, scheduled for 2011. There are also several specialty nautical magazines available that feature articles on maritime painters.

Dr. Wes Cowan is founder and owner of Cowan’s Auctions, Inc. in Cincinnati, Ohio. An internationally recognized expert in historic Americana, Wes stars in the PBS television series “History Detectives” and is a featured appraiser on “Antiques Roadshow.” He can be reached via email at info [at] historicamericana [dot] com.

———————————

WorthPoint—Discover Your Hidden Wealth

Join WorthPoint on Twitter and Facebook.

Ben T., while helping to clear out his aunt's garage, found a small print he thought might be worth something. By using WorthPoint’s “Ask A Worthologist” service, He now knows it’s an etching or aquatint of a Charles M. Capps print.

Ben T., being the thoughtful and helpful nephew, has been helping his aunt go through all the stuff that has accumulated in her garage over the years. While “stuff” might be a generous term to most of the garage’s content, one item caught his eye. Not wanting to toss out something that might be valuable, Ben turned to WorthPoint’s “Ask a Worthologist” service. The question was forwarded to me. Here is the question:

“I’ve been clearing out my aunt’s garage, helping her sort out what she calls it “the treasures from the trash.” Most of the stuff appears to be just trash, but seeing how valuable art appears to be turning up in the news a lot, I thought I’d get you to look at this print. It doesn’t look all that old, and is quite small, measures about 5 inches x 9 inches. As you can see, it’s picture of one of those old Kansas-style farm houses, it has a title “Night Silence” and signature Charles M. Capps that looks like pencil below the picture.”

I was able to identify the artist, who is quite well-known. Ben will have to have it authenticated in person, but this is what I was able to tell him: A very nice find, and though it’s not all that old, I’m glad it didn’t get tossed into the trash pile. Based on the images and the size your print, it is an Etching/Aquatint by Charles Capps (1898-1981), but you’ll have to have this piece physically examined to verify it is an original. As for the artist himself, Capps was born in Jacksonville, Ill., and studied at the Academy of Fine Arts in Chicago and the Pennsylvania Academy of Fine Arts before moving to Wichita, Kan. He’s best known for his depictions of New Mexico, mainly the adobe architecture of Santa Fe and Taos. Capps, a member of the Prairie Printmakers Society, the Society of American Etchers and the Chicago Society of Etchers, was awarded prizes in 1941 and 1948 by the Library of Congress, which houses his some of his work. Other pieces by Capps are in the National Academy of Design, Swedish National Museum and the Carnegie Institute. Generally, his prints were runs in numbers of less than150—typically 75-100—signed and numbered in pencil. In total, Capps did about 80 different prints. This example, “Night Silence,” dates from 1934 and was part of an edition that ran 75 copies. Such prints would be numbered to indicate their place in the edition, e.g. 34 / 75. The fact it is not numbered could mean it was an “artist’s or printer’s proof.”*

.

.

In the current market, copies in this edition and others of similar vintage, subject matter and size by Capps list with galleries in the $1,500-$2,200 range. *The term “artist’s proof” is usually used to describe an impression of the finished print that is identical to the numbered copies. There can also be printer’s proofs which are run by the printer to see how the final image appears, or are copies the printer is allowed to keep. These are generally not included in the count of a limited edition; sometimes the number of proofs could number 10 or more in a small run of less than 100 prints. Mike Wilcox, of Wilcox & Hall Appraisers, is a Worthologist who specializes in Art Nouveau and the Arts and Craft movement.

——————————–

WorthPoint—Discover Your Hidden Wealth Join WorthPoint on Twitter and Facebook.

Jessie D. discovered a print titled “To the Society of Goffers At Blackheath” similar to this one while trying to recycle an old frame. By using WorthPoint’s “Ask A Worthologist” service, it was learned that the print could be a 19th century reproduction of the original.

Jessie D. found an old print hidden behind a framed mirror. Not wanting to toss out something that might be valuable, Jessie turned to WorthPoint’s “Ask a Worthologist” service. The question was forwarded to me. Here is the question:

“This print was found when I was removing a discolored mirror from an old frame I wanted to use. It was under the wooden backing, between it and the back of the mirror. The mirror has hung behind a door in a spare room in my grandmother’s house for years and nobody knows anything about it. It appears quite old, but is in good condition. There is a title on it that reads, “To the Society of Goffers At Blackheath,” and near the top is printed “R. Powell of London.” The piece is about 28 inches by 20 inches. Any information you could provide would be great. We don’t want to throw away a fortune.”

I was able to identify the print and the printer through the photograph, but without inspecting it first-hand. Here is my reply to Jessie:

Well it’s not worth a fortune, but has an interesting story. This print has a long history, and is one of the most copied of the early golf prints. The original “To the Society of Goffers At Blackheath” was based on a painting by Lemuel Francis Abbott (1760-1802) and was issued by Valentine Green as a Mezzotint print, circa 1790. It is one of the first golf portraits ever published, and the Blackheath golf course depicted in the print was a primitive five-to-seven-hole golf affair, its members being wealthy merchants.

Based on the records that survive from those early days, the Blackheath club had 45 members at the time depicted in this print. The print itself shows William Innes (1719-1795), Blackheath’s captain, and an unnamed Greenwich Hospital Naval pensioner serving as caddie. Originally, it was printed in black & white and hand-tinted. Of the 50 first-issue prints, it is estimated less than 15 are still in existence.

Like many early Mezzotints prints, this one has been reproduced as lithographs, etchings, offset prints, etc., since the early 19th century. Without actually physically examining the print, it is difficult to determine the date of issue. But most prints were produced from the late Victorian period to 1920s. The clue to the origin of your print, though, is the name “R. Powell Of London” and the dimensions, both of which match the earlier reprints, which could make this a 19th century reproduction of the original.

Most of these early reproductions currently sell in Fine Art Auctions more than any other market, where the Powell prints list with presale estimates in the $400-$600 range. More recent 20th-century examples of this print can sell for less than $50.

Mike Wilcox, of Wilcox & Hall Appraisers, is a Worthologist who specializes in Art Nouveau and the Arts and Craft movement.

——————————

WorthPoint—Discover Your Hidden Wealth

Join WorthPoint on Twitter and Facebook.

Picasso's "Nu au Plateau de Sculpteur (Nude, Green Leaves and Bust)" sold for 106.5 million last May, the most ever paid for a Picasso.

The concept of a trophy wife is an ancient one. Bathsheba and Cleopatra are examples. A 1950 issue of The Economist magazine called attention to the practice of victorious warriors marrying beautiful women captured in battle. Monarchs often married wives where the trophy rested more in political alliances and land acquisition than physical beauty. Charles (who needs all the help he can muster) and Diana offer a contemporary example.

By the 1990s, trophy wife was a term used to describe the marriage of a financially successful man to a woman whose beauty and desirability enhanced his status among male competitors. The trophy wife was equivalent to a Lamborghini, Patek Philip or New York Park Avenue penthouse. Billionaire J. Howard Marshall’s marriage to Playboy Playmate’s Anna Nicole Smith added a pejorative connotation to the phrase.

Reading the media hype preceding Christie’s International, Phillips de Pury & Co. and Sotheby’s June 2010 London sales of impressionist and modern art, I found several references to the top lots being offered for sale as potential trophies. Applying this trophy concept to fine arts, antiques and collectibles is new. If it becomes acceptable trade speak, it will solidify the idea that desirability at the high-end of any collecting category rests on financial as much or more than aesthetic beauty. Unlike the trophy wife, whose beauty fades over time, the implied assumption is that trophy art’s financial beauty will not. This is a dangerous and possibly false assumption.

Who or what decides if a piece of art is a trophy? At the moment, the answer is money. Which is the trophy—the $106.5-million Picasso painting sold on May 2010 in New York or the $51.2-million Picasso “Portrait d’Angel Fernándezo de Soto” from the Andrew Lloyd Webber Foundation sold in London on June 23, 2010, by Christie’s International? If they are both trophies, how is the $55 million dollar difference explained?

Picasso's “Portrait d’Angel Fernándezo de Soto” from the Andrew Lloyd Webber Foundation sold in London on June 23, 2010, sold for $51.2 million.

In the midst of the Great Recession (do not try telling me and millions of others that it is over), staggering prices are being paid for high-end pieces, many of which set auction or private treaty sale records. Individuals are cashing out of their intangible investments such as bonds and stocks and buying tangibles. Fine art, antiques and collectibles as tangibles are one area into which this available capital is flowing.

Coins, comic books, non-sport and sport trading cards (a.k.a., bubble gum cards) and stamps have developed a grading and encapsulated system; the goal is to create a universal standard through which these commodities can be traded worldwide. Attempts to do this for other fine art, antiques and collectibles have failed or met with limited success.

The determination of trophy status is and always will be subjective. The amount paid is driven by the opinion of someone—a person whose expertise and motive needs to be constantly scrutinized in the present and future. There is no one who is above suspicion, even the buyer. If the buyer’s goal is to buy status in buying a piece of trophy art, antique or collectible, his judgment is clouded from the onset. Advice from experts within the field, investment pundits or auction house personnel is tainted, too, if for no other reason than they profit from the acceptance of their advice.

I was extremely pleased with the balance shown by the media reports of the June 2010 London art sales. In addition to reporting the lots that sold, they called attention to the large number of lots that did not sell. Prior to the actual auction, many of these unsold lots were hyped by the auction houses as trophy pieces. Given the high percentage of lots that did not sell, I am more pleased by those who did not bid and saved their money to buy another day than I am by those who bought into the hype.

When I describe the top five to 10 pieces within a collecting category, I refer to them as masterpiece or ultimate units. A top-notch collection contains at least half of them. Collectors define their importance in terms of desirability and not money, although a connection can be made.

A pair of the ruby slippers worn by Judy Garland in “The Wizard of Oz.”

Because of collectors’ declining importance in determining the significance of what is and is not being sold in the antiques and collectibles marketplace, it is time to accept two truths, no matter how painful: (1) the concept of trophy antiques and collectibles has been around far longer than most are willing to admit; and (2) those who buy these items are not collectors in the true sense. Although a reputed pair of the ruby slippers worn by Judy Garland in “The Wizard of Oz” were sold in an MGM auction in 1950, the concept that a pair was a trophy was established on May 24, 2000, when Christie’s East sold a pair for $660,000 to David Elkouby and his partners, who owned several Hollywood memorabilia stores. They have not surfaced since.

Is trophy the best word to describe these slippers? My first thought is yes. They are trophies. The slippers are one of the movies’ greatest props. While researching the slippers, I found a reference to them as “Genre: Fantasy.” It is hard to dispute the fantasy attribution. There is a sense of unreality to them. Since I have no desire to create two new collecting concepts of trophy and fantasy, trophy is fine for now.

Once again, the question becomes how do you define a trophy antique or collectible? Like the Picasso paintings, the object can be assigned to a specific collecting category or sub-category. A trophy piece should stand alone.

In the past, I have railed against those who tout the one-of-a-kind over a mass produced object. Painters, even Picasso, had their bad days. I have seen more than my fair share of handmade junk; crap that belongs in the landfill rather than a museum or collection. Each piece stands and falls on its own merit in my eyes.

Perhaps this is why I am having so much trouble dealing with the possibility that the only way to define a trophy antique or collectible is its uniqueness. Ideally, it is a one-of-a-kind item. But, the ruby slippers were not one-of-a-kind, they were five-or-six-or-more of a kind—a pair or pairs for dancing, a pair or pairs for close-ups, or a pair or pairs of identical slippers worn by one of the witches. Is size alone enough to differentiate which is which? Trophy clearly requires limitability.

Michael Jackson’s Swarovski crystal-studded glove worn during his 1984 Victory tour sold for $190,000 to Wanda Kelley of Los Angeles.

I briefly considered equating trophy with icon status. In June 2010, Michael Jackson’s Swarovski crystal-studded glove worn during his 1984 Victory tour sold for $190,000 to Wanda Kelley of Los Angeles. Who is Wanda Kelley? Her claim to fame is her statement: “Let’s just say I wasn’t walking out of here without that glove.” Is this glove a trophy icon? For $190,000, one would hope so. Fate decrees otherwise. In November 2009, Michael Jackson’s white glove worn when he first performed his moonwalk for the 1983 Motown 25 television special sold for $350,000. Apparently lead crystals do not a trophy icon make. Further, the auction company touted the white glove as the Holy Grail of Michael Jackson collectibles. Trophy, icon, Holy Grail—what is next?

The last week of June 2010 witnessed a number of hard-to-understand-the-price-paid sales. Julien’s Auctions sold a set of three Marilyn Monroe X-rays revealing a lovely set of ribs (not what you thought I was going to comment upon, was it?) from a 1953 Cedars of Lebanon Hospital visit for $45,000, an Elvis Presley shirt worn during a 1956 appearance on “the Milton Berle Show” for $61,200, and a pair of Michael Jackson’s stage-worn loafers for $90,000, hopefully fumigated and polished before being sold. None of these items are trophies. In fact, they make you wonder if the buyers who acquired them were in the right mind.

It is far easier to agree upon which objects are not trophies as opposed to deciding which are. When I hear trophy, I immediately think of the shelves and boxes full of sports trophies I encounter doing home appraisals. What were once valuable are now junk. The moment of glory and memories associated with them vanished. This my greatest concern with assigning trophy status to fine art, antique and collectible objects. The concept is not permanent. There is no guarantee the next owner, let alone future generations will assign it the same value.

Let’s stay with the tried and true. These so-called trophies are nothing more than the high-end used goods sold in the antiques and collectibles marketplace. We are first, foremost and always will be nothing more than recyclers of other people’s stuff.

—————————————

Rinker Enterprises and Harry L. Rinker are on the Internet. Check out his Web site.

You can listen and participate in Harry’s antiques-and-collectibles radio call-in show “Whatcha Got?” on Sunday mornings between 8 a.m. and 10 a.m. Eastern Time. It streams live on the Genesis Communications Network.

“Sell, Keep Or Toss? How To Downsize A Home, Settle An Estate, And Appraise Personal Property” (House of Collectibles, an imprint of the Random House Information Group), Harry’s latest book, is available at your favorite bookstore and via Harry’s Web site: http://www.harryrinker.com.

Harry L. Rinker welcomes questions from readers about collectibles, those mass-produced items from the 20th century. Selected queries will be answered on this site. Harry cannot provide personal answers. You can e-mail your questions to harrylrinker [at] aol [dot] com. Only e-mails containing a full name and mailing address will be considered. Please indicate that these are questions for WorthPoint.

Copyright © Rinker Enterprises, Inc. 2010

WorthPoint—Discover Your Hidden Wealth

Join WorthPoint on Twitter and Facebook.

Piegan Squaw” by Charles Marion Russell.

Harris J. had what he believed to be a sculpture by a named American artist—if he was to believe a friend—but didn’t know how to identify it. He engaged WorthPoint’s “Ask a Worthologist” service, and it was forwarded to me. Here is John’s question:

“I picked this piece up three years ago at a country auction and don’t recall what I paid for it, but it couldn’t have been more than about $20, as I’ve never been one to throw money around. It has no markings on it of any kind that could identify it, but I’ve been told recently this piece was by a well known American artist. This person had seen it in a museum, but didn’t recall the name of the artist or what the piece was called. I don’t plan on selling it, but would like to know who made it and get a value for it in case I need extra insurance coverage for it.”

Mike Wilcox picked up the challenge and informed Harris that while he probably wouldn’t need to insurance it, the piece is worth much more than the purchase price:

Based on the images you sent in, Harris, it’s certainly worth more than $20. This piece was designed by a very famous artist named Charles Marion Russell (1864-1926), who made the original as a plaster model, circa 1909. It wasn’t until the last few months of his life that he modified the plaster model now known as the “Piegan Squaw” for casting in bronze. The first cast of this model was purchased from Russell’s wife Nancy Russell by George Sack in October of 1926. Only five originals were cast during the remainder of Nancy Russell’s life, 17 more sculptures were cast by the Roman Bronze Works Inc., New York, for Charles Russell’s son Jack Cooper Russell after his mother’s death. There were supposed to be 30 in the edition, but only 17 were made, each of these has an edition number, e.g. “8/30.”

Now, here come the “howevers.” Of the originals, nearly all of them are in permanent museum collections. Like much of Russell’s work, this piece has been recast or reproduced in a wide variety of sizes and levels of quality since his death. The lack of any markings on your piece indicates yours in one of the reproductions, but even so, it’s a reasonably good one and worth a good deal more than the $20 you paid for it. Today, comparable quality copies without foundry marks can sell in the $200-$500 range.

Mike Wilcox, of Wilcox & Hall Appraisers, is a Worthologist who specializes in Art Nouveau and the Arts and Craft movement.

——————————

WorthPoint—Discover Your Hidden Wealth

Join WorthPoint on Twitter and Facebook.

This etching titled "Christ Preaching" is a powerful image. Originally completed by Rembrandt in 1652, it is a grand example of the engraver’s art, but just one of many of Rembrandt's work reproduced over the years.

Rembrandt Harmenszoon van Rijn (Dutch-Born July 15, 1606 – Died October 4, 1669) is generally considered one of the greatest painters and printmakers in European art history and the most important in the period that historians call the Dutch Golden Age. While most of us could never afford an original “Old Master” Oil painting by Rembrandt, other forms of art such as etchings by the master are another thing all together. It is still possible to buy an original authenticated Rembrandt etching produced during his working life for under the price of a new compact car, but from there it gets into the murky realm of restrikes of his work and reproductions.

There are no etchings more of a problem to appraise and authenticate than Rembrandt’s. Rembrandt made over three hundred prints altogether, covering a wide variety of subjects such as portraits, landscapes and nudes. There were at least two editions during his life and five after his death. Other copies of his work or after his style can date back to Rembrandt’s own period, but the bulk of them are the work of etchers of the late 18th and early 19th centuries. The vast majority of these copies differ substantially in style from the originals in most cases with the exception of the work of one man, Amand Durand.

The engraver Durand (1831-1905), spent a large part of his working life re-creating Rembrandt’s etchings in very fine detail. Unlike other artists, instead of basing his copies on old worn plates or reworking them, Durand used fine quality originals of the first and second state etchings of Rembrandt’s works. Durand’s original etchings were so detailed and true to the originals that they were purchased by the Louvre Museum in Paris, the French Biblioteque Nationale and by major collectors throughout Europe and the USA.

After Durand’s death in 1905, his original copper plates were obtained by the French firm of book publishers, Dominique Vincent et Cie. They mainly published the works for book illustrations to the Bibliotheque Nationale and the Louvre as duplications of Rembrandt’s etchings, but art prints were also apparently produced from Durand’s original plates as well, and in some cases later being mistaken for the originals.

In 1985 an American art dealer purchased all the original Durand copper plates from the Dominique Vincent family. Today the American Fine Art Editions company is still printing Durand’s copies from his copper plates, and you can get these latest printings of Durand vision of Rembrandt’s work for $120-$200.

——————————

Mike Wilcox, of Wilcox & Hall Appraisers, is a Worthologist who specializes in Art Nouveau and the Arts and Craft movement.

WorthPoint—Discover Your Hidden Wealth

Join WorthPoint on Twitter and Facebook.

Some molds can be toxic, so it is important to wear the appropriate protection, including gloves and a proper respirator or dust mask.

The rash of devastating hurricanes in the southeast United States over the last few years has created a potentially dangerous situation for collectors and institutions now salvaging mold and mildew covered artwork and antique items from flood-affected areas. Mold should be treated very carefully.

Your first priority should be to protect yourself against any health and safety issues associated with exposures to dangerous mold. There are different types of mold. Some pose little or no hazards to humans while others can be toxic. The dangerous molds such as Stachybotrys or Chaetomium can cause serious illnesses. I would suggest that any visible mold should be considered a danger that requires immediate attention and safe handling.

Stachybotrys is a greenish black mold that grows on material with a high cellulose content, including building materials such as wood, drywall, wallpaper, insulation backing, cardboard boxes and fiberboard. This mold requires very wet and humid conditions for days or weeks in order to grow.

Chaetomium is a common fungal species that is frequently found on deteriorating wood products and often emits a stale, musty odor. Chaetomium colonies are fast growing and start off white in color. As they mature the colonies become gray to olive-green in color.

In most situations, surface mold can be removed from artwork using a vacuum cleaner that does not exhaust the spores back into the room. A vacuum fitted with the proper filtration system is recommended.

Mold removal and treatment should usually be performed by trained mold remediation professionals. When inspecting or retrieving salvageable possessions from a flooded building it is important to wear the proper personal protective equipment. Use a respirator/dust mask that has a NIOSH rating of N-95 or higher. The mask must fit and be worn properly. Wear disposable latex gloves and coveralls, as well as goggles for eye protection. Limit the time spent in areas where mold levels are high to 15 minute intervals.

Under no circumstances should chlorine bleach be used to clean the surface of any work of art, frame, photograph, document or other antique items. An experienced art conservator should be consulted for assistance in dealing with mold-affected materials. In most situations, surface mold can be removed from artwork using a vacuum cleaner that does not exhaust the spores back into the room. A vacuum fitted with the proper HEPA filtration system is recommended. Special attachment micro-tools, speed controls and screens are used by conservators when vacuuming to prevent damage to the art.

After the surface is cleaned of visible mold, the item is subjected to controlled ultraviolet light. Tests are then conducted from surface samples to verify that mold is no longer present. After cleaning, items should be placed in a clean and protected environment with low humidity.

Mold Removal Tips:

• Wear proper protective equipment
• Never use chlorine bleach
• Vacuum using HEPA Filters
• Expose to controlled UV light
• Place items in low humidity
• Consult experienced professionals

— by Douglas Eisele

Old World Restoration

WorthPoint—Discover Your Hidden Wealth

Join WorthPoint on Twitter and Facebook.

A paint-on-board creation by the renowned late folk artist Howard Finster, executed in 1983, is among the items collected by folk art collector and early self-taught art pioneer Lynne Ingram that will go on auction on Nov. 7.

BUFORD, Ga. – A Fall Masterpiece Auction, featuring around 800 lots of self-taught art, Southern folk pottery, outsider art, African-American decorative arts, quilts, circus art, new discoveries, major collections and more, including the lifetime collection of prestigious folk art collector and early self-taught art pioneer Lynne Ingram, will be held Saturday, Nov. 7.

About two-thirds of the auction will be dedicated to Ingram’s collection, most of which has been in storage for 30 years. The auction will be facilitated by Slotin Auction at the Historic Buford Hall.

“Our Fall Masterpiece Auction is always a special event on our calendar, but this year we feel particularly fortunate to have as the centerpiece the collection of Lynne Ingram,” said Steve Slotin of Slotin Auction.

Latex on plywood panel painting by Mose Tolliver, titled “Saturday Night Dance Hall” (circa 1989).

Ingram now lives in New Jersey but is originally from North Carolina. Beginning in the 1980s, she started collecting folk art when the genre was still in its relative infancy. But she didn’t just passively acquire pieces. She actually traveled around the Southeast and visited the artists, who became her friends. All the while she was amassing an outstanding collection, Slotin said.

“Lynne Ingram saw the best that these artists had to offer, and she acquired much of it along the way,” he added. “She later expanded her collection to include earlier masters who had already passed on, like Bill Traylor, but she had a keen eye for emerging second-tier artists of the day, too—talents like Mose Tolliver and Jimmy Lee Sudduth. Hers is an unbelievable, top-shelf collection.”

Slotin said the collection is made more desirable by the fact that it’s been in a New Jersey storage facility, untouched and in pristine condition, for the better part of the last 30 years. “So what you have are impressive examples of the best names in folk art, offered to the market for the very first time. Collectors would be wise to make plans to attend this sale. Stuff like this doesn’t come along that often.”

Some expected top lots of the auction follow, along with their low and high sale estimates:

Paint and graphite on cardboard work by Bill Traylor, titled “Mexican Woman,” 100% original.

• A paint and graphite on cardboard work by Bill Traylor, signed on the front and titled “Mexican Woman,” is expected to bring $25,000-$35,000. Ingram acquired the framed piece in the mid-’80s from Marcia Weber, a world-renowned expert on Traylor and an early promoter of his work. This painting is considered significant because it is 100-percent original, with no re-touches or restoration.

• A colored pencil on paper creation by Adolf Wolfli (1864-1930) was the top lot at Slotin Auctions’ last sale, held in March. It realized $40,480. This sale features another example by the Swiss self-taught artist: a graphite, pastel and colored pencil on paper work titled “The Lion and the Masked Man.” It is a strong piece in excellent condition, and carries a conservative estimate of $30,000-$35,000.

• The name Howard Finster (1916-2001) is sure to get paddles wagging, and this sale features a beauty by the late iconic folk artist. It is a paint on board work housed in an artist signature wood burned frame, titled “Vision of Cartoon Howard Finster, #3,169” (Dec. 1983). The painting measures 32 ½ inches wide by 16 inches tall. This piece was originally in the prestigious collection of Chuck and Jan Rosenak (est. $4,000-$6,000).

• A carved and painted wood creation by S.L. Jones (1901-1997), titled “Man’s Bust,” should fetch $8,000-$15,000. “It’s one of the best examples of Jones’ work I’ve ever seen,” Slotin said of the 10-inch by 7-inch by 13½-inch work, in excellent condition. Also, a 1976 oil on canvas painting by Vestie Davis (1903-1978), “Hasidic Street Scene,” large at 51 inches by 27 inches, should bring $4,000-$6,000.

Hand-turned china plate teeth face jug by Lanier Meaders, crafted in 1968, with tobacco-split glaze.

• Lanier Meaders is another name familiar to veterans of the folk art scene. His hand-turned painted face jugs are renowned, and this sale will feature a china plate teeth face jug, crafted by Meaders in 1968 and with a beautiful tobacco-split glaze. The piece boasts great veining all around and measures 9 inches in height. The face has three teeth and the jug is in overall mint condition. It should sell for $3,000-$5,000.

• Bidding should be brisk for a paint-on-board by Teofilo Magliocchi, titled “Madonna and Child.” The signed work features a frame decorated with costume jewelry adornments. It is a very large piece—47 inches by 75 inches, including the frame (est. $3,000-$5,000). Other works, including a collection of erotic pencil drawings by Magliocchi, an exciting up-and-coming folk artist, will also be offered.

• The aforementioned Mose Tolliver will be represented in the form of a latex on plywood panel work done circa 1989 and titled “Saturday Night Dance Hall.” The 36-inch by 40-inch piece is estimated to bring $2,000-$3,000. Also, a paint, glitter, lettering, mixed media on Masonite work by African-American sign maker John Edward Welch, titled “Abraham Lincoln, It Would Help to Save the Union” (1999), should realize $1,000-$1,500.

Original paint on board work by up-and-coming artist Teofilo Magliocchi, titled “Madonna and Child.”

Folk art is a rambling but rapidly burgeoning genre. For a long time it was dismissed by highbrow critics, mainly because it was created by untrained, often uneducated and sometimes eccentric artists. But today, folk art has found a place in some of the most well-respected art institutions in the world. The High Museum in Atlanta has acquired folk art through Slotin sales.

For more information about this auction, call (770) 532-1115 or (404) 403-4244, e-mail to auction [at] slotinfolkart [dot] com or folkfest [at] slotinfolkart [dot] com, or visit the Slotin Auction Web site.

WorthPoint—Discover Your Hidden Wealth

Join WorthPoint on Twitter and Facebook.

Signed serigraph by Italian-born artist Nicola Simbari (b. 1929), titled “White Dress” is expected to bring in an estimated $700 to $1,000.

Another Salvador Dali lithograph this one from is “Divine Comedy” series (1960, est. $1,500-$2,000). The entire auctioneer

ORLANDO, Fla. – More than 300 original and reproduction works of art by some of the greatest names in 20th century fine art—Pablo Picasso, Salvador Dali, Joan Miro, Pierre Bonnard and others—will be sold alongside contemporary names like Peter Max, LeRoy Neiman, Nicola Simbari and Gary Benfield at a live and Internet auction, and the entire auctioneer’s premium will be donated to Hope and Help Center of Central Florida, an AIDS/HIV awareness organization based in Winter Park.

The event is slated for Saturday, Nov. 7 and will be facilitated by Baterbys Art Auction Gallery. For online bidding information, visit the Baterbys Web site. The entire auctioneer’s premium will be donated to Hope and Help Center of Central Florida, an AIDS/HIV awareness organization based in Winter Park.

Intertested bidders will be treated to artwork spanning a broad range of themes, to include city scenes, Biblical/religious, rural life, Abstract and Realist. Cocktails and hors d’oeuvres will be provided by Cuba Libre Rum Bar & Restaurant. There will also be enlightening art lectures and spontaneous raffles.

Mention of the name Salvador Dali (known as the most “celebritized” artist) often evokes soft watches and surrealist dream imagery. But later in life, Dali turned to more traditional subjects, in particular those involving biblical and historical references. His entire “Aliyah Suite” is an example of this and will be auctioned on Nov. 7, along with other limited-edition works (like the “Divine Comedy” series).

Dali’s “Aliyah Suite” was executed in 1968. Each image in the 25-print series is an original lithograph (d’Arche Vellum), about 20 inches by 15 inches each, and signed lower right in pencil and numbered of 250 lower left. All are in excellent condition. The “Divine Comedy” series (circa 1960) comprises six signed, framed prints, with an image area of 13 inches by 10 ½ inches.

Gary Benfield (Br., b. 1965) is best known for his romanticized female figure paintings and equestrian renderings. Offered Nov. 7 will be a six-work series of serigraphs on wove paper, executed between 2003-2007. Each serigraph is signed in gold pen in a limited-edition series (750). The six titles include “Escapade II,” “Golden Mask,” “Renaissance,” “Heavenly Dance,” “Day Dreaming” and “Love Secrets.”

Original oil paintings and hand-embellished giclee prints by the supremely gifted artist Elena Bond will also be sold. The giclees include “Strolling Harbor Side” edition of 95, 24 inches by 40 inches; “Love Gondolier” edition of 95, 36 inches by 18 inches); “Sand and Surf” edition of 95, 32 inches by 32 inches; and “City Reflections” edition of 95, 19 inches by 60 inches. All the giclees are artist-signed and in excellent condition.

The oil on canvas paintings by Bond include “The Waters of Venice,” “Early Morning in Venice,” “Still in Mediterranean Waters,” “La Trattoria, Hand and Hand,” “Night in the Keys,” “Arch and Lake, Artists Café,” “Summer Manhattan Style,” “After Hours Chill” and “Le Station de Metro.” The works range in size from 16 inches by 12 inches to 20 inches by 60 inches. All are signed and in excellent condition.

An original signed lithograph (d’Arche Vellum) by Salvador Dali (1968), from his “Aliyah Suite” (est. $1,550-$2,300), will be among the more than 300 pieces of artwork up for bid Nov. 7, 2009 at an auction hosted by Baterbys Art Auction Gallery.

Nicola Simbari (It., b. 1929) effortlessly launched his painting career while still in his 20s with a one-man show in London. After that, he was commissioned to paint murals for the Italian Pavilion at the 1958 World’s Fair in Brussels. His brilliant, impressionistic style and vivid, dramatic and energized interpretations of the Mediterranean have established Simbari as one of today’s most sought after artists.

Three of his works will be included in the Baterbys Nov. 7 auction. All three are serigraphs, done around 1990. They include: “Piazzo Del Duomo” (36 ¼ inches by 33 inches, hand-signed lower right, hand-numbered lower left); “White Dress” (31 inches by 36 inches, hand signed lower right, hand-numbered lower left); and “El Parasol” (35 inches by 26 ¾ inches, hand-signed and hand-numbered).

Baterbys holds quarterly live and Internet auctions, all of which benefit non-profit organizations that provide developmental and holistic programs for children with life-threatening illnesses. Baterbys has raised substantial funds for groups such as Threshhold Center for Autism and Give Kids the World.

A original oil on canvas painting by Elena Bond, titled “La Trattoria,” artist signed, should gavel between an estimated $3,900 and $4,400.

The Hope and Help Center of Central Florida was established in 1988 to stop the spread of HIV/AIDS and at the same time provide social support to those who are battling the disease in central Florida. The group offers specializes services designed to lower the disease transmission rate, supply the financial and medical needs of diagnosed patients, and prevent the worsening effects of the AIDS virus.

For more information on the Nov. 7 auction and the firm’s calendar of upcoming auction dates, visit the Barerbys Web site. call (866) 537-0265 or e-mail, to press [at] baterbys [dot] com.

WorthPoint—Discover Your Hidden Wealth

Join WorthPoint on Twitter and Facebook.

Currier & Ives lithograph “Attacking a Right Whale.”

From 1834 to 1907 the firm of Currier & Ives provided for the American people a window on their country’s development from a rural society to an industrialized one. Highly detailed and colorful, these are prime examples of the work of “America’s printmakers.” For nearly three quarters of a century, Currier & Ives provided “Colored Engravings for the People,” and in the process, became the visual chroniclers of 19th-century America.

Some of the finest artists of the day were engaged by the firm to produce a variety of prints, including images of newsworthy events and prints depicting every subject relating to American life: sports, games, home life, religion, entertainment, views of cities and so forth. Sporting and Western scenes were created by A.F. Tait, while Frances Flora Palmer provided the majority of landscapes produced by the company, and George Durrie was the artist responsible the famous New England winter scenes.

Because of the popularity of Currier & Ives prints, they have been reproduced extensively since the 1920s as decorator prints and calendars. The calendar prints were often removed and framed, and after 90 years, they look very convincing as originals. Determining the authenticity of a Currier & Ives prints is not a project for a novice collector, but there are many things that point to an original, one being size.

The Currier & Ives prints were made in four main sizes: a very small sized folio with images measuring less than 7 inches by 9 inches; a small folio with image areas of 8 inches by 10 to 12 inches; a medium size folio with image sizes 9 to 10 inches by 13 to 19 inches. A great many of the reproduction are in modern paper sizes such as 8 x 10, 8 1/2 x 11, or 11 x 17 inches.

The Currier & Ives lithograph above titled, “Attacking a Right Whale,” is was what is called a “large folio print,” being one of the larger sizes used by this company. The original print measures 16- 3/16 inches x 23-12/16 inches exactly. A print of this title in any other size is a reproduction. When examined under a magnifying glass, the image in a reproduction appears as a series of small dots, much like you see in magazine or newspaper images. In the current market (September 2009) an original sells for more than $3,500 at auction, while 1930′s to 50′s
copies (when identified) often sell for less than $50.

Mike Wilcox, of Wilcox & Hall Appraisers, is a Worthologist who specializes in Art Nouveau and the Arts and Craft movement.

WorthPoint—Discover Your Hidden Wealth

Join WorthPoint on Twitter and Facebook.

While insurance may help to soothe the loss, there may be items which carry huge sentimental (not to mention monetary) value. Salvaging the items becomes important, and there is a right way to go about the process to help assure that items of a collection can be saved or even restored.

Here is what one expert has to say about coping with the aftermath of fires.

Steve Cristin-Poucher’s experience as the objects conservator for the Los Angeles County Museum of Art prompts him to say that the extent of damage from a fire will be determined by preparations made to prevent damage, response time of the fire fighters, the type of items to be salvaged and the steps taken to minimize the damage after a fire. He suggests using a “team” approach, delegating specific jobs to certain people, with each person carrying out the job.

Obviously substantial damage might have occurred from charring from flames, melting from heat, or water or percussion damage from the hoses spraying a fire.

A piece of a porcelain bowl. Collect all the pieces you can find in hopes of repair.

So, after a fire, set up a “safe zone” where damage is minimal. Set out from that zone through the building to retrieve objects and assess them for restoration. Move slowly through the debris to avoid grinding items on the floor into the carpet or flooring. Ash should be sifted to find items, but the ash should not be discarded. It should be saved in a box and the box clearly labeled to designate the area from which the ash was collected. Later, the ash can be re-sifted for broken bits or pieces of an object. Cristin-Poucher says the process is like an archaeological dig in which everything is saved and all “tailings” are examined.

A smoke-damaged painting that has been partially restored.

Wear old clothes, hard hats, snow or rain boots, gloves, aprons and other protective clothing to prevent injuries from broken glass and other hazards.

Items retrieved should be brushed lightly and given a light washing if appropriate to the item, then patted dry Controlled drying may be needed for items organic in nature since quick drying can cause shrinkage, and slow drying may cause mold or fungus growth. Cristin-Poucher says consult with an expert such as a museum curator or a professional conservator or restorer for advice.

Work tables need to be set up along with lots of paper towels, good lighting, brushes of various sizes and anything else needed to clean recovered objects. There should also be a safe storage area for items which are large or heavy.

A fire-damaged walnut headboard.

The same headboard after repairs.

Once you have salvaged all you can, it is then time to search out experienced and reputable restoration companies. Even if an cherished item looks doomed, don’t give up on it completely until you consult with an expert or two. When the restoration is completed, the piece may not retain its original value, but if it has sentimental value, getting the piece back in near-original condition will worth the effort.

—by Stephenie Slahor

WorthPoint—Discover Your Hidden Wealth

Join WorthPoint on Twitter and Facebook.

Winter weather can play havoc on your outdoor statuary. This 19th-century plaster cast of a copy of the statue of David is showing sings of weathering. Now, before the leaves start falling, is the time to prepare your outdoor art for the winter.

People love their gardens, and that includes many wonderful old statues and other ornaments made of stone and metal. But every winter, many witness damage to some of them from exposure to the elements. So what should you do now—or this fall at the latest—to protect stone and metal yard art from extreme winter conditions?

It’s good to be thinking about protecting your outdoor art now, before the leaves begin to fall and temperatures drop. Most of us assume that garden ornaments, outdoor statuary and fixtures made of stone or metal that were designed to be displayed and used out-of-doors will survive seasonal changes indefinitely without damage or deterioration.

While some weathering is expected, surface deterioration occurs slowly and is frequently unnoticed until after much of the damage has already been done. Deposits of dust from circulating air supports the formation of fungal cells on porous stone, metal and clay sculpture. Once begun, the roots (mycelium) of such growth break through the surface and begin a cycle of deterioration that, if left untreated, can be permanent and irreversible.

Perhaps the number-one enemy of all stone, metal and wood garden pieces is water and ice. Freeze and thaw cycles that occur during the winter can further exaggerate these effects on nearly all types of outdoor art and statuary. Small cracks will quickly grow if left unrepaired throughout the winter, as water freezes and expands, forcing the crack to split apart further. Outdoor statues made of cast zinc are far more brittle than those made in bronze. Close examination of zinc sculpture usually shows that some seams have separated, probably because there were incipient cracks to begin with. Lead-tin solder seams are often found cracked on statues that appear intact, and white-bronze joins tend to separate over time because they were often poorly bonded in the first place.

Significant to keeping outdoor sculpture and statuary in good condition, is carefully selecting an appropriate location. Organic growth on statuary will be greater when dense trees, shrubs and ground cover are nearby and become overgrown. Outdoor statuary of marble or bronze can be adversely affected when placed near a swimming pool or fountain, where chlorine can cause premature corrosion.

A 19th-century cast stone statue of Diana the huntress, virgin goddess of the hunt, atop a cast stone pedestal. While statuary can add to the beauty of your garden for most of the year, outdoor art should be brought inside during winter months if possible.

Year-round routine maintenance can help to preserve outdoor sculpture for a long time. Examination by an experienced conservator is a critical first step. A professional assessment will alert you to existing conditions such as oxidization, deterioration and stress fractures that may not be clearly visible. A conservator may suggest and prioritize necessary treatment options that can include simple cleaning, stabilization and restoration of damaged areas. Part of any suggested treatment should be a plan for regular maintenance and future restorations that may be necessary.

For example, the conservation treatment of a bronze statue will frequently include the application of hot and cold wax layers. Every few years, the base wax will need to be rejuvenated. The paste wax is typically reapplied a few times a year to seal and protect the sculpture.

It is important to carefully inspect all of your outdoor art several times a year. Pay careful attention to the accumulation of surface dirt, grime, lichen, algae or mold. If a statue or garden ornament has been repaired or restored, examine these areas for any signs of deterioration, cracking or other damage. Small structural cracks and voids can be in-filled with proper materials and sealed to minimize the need for costly restorations in the future. Keep in mind, that cleaning, stabilization, restoration and conservation treatments can only be performed on large outdoor works during warm weather, unless of course, they can be moved indoors for treatment. Now is certainly the best time to take necessary steps to prevent or minimize the effects of winter.

A cast iron angel can add a little touch of art to a garden, but make sure to pay careful attention to the accumulation of surface dirt, grime, lichen, algae or mold.

Preservation Tips:

• Remember, that some weathering is to be expected.
• Select a suitable location for outdoor art.
• Never place marble or bronze statues near a swimming pool.
• Never place metal objects that rust on stone or porous bases.
• Conduct regular inspections yourself or contact a conservator.
• Clean away organic growth only with water.
• Never use bleach or household cleaning products to clean outdoor art.
• Cracks should be in-filled and sealed with proper materials.
• Do not seal cracks in marble or stone statues with caulk or silicone.
• Do not wrap and seal outdoor statues in plastic.
• Move outdoor art inside during winter months if possible.

—by Douglas Eisele

Old World Restorations

WorthPoint—Discover Your Hidden Wealth

Join WorthPoint on Twitter and Facebook.