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

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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@slotinfolkart.com or folkfest@slotinfolkart.com, or visit the Slotin Auction Web site.

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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@baterbys.com.

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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

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Damage done by insects to the frame and stretcher of an oil painting.

I have had customers come to me with oil painting on which they recently noticed small holes developing near the edges of the canvas and also found small piles of wood dust on the floor under the paintings. They took the paintings off the wall and discovered that the back of the frames and stretchers had been eaten by some type of insect or termite.

Some household insects are attracted to organic (non-living) materials that are commonly used to create furniture, paintings, works on paper and sculpture. These pests can easily enter your home and feed on wood, glue, paper, linen, wool, cotton, leather, horn and feathers, and it is best to defend your art, antiques and collectibles against these art-loving pests.

There are two types of insects that destroy wood, those that attack fresh wood (trees and fresh wood in storage) and those that attack dry worked wood. They can remain active in the same piece of wood long enough to completely consume it. Often times, they will tunnel through a support leg or side panel on a piece of furniture, causing extensive structural damage. Their caustic work usually goes unnoticed until after much of the damage has already been done.

Only a few types of insects have an appetite for dry worked wood found in furniture, stretchers for paintings and picture frames. The most common are the woodworm or furniture beetle (Anobium punctatum), the long-horn house beetle (Hylotrupes bajulus) and the powder post beetle (Lyctus brunneus), including their relatives. Most wood-boring insects have life cycles of just a few years. They develop and change in four stages known as metamorphosis (egg, larva, pupa, adult insect). The larvae that hatch from eggs bore their way through wood, grinding it up and sometimes actually eating it.

Pieces of chewed wood and waste particles combine to form bore dust (frass), which is often species-specific in color and shape, allowing experts to identify the type of infestation. This sawdust or sand-like material can usually be found near where the fully formed beetle emerges through the bore or flight holes into the open air. Flight holes are a clear indication of previous or active infestation, requiring an inspection to determine if treatment or structural restoration is needed. Furniture beetles are attracted to softer woods in areas where temperatures are warm and humidity levels are high, while powder post beetles prefer a dry, warm environment to feed on starch and protein.

What to Look For:

Wood eaten away by insects can ruin antiques, weakening legs and supports until they break completely through.

Many insects are reclusive and are difficult to find because of their size and color. Look for insect remains, empty egg cases, termite wings, casings or skins that have been shed by larvae.

WOOD: Look for bore holes and sawdust. Lightly tap areas of wood where infestation is suspected with your finger tip to find hollow areas that may have been tunneled or eaten by insects.

TEXTILES: Look for small holes and areas that have become unusually thin.

PAPER: Look for small holes, tattered edges and areas where the paint or color appears to be abraded or erased. The abrasion can be caused by silverfish as they travel across the surface of a print, painting or document.

PAINTINGS: Look for small holes on the surface of the canvas, or bore/exit holes in panels, stretchers and frames. Many times insect remains are found in spider webs on the back of the painting. Small fly “specks” or droppings are commonly found on the surface of a painting and can be safely removed by an experienced restorer.

What to do if You Find Insect Damage:

Bore holes show where an infestation has taken place.

Isolate the object by placing it in a sealed plastic bag or wrap to prevent the insects from spreading to other objects while you seek help.

Collect and preserve samples of any insect remains and bore-hole dust for inspection by an experienced art and furniture restorer or conservator and exterminator.

Do not spray pesticides directly on treasured objects of art or antiques, as they can stain, discolor and damage the surface or finish.

Some objects like wood and paper can be frozen to kill adult insects, larvae and eggs. Do not freeze paintings, photographs, lacquered surfaces or layered items.

Prevention Tips:

Keep your house and storage areas clean: Insects thrive on dusty, dirty and dark environments.

There are a number of practical measures that individuals can take to prevent an infestation in their home or office:

• Make sure that window and door screens prevent insects from entering;
• Do not bring outdoor plants into your home;
• Keep your house and storage areas clean: Insects thrive on dusty, dirty and dark environments;
• Lower the temperature and humidity levels, and increase air circulation;
• Art and antique items, documents and photographs that are stored should be kept in clean, airtight plastic containers in a controlled environment.

—by Douglas Eisele
Old World Restorations

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A painting udergoing restoration.

Q – I have several old oil paintings that have been in my family for years. They have become discolored and the paint is beginning to flake. I would like to have them cleaned and restored for my grandchildren. Is it safe to attempt cleaning myself, or where can I go to have this type of work done?

A – When damage and deterioration occurs to art, antiques, photographs and historic documents you should seek the advice of an experienced conservator. A professional conservator can diagnose problems, provide treatment options when necessary, prescribe a maintenance plan and recommend proper display and storage practices to prevent further damage.

Choosing the right conservator to best restore and preserve your art and antiques can sometimes be complicated and intimidating. Unfortunately, making to wrong choice can risk loss or further damage to sensitive objects that are often irreplaceable. Many private conservators provide restoration and conservation services to the general public, as well as to museums and institutions.

An oil painting before restoration

An oil painting before restoration.

The painting after restoration.

You should select a conservator in the same way that you would choose a doctor, lawyer or any other professional. Make sure that the conservator’s training, experience and facility are appropriate for your needs. Don’t hesitate to ask for and check references, see examples of completed projects that are similar to yours and to tour their facility. Verify that the conservator has established appropriate handling and storage procedures, provides adequate security and the proper insurance to protect your items while in their care. Ask the conservator if the results of his or her proposed treatment can be reversed without further damage to the item (which is important), and if they will provide you with written estimates and detailed documentation of all treatments performed. The selection of a conservator should depend in part on the type of materials that require treatment. For example, the restoration and conservation of paintings, ceramics, wooden objects, textiles, metals and paper demands different knowledge, materials, facilities and expertise.

You can also seek recommendations from museums and galleries in your community. Many museums use the services of conservators to care for items in their collections on a regular basis. Curators of such institutions are usually willing to provide the names and addresses of conservators who have performed conservation treatments. The American Institute for Conservation of Historic and Artistic Works (AIC) maintains a free service that can provide you with the names of conservators in your area or conservators that have specific expertise for your precious belongings. You can contact the AIC office at: AIC, 1156-15th Street, NW, Suite 320, Washington DC, 20005. The phone number there is (202) 452-9545.

An oil painting undergoing restoration.

A close-up of the mirco-cleaning process.

Guidelines for selecting a conservator are available from A.I.C. It suggests that you consider the following when selecting a conservator:

• Procedures: A conservator should examine the object before suggesting a particular form of treatment. Prior to beginning treatment, the conservator should provide for your review and approval a written preliminary examination report with a description of the proposed treatment, expected results and estimated cost. The conservator should consult you during the treatment if any serious deviation from the agreed-upon proposal is needed.
• Cost and Schedule: The conservator should be willing to discuss the basis for all charges. Determine if there are separate rates for preliminary examination and evaluation and if these preliminary charges are separate or deductible from a subsequent contract. Ask questions about insurance, payment terms, shipping and additional charges. Conservators often have a backlog of work; inquire if a waiting period is necessary before new work can be accepted.
• Documentation: The conservator should provide a treatment report when treatment is completed. Such reports may vary in length and form but should list materials and procedures used. The final report may, if appropriate, include photographic records documenting condition before and after treatment. Recommendations for continued care and maintenance may also be provided. Both written and photographic records should be unambiguous. All records should be retained for reference in case the object requires treatment in the future.

— by Douglas Eisele,

Old World Restorations, Inc.

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Lot 27 and 28, two companion works by Erté (Romain de Tirtoff, 1892-1990) featuring Hera and Zeus. The signed and numbered color screen prints with embossing, printed in 1981, are excellent examples of this master’s work. The estimates are low for this highly collectible artist at $700-$1,000.

Ertés Hera

Erté's Zeus

Lot 29, the 1987, pencil-signed, gelatin-and-silver print photograph of Grace Jones by the Hollywood celebrity photographer, Greg Gorman. Gorman known internationally for his cover art that has appeared on Esquire, Life, Interview, Vogue and the Rolling Stone magazines is probably best known for his photo portrait of Jimi Hendrix that launched Gorman’s career. Estimate for the photo is $500-$800. A Buy Now investment.

Gorman's Grace Jones

Lot 72, a heavy hitter in the form of the soft-ground etching of Renoir’s “La Danse à la Campagne.” With an estimate of $12,000-$18,000, this rare etching with a stamped signature is in excellent condition and would be a starting point for a new collection or a superb addition to an existing one.

Renoir's "La Danse"

Lot 75, the crowning piece of the show, Rembrandt van Rijn’s etching of “Christ Disputing with the Doctors.” Irrefutably Rembrandt, the etching is signed and dated 1652 in the plate. This remarkable piece is going up with a conservative estimate of $6,000-$10,000.

Rembrandt's etching

Lot 180 features a landscape by one of Salvador Rosa’s followers that we have seen at auction in 2007, “Landscape with Figures.” The oil on canvas inscribed Salvator Rosa Galeria Conte Di Caserta is in good condition and has a similar estimate to its ’07 estimate of $800-$1,200.

Landscape by Rosa follower

Lot 104, “Portrait of a Gentleman” by A. Galeotti has a surprisingly low estimate, $300-$500, for a work of this quality and condition. There has been movement of Galeotti’s work with the most recent sale in ’07 at Heritage Auction House. Galeotti’s portrait of Charles I’s three eldest children sold then for $2,390. This portrait will attract attention and represents one of the finest portraits in the sale’s collection.

Galeotti portrait

– By Christopher Kent, a member of the WorthPoint board of advisers and director of evaluations for WorthPoint. He is also an antiques and collectibles generalist, fine-arts broker and president of CTK Design.

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“You must lead such an interesting life finding and dealing in such beautiful things, traveling to so many fascinating places.” I’ve actually heard this from overly well-dressed people at benefit auctions where the plate of chicken is going for a thousand dollars. Of course, under the circumstances, I agree with them. Reality simply would not be appropriate to the setting. Reality rarely is.

Most days in the business are spent doing appraisals of less-than-stellar collections; making calls to collectors; attempting to sell a perfect Louis X1V bombe commode cajoled from a private collection only to find that the client is stalling on the purchase because his horoscope says he needs to be circumspect about acquiring things.

Tonka tedium relieved

One day, sitting in my overstuffed office, there’s a knock on my door. I get up from my desk where I have been glued to my laptop cataloging a collection of 400 Tonka Toys and find on the other side of the threshold an unassuming person shouldering two large paintings. It’s one of those “I was in the neighborhood, and you were recommended” situations that frankly, under the circumstance, I welcome.

The paintings, as it turns out, are good. The subject matter appears to be a husband and wife, done in a painterly fashion—painterly meaning the artist knew something about painting—following the 19th-century portrait-painting tradition. More importantly, the subjects are interesting, attractive and for those without ancestral portraits, would make a stunning addition to the dining-room walls.

Documentation: The appraiser’s joy

And, even more importantly, the bearer of the portraits has documentation about the artist and to some extent, the sitters. Now, this is the time when that cachet thing bears fruit. Another point that makes the life of the appraiser so much easier is the paintings are signed. Many people don’t know that most 19th-century portraiture was not signed. Appraisers make an educated guess based on style and the tradition of the painting as to whom may have painted it, and sometimes an attribution is impossible.

My assessing eye sees that the paintings’ condition is generally good. One has a small hole, but that is something a conservator can easily repair without devaluing the painting. The paintings are dirty, meaning the varnish has darkened with age, but that can easily be remedied. They appear to be in their original frames, another good thing. There is, with a cursory examination, no overpainting, meaning no one touched up the original painting either to enhance—by enhance, I mean to make the sitters appear younger by the removal of a few wrinkles or jowls, or richer with the addition of more jewelry—or repair damage that occurred in the 100-plus years the paintings have been around.

Sherlock appraiser

Now, here is when my job becomes fun, and yes, the words of the well-dressed lady at the benefit auction ring true. There is a certain intrigue in the process of authenticating that requires the sharp eye and instinct of the well-seasoned detective. We sometimes have to dredge through weighty Dead Sea Scrolls to get the information that we need. The Internet is useful and sometimes invaluable but can also be limited. We as appraisers have to go beneath the printed word to find additional links that will give us the information we need to make the declarative pronouncement.

People, to old paper guys like me, are invaluable. Documentation in and unto itself is sometimes as apocryphal as some of the “true” stories applied to certain pieces. “Oh, yes, these waffle irons belonged to George Washington, and he used them himself only on Tuesdays in leap years.” Hmm.

Paintings are real deal

After a few telephone calls to substantiate the documentation, all, as they say, was revealed. These paintings were the genuine article.

The artist, Theodore Pine, is a known quantity. His paintings hang in public and private collections. He is listed in all the important books. There are 2,000-plus links to him on the Internet. And although there are no recent auction reports to establish value, there is enough documentation to legitimize a perceived value on the portraits.

The portraits’ subjects, the Rev. and Mrs. George S. Hare DD, were prominent members of their community, and it was the tradition of Theodore Pine to paint people on the rise and of distinction. He came from a long line of artists. His grandfather, Robert Pine, was both artist and engraver. James Pine, his father, exhibited at the National Academy of Design from 1839 until 1857. Theodore, at 19, held his first exhibition at the National Academy in 1847 and continued to contribute through the 1880s.

Pine portraits in Ossining, home of Sing Sing

Many of Pine’s portraits are in the permanent collection of the Ossining (N.Y.) Historical Society Museum. Pine’s most famous portraits are dramatically different.

Rev. and Mrs. MacFarlan

Two are of the Rev. and Mrs. Daniel MacFarlan. They are richly dressed and seated in front of silver birch trees. A village dotted with white buildings is off in the distance, boats sail on the river, and the sky is turbulent and misty.

Typical of when the MacFarlan paintings were done (1857), embellishment of detail usually was in keeping to the fee. If you wanted your house, farm and prized bull in the painting, you paid extra. These paintings are excellent examples of American portraiture and justifiably deserve to be in the permanent collection of the Metropolitan Museum of Art in New York.

Pine’s other famous painting is the posthumous portrait of Gen. Robert E. Lee, which hangs in the chapel of Washington and Lee University in Lexington, Va.

Pine portrait of General Lee

Pine’s body of work not only included portraits but allegorical themes, landscapes and architectural studies in the style and tradition of a well-traveled artist. There is a school of thought within the appraising community that specializes in American portraiture that Pine is not of the first water. I disagree. There is a demonstration of a smooth style that incorporates skill without the need for artifice and tricks, and captures the personality of the sitter with a directness and candor separate from the stylized painting traditions of the day.

To appraise or not to appraise?

This begs the question. Should you have your paintings appraised? The answer is yes if the painting warrants it, remembering that an appraisal is usually done for insurance purposes and/or to establish resale value. With the Pine portraits, to be considered were their restoration, cleaning and securing the damage of the canvas, along with establishing a value. You might ask whether restoration potentially devalues the painting. The answer is only if an inferior conservator does the work, and even then, that can usually be repaired.

Okay, now for the proverbial drumroll, the time to put an appraised value on the Pine portraits. All documentation had been done. Other considerations were taken into account such as the sale trends of such paintings. And my final verdict?

The pair of Theodore Pine portraits of the Rev. and Mrs. George S. Hare would be appraised for $20,000 to $25,000.

It was a good thing I was in my office that day.

– Christopher Kent is a member of the WorthPoint board of advisers and director of evaluations for WorthPoint. He is also an antiques and collectibles generalist, fine-arts broker and president of CTK Design.

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An Ephrata, Pa., auction of Amish diaries brought in about $3,000—mostly from Amish bidders. The diaries aren’t exactly what most of us think of. Instead of juicy details about our high-school crushes, the writers of these notebooks recorded chores, recipes and other facets of daily Amish life, often completely devoid of any hint of emotion. Ranging from the 1850s to several written as recently as the 1990s, the diaries are an interesting peek into the largely unknown—to outsiders, that is—world in which the Amish live. Keeping meticulous records is a fairly typical practice in Amish communities.

From the Lake Oswego (Ore.) Review:
Antique barber pole theft brings out the vigilante in Lake Oswego barber

Lake Oswego, Ore., barber Tyler Atkinson is on the hunt for his stolen antique barber pole with the help of his community. The Marvy barber pole has been a fixture outside the shop for more than 50 years, and Atkinson estimates that purchasing and installing a similar pole would cost upward of $2,000. Adding a twist to the story, in recent years, several antique barber poles in the Portland area have been stolen. None have been recovered.

From BBC News:
‘Rediscovered’ art fetches £4.4m

At its first appearance at auction, Lucio Fontana’s 1961 painting, “Concetto Spaziale,” sold at Sotheby’s contemporary-art sale in London for £4.4 million ($6.5 million). The abstract white-and-gold work ended the sale with the largest price tag, even though it didn’t reach its £5 million low estimate. “Concetto Spaziale” had not been seen in public for more than 40 years. Other works at the sale were a Jeff Koons sculpture and a Gerhard Richter oil on canvas.

From Bloomberg:
Brandeis ‘Screwed Up’ in Handling Art Museum’s Fate

According to Brandeis University President Jehuda Reinharz, the university’s decision to close its Rose Art Museum and liquidate the museum’s assets was mishandled. After an outcry from university board of trustees and the public, Reinharz says the museum’s building will remain open, but no final decision has been made about whether the art will be sold. Originally, the plan was to sell off the museum’s collection for fundraising purposes, as the university’s endowment has decreased in the current economic climate. Insiders feel certain that this plan will be carried out to some degree.

From BBC News:
Monet painting auctioned for £11m

A Monet painting depicting his wife, Camille, reclining in a field of flowers sold for £11,241,250 ($16.4 million) at Christie’s in London. Though the sale was a triumph in the midst of the art-market recession, it failed to reach its expected price tag of £15 million ($22 million). “Dans la Prairie” was part of the auction house’s Impressionist and Modern art sale, which also included a Renoir, a Matisse and another Monet. All three failed to reach their reserve price.

From BBC News:
‘Lovejoy’ find sells for £8,800

A 15-inch Chinese scepter that was originally purchased for £300 ($441) was sold for £8,800 ($12,864) at auction in Dorset, England. The 18th-century piece is believe to bring good luck to its owner and is thought to have been originally made for Emperor Quinlong. For those non-British collectors and readers, “Lovejoy” refers to a BBC television show about an antiques dealer of the same name. Lovejoy had a knack for discovering good bargains.

From Bloomberg:
Japanese Emperor’s Chinese Box May Sell for More Than $5 million

A gift from China’s Tang dynasty to a Japanese emperor is expected to sell for at least $5 million when the 8th-century vanity box is auctioned at Sotheby’s in Hong Kong. The tortoiseshell box with mother-of-pearl and amber inlay was given to Emperor Shomu in the 700s. Its high value is due to its rarity, according to Sotheby’s.

From BBC News:
Dancer fetches £13.3m at auction

Edward Degas’ “The Little Dancer” set a record for the artist when it sold at Sotheby’s for £13.3 million ($19.2 million) during the auction house’s Impressionist and Modern art sale. The bronze statue was originally made from wax in 1879–81 and went for £1 million more than the previous record for a Degas statue. With this sale, Sotheby’s cleared the bar for the first major test of the art market this year. Sales totaled £32.5 million ($46.8 million).

From BBC News:
Prison for Rothschild book thief

A man who stole hundreds of thousands of dollars worth of rare books from the well-known Rothschild family has been sentenced to jail time. David Slade, an antiques-book dealer, will spend 28 months in jail after the theft of books from the Rothschild private library. Slade was hired to catalog the book collection by Sir Evelyn de Rothschild. Christie’s auction house estimates the value of the stolen tomes totals at least £230,000 ($332,000).

From Playthings.com
Mattel to preview ‘Ghostbusters’ collectibles

Fans and collectors of all things Ghostbusters will be excited to hear that Mattel is producing a line of collectible toys to coordinate with the 25th anniversary of the film’s release. The 12-inch figures will be available on the company’s Web site starting in June, but attendees at New York’s Comic Con and Mattel’s New York Toy Fair Collector Preview Night will get a sneak peek of several of the toys. Mattel will also sell a few 6-inch Ghostbusters figures, as well.

From the New York Times:
Treasure Hunters Say They’ve Found a 1744 Shipwreck

The wreckage of a ship found last year in the English Channel has been confirmed as British warship H.M.S. Victory, according to Odyssey Marine Exploration researchers. In a severe 1744 storm, the ship sunk with 900 men on board, as well as a speculated four tons of gold coins—worth an estimated $1 billion.

The discovery team verified the ship’s identity by examining 41 of its cannons that were visible through the water. In its time, the H.M.S. Victory was one of the most feared vessels that sailed, complete with 110 bronze cannons. The Odyssey group came across the shipwreck last April. After 20 years exploring the English Channel, the group finally hit the mother lode.

From Auction Central News:
Lost 1793 Trumball painting discovered in England

A mislabeled painting bought for $280 turned out to be worth almost 80 times more than its purchase price. The miniature painting, which experts now know was painted by Colonial-era artist John Trumball, is valued at $22,000. A researcher for the London art dealer who purchased the painting thinks that the inscription on the back of the painting was mistakenly read as “Humbert” instead of Trumball. Trumball, a Connecticut native whose works hang in the U.S. Capitol, painted the portrait of Philadelphia lawyer William West in 1793.

From Art Info:
California Biennial Sculpture Mistaken for Trash

Jedediah Caesar’s sculpture, “Gleaners Stone,” is back in place as part of this year’s California biennial after a Culver City resident supposedly mistook the artwork for debris and contacted local officials to remove it. Caesar’s cast-resin work is known for its use of found objects and trash, and was installed on a street corner—part of an off-site project for the biennial.

From BBC News:
Turner landscape sells for £9.1m

Despite gloomy times for the art market, JMW Turner’s “The Temple of Jupiter Panellenius” sold for £9.1 million ($12.9 million) at Sotheby’s in New York last week. The oil painting is the second-highest price paid for a Turner work and has been in a private collection for the past 25 years. One of only three Turner paintings depicting scenes from ancient Greece, the landscape features dancing figures and a backdrop of a classical temple.

From The Winchester (Va.) Star:
Citizens Petition for ‘Jake’

Fifty residents of Winchester, Va., have signed a petition to keep “Old Jake” close to home. A town fixture, the 6-foot-tall copper weather vane has sat atop Rouss Fire Co. for 137 years, and Winchester citizens want him to remain there. Jake failed to sell at Sotheby’s last month. Presale estimates were between $3 million and $5 million, but the highest bid was only $2.1 million—short of the minimum purchase price. While Rouss Fire Co. is still working with Sotheby’s to find a buyer, local residents wish the company would keep this piece of town history.

From The New York Times:
Hard Times Hit Auction Houses

Christie’s press officers are fending off rumors that François Pinault, the luxury-brands mogul who owns the international auction house, plans to sell the company. Amid the economic crisis, eyes have been on auction houses, especially after Sotheby’s downsized to the tune of 60 personnel layoffs and archrival Christie’s let go more than 100 staffers. Both auction houses claim to occupy the higher end of the art-market spectrum, but results from upcoming Impressionist, modern, postwar and contemporary art sales will do the talking.

From BBC News:
Funds Secured for Titian Painting

After an extended deadline, the National Gallery of Scotland and the National Gallery in London have finally raised enough money—£50 million (about $71 million) to be exact—to keep Titian’s “Diana and Acteon” in the hands and in front of the eyes of the British public. The painting’s owner, the Duke of Sutherland, announced plans to sell “Diana and Acteon” in 2007 to the highest bidder and gave a Dec. 31, 2008, deadline to raise the necessary funds to keep the painting, which had been on public display for more than 200 years.

From Forbes:
Bowl-Related Business Less Than Super

Leading up to kickoff of Super Bowl XLIII, purveyors of game memorabilia were seeing lackluster interest in their wares. With game attendance projected to be down at least 1 percent compared to last year, it’s not surprising that fans didn’t have much cash left over after flying into Tampa from Arizona and Pittsburgh. A pregame auction in the Hall of Fame room slashed prices, and still there were few takers.

By Elizabeth Hendley, a WorthPoint writer based in Seattle

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The first, “The Scholar’s Eye: Property from the Julius Held Collection,” is especially intriguing because of the collector. Julius Held was a distinguished professor of art history who amassed almost 1,000 items on his comparatively modest salary. He searched out good pictures by artists who were not widely known and also bought works by modern artists with whom he was acquainted.

The auction will be held in two sessions, Jan. 27 starting at 2 p.m. and Jan. 30 at 10 a.m.

One highlight to go under the gavel is “Allegory of Folly” by Quentin Massys (1466-1530). According to Christie’s, the grotesque fool “carries a staff topped with the carved figure of a smaller fool dropping his trousers—an obscene gesture that was once painted over by a previous owner who found it overly shocking.”

Massys' "Allegory of Folly"

Estimate for this work? $300,000-$500,000. (Estimates do not include the buyer’s premium.)

Also on tap this week is the “Important Old Master Paintings and Sculpture” sale on Jan. 28 at 10 a.m. and 2 p.m., featuring more than 200 pieces.

Among the items being sold are exceptional watercolors by Joseph Mallord William Turner (1775-1851), including an unusual study of a woman. The paintings come from the collection of philanthropists William and Eleanor Wood Prince, the previous owners of Turner’s “Giudecca, La Donna della Salute and San Giorgio,” which sold in 2006 at Christie’s for a record-breaking $35.8 million.

Deemed the “leading highlight of the group” is Turner’s “The Brunig Pass from Meiringen, Switzerland,” estimated at $1,500,000-$2,500,000.

Turner's "Brunig Pass from Meiringen, Switzerland"

Another remarkable piece being offered is the recently discovered “Head of Saint John the Evangelist” by Federico Barocci (1535-1612). Art historians believe that Barocci painted this oil on paper preparing for his “The Entombment of Christ,” an altarpiece for the church of Santa Croce in Senigallia. This painting is estimated at $400,000-$600,000.

Barocci's "Head of Saint John the Evangelist"

A très romantique work by French court painter Anne-Louis Girodet de Roucy-Trioson is of Jacques-Joseph de Cathelineau, son of the peasant general, Jacques Cathelineau. After the general died, Girodet asked the son to pose for a study that would later be used in a full-sized portrait. Christie’s describes the study in oil as “a handsome though highly idealized depiction of the war hero Cathelineau portrayed with a faraway gaze and pleasantly mussed blond locks.” The estimate for this work is $800,000-$1,200,000.

Girodet's "Portrait of Jacques-Joseph de Cathelineau"

These auctions will be held at Christie’s in New York City, 20 Rockefeller Plaza. For more information, visit Christie’s Web site. If you are interested in online bidding, click here.

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