Tuesday, October 21, 2014

Congratulations to course attendees!

ISA recently hosted a Live Online 7 Hour USPAP Course. Please join us in congratulating our course attendees on taking the necessary steps to maintain their education and ISA credentials!

Sept. 10-11 Attendees


Elodie Cardon, ISA
Pensacola, FL

Richard Casagrande, ISA AM
Ellinwood, KS

Michelle Castro, ISA
Dallas, TX

Elizabeth Dore, ISA
Glendale, AZ

Genae Fields, ISA CAPP
Houston, TX

Susan Gaze
Houston, TX

Judy Herman-Appelbaum
Sarasota, FL

Nancy Huff, ISA
Winter Haven, FL

William Irvin
Petersburg, VA

Brian Kathenes, ISA CAPP
Hope, NJ

Brenda Murray
Murfreesboro, TN

Shell Payton, ISA
Montgomery, AL

Natalie Ribkoff, ISA
Toronto, ON

David Sanders, ISA
Mobile, AL

Terry Stubbs, ISA
Abilene, TX

Shel Trost, ISA AM
McHenry, IL

Natalie Waechter
Chicago, IL

School is in session!

Make sure to take advantage of the many upcoming ISA Fall Courses:

Nov. 6-7: Oriental Rugs (Dallas, Tex)
Nov. 9-10: Requalification Course (Dallas, Tex)
Nov. 12, 13, 17-19: Live Online 15 HR Personal Property USPAP Course 
Dec. 2-4: Live Online Requalification Course 

Tuesday, October 14, 2014

Alternate Path to Accreditation

My guess is that you may never have heard of the Specialty and Advanced Studies Committee. And if you have, you probably aren’t sure of what it does.

It’s actually a committee that could be very important to you if you are an ISA member who has a specialty that does not fall within the boundaries of the Antiques & Residential Contents or Fine Arts courses. Or if you are a graduate gemologist, have completed the NAWCC Clock Appraisal course, are a seasoned/experienced professional in related areas or hold a graduate degree in decorative arts or fine arts.

A year ago, the board charged the committee to reorganize and expand the mission to provide a meaningful alternative way for these ISA members to advance to accreditation. The result is a specific, two-step process beginning with your letter to the committee requesting acceptance to follow this path to accreditation, accompanied by your CV/resume, transcript for your highest degree or relevant academic/professional education and a log of appraisal hours. The latter just became a requirement Sept. 1 to document your experience as an appraiser.

Once the committee accepts your application, you may be asked to submit a paper (possibly an article already written) if you do not have an ISA-recognized certificate in a specialty study or graduate degree prior to submitting your appraisal report. If your prior study meets this requirement, you will be asked for an insurance appraisal of five items in specific categories as directed by the committee. In both situations, your paper and/or report will be sent anonymously to three reviewers who are specialists or experts in your appraisal area. They have 45 days to report back to the committee which then considers their evaluations and either awards you your accreditation or requests a revision of your appraisal report. When the latter occurs, you receive a specific list of issues which need to be readdressed. The revised report will be vetted by one of the original reviewers before the committee makes its final decision.

It is NOT our goal to make it difficult for members to advance but rather to provide a meaningful experience that ensures you know how to apply your knowledge and appraisal methodology to arrive at your value conclusion and relay it succinctly and comprehensibly. It IS our goal to assist you in advancing your professional credentials, sharpening your skills, and becoming the best possible appraiser at this stage of your career.

Our Application Guide lays out the specific requirements in greater detail and can be accessed by contacting Catherine Toupin, ctoupin@thesentergroup.com, at the ISA Headquarters. All submissions go through Catherine, who will then assign your application a specific number by which you will be identified without revealing your identity to reviewers. I am also available if you have specific questions and can be reached at fpappraisals@hotmail.com. We hope that many of you will consider this path as appropriate and viable for your situation.

Francine Proulx, MS, ISA AM, ASA
Chair
ISA Specialty & Advanced Studies Committee

Monday, October 6, 2014

New Report Requirements

EFFECTIVE SEPT. 1, 2014

The ISA Board of Directors has approved the following new report requirements for our accreditation levels in ISA, effective as of Sept. 1, 2014. Those involved in the process of receiving their AM or CAPP designation will be allowed to finish under the old requirements, but any new applications will reflect these new guidelines.

Member Level: As part of the member level process that includes satisfactorily completing the Core Course for Appraisal Studies, each applicant must submit an appraisal for the intended use of a Federal (US/Canada) tax submission. This is done during the Core Course and must be passed as part of the course requirements. (This is our current requirement and does not change.)

AM LEVEL: As part of the AM process, each applicant must provide an insurance coverage appraisal that consists of five items in one’s specialty. For ARC, the list includes one from each of the following categories: silver, furniture, glass, ceramics, and textiles. For FA, the list includes one from each of the following: painting, sculpture, print, watercolor, and frame. The appraisals must be both USPAP and ISA compliant and demonstrate competency and expertise in the specialty areas. All other product areas must be submitted to the Specialty and Advanced Studies Committee (formerly Specialty Studies). They will provide guidance in terms of the five specific items. Applicants will have 45 days from the end of their specialty class (or application if in SASC) to submit their reports.

CAPP LEVEL: Candidates for CAPP must still sit for the CAPP exam and provide an appraisal report for Designation & Review grading. This report will be a Broad Evidence Report that requires the member to show competency in both methodology and product expertise. The applicant will choose three items in their specialty as if they were part of a claim. They will be asked to provide the following information: fair market value, replacement cost, salvage or scrap value, and loss on value. A specific scenario will be provided upon application. Time limitations will be similar to the AM level. (Please check the CAPP application packet for additional details.)

Notes: These new requirements were issued based on recommendations submitted by the Credentialing Task Force set up last winter. These changes will improve the level of our credentialing process and not duplicate requirements. Each member of ISA will have submitted a formal Federal appraisal for grading. Each AM member will have shown expertise in product knowledge application in an appraisal report done for replacement costs. The CAPP level will demonstrate a candidate’s proficiency in applying different appraisal objectives to the same property. These standards are clear, easy to implement, and provide more uniformity in grading. Guidelines and timelines will be provided to all applicants and graders.

Tuesday, September 30, 2014

Affinity Business Partner David Dike Fine Art Discusses the Emergence of the Texas Art Market


The art market, as a whole, does fluctuate, but within that market there are pockets of niche art for which the market has its own activity. David Dike recognized regional art when he started in the business in 1986. Upon traveling across the country to different art shows and fairs, David noticed that the art many dealers were handling was not exclusive to national and international names, rather painters that were regional to their areas; like the plein air painters of California or the Old Lyme paintings of Connecticut. This inspired David to research and focus on Texas regional artists. Artists that were active at the turn of the century to mid-century, creating works in the same style and period as other major nationally renowned artists. These Texas artists were studying at the Chicago Art Institute, The Art Students League of New York, or Shinnecock Summer School of Art.

Years after he started his gallery, David established the Texas Art Auction in 1996 from the support and encouragement of his Texas art collectors. This was the first ever fine art auction dedicated strictly to Texas art. The auction is still held annually and has produced records every year for Texas artists; helping in the growth and recognition of Texas art.

That being said, the Texas art market is still emerging and starting to be recognized on the national level. Some big names in Texas art you may start seeing at nationally recognized auctions are Julian Onderdonk, Robert Onderdonk, Paul Schumann, Edward Eisenlohr, Porfirio Salinas, Robert Wood, Dawson Dawson-Watson and Alexandre Hogue, to name a few of some of the great early Texas painters.


Texas also has its own cultural hubs from which artists grouped to create different areas/schools of art. San Antonio is one of the earliest for Texas historical and later impressionist painters. The Fort Worth Circle encompassed a group of avant-guard painters and printmakers in the mid-century. Dallas is another area where painters emerged and started different schools like the Frank Reaugh Club, Dallas Art Institute and later the teachers and students of Southern Methodist University art department. Founders of the art department at the University of Texas include a list of heavy hitters of artists who in the past five years are really making a mark and have increased in value.

San Antonio, at the turn of the Century through the 1940s/50s, was home to many of the Texas impressionist painters you will see at national auctions now. The best of which known is Julian Onderdonk who is most famous for his bluebonnet landscapes. Porfirio Salinas and Robert Wood are also known for their bluebonnet paintings. A soft rule of thumb… paintings with Texas subject matter by these artists seem to sell the best in Texas. Take a Robert Wood bluebonnet landscape to a gallery in California and it may not bring a premium; just as a Robert Wood Laguna Beach seascape may not sell at as high of a price in Texas as it could in California. It is important to recognize the value of these paintings within the appropriate market.

The Fort Worth Circle encompassed a number of avant-garde painters and printmakers who were generating a buzz in the 1940s, 50s and 60s. The time following WWII marked a period when these artists desired to create unique abstractions using exaggerated colors, which reflects the artists’ observation of harmony around them. Some of these artists include Bror Utter, Bill Bomar, Cynthia Brants, George Grammer, David Brownlow, Kelly Fearing, Marjorie Johnson Lee and McKie Trotter. These artists are particularly hot at this very moment. The trend of mid-century modern home and furniture design seems to have filtered over to artwork as well. Collectors are recognizing this and starting to snatch up these mid-century modern paintings. The market for these artists is on the rise.

Dallas has had histories of different artists that are important. Some of these big names include Edward G. Eisenlohr, Franz Strahalm and Frank Reaugh. The Frank Reaugh School based in the Oak Cliff area of Dallas was a studio and base from which Reaugh would take a group of artists every summer on a tour of West Texas, where he and 10–12 students would paint plein air, primarily on boards with pastels. Frank Reaugh pastel paintings of the West Texas plains that capture the historic cattle herding era are quite valuable and can be in the mid-five figures; and David anticipates these values will hold.

Olin Travis was another early Dallas painter. He received some of his formal training as an artist at the Chicago Art Institute and the Broadmoor Academy. He would summer in Arkansas, where he started a summer school for artists to paint in the city of Cass. He later founded the Dallas Art Institute where many early Dallas painters got their start. The art department at Southern Methodist University is another school which included artists who studied and then later taught. These painters include Jerry Bywaters, Otis Dozier, DeForrest Judd and Ed Bearden. Founders of the art department at University of Texas in Austin include William Lester and Everett Spruce; who were also later known as part of the Dallas Nine.


Arguably, the group’s strongest works to date are their regional works from the 1930s. Like the American Regionalists, Thomas Hart Benton and Grant Wood, the paintings were executed in a style that was tightly rendered with hard-edged forms reminiscent of the WPA mural paintings. Charles Umlauf also taught in the art department at UT Austin, and is one of the most important Texas sculptors.

The Texas art market continues to grow. The emergence of the Internet seems to help paintings find their way to David Dike Fine Art from places as far as Switzerland and Spain for example. An oil painting of a Texas landscape by the early Spanish and American, San Antonio artist Jose Arpa might be worth a couple hundred dollars in Spain; but once it returns, it could sell in Texas for upwards of several hundred thousand dollars. While the Internet makes the market seem universal, and the world smaller, it is important for niche and regional art to find its way home.

By: David Dike Fine Art, ISA Affinity Business Partner

www.isa-appraisers.org

About David Dike Fine Art: David Dike Fine Art specializes 19th and 20th century American and European paintings with an emphasis on the Texas Regionalists and Texas Landscape painters. The gallery provides a compilation of traditional and distinctive art for both new and mature collectors. http://www.daviddike.com. 214-720-4044

http://www.daviddike.com/