An ISA Member in the Far East

Khadinn Khan, ISA AM

I was the Chief Claims Adjuster and Risk Surveyor for AXA ART, the global art insurance specialist, in Asia, when I applied for ISA membership in 2016.

Art insurance is still a developing business in the region, where more collection owners or custodians elect to self-insure rather than taking up specialist coverage. I worked with a small team at AXA ART and was the only member with adequate art knowledge, therefore, I was tasked with the responsibility of verifying and approving the sum insured (on agreed value basis) of artworks proposed by brokers and clients on their insurance policies. People began to approach us with items which they thought were of high worth and wanted to insure, including items purchased many years ago or passed down to the family, and expected us to provide a solution or referral for valuation. These requests were particularly common when I was conducting risk surveys at clients’ homes. After a while, it became apparent that if I could add art appraisal expertise to my skill set, it would help to progress my career.

There are a very low number of professional art appraisers in Asia due to lack of demand. In Hong Kong, we have a low tax rate and a simple tax system that provides no tax relief for charitable donations, except for cash contributions. Additionally, estate duty has been abolished, so neither estate duty accounts nor clearance papers need to be filed. With no governmental requirements for appraisal, there is simply limited demand to support professional appraisal businesses. At the same time, China and Hong Kong have emerged dramatically as an art market and are now considered the world’s second largest, according to The Art Market 2018 report published by Art Basel and UBS. The lack of professional art appraisal service is hindering the growth of other financial services, such as art insurance and art-backed loans.

There is clearly enormous potential for appraisers in Asia, but what convinced me to obtain a formal education in art appraisal was my personal involvement in a unique damage claim.

Hong Kong Harborfront © Art Basel 

An auction house client reported a claim for damage to a Song dynasty ceramic vase that was on consignment to them. The damage was a hairline crack to the edge of the base. In these situations, restoration may not be the best option, as the market preference is to avoid alteration on minor damage. We agreed with the client and consignor to settle on a diminution of value basis. As there was no qualified appraiser available to take up the assignment, and because of an urgency to settle the claim, all parties agreed to a proposal of having two antique dealers inspect the damaged vase. Each dealer would separately suggest the percentage loss in value, then we would use the mean as the basis of settlement. In the end, both dealers came up with the exact same extreme percentage, which took everyone by surprise. They did not provide any reasoning or justification of their valuation, and were not obligated to. We had no option but to settle the claim accordingly. This experience motivated me to source an independent, transparent appraisal process for future claims in order to leave no party confused or suspicious. My research subsequently led me to ISA.

Attending ISA courses in Naperville turned out to be one of the best decisions I made for my career. First of all, it was achievable. I was able to start from scratch and complete the Core Course, the 15 Hour USPAP course and Fine Art course in three weeks. The courses were well structured, with visits to art museums and a printmaking studio. The classroom discussions were particularly lively and often based on real-life examples shared by fellow colleagues encountered in their daily businesses.

Coming home with my new credential, I was determined to spread the word and do what was necessary to promote good appraisal practices with the goal of raising overall personal property appraisal standards in the region. Using knowledge I gained through my ISA education, I was able to educate industry professionals and art collectors. I informed bankers and insurance professionals on what USPAP is and asked them to consider USPAP-compliant reports only for their insurance policies or lending out loans. For art collectors, I promote periodic appraisal as part of a good collection management program, together with a robust inventory system, maintaining good documentation of provenance and purchase records, a secure display/storage environment, and adequate insurance coverage. My message is that an appraisal report is essential for accounting and estate planning purposes, or if one wishes to secure loans using their art collection as collateral.

Lecture at Art Taipei Forum 2017

My ISA education helped me a great deal in improving communication with our claimants. Although I would not perform appraisal on damage claims that I directly handle, I could use my knowledge to guide loss adjusters to look for the correct data and comparables, seek opinions from the right experts to determine the settlement offer amount, as well as make sure their communication with the client is clear and appropriate. I demand that the loss adjusters demonstrate clearly how they arrive at the settlement offer. There are always brokers or clients who are dissatisfied with the offers, yet there has never been any complaint on the communication or lack of transparency since. Also, we’ve seen a significant drop in claim disputes for my department and my company was able to highlight our claims service as a selling point for our insurance products. I’ve also noticed in places where there is no local law governing personal property appraisal, highlighting USPAP and the ISA Code of Ethics always provide confidence to clients in knowing that the appraisals are being conducted in a responsible manner.

I would advise fellow appraisers living outside of the USA to try to attend courses on site or attend the ISA annual conference, Assets. One can feel isolated sometimes due to having few peers in the market, and for our profession, it is important to build a network of experts of different backgrounds and knowledge. Attending ISA courses or the Annual Conference is a great way to tap into the vast experience of fellow appraisers, and from my experience, they are always happy to share.

- Khadinn Khann, ISA AM, is an appraiser based on Hong Kong and has been a member of ISA since 2016. To learn more about ISA membership, visit the ISA website.

What Appraisers Can Learn From the Expanding Global Art Market

The following is a sponsored post by ISA Affinity Business Partner (ABP), FindArtExperts.com. Learn more about the ABP membership.

While planning a marketing and relationship-building trip to Art Dubai 2018, Find Art Experts received a personal invitation by Emirati and French representatives of the Louvre Abu Dhabi to attend a presentation titled A Unique Cross-Cultural Collaboration. The invitation represents an important turning point for international recognition of America's art appraisal community.

Find Art Experts visited Art Dubai as part of its global expansion plans to introduce American appraisers to the Middle Eastern art market. Future marketing endeavors on the part of Find Art Experts include visits and meetings during Art Basel in America at Miami Beach in December 2018, Italy's Venice Biennale in May 2019, and a return to Art Dubai in March 2019. We are making our presence known in these markets and art fairs to open our 15,000-member database to markets all over the globe.

Appraisers in America may be surprised to learn that reaching global markets is not as daunting as it initially seems. Like any endeavor, there are steps to take and pitfalls to avoid. We learned:

• Marketing to a global customer base can cost a lot of time and money
• The right help can slash the time it takes to educate consumers about your service
• Focusing on markets that provide the best return on a minimal investment is a good strategy
• To avoid chasing too many opportunities and to stay true to our service
• The importance of educating ourselves about a region's cultural heritage and the unique needs of a new clientele

Our trip to the United Arab Emirates was dedicated to learning more about these challenges and it was extremely informative.

Art Appreciation and Collecting is Blossoming in the Middle East

While attending Art Dubai, we also decided to plan a road trip and drive from Dubai straight to the Louvre Abu Dhabi. We quickly discovered that along the way there was no need to play any road trip games like the childhood favorite, "I Spy" to keep us entertained.

Much to our delight and amazement, a drive-by "highway gallery" sits in the middle of the desert alongside the 85-mile stretch of busy road from Dubai to Abu Dhabi. Before arriving at the Louvre Abu Dhabi, we were able to view three important works from the museum collection showcased on 30 by 20 foot billboards.

We didn't have to squint an eye to see masterworks such as Vincent van Gogh's Self Portrait, the sarcophagus of Egyptian princess Henuttaway, and Piet Mondrian's Composition With Blue, Red, Yellow and Black. To enhance the experience, you can tune to an Emarat radio station to hear a 30-second description of each work of art from a curator. All this without even shelling out a single dirham!

Louvre Abu Dhabi was born from a unique intergovernmental agreement between the United Arab Emirates and France. The agreement embodies a vision shared by France and Abu Dhabi to develop the first universal museum in the Arab world. It has invaluable access to expertise and training from 17 French partner institutions, as well as loans of 300 significant works from 13 leading French art museums, such as the Musee du Louvre, Centre Pompidou, Musee d'Orsay, Musee Rodin, and the Chateau de Versailles.

This initiative, in collaboration with the Department of Culture and Tourism, was created "to reinforce the role of art in elevating everyday life into something beautiful and memorable." It indicates a sea change in how the region sees art for aesthetic and investment purposes.

Louvre Abu Dhabi's Gift to the World: A Da Vinci Masterpiece Revealed

One of the most rare and lavish gifts from an art museum to the public will be unveiled later this year at the museum: Salvador Mundi by Leonardo Da Vinci. The painting sold last year at Christie's New York for a record $459.3 million by Saudi Prince Bader bin Abdullah bin Mohammed bin Farhan Al Saud on behalf of the Abu Dhabi Department of Culture and Tourism. It will be exhibited until October 24, 2019, after which time it will be loaned to the Musee du Louvre in Paris.

Chairman of the Abu Dhabi Culture Department Mohamed Khalifa Al Mubarak remarked that Salvador Mundi, which has been hidden from view for so long, "Is now our gift to the world - it belongs to all of us."

One striking observation during our tour of Louvre Abu Dhabi was how women play an integral role in the pieces on display. Featured throughout the 600 pieces shown, women can be viewed in a variety of forms: painted in exquisite portraiture, encased in sarcophagi, and formed in sculpture.

La Belle Ferronnaire, one of Leonardo da Vinci's less than twenty known surviving paintings, is among the high-profile loans made to the museum. The painting is one of the many "Ladies of the Louvre" worth viewing when visiting the museum.

The museum provides a fascinating link between Leonardo and Bellini, a painter whose technique he admired. Madonna and Child is an oil on panel painted between 1480 and 1485. Considered the father of Renaissance painting, Bellini specialized in devotional paintings. This piece depicts the Christ child sitting on a parapet atop the Madonna's scarlet robes, gazing up at her as she looks lovingly down on him, her hands in prayer position.

Another female subject on loan to Louvre Abu Dhabi from the Collection Centre Pompidou, is Albert Giacometti's Standing Woman II, c. 1959-1960. With its rough surface and elongated frame, the Surrealist Swiss artist's figure embodies one of his traditional subject matters, the unclothed female form.

Contemporary Women of the Arab Art World

The depiction of Arab women in art is a recent phenomenon, as explained in this New York Times article. One of many important Arab women artists who caught our attention is Thuraya Al-Baqsami, who was born in Kuwait in 1951. In 1956, Thuraya was sent to the Choueifat boarding school in Lebanon, however she returned to Kuwait as a civil war broke out in Lebanon in 1958.

In 1974, she moved to Moscow. She enrolled in the Surikov Institute, one of Russia's most renowned art universities, and eventually completed her Bachelor's and Master's degrees there. Her exposure to a Russian art training was extremely beneficial. She was taught that being an artist was a profession, and that she should view her work as legitimate labor, a revolutionary idea for her at the time. Having that mindset lit a spark, and motivated her to tackle her work with a much more dedicated attitude. She learned various graphic printmaking techniques, namely lithograph and linocut that greatly affected her creative output. Later in life, her work became best known for these graphic techniques, which were virtually unheard of in the Arab world.

Her work presents a strong voice in the region, one that does not bow down to the societal and political pressures it faces. Her idiosyncratic background and multi-cultural exposure creates a mélange of histories, concepts, and forms in her works that are still ever changing and evolving today.

How Appraisers Can Reach Global Markets

Collector interest in artwork by Thuraya and other emerging Arab female artists will only increase. As the number of wealthy collectors in America and in other countries escalates, so has their need for the advice of specialists to help curate and service these collections in many different ways.

Art market data shows that 66% of collectors are turning to galleries or dealers to purchase art and luxury accessories. 52% of collectors seeking advice on a purchase or art services turned to an industry expert and 14% sought advice from auction experts.

Few appraisers and art service professional businesses are making this investment, but Find Art Experts considers it a priority. Last year our database consisted of 5,000 members and we have added an additional 10,000 since. This expert database is gaining international notoriety. We recently assisted the Saudi-based Arab News, the Middle East's newspaper of record and the biggest English language daily in the Kingdom, seeking one of our Art Service Professionals on authenticating art.

This is just one example why Find Art Experts believes it is crucial for appraisers and fine art experts to continue opening new markets. While marketing our client base in high-wealth, art-centric cities we learned the time is right to reach international markets to:

1. Diversify for the long term. We believe it is important to increase an appraiser's influence in markets outside the United States.
2. Smooth market fluctuations. Appraisers can stabilize seasonal market fluctuations by working with clients with different or even countercyclical art market demand. For example, while June, July and August means North American art collectors focus on family vacations rather than acquiring art, the art market for Australian collectors is perfect as they wait out their season's three coldest months of the year.
3. Become a leader. U.S. appraisers have a unique opportunity right now to be the first to create relationships in an increasingly shrinking and interconnected global marketplace.
4. Advocate excellence. Appraisers capable of international expansion comprise the majority of Find Art Experts' database.

Meeting collectors and dealers, we learned the need for art service professionals is also expanding in new and important collecting categories. Look for Find Art Experts at International Society of Appraisers meetings and conventions as we work with fellow professionals to find cost-effective ways to building a stronger online presence to reach these growing markets. Viewing the world as one marketplace that needs our advice and services helps all of us all build a stronger, brighter future.

Assets 2018: Spotlight on Saturday's Program

Suzanne Houck, ISA CAPP

The California gold rush started with the discovery of just two gold nuggets. After that, prospectors tried to figure out the best way to not only find the gold but to find the most gold.

Almost 170 years later, the theme for Assets, ISA’s annual conference in Pasadena, California is The Gold Standard: Innovation and Valuation because as appraisers we want to know what can help us find not only more jobs but the best jobs. We want to learn about innovative technology, expand our knowledge in our selected fields and advance our professional appraisal skills and report writing, and we know that the best pricing happens when we register in advance! Register here for Assets 2018.

After the stimulating pre-conference tours on Friday, March 9, conference attendees will take their seats on Saturday, March 10 and begin absorbing the messages and information from a diverse slate of speakers.

Want to learn about California design? 

Don't miss "California Dreamin' ...Missions to Modernism," Saturday 9:15-10:15am.

California photographer
Ansel Adams

While in California, it is only natural to want to learn about creative California design and understand how these designers have shaped and celebrated our modern lifestyle. We’ve lined up Staci Steinberger, the Assistant Curator of Decorative Arts and Design at the Los Angeles County Museum of Art, the perfect person to present a survey of distinctive California Design by visionary artists, designers and craftspeople.

Do you want to expand your appraisal practice, set yourself apart from others in the appraisal field and get quality jobs from previously unexplored areas?

If this is you, it's time to create some new connections during "The Gold Standard of Leadership," Saturday 10:15-11:15am.

To help you, Melody Kanschat, Executive Director of Executive Education for Museum Leaders at the Getty Leadership Institute will give insight into working with museums, curators, collectors and collection managers, and insurers.

Do you shy away from tax-use appraisals?

If so, you need to attend "Avoiding Errors and Omissions that Raise Flags in Tax-Use Appraisals," Saturday 11:15-11:45am.

This discussion will show you how to avoid common errors and omissions in what can often be complex and challenging appraisals. You’ll leave with much more confidence in handling these types of appraisals, especially in regard to fair market valuations. It's time to have the IRS help you make more money!

Do you have or want to have clients who could benefit from art risk advisory, especially in the areas of art, antiquities and collectibles?

Explore new technologies at "Tracking and Verifying Assets: Better Authenticating Through Technology," Saturday 2:00-3:00pm.

Jordan Arnold, Senior Manager of K2 Intelligence, New York and Los Angeles will cover new and emerging technological advancements that are making an impact on the verification and security of asset class collections. These advancements affect areas familiar to appraisers like provenance and establishing clear title during sale or acquisitions, identifying fakes and frauds, advancements for maintaining physical security during storage, display and transport, and resolving complex frauds and disputes.

Do your clients have celebrity-signed or owned items they need appraised?

Join the conversation about valuation and the celebrity factor at "From Dylan to Marilyn: The Value of Celebrity," Saturday 3:30-4:30pm.

You’re in California, playground of celebrities, and Laura Woolley is the one to inform you of the many value characteristics that can turn an intrinsically inexpensive object into a cultural treasure. She has served as COO of Julien’s Auctions, a premier auction house for high profile celebrity and entertainment, and now manages sales and appraisals of memorabilia of well-known celebrities at own appraisal company, The Collectors Lab in Los Angeles, California, that focuses on Hollywood and rock and roll memorabilia.

Copies of handwritten lyrics by Bob Dylan
recently went up for auction in Los Angeles.

See you soon in California! And don't forget to register for Assets today!


About the Author: 
Suzanne S. Houck, ISA CAPP, B.A. and M.A.L.S., is Vice President of ISA and Chair of the ISA Annual Program Conference Committee.

See What's Hot in Design in Dallas This July!

Marcus Wardell, ISA AM

Come to Dallas for the three-day Modernism: Design, Furniture and Decorative Arts course, July 26-28! Classroom time includes lectures, discussions, films, PowerPoint presentations, resource guides, and the opportunity to connect with old friends, new friends and appraisal colleagues.

Ettore Sottsass, Olivetti Valentine typewriter, 1969

This exciting course for appraisers will cover the history of modern design from the 1851 Crystal Palace Great Exhibition to the present day. It will provide an analysis of key designers and manufacturers of furniture and decorative arts during the Modernist period, with an emphasis on fair market values and replacement values. Socioeconomic and political factors, including World War II, the Cold War, and Sputnik I, will be discussed, as well as material technology and mass production manufacturing advances that have driven design trends and markets.

Eames plywood elephant child’s chair, 1945

In 2016, the European Fine Art Fair Report reported that the market for design items is surging at auction in the United States and Europe, with sales of $343.6 million last year.

There's been an explosion of design in the past 150 years, and this course will help you appraise all of it. Just think: An item designed in 1917 is now 100 years old and could be considered an antique!

Rendering of the
Red and Blue Chair by Rietveld

What else happened 100 years ago in 1917? Many crucial moments marking the beginning of the modern era and ushering in new and highly influential design and art trends, including:

1. The Russian Bolshevik Revolution
2. Architect and modern furniture designer Florence Knoll was born
3. Italian architect and designer Ettore Sottsass was born
4. Furniture designer Paul McCobb was born
5. De Stijl was founded
6. Gerrit Rietveld designed the groundbreaking Red and Blue Chair
7. Marcel Duchamp created his piece Fountain
8. Converse introduced the Converse All Star non-skid sneaker
9. Manfred Freiherr von Richthofen (the Red Baron) started flying the Fokker Dr.I triplane
10. Dallas Love Field airport was opened

Finally, in 2019, the Bauhaus will celebrate its 100 year anniversary since opening in Weimar, Germany. See how an understanding of the material culture of the past century can strengthen your appraising practice in Dallas this summer - register here!

- Marcus Wardell, ISA AM

Why Take a Course on Japanese Prints?

Daphne L. Rosenzweig, ISA CAPP 

It’s not too late to join my two-day seminar, “The Appraisal of Japanese Prints” to be held in Sarasota, Florida, June 19-20, 2017. The course introduces the important cultural, historical, stylistic, technical and valuation factors that affect the appraisal of 17th to 21st century Japanese prints. As an author of numerous publications, frequent lecturer, museum consultant, and organizer of traveling exhibitions, my work in the field of Asian art has allowed me to build a wealth of knowledge around appraising Japanese prints that I am looking forward to sharing with all my students.

It's common for appraisers to come across Japanese prints during the course of a general appraisal of household contents, an estate division, insurance scheduling or intended donation. After taking my course, students will be well-equipped to offer their professional opinion on these items as necessary.

During our in-classroom days on June 19 and 20, we'll examine important provenances, influential designers and designs, formats, structures, major narratives, and condition factors, always with an eye as to how these factors affect the value of an individual print. Both new and experienced appraisers will find a perfect combination of connoisseurship and practical market experience in this engaging seminar.

Some of the questions this course will answer include:

• How can you differentiate heroes from villains, men from women? 
• How has the West influenced Japanese prints, and what has the West learned from those prints? 
• Who are the most important artists?
• How do you detect and what do you do about reproductions?

Don’t forget there will be an additional field trip day on June 21, where I will be leading a tour of the fabulous collection of traditional and modern Japanese woodblock prints at The Ringling Museum of Art.

For a preview of what we'll learn in this seminar, The Fitzwilliam Museum in Cambridge, England, has wonderful video documentation on the making of a Japanese print. You can view each section at your own speed. I'm looking forward to seeing you in June!

- Daphne L. Rosenzweig, ISA CAPP

The Clarion List, Our Newest Affinity Business Partner

We're always incredibly excited to welcome a new company into the fold as an ISA Affinity Business Partner (ABP), and in the case of The Clarion List, this addition to the ABP family comes with a special offer to ISA members!

The Clarion List is the leading online resource for sourcing art service companies. Their searchable, sortable, free database with ratings and reviews includes 6000+ art companies in the US and Europe across dozens of service categories. It is Clarion's hope that that your potential clients find them a helpful resource when you need to source new art service providers both at home and in new markets, like storage companies, transport firms, installers, framers, lenders, insurance brokers, law firms, conservators, security firms, risk consultants, collection software, lighting companies and more.

And, just as importantly, they want their audience to find YOU when in need of an art appraiser. They have partnered with the ISA to offer a discount on their premium packages, enabling you to optimize your listing with more information, add your logo and other images, and increase your chances for lead generation. Premium listers will also be able to add the ISA logo to their listing, which will display in search results and on your individual listing, enabling their audience to understand your qualification at a glance.

The ISA badge on your Clarion enhanced listing serves to not only help you stand out on the website but to also grow the public's awareness of ISA credentials as an important distinction when choosing an appraiser.

Next Steps:

• Claim your free listing - do a keyword search for your company name or search for your listing with our List of Appraisers, then click “Claim This Listing”


• Not listed? Contact Clarion.


• Edit your basic listing information.


• Consider one of their brand-building premium plans, starting at just $20/month. Details: clarionlist.com/learnmore


• Enter code ISA30 before checkout to receive 30% off either plan

Take advantage of this special offer today from The Clarion List, our newest ABP.

Looks Like We Struck a Chord!

Shelly Berman-Rubera

By Shelly Berman-Rubera, President of Small Business Results, ISA Affinity Business Partner

Dear ISA Members,

I am so proud to have presented the closing keynote at the ISA Assets 2015 conference in Philadelphia. Every attendee was raving about their experience.

In my presentation, “Growing and Propelling Your Appraisal Practice Revenue,” I addressed four major areas of ISA member concern. I hope it is helpful to reiterate the challenges presented and offer a summary of my suggestions here:

Q. How do we compete with free services offered by those less qualified?
A. We don’t! Those seeking free appraisal services are not our target client. We must have the courage to walk away from those clients that are not a right fit for our practice. Learn how to use the time to market to true prospects. ISA members and credentialing are at the cutting edge of the appraisal profession. We can’t work for free and can’t be compared to free or lesser priced appraisers. Educate those who would truly benefit from your level of service as to why your experience and credential should matter to them.

Q. How do we get to the gate keepers?
A. Our networking and outreach must be directed to obtaining beneficial introductions and opening the right doors. Focus on building reciprocal lasting relationships, rather than one-time meetings and pitches.

Q. How do we deal with time management?
A. I suggested that time management is emotional management, and when we manage our feelings and our client’s feelings, we are better equipped at managing our time. I also suggested looking at pricing and packaging. Selling a block of time might be an attractive offer to some clients.

Q. How do I market my business?
A. ISA has marketing pieces that can be co-branded with your business and can be found at the member resources page on the website. This month your organization launched a professional newsletter (login required) with educational content aimed at prospective referral sources. This is a powerful marketing tool that not only promotes the ISA credential but your own expertise as well. Personalize this with your photo and bio, attach to emails to industry referral sources like insurance brokers, estate attorneys and financial planners. Print it and hand out at local business industry meetings. And remember to follow up!

It is important to remember that random acts of kindness are lovely, but random acts of marketing are not effective. Please remember, you are the president of your company! Think strategically, make a commitment to developing systems and structures for everything you do.

My best to all of you, and let me know if I can help,

Shelly Berman-Rubera
President SBR-Small Business Results

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.

Brand Yourself

You know the old office joke about the overachiever who probably has the company logo branded on their rear.  That may be a little drastic, but it does pay to link in to the efforts of your company or organization that has spent thousands of dollars and several years creating a recognizable name. 

Since the formation of the very first board, people associated with ISA have worked very hard to make the name International Society of Appraisers meaningful.  Years of refining our educational offerings have given our society recognition as one of the world leaders in preparing appraisers.  Many of our members have gained national recognition as knowledgeable specialists in their fields.  Through the years, we have done a good job of making our members proud to be associated with this organization. 

Recently, our board and staff at Sentergroup have made efforts to make sure the public knows what we have to offer.  The new website was our first fresh face to the public.  Two professionally designed ads using the same branding as our web site were presented at conference this year; One to reach out to users of our services and one to appeal to potential members of ISA.  Through your suggestions, refinements have been made to the ads so they will best represent our members.  These ads are available for download from the ISA website.  The old brochure, that so many of us used as handouts several years ago, is also being revamped with our branding and will be made available on the website upon its completion. 

So now you’re probably thinking how nice all that is, but wondering what that does for your small business.  “Tremendous lots”, as one of my middle school friends would say.  If you’re like me you stress about spending more than $150 on a local ad.  Spending $500 on an ad that reaches every attorney in my state just about did me in.  It’s a wonder I ever made it through those early days of trying to market myself in my small town (Thank heavens for that brochure I mentioned earlier.)  Our branding is used throughout our public face on a national level.  That reaches a lot of people, but imagine if everyone of us joined in.  I’m not saying you can’t have your own company identity, especially since ISA’s strength is found in our individuals, but if everyone used the logo on all their pieces that go out to the public just think how powerful that would be.  That logo means that the appraiser using it is ethical and well trained (if you aren't, shame on you) and will do the best job they can for their client.  It means that appraiser is linked to a large group of professionals with a wide base of knowledge so they can get advice when they need it.  It means that I may be a small fish in a small pond but I can call in the big guys if I need to. 

I encourage you to do your best work, put your best face forward and show off your brand. 

By: Libby Holloway, ISA CAPP

Where Did All the Hummels Go?

It is January with bone-chilling cold in snow covered North Central Washington. There is beauty to the whiteness of the deep snowfall and a quietness that enfolds the area. Looking out my office window, I see a frozen cascade of snow and ice that hangs expectantly from the eave. There is tension in the view. Will the roof edge hold? Will we be faced with roof repairs in the springtime? As Scarlet O’Hara would say, “I’ll think of that tomorrow.” For now, I will enjoy being able to see the snow, the peacefulness that surrounds me and the warmth of a good household heating system.

January is a slow month for appraisal requests and even phone calls. Yesterday, I had two calls that finally broke the silence. I greeted these calls with anticipation and a willingness to spend the time that the callers seemed to need. One of the calls was from a young man who was helping his elderly grandfather dispose of items that were purchased after World War II. His father had been stationed overseas in the military. In his off-duty hours, he shopped for family members back in the States. He, as many service men, was attracted to Hummel figurines, a variety of collector plates, wooden pictures and other similar items. I suggested sources and options for the grandson to explore as possible sources for distribution and/or selling. He then asked, “Why don’t I see any Hummel figures for sale on eBay?” As gently as possible, I told him why—no market. He agreed that he knew that must have been the reason. We talked a little about the way the market has shifted, and that Hummels no longer have the attraction that they had after World War II. I remember a few years ago that Chintz china had a strong market for a brief moment as well. I began to wonder if Hummel porcelain figurines could show a market resurgence. Would the Hummel market surge as the figurines were brought forth from attics, basements and closets? Or, would we experience a flood on the market and the little porcelains would sink into oblivion? What fun—IF a Hummel market surge occurred! It would make a cold January hot if only for a brief moment in time.

My very best for the New Year to you all.

Sally A. Ambrose, ISA CAPP