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.

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*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.

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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.

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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

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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.

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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.

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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

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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 [at] slotinfolkart [dot] com or folkfest [at] slotinfolkart [dot] 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 [at] baterbys [dot] 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

WorthPoint—Discover Your Hidden Wealth

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.

WorthPoint—Discover Your Hidden Wealth

Say you have a one of a kind Louis XVI armoire. You know it has a great value and you need to sell it as part of an estate, for example. “In the Premier Brokering process, we shepherd the item through the entire process from the person posting the question on Ask the Worthologist,” says Pattie, “telling them how to photograph the item and what kind of photographs we need. We submit those to the auction companies, get the replies back, establish their terms, and other things that we can do to add value for the member.”

And it works. Just ask Tammy of Boulder, Colo. She picked up this unusual cityscape painting from a dumpster while working as a property manager about 10 years ago. She kept it, but she doesn’t know why. After seeing a local station talking about WorthPoint, she wrote in to ask if her painting had value. To Pattie, a trained auctioneer for 40 years, it did; it most definitely did. Pattie placed a value of her dumpster painting at well over $10,000.

The artist, Takanori Oguiss, a landscape artist of the 1930s, has always sold well at auction, Pattie determined through initial research. Auction companies sent in bids of $40,000 to $60,000, but after further research, Pattie determined that Sotheby’s has sold most of his work over the years. With an auctioneer’s ease, he came back with a Sotheby’s estimate of $70,000 to $90,000. “The end result was—seven months later—the painting that was sitting in a closet for 10 years, sold at Sotheby’s for $103,000,” Pattie says.

Makes you wonder what’s been sitting in your closet, doesn’t it?

For all that work and expertise, there must have been a cost to Tammy. “WorthPoint does charge a premium to the member,” says Pattie. “In the Premium Brokering Plan, we have a contract agreement that takes them through every phase of what we’re doing. It explains the percentage, which is 5 percent of the gross selling price.” But, if the item doesn’t sell or doesn’t sell at the reserve, then the member is not charged by WorthPoint at all.

So, here are the steps for a successful brokering opportunity through WorthPoint: Send a detailed description of the item that includes lots of photographs and all the measurements; Provide as much provenance as possible through letters or stories as you know it.

With online auction sales to review, experts to talk to, and now an experienced brokerage system to help sell when its time, WorthPoint is the one place you can go to find the worth of your item, anytime.

Watch a video of Thom Pattie discussing WorthPoint’s consignment services here.

Tom Carrier is a general Worthologist, with an expertise in a wide variety of subjects.

WorthPoint: Get the Most from Your Antiques & Collectibles.

It may be a result of our turbulent financial times, but it is interesting to note that most of the furniture items, with perhaps a few exceptions, are listed with very low estimates. Paintings seem to be holding their own with or without attribution. Silver is still a good investment based on this sale, and interesting provincial/regional pieces deserve a second look as potential long-term investments.

Lot 5, a fine oil on canvas in the style of Edwin Landseer. It is a work by M.S. Offord and inscribed in verso, “Spaniels of King Charles Breed painted by M.S. Offord exhibitor after Edwin Landseer RA,” 1802-1873. In a period gilt frame, its estimate is $1,200-$1,600. The work was commissioned by the owner of the spaniels, Robert Vernon. It is a stylistically sound work by a listed artist.

M.S. Offord's spaniels

Lot 52, a rare Flight and Barr, Worchester, inkstand. This English piece, circa 1800, possibly earlier, is porcelain and decorated with chrome green and puce enamels enhanced with gilding. “Flight & Barr/Worchester” is marked in puce script. Although there are minor condition issues and the lid is missing, this piece is considered extremely rare. Estimate: $300-$500.

Flight and Barr inkstand

Lot 60, an American or English circa 1800 oil on canvas, unsigned. It shows a well-dressed gentleman seated in front of a draped column with glimpse of sky.
The portrait is in a period frame with minor restoration. Estimate: $2,000-$4,000

Unsigned portrait

Lot 63, the Omnibus Livery and Bait Stables at the White Swan Inn, painted by James Pollard, (1792-1867). An oil on canvas, signed and dated 1853, it depicts a lorry pulled by a Welsh cob horse in the foreground with the White Swan Inn in the background. What is significant about this piece is that Pollard is recognized as the foremost artist of coaching and sporting paintings. Pollard is a listed artist and recognized as a “chronicler” of the coaching age. Estimate: $3,000-$5,000.

James Pollard painting

Lot 137, a provincial combination collection box and traveling desk with interior watercolor drawings, American 1855. This is a hinged box in old paint with a velvet-covered writing surface inside. The interior is decorated with hand-drawn illustrations, circa 1831. Drawings include St George and the dragon, Robinson Crusoe, Richard III and Napoleon. Estimate: $500-$700.

Combination collection box

Interior of combination collection box

Lot 157, an exceptional collection of eight Hepplewhite dining chairs in mahogany, Massachusetts 1790-1800. Chairs consist of carved shield-back side chairs with swagged brass tacks on upholstered horsehair seats. These chairs were originally purchased at the 1998 Sotheby sale. Estimate: $2,000-$3,000.

Hepplewhite dining chairs

Lot 165, a museum-quality, extremely rare Chandee and Holloway (Baltimore) compass. There is an inscribed signature on the face. The compass dial is fully engraved. The face is elaborately engraved with a fleur-de-lis North insignia, single inset level bubble vial and two subsidiary numbered counters activated from beneath for counting both poles and miles. The compass is complete with the original brass cover and period-fitted wooden case. Two listed Chandee and Holloway compasses are documented to exist on in a private collection and one in a museum. Fully documented with an estimate of $10,000-$15,000.

Chandee and Holloway compass

Lot 448, an exceptional folk-art cane depicting an African-American man’s head. Circa 1880, Kentucky, the figured wooden handle is carved showing the mouth open and well-defined features. Below the carved head is a smooth silver collar followed by carved detail and a projecting twist shaft that terminates in a brass ferrule. Estimate: $2,500-$3,500.

folk-art cane

– 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.

WorthPoint—Get the Most from Your Antiques & Collectibles

I was asked to take part in a Historic Richmond Town (Staten Island, N.Y.) fundraiser and was excited to do so because since a kid, I felt an affinity for walking through restored or reconstructed historic villages. My Saturday at the event would be spent appraising with a big auction Sunday.

I was hearing, as I appraised, wonderful stories about found items—dumpsters in Manhattan still the best location for finding treasures—when an elderly couple came to the table.

Framed fragment

Was it possible that the Fezziwigs, the couple from Charles Dickens’ “The Christmas Carol,” had popped out of the book and appeared in front of me, rosy and round and cheerful? They giggled and jostled as they unwrapped what appeared to be a painting.

As I studied it, I asked the stock questions—where did you find this, inherit it, buy it?

“We inherited it from an aunt who was a Carmelite nun living in a convent in town, Manhattan.”

And where did she get it? Her mother brought it from Naples at the turn of the last century.

Pan pipes and nymphs are nun-cell no-nos

The nun was not allowed to have decoration in her convent cell and certainly nothing as frivolous as this. I was holding a fragment of a painting, meaning a portion of the original painting, that had been cut down to about 24-inches square. It depicted a wild, pastoral scene with dancing nymphs and shepherds and Pan pipes being played.

Stylistically, it was clearly 17th/18th century, and the condition was excellent. I had a gut feeling as to the painter. But where was the rest of it?

“Well,” the Fezziwigs said, “that’s an interesting story in and unto itself.”

At this point, there were about 40 people waiting to have items appraised. I desperately wanted to hear the rest of the story and suggested that the couple come back later and tell me about it.

“No,” 25 of the 40 people said in unison. “We want to hear the story.” The horde crowded the table and waited expectantly.

Four sisters not playing nice

Well, it seems that there were four sisters and one item that they each wanted to take to New York—the painting.

Months before the trip, they jockeyed for ownership of the piece. Days before the sisters were to leave, the decision as to whom was getting the painting had yet to be made.

“But,” I said, “they were all coming to New York. Weren’t they were going to live there together?”

No, they would dock and go off in different directions.

Daddy’s, sort of, Solomonic action

At this point, the bickering had reached a head. The father, exasperated, took the painting off the wall, out of the frame and proceeded to cut the painting into four equal pieces, handing each daughter a square.

On the journey over, the sisters had a complete falling-out, blaming each other for their father’s rash action. After docking, each gave the other the distinctive digital gesture in the vernacular of Naples and parted, painting fragments in tow.

“Why don’t you call the relatives and get the pieces back?” someone in the crowd asked.

“Well, the sisters never made peace, and even though we know where the relatives live, no one has spoken to each other in years,” Mr. Fezziwig explained.

I told the couple that even cut apart, this painting might be valuable. I asked to examine their fragment in a laboratory. I also urged them to contact the owners of the other fragments and negotiate getting them.

Forensics weighs in

I took the painting to a forensic lab in D.C. My feeling was that it was late-17th century, done in the style of Salvador Rosa.

Rosa is known, in some circles, as a second-string Italian Baroque painter. His works were considered by his contemporaries and by art historians as flamboyant and sublime. His historical and allegorical paintings were infused with a vitality and directness that defined in your face in 17th-century terms.

The thought that this fragment could be attributed to this master of the theatrical was beyond exciting to me.

The tests from the lab confirmed that the pigment and canvas were 17th century, the stretcher new and that we could possibly have a Rosa or at least an “in the school” or studio copy. I gave the Fezziwigs the news and asked them to please begin the arduous work of contacting the relatives. They already had, and one of the quarters was on its way.

Experts agree—almost

To cut to the chase, within six months, I had all the pieces—one being sent in a paper-towel roll. I took the fragments to a conservator who began literally piecing the painting together.

Within another six months, the painting was intact and exquisite. I asked some colleagues to have a look at the painting. In the end, there was a 99.9-percent consensus that it was a Salvador Rosa.

With the consent of the disparate Fizziwig clan, I had an independent brokerage firm negotiate auction details and put the painting up for sale. End result: $20,000 for a family I think is now reunited, although there was some grumbling.

– 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.

WorthPoint—Get the Most from Your Antiques & Collectibles

Maybe you, too, were one of those nerdy kids that felt an affinity for walking through restored or reconstructed historic villages. Peering into history while wearing a tricorn hat and jabbering on about the Elizabethan influence on Colonial domestic dwellings while eating a plate of apple pandowdy and speaking in what you thought was an English accent.

I may have just revealed too much about my childhood. But I know there are others like me out there, so I feel relatively safe in exposing myself. At the drop of a hat if the opportunity arose to visit Colonial Williamsburg, Deerfield Village, Old Sturbridge or downtown Philly, I was ready and waiting beside the old Packard to make the trip.

Historic Richmond Town here I come

So it’s no surprise that when I was asked to do an appraisal and auction day in aid of the Staten Island Historical Society’s Historic Richmond Town, I jumped at the chance. If you’ve never been there and that sort of thing does something for you, go. Historic Richmond Town is New York City’s historic village and museum complex that includes the earliest Colonial period to the 19th century.

The town center is beautiful, and the preserved houses capture a part of history that is transporting. I’m waxing here. I’ll get to the point.

But where, oh where in the world is Historic Richmond Town?

My assistant and I arrived at the town center only after having our cabdriver pull over to ask directions. He was from Sri Lanka and not familiar with Staten Island—or maybe Manhattan island, for that matter.

The lady we approached in the middle of her brisk morning cardio-walk, lavender jogging suit, perfect hair and nails, started to give us directions. To a native, I’m sure they were simple. To a visitor, who admits to being directionally challenged, I was lost after the first “turn right.”

I surprised her by getting out of the cab, extending my hand with introduction and explanation, asking her name—it was Delores—and would she be willing to be kidnapped and take us to the town center as time was not on our side. I assured her that our driver would bring her back to her house. “Sure,” she said. She made a call to her husband to keep breakfast warm, and we became new best friends as we chatted the distance across Staten Island.

Helping to raise funds

My part in this event was to assist in raising money for Historic Richmond Town. Saturday would be spent doing appraisals, x-amount per item, then a big auction on Sunday. The volunteers were well organized, people had been given numbers and were patiently waiting in line, and there must have been about 100 all eager and clutching items of various shapes and sizes.

I heard, as I appraised, wonderful stories about found items. Dumpsters in Manhattan still being the best location for finding treasures. I was looking and appraising with a lift to the spirit that things could still be found in unlikely places when an elderly couple came up to the table.

Framed fragment

Could it have been possible that the Fezziwigs, the couple from Charles Dickens’ “The Christmas Carol,” had popped off the page of the book and appeared in front of me? There they stood, rosy and round, cheerful and lit from within with an infectious joy and wonder that about knocked me over. They giggled and jostled as they unwrapped what appeared to be, by the size and shape, a painting.

As I studied it, I asked the stock questions of where did you find this, inherit it, buy it.

“We inherited it from an aunt who was a Carmelite nun living in a convent in town, Manhattan.” Interesting.

“Where, I wonder, did she get it?”

“From her mother who brought it over from Naples at the turn of the century.”

“Apparently,” they added, “she rolled it up and brought it over in her willow trunk. We had it framed when we inherited it.”

Pans pipes and nymphs are nun-cell no-nos

The Carmelite nun was not allowed to have decoration in her convent cell and certainly nothing as frivolous as this. What I was holding was a fragment of a painting, meaning a portion of the original painting, that had been cut down from the original. The portion that I was holding was about 24-inches square and consisted of a wild, pastoral scene at the edge of densely wooded forests with jutting rocks upon which nymphs and shepherds danced and played Pan pipes.

Stylistically, it was clearly 17th/18th century, and the condition was excellent. I had a gut feeling that I knew who had painted it. But where was the rest of the painting?

“Well,” the Fezziwegs said, “that’s an interesting story in and unto itself.”

At this point, there were about 40 people waiting to have items appraised, and my assistant was giving me the hairy eyeball. I desperately wanted to hear the rest of the story and suggested that the couple come back later and tell me about it.

“No,” 25 of the 40 people said in unison. “We want to hear the story.” The horde crowded the table and waited expectantly. The Fezziwegs were thrilled by the attention.

Four sisters not playing nice

Well, it seems that there were four sisters and one item that they each wanted to take with them that had any value from Naples to New York—the painting.

Months before the trip, they started jockeying for ownership of the piece, beseeching their parents to part with the painting that they had grown up with. The parents vouchsafed no knowledge of how they had gotten the painting, although the Fezziwegs said that it was in exchange for something else. Bit of a shadow there sounding like magic beans and a cow.

Days before the sisters were about to leave, the decision as to whom was getting the painting had yet to be made.

“But,” I said, “they were all coming to New York. I assume they were going to be living there together.”

No, they would dock there, and each was going off in a different direction.

Daddy takes, sort of, Solomonic action

At this point, the bickering had reached a head. The father, exasperated, took the painting off the wall, out of the frame, off the stretcher and proceeded to cut the painting into four equal pieces, handing each of his daughters a square. Horrifying—but amazing.

On the journey over, the sisters had a complete falling-out, blaming each other for the rash action of the father. When they docked, each gave the other the distinctive digital gesture in the vernacular of Naples and went their own way, painting fragments in tow.

“Why don’t you call the relatives and get the pieces back,” someone in the crowd asked, “and then put them all together?” Good thought.

“Well, the sisters never made peace, and even though we know where the relatives live, no one has spoken to each other in years,” Mr. Fezziwig explained.

I told the couple that trying to reunite the pieces was a great idea because, even cut apart, this might be a valuable painting. I asked to examine their fragment in a laboratory setting. I also urged them to contact the various owners of the other fragments and negotiate getting them back. Contact information was exchanged, and to my surprise, the couple handed over the painting to my safekeeping.

Forensics weigh in

With the weekend over, I took the painting to a forensic lab in D.C. My feeling was that the painting was late-17th century and was done in the style of Salvador Rosa, the artist on whom I had done undergraduate work.

Rosa is known, in some circles, as a not a first string but second-string Italian Baroque painter. His works were considered by his contemporaries and by art historians as flamboyant and sublime. His landscapes are both wild and turbulent. His historical and allegorical paintings, with a de’ Medici as a patron, were infused with a vitality and directness that defined in your face in 17th-century terms.

The thought that this fragment could be attributed to this master of the theatrical was beyond exciting to me. It was not until Rosa reached the age of contrition, which was early as he died relatively young, that he produced some of the most poignant religious-themed paintings.

The tests from the D.C. lab confirmed that the pigment and canvas were, in fact, 17th century, the stretcher new and that we could possibly have a Rosa or at least an “in the school” or a studio copy. I contacted the Fezziwigs, told them the news and asked them to please begin the arduous work of contacting the relatives. They already had. One of the quarters was being shipped as we spoke.

Experts agree—almost

To cut to the chase, within six months, I had all the pieces, one being sent to me in a paper-towel roll. With the permission of the owners, I took the fragments to a conservator who began the process of literally piecing the painting together.

Within another six months, the painting was intact and exquisite. I had contacted some of my colleagues in the U.S. and England to have a look at the painting. This confab caused some professional-ego feathers to fly, but in the end, there was a 99.9-percent consensus that it was a Salvador Rosa.

With the consent of the disparate Fizziwig clan, I had an independent brokerage firm negotiate the auction details and put the painting up for auction. End result was $20,000 for the sale of the painting and a family I think is now reunited, although there was some grumbling.

– 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.

WorthPoint—Get the Most from Your Antiques & Collectibles

Not too many years ago the automobile was considered the work of madmen, determined to corrupt the morals of our society, not to mention upset the enterprise of the blacksmith, the horse breeder and the harness maker. (They weren’t far from the truth.) It is difficult for the current generation to understand how the automobile caught the world’s imagination.

The artist with his canvas was best to capture the new found exciting event. No one artist was able to capture the excitement better then Ernest Montaut of Paris, France. Ernest Montaut, artist and lithographer, was the first to mass produce automobile art. Not only were his lithographs sold in Europe, but Motor Magazine of the United States used some of his images, in printed form, as inserts in some of their early issues.

Pictured is a 1908 lithograph showing an early race car with a blue bird on the righthand corner of the lithograph. These, like so many early lithographs, fade quickly if not properly displayed, always away from direct sun light.

The value depends upon the condition, but his lithographs sell for around $250-$350.

When you’re considering buying an item or a painting that needs repair, as an antique dealer, you might ask yourself what the increase in value will be after its restoration. While I usually recommend the members of my antique business club, the 31 Club, to allow the purchaser do the restoration, there is that rare time it makes sense for you to have a piece restored.

One of our 31 Club members sent me a photo of a painting from a sales bulletin. It caught my eye, all right, and she planned to buy it. Before the sale, she contacted me again, saying the painting had some damage, but not too much. We agreed she’d bid on the piece without getting too carried away on the price. This painting soon became hers. She sent it to a restoration expert I recommended here in Chicago – Baumgartners, and yesterday I got to see it. Boy, is it a beauty!

The artist, Jean Dominique Van Caulaert (French 1877-1979) had a listing in Davensport of $9,000. While I don’t expect this one to do that well, at under $750 restored, I believe this is a real treasure. In fact, I like it so much I was thinking it would make a great addition to my own collection. But, I’m not going to do that this time. I’ve got enough for now, so look for this soon in the 31 Gallery.

While I don’t recommend you go out looking for damaged pieces, it you find a real quality piece, it might make sense if it is discounted enough. You see, when the restoration increases the value of a piece, by perhaps 5 to 7 times, that’s when you step forward and get the repairs done.

The Frederick Morgan painting I wrote about in my book was a painting I had relined. I bought it for $16,000 and this restoration didn’t reduce its value. It sold for $115,000 at auction at Christie’s New York. It would have been very easy to have walked away thinking it was no good because it had been “fooled with”. There are times you can be proud of the decisions you make and that was one of those decisions for me.

Usually, items should be left alone. I wouldn’t want to be looking for damaged pieces and get to be known as a dealer of repaired pieces. But if the discount is sufficient and the restored article will bring many times its cost plus repair, then jump on it.

*****

FREE MENTORING from Daryle Lambert. Visit www.31Corp.com ]]> http://www.worthpoint.com/research_library/when-should-i-restore-antique-or-fine-art-painting/feed 1