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Why can an accompanying box be an important value determinant?
What’s authentically "Coromandel," and what’s "Coromandel style?"
When are three seasons or seven horses just not enough?
How can inscribed dates be identified and translated?
Who are the heroes and who are the villains?
Where are the markets?
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These factors include the data appraisers routinely note (country, title if specified, artist’s name if given, date, medium, dimensions, condition, provenance when known, description of composition, etc.), while also considering details specific to works from these regions. Themes, formats, the role of seals and colophons, the function of the work and other issues which clearly differentiate East Asian and Tibetan paintings and screens from those produced elsewhere in the world will be illustrated.
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Though there are many shared characteristics among the paintings of these four areas, there are some strongly individual national characteristics as well. An appraiser must be aware of these, as certain clients can be passionate about heritage issues, themes and styles that are unique to each of these four specific cultures.
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The markets for paintings from each of these areas are also very specific. This seminar introduces relevant cultural, historical and restoration issues, as well as typical subjects and symbol systems. Current market conditions will also be explored.
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Even though Asian paintings and screens are lifelong studies—and it is often necessary and wise for appraisers to consult expert opinions—at the end of two days, appraisers should know where to begin when confronted with such works. The course is designed to reduce angst and increase confidence!
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Note: These images, courtesy of a private foundation and a collector, will be discussed in the seminar.
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