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

 
Frank Reaugh

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.

Julian Onderdonk

Robert Wood

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.

Everett Spruce

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.

Bror Utter

Charles Umlauf

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

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

A Moving Proposition

My family recently moved from one house to another across town.  That seems simple enough.  Neither house is large and other than my 500 pounds of books we don’t have too many items.  We even had a group of hungry college kids who work for BBQ to help.  Despite all that, it took over a month to prepare to move and almost two weeks to accomplish it.  During my month of moving I also had two clients who were also preparing to move.

If you don’t move often yourself you may not think about all that entails.  I was concerned about making sure my breakable items stayed whole and spent a lot of time thinking of proper packing.  One of my clients was worrying about leaving their family antiques in storage for two years while he serves overseas in the military.  That is a common problem in my community.  A full condition report is very important as well as establishing value.  Another common issue is the one involved when someone is moving into a home that is half the size of the current one.  My second client must decide what she’s taking with her and what she’ll do with the rest. I am appraising several pieces so she can make sure she’s keeping the best of her collection.  Next week, I’ll look at a broken Lalique vase to establish the value for replacement under the owners insurance policy.  I got an email only yesterday from a client who let me know that a valuable family antique had made a cross country move successfully thanks to the the custom crate I suggested the mover use.

I’m telling you all this because I wanted to remind you that appraisers can be involved in  many aspects of the moving industry.  I’ve helped many clients prepare for a move by valuing their items including the current condition and I’ve worked on claims settlements for both the mover and shipper (not at the same time!).  Spend a little time thinking about all the ways you can use your appraisal skills to help someone who is moving.  A good starting place is contacting the shippers in your community but that is just the first step.  Talk to realtors, employee relations managers for large employers, home owner’s insurance salespeople, military housing specialists, anyone you can think of who deals with people coming and going to your area.  I get referrals from other antique dealers, cleaning services, jewelers and even the guys who manage the parking meters and lots in town (go figure).  My dentist and butcher have given my name to people who have damage claims.  Make sure you are the friendly neighborhood person who helps fix appraisal problems.  The Lalique vase actually made it through the person’s move but was broken when a new appliance was being delivered so don’t forget to leave your card with furniture and appliance stores too.  I’ve left cards, written short articles for newsletters, offered short talks on preparing to move; all ways to make my name familiar in those circles.

The best tip I can give you for marketing your business is easy.  List the obvious sources of referrals then get a second cup of coffee and think of all the crazy links you can.  You can always strike through the ones that really won’t work but you’d be surprised what brilliant ideas you can come up with when you allow yourself the freedom to think outside the box...or the moving crate as may be.

By: Libby Holloway, ISA CAPP

ISA AFFINITY BUSINESS PARTNER ELI WILNER DISCUSSES RESTORATION OF RARE STANFORD WHITE GRILLE FRAME

Eli Wilner & Company was recently challenged with one of the most complex frame restorations they have seen in 35 years of business when a painting by Thomas Wilmer Dewing, Lady with a Fan, on loan to the Baltimore Museum of Art from the Maryland State Archives, was unable to be placed on view to the public due to the severe deterioration of its frame.

Many of the country’s museums and other public institutions on Eli Wilner & Company’s extensive client list have turned to Mr. Wilner and his staff for their expertise when addressing important re-framing projects. There are a variety of reasons why a work might need to be re-framed: sometimes a frame is not historically appropriate or a curator seeks to have a cohesive aesthetic for an exhibition. Frequently, due to improper handling or storage, combined with environmental factors and age, a frame may become damaged and the costs of restoration need to be weighed against total replacement. Another step in making that decision is researching the source of the frame itself. Labels and any other provenance documents are consulted to determine whether the frame is original to the painting. It is important to distinguish whether it was chosen or designed by the artist, or if it was selected by an owner of the work of art.

In the case of the damaged Dewing frame, which the experts agree must be original to the painting, it is also a rare and extraordinary example of a floating grille frame design by Stanford White – one of the most important figures in American frame history, as well as a member of the prominent architecture firm McKim, Mead & White at the turn of the 20th Century. Therefore, the White frame is of significant value itself, especially when paired with this exquisite painting by Dewing.

Unfortunately, over time, the grille had become broken and distorted, and the crispness of the ornament had been severely eroded.

Detail of corroded Stanford White frame prior to and after restoration (above)

When approaching any restoration project, the Wilner craftspeople make every effort to salvage the original materials. In this case, the entire grille element was deemed beyond repair and the decision was made to carefully remove it from the gilded substrate. The re-creation was done using the same techniques as the original with internal wire reinforcement. The expert mold-makers were able to achieve the flat contour the grille would originally have had by using other period frames by White as reference. The grille section was then gilded, re-applied to the frame, and the correct patina was achieved. The frame is now ready to be re united with the painting and be enjoyed by the public for years to come in its original splendor.

The technological advancements of the 20th Century affected the nature of the public’s perception of picture framing because of the increased availability and affordability of mass-produced length molding that can be quickly cut and joined. This trend, combined with the influence of stripped down interior design aesthetics, separated many paintings from their original frames. It is commendable that the curators in this situation took the time to research and follow through with this frame restoration project and reflects a movement within the international art market where craftsmanship, historical importance, and value of the picture frame is once again being acknowledged. This is not only apparent in the many public institutions that Eli Wilner & Company are honored to have on their client list, but also with private collectors, who along with their art advisers, have become more actively engaged in the evaluation of framing possibilities with new acquisitions. Many are also becoming aware that frame restoration is often as critical as conservation that may be needed for the artwork it contains and tending to repairs before they are too far gone will alleviate costs and aggravations in the years to come.

On a related note: Eli Wilner & Company has been chosen by Lyndhurst Mansion, a National Historic Trust Site, located in Tarrytown, NY, to collaborate with its staff in restoring and re-hanging the estate’s grand Picture Gallery. The Wilner staff will restore frames that have sustained damage over time and replace those on paintings that have lost their original frames and have been in storage for years.  Wilner will also assist with the installation of pictures, maintaining the multi-tiered Victorian style of hanging that has been documented in photographs since the 1870s but will bring many of the best works in the collection to eye level. The extensive collection of finely framed paintings assembled by railroad baron Jay Gould and his daughters include works by Gustave Courbet, Jean-Baptiste-Camille Corot, Theodore Rousseau, Charles Daubigny, Jean-Leon Gerome, Jean Beraud and two important works by Bouguereau. The mansion will reopen for public tours in May 2014. www.Lyndhurst.org

ISA Continuing Education

As the New Year has rolled in, I’ve mulled over what resolutions I want to make. I love continuing to learn, especially about things I’m passionate about.  I’m that way about my hobbies as well as my profession.  One of my resolutions is to set aside more time for catching up on the pile of articles and books I’ve collected to read and learn more about things that interest me.

I wish I could say at this “ripe age” I’ve learned so much I know it all, but the truth is the more I learn, the more I discover there is to still learn. This is particularly true in my appraisal specialty field of art, where there are hundreds of years of different art movements from both Eastern and Western cultures and thousands of artists and their oeuvres.

As an appraiser, I visit galleries, auction houses, museums, attend lectures and seminars, subscribe to art publications and constantly add to my library to continue my art education. I have even devoted a fair amount of my time as a volunteer docent at a museum, whose collection is in my specialty area in order to continue my education through training sessions with curators and directors both at the museum I volunteer through and visiting professionals in conjunction with their exhibitions.

Despite all I try to do to keep current, there are still occasionally works of art or artists that are unfamiliar to me.  Occasions such as these make me grateful to being an ISA Personal Property appraiser.  I feel ISA places a high commitment on education.  ISA appraisers are set apart from other professional personal property appraisers in the industry in that we have such strong training in appraisal methodology and writing standards.  While I would not try to attempt appraising antique airplanes (I have no knowledge in that area at all) nor would I ever bill a client for hours spent researching “to get up to speed on an artist and their works”,  I do firmly believe that our training in appraisal methodology helps us to correctly find values rather than relying solely on connoisseurship or prices stated in one or two galleries. Our methodology training truly sets us apart from the rest of the appraisers out there that we compete against.

ISA members are lucky to have an organization that backs its members with an educational arsenal that should give its members the confidence they need to be successful in their business.  In its commitment to members and improving member’s professionalism, ISA is launching the Learning Management System (LMS) an interactive online learning system that members can access to further their accreditation needs. The Core Course is the first of our courses to be launched on this system.  More classes are planned to launch on this system as budgets and time allows, giving ISA the ability to provide more and more specialized and advanced courses for members in the future without their need to travel. It’s a very exciting new program which will be officially introduced at Assets 2014 in Kansas City. There are many exciting future applications for our members with this new system.

Continuing education isn’t just for our members. Our new President, Cindy Charleston Rosenberg has listened and heard members when they have stated they need help in getting “gate keepers” to understand what we do and why we do it”.  To that end, she has asked our past president Todd Sigety to add to his already brilliant marketing and branding program launched last year with a  power-point presentation “What Should a Professional Appraisal Look Like”. This presentation can be used by gate keepers at major companies who use appraisal services to train their staff and clients to expect the kind of professional appraisals ISA members provide and accept nothing less. Through her newly launched membership category Affiliated Business Partner, these same companies which include major insurance companies, banks, law offices and other companies with high-net worth clients using appraisal services, can educate our appraisers as to what they need from us, thus creating a win-win situation for all involved and creating more business for all around.

I have high hopes for 2014. I think the year holds many opportunities for learning and becoming even better appraisers. The opportunities are there. As with every year though, we do have to get off the couch and make our resolutions stick. There are some things we have to do for ourselves once given the tools. If you haven’t explored the ISA website lately, please do. There are so many new initiatives out there to help our members learn how to increase and improve their businesses.  For one thing, Find An Appraiser is greatly improved.  Our upcoming annual conference, Assets 2014, has an amazing program planned along with lots of learning and networking opportunities.  If you haven’t attended a conference in a while, do yourself a favor and attend. You will be amazed at how much you will learn and how much you will discover that ISA is doing for its members to help them be successful!

So have a great 2014. Help me keep my resolution and continue to learn with me. We will have to get off the couch and work hard on our own, but the tools are there for us. As they say in NIKE World….Just Do it!

By: Christine Guernsey, ISA CAPP

Affinity Business Partner Eli Wilner Discusses the Importance of Frames and Frame Restoration

One of the significant benefits of the new ISA Affinity Business Partner (ABP) program to our members is exposure to expert information from related industry leaders on topics of great interest to appraisers. In the ABP's first blog post, esteemed partner Eli Wilner shares some interesting case histories on frame restorations performed by Eli Wilner & Company, NYC.

Eli has been a great friend to ISA over the course of decades, and had generously contributed significantly the Frames chapter in to our soon to be released, fully revised, Appraisal of Fine Art Course Manual.

Thank you Eli, for your valued association with ISA and for your article which provides a good understanding of the broad range of possibilities in expert frame restoration.

~Cindy Charleston-Rosenberg, ISA CAPP

By Eli Wilner

There are many aspects to the management of an art collection. One area of considerable importance is the role that frames play in the preservation and display of an artwork. Frames themselves can be very valuable so it is of key importance that collectors seek those with the skills and information necessary to make informed decisions. Two key components discussed here are the value of frames on artworks and the proper techniques necessary to preserve both the art and frame.

Eli Wilner & Company prides themselves in providing an in-depth knowledge of frame history and framing techniques. Such a depth of knowledge enabled them to do an appraisal for a leading world-renowned art gallery. In business for decades, the gallery had accrued an exceptional collection of over 250 frames. The gallery had promised the collection to a major museum and a full USPAP (Uniform Standards of Professional Appraisal Practice)-compliant appraisal of the frames was needed for the IRS. The group encompassed all possible categories of value: from extraordinary European frames of the 18th century and earlier, to fine 19th century frames and 19th century reproductions of earlier frames, to frames of mid- 20th century and contemporary manufacture of both good and inferior quality. The task of categorizing and valuing the frames was further complicated by the range of size of each frame. In the end, the appraisal was assembled and submitted to the client (and the IRS) with a value of over $3,000,000.

In another case, proper frame valuation was of critical importance when Hurricane Ivan struck the coast of Florida with a vengeance. A number of frames that were part of a valuable collection assembled by a private collector were in storage. Not only was the building damaged- it was washed away down to the foundation. Among the many losses were fourteen exceptional carved and gilded frames. Working with the collector and the insurance company, Eli Wilner & Company was able to provide appropriate documentation and valuation of each frame. This expertise assisted both the collector and the insurance company in processing the claim for such a devastating loss reaching a settlement for over a half million dollars.

The proper handling and care of framed artworks can present special challenges. One such case was the restoration of a large contemporary artwork where both painting and frame comprised the overall artwork. Measuring – (app 10’ X 6’) when the home was painted workmen did not wear gloves and the oil from their hands tarnished the gilding powder used to finish the frame, resulting in dark handprints becoming visible on all four sides. At the client’s request, EWC staff went to the home and performed tests on the damaged areas. These tests showed that isolated treatment would not eliminate the marks and further compromised the gilded surface- a complete resurfacing and sealing was warranted. The work was done and the artwork was reinstalled- all done on site without the artwork leaving the clients premises.

In another case, a client had a collection of artworks that had suffered when loaned to an exhibition. Upon their return, the owner immediately noted the deteriorated condition of the frames and fittings. The owner was understandably reticent to have the artworks travel again, so the EWC team went to the residence and was able to remove the art from the frames, repair compromised hinges and refit the artworks. In some cases frames had to be removed and taken to the EWC studio to restore gilded surfaces that were delaminating. Once restored, the frames were refit on the artwork at the residence.

Appropriate frame restoration is a critical factor in the care of frames. Gilded frames, especially, warrant experienced care. A knowledge of traditional gilding methods and materials can spell the difference between correct or incorrect treatment. For example, it is all too often that a 19th century frame is restored using metal leaf, a material that would not have been used at the time the frame was made. Gilded frames often suffer the application of oil-based paint that renders the surface coarse and lifeless. One fascinating case is that of the original frame for the oil on canvas Portrait of Miss Caroline Welton by Abraham Archibald Anderson, c.1870-74 in the collection of the Mattatuck Museum in Waterbury, Connecticut.

A life-size portrait, the frame measures 96” at its highest point and 58” wide. The frame is a late 19th century gilded frame in the Neoclassical style composed of crossetted corners at the top, lamb’s tongue near the sight edge, a leaf-and-berry motif along the top edge and a banderol (twist) ornament at the back edge. There is a wreath approximately 13” across at top center and floral garland swags that extend approximately 18” down from the top at each side.

While the frame retained much of its original surface there were many areas of loss to both the gilded surface and passages of ornament. Losses to the surface were especially prevalent along the bottom, the upper sides, and the area where the wreath and swags join the frame. The left swag was missing almost completely and the right swag had losses. There was evidence of inferior prior repairs and oil-based paint had been applied in many areas. Corner miters were separating.

In order to restore the frame to its original grandeur it was first treated for any structural instability including the rejoining of the separating miters. The frame had been constructed so that it could be dis-assembled and re-assembled at the corners for easier transport. Care had to be taken to re-align the corners and assure a smooth joint without the benefit of nails or glue. Next, areas of ornament such as the wreath and swags were re-created where absent and broken, and re-attached to the main frame structure and then all areas of loss to the gilded surface were cleaned and prepared, and the gesso and bole layers re-applied and sanded.

In most restoration projects, at this phase in the process (after the entire frame has been restored both structurally and ornamentally) the surfaces are regilded using traditional water gilding methods and gold leaf, taking care to retain as much of the original gilded surface as possible. Upon completion of the gilding, a patina is applied to render the appearance of age so that all newly restored areas blend harmoniously with the original surface. Unfortunately, after this frame was regilded the new surface began to delaminate (flake away) and it was necessary to redo the surface. Imagine our surprise and frustration when the same delamination occurred after the second regilding. We will likely never know what caused the original gesso layer to become unstable and cause the delamination- perhaps the frame suffered water damage in the past or was stored for a long time in a damp basement or similar area. In any case, it was only after the third regilding of the frame that the surface stabilized and remained intact. This is typical of the sort of labor-intensive problems that can occur in any gilded antique frame. What may appear to be a straightforward process becomes far more complex and time consuming. In the end, nearly 500 hours were devoted to the restoration of the frame. Happily, the frame can now be reunited with the newly cleaned and conserved portrait, together they will have pride of place in the Waterbury City Hall for a special welcome home celebration.

The March of Time…lines. Attending the Antiques and Residential Contents Course.

Last night I watched a new prime time family sitcom that takes place in the mid-1980’s.  I usually skip such “period” shows because it only takes one anachronism to ruin my “suspension of disbelief”.  The offending scene came quickly; the teen son made a reference about his favorite movie “Say Anything” and with that, it was over for me.  I knew that movie was released in late 1989.  Click went the remote.

I can’t help myself.  I’ve been blessed and cursed with a sixth sense of this “chronological awareness” since I was very young.  My older sister’s crush on actor Robert Conrad in the 1960’s required me to sit through improbable episodes of “The Wild, Wild West”.  Set during President Ulysses S. Grant’s administration, Conrad’s character was a Secret Service agent who used futuristic gadgets, totally out of context in the Victorian-era period setting.  I now cite the show as an early example of the “Steampunk” style so popular today.

Don’t get me wrong, I love Vernesque time-travel stories and movies.  The difference is those stories vacillate through an orderly timeline of historic events and periods.  I “get” that, much like the span of Art Periods that connect the historical and/or scientific events influencing the work.  I recognize the zeitgeist of actions or reactions to the status quo, leading to new Art Movements.

Attending the recent Antiquities and Residential Contents Course in Naperville made me realize that furniture and the decorative arts also share a timeline correlation to historic events, ruling monarchies and evolving technologies.  The ARC Course helped me gain new perspective of the reasons for specific types of furniture pieces or how the whimsies of a monarch’s consort would form a legacy of enduring motifs and styles.  I appreciated how the emergence of chemistry processes affected pottery, glassmaking and silversmithing.  With rapt attention, I learned about the evolution of the humble construction nail (I kid you not), what really makes a quilt a quilt, what orientalia is and what it isn’t.  I learned about toys, purses, clothing styles and pianos.  I was cured from my fear of appraising Oriental rugs, understanding now the intricacies of the craft and its nomadic cultures explained.  I’ll never look at garage contents the same way again.  I even picked up a few cocktail party gems, “Do you know who came up with the Circular Saw?” “Do you know who invented Lincoln Logs?”  

ISA provided a very concentrated six-day curriculum, which included a “working” field trip to an estate consignment shop, relationship-building time with class attendees and the opportunity to glean invaluable tips from three very sharp instructors who shared not only “book” knowledge, but their real life experiences in the field and their marketplace intelligence.  I highly recommend this course to novices and seasoned appraisers alike; you’ll learn something new, I assure you.  As for me, I know it’s only a matter of time before that “18^th century” coffee table shows up.  I’m ready.

By: Maggie Lopez
Member, ISA

Positive Changes Made Possible Thanks to Hundreds of Hours of Hard Work!

I am responding to the most recent Blog where the writer wrote about how much ISA has changed and is changing. Since I joined in 2008, I have noticed enormous changes all for the better. ISA has gone from being one of the three top appraisal organizations to the personal property appraisal organization of choice, with many member driven benefits and support.

 I would like to publicly thank all of the selfless hardworking and committed ISA members who have made the CHANGES in our organization possible. I say “selfless, hardworking, and committed ISA members” because without the hours and hours of volunteer efforts put forth by ordinary members who run successful businesses, have families and lives, and activities in other organizations, the changes we have all witnessed and enjoyed in the last five years wouldn’t have been possible. These changes haven’t happened because everyone “just didn’t do much –or haven’t done anything”.

So thank you -and you know who you are- (the list of names is much too long to list individually) for:

• The many hours devoted to developing continuing educational opportunities for all ISA members through classes, webinars, the new online learning systems which are about to be launched, the very informative speakers that are booked for conference each year and special study opportunities. 
• Three cheers for the volunteers on the Designation and Review Committee who help us to get our CAPP! 
• A very special thank you to our members who serve on the Foundation for Appraisal Education and all they do to help support the educational needs of ISA. 
• A big thank you to all of those involved with conference every year! What is essentially a fun and educational 3 day get-away for most of us, is a year- long gut wrenching planning event for a few. Conference attendees have no idea how much work goes into planning what seems like a seamless and wonderful event. There are thousands of moving parts - trust me. If you have never been to a conference, you are missing out on one of ISA’s best benefits! 
• How about applause for all of those members who put in many hours of their spare time initiating programs that benefit all of us as members? In this last year we have seen a major overhaul of our ISA website, “Find an Appraiser”, a national advertising campaign that promotes ISA and its members to the public at large and target those who use appraisal services. Not only do we have professional ads now being placed in targeted media but we also have templates for members to customize and use in their own marketing. We also have a new program inviting major non-appraising businesses who are appraisal related to join our organization. This collaboration can only benefit all involved. 
• What about our new mentoring program? Don’t you wish when you were starting out that you could mentor with a seasoned appraiser to learn the ropes? I don’t ever remember a time in ISA when there were so many initiatives being launched that directly benefited its members. 

So who is making all these great changes? It’s the ISA members who realize how much ISA has done for them as appraisers both in personal development and professionally with their businesses. It’s the members who appreciate the organization, want to say thank you and step up to the plate to take their turn at “paying back” and keeping our great momentum forward going.

So thank you to all of you who have made these changes possible! You know who you are. A big pat on the back for all the thankless hours that we all enjoy but sometimes forget to say THANK YOU!

Submitted By:
Christine Guernsey, ISA CAPP
ISA Board of Directors, Secretary and former Fine Art Chair

It’s about time…..

When I agreed to head up the ARC at ISA, I was told, there really isn’t too much you have to do.”  I took “not having to do too much” to the next level and really haven’t done anything !!! I think that promise was really was a ploy to have a live body (me) head this committee...and so, here I am FINALLY reaching out to you, the ISA -ARC members. But many of you are probably thinking “IS SHE ALIVE?”

A little history….

            For many years, I took any and ALL antique seminars/classes that I could get my hands on.  My library is overflowing with scholarly books on antique porcelain and such.  I still have my wood blocks that the North Texas Chapter provided to the Identifying Wood class that I took several years ago which I would bring to my various appraisal sites trying to figure out whether that sideboard is oak or cherry!

            Recently, I was called in to a very prominent family’s home in my town in which the elderly mother was moving out of state to be closer to her family and the family was trying to decide what exactly what should go where. It had been awhile since I had seen such a collection of Period English and American antiques in place.

Change……

            And why?? Because I joined a co-op with 3 other women in which we buy and sell (mostly vintage) decorative objects and furniture.

And I realized that there was an entire century of  tchatckies and furniture that I had overlooked  and frankly disregarded while I was studying the world of antiques. And boy did I have to catch up!!There is a whole world of Geodes out there!! Who knew?? But seriously, I have had to do my homework to study the works of Adrian Pearsall and Milo Baughman.

            I don’t mean to have this blog be a blog about me. I think my point is there is always something to learn. My appraisal practice and my antiques business hasn’t gone down the commode if you will, I just appraise and sell different things. And I am OPEN to the change. And you should be too.

            In conclusion, as the Allstate man on TV says, you are in good hands. ISA is stronger and better than ever and we all should feel proud to be a part of a CHANGED and CHANGING organization. If you can relate to what I am saying please post or respond to me. If you disagree, well OK, post or respond to me. I look forward to hearing from you.

By: Martha Peck, ISA AM

Interested in being a Guest Blogger?

Have you had an interesting or unique appraisal experience that you want to share with the readers of ISA Now?  To share your experience, just send it to ISA and we will post it.  Did you learn something interesting or new on a recent appraisal? Have you come across something unique or rare? All of these experiences make for a great blog post. 

Contact Tom Radde at tradde@thesentergroup.com, to submit your story or experience for the ISA Now blog.

Why Volunteer?

Volunteer - a person who voluntarily offers himself or herself for a service or undertaking. A person who performs a service willingly and without pay.

Why would anyone volunteer for anything if they are not going to be paid? This is a question I often ask myself and am often asked by members of different groups.

I think I have always volunteered for things and groups. Perhaps it was my mother’s lead of working with a group called Caritas when I was a child. Or maybe it was having all those cookies arrive at our house because she was the Cookie Chair when we were in Girl Scouts.

Then when my own children were young, there was always Girl Scouts, Baseball Leagues, Cub Scouts, Church, PTO, and all those other groups that needed a chair person, a hotdog seller or just an extra pair of hands that were free.

But the real reason I volunteered was to make friends and to better understand the workings of whatever group I was with.

Then there is ISA.

When I first joined ISA, I would go to my chapter meetings and just listen and get to know the players. The first conference I went to in Boston, I only knew one person there before I arrived. I didn’t know there would be committee meetings so I didn’t go to them – I went shopping (after all I had three pre-teens at home and I was free to do what I wanted for three whole days). But through that first conference I met members and started to network with them. I still know exactly who the first person I met at that ISA conference in Boston was and I still have her as a colleague and friend to this very day.

As time passed, the local chapter asked me to do a little of this and a little of that. I started to get involved and began to feel a real part of the group. A conference or two later, I decided to attend the ARC Committee meeting and I was somehow appointed their Vice-Chair. The exact details of how this happened are a bit hazy to me but I do remember that the Chair told me my job was to make sure that the needs of the committee were fulfilled. I already had a lot of leg work that needed to be done for the Chicago Conference that I had volunteered for as well as everything in my personal life. They were certainly asking a lot of me and I just wasn’t sure I had the time. That's when the "What was I thinking getting involved with this group!" thoughts began to run through my mind. Despite my reservations, I buckled down and made the time. It was a lot of work, but led to the tremendous side benefit of  getting to meet and getting to know a lot of local experts that I might not have if I hadn't been so involved. Those connections have proven incredibly useful as I have worked with a number of those individuals throughout the years for help in my appraisal business.

During that particular conference – I volunteered to be the guide for the ARC Pre-Conference Tours – I had set up the venues, had been raised in the city and area all my life – and I have never been one to keep my mouth shut so it was a natural fit. That little bit of volunteerism was where one of the CORE instructors saw me in action and said – “you should be an instructor, get your CAPP and we can talk about it” I took that advice and the rest, as they say, is history.

Through my volunteering I have met and worked with some fabulous people. I have been able to see some of my vision for ISA come to fruition. And through it all I have learned so much about the profession I live and work with on an everyday basis.

Volunteering can start with small steps , a single piece of a project, a leader of a task force, a local chapter officer, a chairman of a committee, a member of the BOD – all it takes is your time and talents, you will be surprised how much you will get in return for your effort. Certainly more than money can buy!

~Judy Martin

Are You Interested in Being a Guest Blogger?

Have you had an interesting or unique appraisal experience that you want to share with the readers of ISA Now?  To share your experience, just send it to ISA and we will post it.  Did you learn something interesting or new on a recent appraisal? Have you come across something unique or rare? All of these experiences make for a great blog post. 

Contact Tom Radde at tradde@thesentergroup.com, to submit your story or experience for the ISA Now blog.

Are You Interested in Being a Guest Blogger?

Have you had an interesting or unique appraisal experience that you want to share with the readers of ISA Now?  To share your experience, just send it to ISA and we will post it.  Did you learn something interesting or new on a recent appraisal? Have you come across something unique or rare?  All of these experiences make for a great blog post.  Contact Tom Radde at tradde@thesentergroup.com, to submit your story or experience for the ISA Now blog.

Guest Blog Post: Copyright Law and Your Property

This past weekend, my mother, sister and I held a yard sale to dispose of our unwanted personal property. We offered clothing that did not fit properly, household items that no longer met our decorating taste, and appliances and electronics that had become obsolete and were since replaced with newer models. I was absolutely overjoyed that there are people in our locale that would exchange money, albeit a modest amount, for our surplus possessions with minimal effort on our part. Each of us dedicated our proceeds from the yard sale toward something we felt would benefit us more than holding onto the property. My newly found money is going in the piggy bank to save for repairing my iPad, which I managed to shatter in the driveway during our yard sale, but I digress. Our ability to resell our possessions may be in jeopardy due to an upcoming Supreme Court case.

On October 29, 2012, the United States Supreme Court will hear oral argument for the case of Kirtsaeng v. John Wiley & Sons, Inc. The Court will settle a three-way split among the Circuit Courts of Appeals and address the question of whether it is legal for copyrighted goods, which are made outside of the United States and purchased lawfully (whether abroad or domestically), to be sold within the United States without getting permission from the holder of the copyright (Read the Questions Presented here).

According to the first sale doctrine, an owner may resell copyrighted property without having to seek permission if it was first purchased in the United States from the holder of the copyright. As stated in 17 U.S.C. § 109(a), “Notwithstanding the provisions of section 106(3), the owner of a particular copy or  phonorecord lawfully made under this title, or any person authorized by such owner, is entitled, without the authority of the copyright owner, to sell or otherwise dispose of the possession of that copy or phonorecord.” Circuit Courts of Appeals have interpreted this provision as applied to goods manufactured abroad in three different ways.

Recently, the Second Circuit held that a foreign made product may never be resold in the United States without the copyright owner's permission. The Supreme Court has accepted review of the Second Circuit's opinion, and will resolve the three-way Circuit Split when it publishes its opinion in Kirtsaeng v. John Wiley & Sons, Inc. If the Supreme Court upholds the decision of the Second Circuit, people across the country may no longer be able to sell foreign made copyrighted goods they legally purchased without the permission of the copyright holder.

What might this mean for personal property appraisers? A significant percentage of appraisal business comes from clients wanting their goods appraised to know the proper asking price at which to sell their property and assistance disposing their items. If the Second Circuit’s ruling is upheld making it more difficult to resell property, appraisers stand to lose a large portion of their business. In addition, if property manufactured outside of the United States can no longer be resold without permission from the copyright holder, how might it affect the value of the items? Will appraisers be spending most of their time researching copyrights instead of searching the market for comparable sales? Could this mean an end to the weekend yard sale to pick up a little extra cash? Does this mean my iPad will never get fixed? If Apple holds a copyright on the iPad, I may never be able to resell it because it was made in China.

Kelly McNeil, ISA

An Insider's Perspective and Guide for the CAPP Program

Now is a great time to begin your application for certification.  It is especially important in light of the new qualification standards that are being developed by the Appraisal Foundation.   I know that many appraisers are reticent about submitting their appraisals for certification review.   As appraisers sometimes we are uncertain about our own appraisal work because we haven’t had the chance to see appraisals that have been completed by our fellow appraisers.    If you follow USPAP and use the manual to prepare your reports for certification, there is no need to fear the appraisal certification process.  You can be assured that we are all following the same procedures and using the same process to come up with our valuations.

At ISA we try to make the process as straight forward as possible.  After you contact Michelle at headquarters you will be sent a packet with all the information you need to prepare your appraisal reports.  You are required to send in two types of appraisals, one Self Contained Donation Appraisal consisting of five items in your specialty (one of those items must have a value over $5,000) and one Insurance Appraisal that contains two of the items that you used in your Donation Appraisal.

After the appraisals are submitted, they are reviewed by three CAPP Appraisers on the Designation and Review Committee.  The appraisals are sent to the review committee with an identification number instead of your name in order to keep your identity confidential.  The appraisals are reviewed by each of the three reviewers and then they are returned to me so that I can summarize the comments before sending them back to you.  If the appraisal follows the checklist required for all appraisal reports and the comparables and the value conclusions make sense, then I get to congratulate you on your certification.  If there are some areas that have to be addressed then we talk about those areas so that you can correct them and submit the appraisals again.  Once you have corrected those areas and resubmitted the appraisals that should complete the certification process.  From beginning to end it should take no more than two to three months to complete your certification.   In a relatively short period of time you will be able to refer to yourself as a certified appraiser with ISA.

Now that I have explained the process, I would like to give you a few tips on how to submit your reports.  We are all creative people and every report that we write reflects some of our personality.   However, when you are submitting appraisals for certification it is best to keep it simple.  We also recommend that you pick appraisal items that you are familiar with and that you see every day in your appraisal practice. The manual provides an example or format outlining the elements of a correctly prepared appraisal.   If you follow the example in the manual it will make it easy for you and the reviewer to identify all the items necessary for a correctly prepared appraisal.   Each report should include the cover document, body and addenda.

The reviewers are looking at three specific areas when they are reviewing your appraisals.  They want you to be able to identify and describe the item correctly.  They want you to be able to choose the appropriate comparables; that is comparables that relate to what you are evaluating.  Lastly, they want you to be able to explain why you used those comparables to determine the value of the item and how those comparables relate to the final value conclusions.   If you can include all of this information in your appraisal then the certification process should be quick and smooth.  

My last recommendation is to complete the reports and then put them aside.  Don’t look at them for a few days.  When you pick them up again to review the content it should be fresh so that any errors will jump out from the page.  Proofreading your document is one of the most important things an appraiser can do.  Errors in spelling and punctuation can encourage the client to question your professional capabilities, even if you have identified and valued the item correctly in your appraisal report.

Finally I want all the ISA members to know that the Membership and Designation and Review Committees are here to serve the members of ISA.   We will do everything we can to make this an easy process.  I am always available to answer your questions or provide you with assistance on a submission for certification.  I can be reached by phone at 203-438-9228 or email at kyellen@comcast.net.    Now is a good time to submit your reports.  I look forward to hearing from all of you.

Kathy Yellen, ISA CAPP
Chair Designation and Review Committee

A WOMAN WITH TRUE GRIT

I know the following is not totally appraiser/appraisal related, but it does point out that sometimes an appraiser has to put aside business and personal feelings and just help the client.  This was one of those times.

When I arrived at my client’s condo, she stated that she wanted me to help her dispose of her quilts.  She did not think her children wanted any of them and was sad about that.  As we talked, I learned that her family homesteaded in the Omak-Okanogan area near the Canadian border of eastern Washington.  She thought that the quilts were made by her grandmother Ellie, and her aunts.  The client was not sure about this, as none of the quilts were marked with initials, name or a date.  She did not want to sell the quilts unless she sold to someone who loved quilts and would care for them.  The client had photographs of the quilts that were good and showed professional attention to detail.  She had grandchildren that were young and liked the quilts but did not appreciate the history of the quilts.  The quilts were in good condition, and most were made in the early 1920’s.  One was a whitework quilt that had outstanding workmanship and design sense.  It also had an inset border of hand-made lace about one inch wide placed on all four sides of the quilt.  A knock out!

I asked about the time frame for moving the quilts out of her possession.  She replied that she felt pressured because she was rapidly going blind.  The condition is an unusual, but not rare, a disorder of cone-rod dystrophy.  It started about 10 years ago and has become progressively worse.  She has reached a stage where one eye has almost no peripheral vision.  She does as much as she is able to do and planned to go over to Seattle to see her grandchildren and children.  My obvious question was, “How will you get there?  Do you have a driver?”  She replied, “Oh no, I can walk.  I take the intercity bus to Monroe.  The driver knows me well.  My children pick me up and bring me back to Leavenworth”.

We talked a little more.  I suggested some alternatives, such as a local charity auction, American Quilt Study Group and others.  I knew that any buyer from AQSG would care for and appreciate the quilts.  I also suggested that I try to find a dealer that would buy the quilts or take them on consignment.  We discussed several options.  Basically, she really wanted her family to have the quilts.  I suggested she take the photos she had of the quilts with her to Seattle and talk about the quilts with her family.  She will contact me when she returns, hopefully with a solution.

Her directness and making plans for her property were an inspiration.  This 60+ year old woman is courageous and an example of true grit.  Must be that pioneer spirit coming through.

Sally Ambrose, ISA CAPP

SHARE YOUR EXPERIENCES ON ISA NOW

Have you had an interesting experience with ISA that sticks out in your mind; your first course, conference, appraisal after becoming a member, etc…? Share your experience with our readers and be a guest blogger on ISA Now. We want to hear from you, our readers! If you are interested in being a guest blogger, contact Michelle Stearns, Education and Credentialing Coordinator at: mstearns@thesentergroup.com to learn more about the process or to submit a post.

WANT TO BE A GUEST BLOGGER?

Would you like to be a guest blogger on ISA Now?  As a guest blogger you can share a story, experience or expertise with the ISA Now readers. Have you had an interesting experience with ISA that sticks out in your mind; your first course, conference, appraisal after becoming a member, etc., we would like to hear from you. We would like to hear how ISA has made a difference in your professional or personal life. If you are interested in being a guest blogger, contact Michelle Stearns, Education and Credentialing Coordinator at: mstearns@thesentergroup.com to learn more about the process or to submit a post.

In Defense of Specialists and Specialty Studies Committee

When asked about the purpose and function of ISA’s Specialty Studies Committee (SSC), I simply recite what has become a mantra: “No one can know everything…” 

I usually follow with an analogy comparing doctors to appraisers.  You have a problem:  you have a headache, fever, your throat hurts, your neck is swollen, and it hurts to swallow.  Although a general physician may diagnose your infected tonsils, (hopefully) he/she will not remove them.  Instead, a competent doctor will refer a surgeon.  Your problem is solved, not by one doctor, but by a team of specialists.

The same is true for appraisers.  The competent general household contents appraiser refers specialists for certain properties--the gems and jewelry appraiser for the Cartier ring, the machinery and equipment appraiser for the 1952 Mercedes Gullwing, and the fine art appraiser for the Dali prints.  Certain properties have subtle market complexities that require more than comparables (or an internet connection), but also a certain amount of expertise and experience that only specialists can provide.

But there is a corollary to my mantra:  “No one wants to know what they don’t know…”  One of the more difficult tasks for the competent appraiser is to know when to refer a specialist.  Sometimes we are tempted to appraise property that may require a specialist, but convince ourselves that we can perform it, by rationalizing that, “I’m saving the client time and money by doing it myself.”  But because we don’t have immediate knowledge of an object/artist/market/etc., we have to spend extra time trying to access it, and that time adds up.  In our efforts to save a client time and money, we may cost them those very things.  Then, not only are our efforts counterproductive, but we fear our client comes to that same realization.  Or worse, the client takes action upon it.  How much time and money does court cost?

In fact, you save both your and your client’s time and money by referring specialists.  Moreover, you build a network of relationships with experts in their fields who likely don’t share your knowledge about other property.  By referring, you get referrals.  But most importantly, you may save your reputation by not appraising a property, and instead, referring a specialist.

Members who attended conference in Charleston, SC in 2009, may remember Roger Durkin’s excellent presentation citing how a really good lawyer needs only our resume to discredit us on a witness stand.  Next time, when deciding whether to accept an assignment by building a team and referring a specialist, or go it alone by doing it all yourself, maybe the mantra should not be, “No one can know everything,” but rather, “am I willing to take a witness stand?”

The need for specialists creates the need for a Specialty Studies Committee.

Scott W. Hale, ISA AM

Chair, ISA Specialty Studies Committee

The Certification Process is Nothing to Fear

“Be all you can be! Join the army!” We are inundated with this commercial for the U.S. Army at the movie theaters as well as on television. But, have you ever thought that this slogan also applies to ISA?

A certified appraiser is the highest designation that our society gives to an appraiser, denoting the pinnacle of achievement in the appraisal field. In order to earn the right to have “ISA CAPP” after their name, certified appraisers have worked many hours in their chosen profession, have been tested on their knowledge of methodology, and their appraisals have passed peer review. So why do so few of our accredited members actually seek to achieve this level of professionalism?

“I am too busy, or “I don’t need it where I live” are commonly heard reasons for not pursuing certification. It does take time to complete the paperwork, document the hours, ask for references, but not much more time than when putting together the paperwork for requalification.

“I always do poorly on tests” or “I don’t like to be tested” are also common reasons for staying at the accredited level. No one likes to be tested. It is anxiety-producing for everyone and even terrifying for some. As appraisers, we probably know the information that we are tested on because we use it every day. However, ISA’s Requalification Course or the Core Course are good reviews of what we must know and attending one of these classes, can help you overcome your testing anxiety. The purpose of the certification test is not to trick you, but to make sure you know what is necessary. Remember, there are NO trick questions. Review in preparation, then take a deep breath and go for it.

So, you’ve turned in your hours and referrals and passed your test. Now, only the peer reviews of your reports stands between you and your certification. Yikes! “I’m afraid of what others may say about my reports.” Or, “I have been doing this for so long that I know how to write good reports. I don’t need to pass a review.” As appraisers, we should be rightfully proud of our reports because they are the culmination of our research and experience. But, hearing what others have to say is ALWAYS beneficial. We are often too close to our reports, so that although we understand what we are saying, others may not. The peer review process is anomymous and provides an objective, third party perspective on the reports. Reviewers offer helpful suggestions and point out valid errors that will improve the accuracy, readability, and usefulness of the reports. In fact, the comment I hear most often after a candidate receives their CAPP is “Thank you. I’ve learned so much.”

In the past few years, we have seen an increase in demand for professionalism in the practice of personal property appraisal. For example, USPAP will be demanding an increase in general and specialized education. The Internal Revenue Service is requiring a declaration that IRS appraisals contain a statement of qualifications of the appraiser. Certification is ISA’s highest designation. Consumers and peers alike recognize that those who reach that level of achievement are considered at the top of their profession. While the process may be time-consuming and at times frustrating, receiving ISA’s CAPP designation is well-worth the effort. Consider being “all that you can be.”

Cathy Peters ISA CAPP
Chair, Designation and Review Committee

Educational Opportunities Calendar

Personal property appraisers are always looking for opportunities to enhance their appraisal knowledge and earn professional development points. As part of the Education Committee for the ISA Antiques & Residential Contents Division, I created the Educational Opportunities Calendar (http://www.my.calendars.net/ISA) in 2004 and am currently the manager.

Included in the calendar are classes, symposiums and seminars from major appraisal societies, auction houses, museums, historical societies and colleges. Offerings include antiques, collectibles, decorative art, fine art, jewelry, furniture, historical events, regional studies, USPAP classes and more. In addition to the classes hosted in various locations, many on-line events are listed and highlighted in yellow.

Check the calendar for events up to a year in advance. For calendar submissions, please e-mail event information to me at kjablonsky@personalpropertyappraisals.com.

Kathi Jablonsky, ISA CAPP