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Showing posts with label Design. Show all posts
Showing posts with label Design. Show all posts

Wednesday, December 6, 2017

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.

Thursday, November 9, 2017

Less is More: How Appraisers Can Assist You in Your Downsizing or Minimalism Journey

Courtney Ahlstrom Christy, ISA CAPP
You are ready to downsize.
A spring-cleaning is overdue.
It’s finally time to go through that storage unit.
You have decided to donate your prized collection.
The family is about to move across the country.

Many of us have a large quantity of belongings that must be sorted and evaluated. Whether it is because you are moving to the other side of the country, helping a loved one downsize into a smaller home, or simply in the mood to declutter, dealing with a houseful of items can be a daunting task to undertake on your own. What is an excellent early step to alleviate some of the burden? Hire a professional appraiser who can both catalog and provide an unbiased opinion on the value of the property.

The Minimalism Trend


Less is More, More or Less
Poster, Etsy
Downsize, minimize, de-clutter, tidy up, let go – whatever buzzword you wish to use, having “less” is a trend in today’s culture. But what are the origins of this trend?

Baby Boomers Downsizing: With more baby boomers preparing for the retired life, there is a large population in the midst of downsizing. They have transitioned from acquiring to disposing. Many struggle with deciding what to do with their lifetime accumulation. In addition, younger family members often do not want to inherit everything, especially if their own closets are already full. One common route is to rent a storage unit for the assortment of items that they aren’t quite ready to part with. This limbo state for belongings can last for a few months to several years. The general ambivalence towards inheritance has resulted in a flood of goods in the secondary market that outweighs current demand. Choosing how to handle unwanted possessions is a growing dilemma that families will face for years to come.

Millennial Taste: Some say minimalism is the influence of the millennial generation. Due to growing up in post-recession America, millennials often choose to spend their money on experiences over material goods. They will also more likely reside in smaller dwellings with no space for formal living rooms, like an apartment in the city, and own objects that can have multiple uses, such as modular furniture. Their taste has veered away from previous generations, who typically enjoyed acquiring the antique look. Instead, millennials generally prefer the streamlined aesthetics of midcentury and modernism. They are also considered to be an eco-conscious group with the philosophy of using what already exists in the world. This attitude makes retro and vintage items alluring to the green-minded shopper, which can be helpful to know when determining what to sell during the downsizing process.

Design for a dining room,
Chris Williams, 1976
Victoria and Albert Museum,
London
De-Clutter and Change Your Life: Increasingly there is a belief in the correlation between decreasing materialism and increasing happiness. If you declutter your physical surroundings, then you will achieve mental clarity and emotional contentment. The popularity of Marie Kondo’s book The Life-Changing Magic of Tidying Up: The Japanese Art of Decluttering and Organizing highlights how a minimalist lifestyle has indeed gone mainstream. Clearly Ms. Kondo has tapped into the American psyche by connecting the desire to materially purge with the desire to declutter the mind. In addition, there is the phenomenon of the “small house movement” which advocates living simply in smaller homes (between 100 to 400 square feet). Of course, a tiny house with a closet that can only hold ten articles of clothing is an extreme example, but nevertheless, the small house movement indicates a widespread trend to pare down one’s belongings in the pursuit of well-being.

How Appraisers Can Help


Whatever your reason is for sifting through a large amount of personal property, hiring a professional appraiser during the early stages makes deciding what is worthwhile much easier.

An Objective Professional: You know the personal significance of each object, but what about its monetary worth to the rest of the world? A professional appraiser has not only years of experience in the field, but also formal education in appraisal methodology to determine appropriate values. An appraiser will also conduct valuations without bias. While professional organizers and liquidation companies can certainly be helpful and efficient, they are not necessarily qualified to discern the quality, rarity, and current desirability of pieces. Unlike a liquidator or a dealer who expects to receive a commission from the sale, a qualified appraiser will not base his or her fee on the percentage of the property’s value. This objectivity and ethical standards of a professional appraiser means that the opinions of value are provided with no other incentive than to be truthful to the best of his or her ability.

Preliminary Walkthrough: If you are unsure as to which items should be appraised, a preliminary walkthrough may be beneficial. In a preliminary walkthrough, the appraiser will visit onsite to get an overall sense of what the property entails. Through a cursory examination and conversation with the client, the appraiser can provide non-monetary opinions and give you a better sense of what may need further evaluation. Although a preliminary walkthrough as described is not considered an appraisal since no values are given, it can be a useful way to figure out what needs to be appraised for your particular needs. Another option is to email the appraiser an inventory list and/or images beforehand so that you can both agree on the scope of the assignment.

My Work Room, Cassel by William Orpen,
1917. Oil on canvas.
Imperial War Museums
Take Inventory: Do you even know what you have? An inventory is a complete listing of the property and is a great record to have for a variety of purposes including estate planning. Having all items noted in one document will give you a much better sense of the entire picture. Most appraisers offer inventory management as an additional service so that items may be properly identified. You can request items be listed in the inventory either by room or by category. Descriptions will typically include details about the maker/artist, material, measurements, model/serial numbers, known provenance, etc. Many will also include a thumbnail image of the item (or group of items) catalogued. Since the appraiser is already cataloging, why not take it a step further and request an appraisal to be performed at the same time?

Items That May Surprise You: Not every home or storage unit contains an unknown treasure, but the appraiser’s eye will always be on the lookout. Often, there is a space like a closet or attic that has evolved into a receptacle for overlooked items that may be worth something. Here are just a few examples:
  • Silver – Is it silverplate or sterling silver?
  • Handbags – Are those really haute couture?
  • Art – Is it a giclee print or an original painting?
  • Books – Is it a first edition or first printing of a collectible volume?
  • Vintage – Are all those pieces from the 50s to 70s worth something?
  • Toys – Is it a rare and popular Star Wars figure?
A generalist appraiser can help with a large variety of residential contents. And a good generalist will know his or her limitations and communicate when outside consultation is needed. If you feel strongly about a specific item or collection, consider contacting an appraiser who specializes in the particular category.

When Google Fails You: Performing some preliminary internet research is how many start to figure out if an item may have significant worth. But keep in mind that not all sources are created equal. Listed asking prices may not accurately reflect current market trends. Understanding the various factors when looking at prices and sales results is a skill that appraisers hone daily. In fact, appraisers frequently use paid subscription databases in their research that are not accessible to the public. After you have exhausted your own web searches and still believe that something could be valuable, call a personal property appraiser for assistance.

The Etching Amateur, Honore
Daumier, c. 1860
Petit Palais, Paris
Preparing for the Appraiser: In order to expedite an upcoming appraisal, consider the following suggestions:
  • Decide which items you want to have appraised. A previous preliminary walkthrough (see above) may help with this decision.
  • Ensure that items located in the attic, basement, closets, drawers, etc. are unpacked, unwrapped, and ready for viewing. You don’t want to be charged hours for someone to open all the boxes and unwrap all the china.
  • Put all things of like kind together such as flatware, crystal, and dinnerware services. This will not only help the appraiser group items appropriately but also give you a better idea of what exists.
  • Gather any receipts, sales slips, or relevant documentation near the appropriate items.
  • Gather any historical information or family history that relates to the items being appraised.
If you don’t have time or unable to do these suggested preparations prior to an appraiser’s arrival, there is no need to worry. Most appraisers will manage and are used to expecting the unexpected.

Keep in Mind


Sifting and moving a sizable amount of items can easily become overwhelming. It may even feel like you have become an archaeologist excavating layers of content that represent a lifetime of memories. In addition to hiring an appraiser to help you determine value in the marketplace, what else will help in your minimalism or downsizing journey?

Have the Right Attitude: It’s probably the moment you’ve been dreading for years – figuring out what to do with it all. Whether the items belong to you or someone else, you have become responsible for determining their fate. But keep heart and momentum. Remember the good that you are doing and how you will feel when all is complete. This too shall pass.

Manage Your Expectation: Cultural taste has changed and so have values. Even if your grandmother told you time after time that her Victorian sofa is worth a great deal of money, furnishings and décor that have been in the same home for thirty years or more may not be in vogue anymore. The current fashion for a modern look along with the waning popularity of antiques are reflected in current prices. The items that achieved top dollar decades ago may not perform as well today.

Portrait by Jo Spence, 1989
Color photograph, Victoria
and Albert Museum, London
The Swiss Cheese Approach: You walk into the room or storage unit and just see too much too handle. Looking at the totality of what needs to be down can quickly lead to panic. Instead of hyperventilating, tackle a smaller task that you feel is manageable. Then take on another small project, and then another. As you work your way through your property, start making piles of items you plan to keep, sell, donate, and toss. Avoid “maybe” piles. Why handle the property more than once? If you hesitate to keep an object, then it is probably not necessary to own any longer. This can be helpful to keep in mind if you are helping a loved one choose what to take during the downsizing process. Remember that the items you sell or donate will be finding new homes too.

Avoid the “Just in Case” Syndrome: Sometime the “maybe” pile can transform into a “just in case” pile. Nevertheless, consider parting with items that fall into the “what if” or “someday I might need this” category such as water skis in Arizona or a snow blower in Florida. This is especially true for duplicate items. When on the path of minimizing, one must let go of keeping two vacuums just in case the other one breaks.

Consider Giving Now: Take the time to decide if you want to donate both big and small in the near future. Perhaps you wish to gift a wristwatch to your nephew or a valuable painting to the local museum. Why not now when you can decide? If you are not sure if you need an appraisal to claim a tax deduction for a donation, consult your attorney or accountant. They should let you know when an appraisal report by a qualified appraiser is required by the IRS.

Digitize: Have an assortment of family photos, paperwork, old letters, kids’ drawing, or even manuals for electronics? Digitizing may be your best option. Thanks to technology, ephemera can be scanned and saved onto a hard drive or a cloud-base system. Younger family members can usually guide you in the right direction for current software. If rebellion from sentimentalists ensues, you can argue that you are still keeping the nostalgia but just transforming it so that posterity may continue to cherish it.

Enlist Help: You don’t have to do it alone. It likely took years to acquire the contents you are sorting therefore it’s no wonder you will need a few helping hands. Assistance from family, friends, and professionals (from appraisers to movers) will lighten the burden.

Ready to find a professional personal property appraiser?


Check out the International Society of Appraisers' Find An ISA Member page. You can search by location, category, or name. May your journey to a less-is-more lifestyle be a successful one.

Courtney Ahlstrom Christy, ISA CAPP, is a personal property appraiser who has in-depth knowledge when investigating the value and past life of objects. She obtained a bachelor’s degree in fine art history at University College Cork in Ireland and a master’s degree in the history of decorative arts from Smithsonian Association/Corcoran College of Art. In addition, she is a Certified Member of the International Society of Appraisers, an Accredited Member of Appraisers Association of America, and in compliance with USPAP. Along with an education in the arts, Courtney has worked in museums, galleries, and auction houses, all of which have provided great opportunities to examine works ranging from the antique to the contemporary.

Monday, October 2, 2017

What's This Print Worth?

Daniel W. Deyell, ISA, MA, MTS
Inevitably, art appraisers get the email or text message: “I have this art work on paper; what’s it worth?” Just about as inevitably, I have to say, “the value of the frame!” I may be exaggerating, but potential clients can have trouble discerning original works of art from reproductions, and may not understand that reproductions tend to be worth far less than the original.

As an appraiser, it helps to understand the basic processes of printmaking in order to determine whether the item you’re appraising is a reproduction or not. In this post, I will describe the main techniques and touch on some important developments in the world of printmaking so you’ll have a better understanding next time you see one of these items.

What Is a Print?


The original print is an image that has been conceived by the artist as a print. It is produced as a print, not as a drawing, painting, or three-dimensional work. Each print is considered an original; no one print or drawing or painting is considered the original prototype from which other prints are made. The size of the edition, or the number of prints produced, is decided by the artist and the prints (after a small number of artist’s proofs) are numbered sequentially. Subsequent production of any prints or print editions should be differentiated by “states” of the prints and suffer corresponding depreciation of value.

Note: the blanket statement, “[just] the value of the frame,” may not be always accurate for reproductions if they gain value outside the field of art (as a recent auction of movie posters demonstrated), but if the appraiser’s focus is works of art rather than collectibles, reproductions are substantially less important than any object directly created by an artist. Additionally, some prints by artists (think Paul Gauguin's monoprints or works by Henri de Toulouse-Lautrec) may be of significant value. Appraisers are encouraged to do research and approach the topic of prints with care when assigning value to an item.

Printmaking Processes


While the field of printmaking and multiples today has become muddier as contemporary artists explore techniques of photo-mechanical processes for their own art creation, it’s important for appraisers to get acquainted with the classical processes of creating multiple art images first, before venturing into contemporary artistic multiples processing.

Printmaking processes
(courtesy of the Printers' National Environmental Assistance Center)

Classic methods of processing multiples (like etchings, engravings, relief prints, lithography, and serigraphy) and even contemporary processes (like some giclée prints) result in works of art because the artists intentionally use those processes to create individual works of art unique to the medium. The fact that a work is created in multiple numbers of prints or sculptures is a result of the artist’s intention, not a result of the efficiency of the process.

Based on this criteria, an artist who employs offset lithography or giclée printing to reproduce the image of a painting does not create a new work of art; if an appraiser can reference a framed picture back to an identical painted picture, the subject of investigation is a reproduction and deserves the evaluation, “only the value of the frame!”

The traditional forms of printmaking include:
  • Intaglio (also known as “gravure” to commercial printers). Includes etching, engraving, drypoint, aquatint, and mezzotint. Images are created on a metal or plastic plate by direct incisions, or by using acid to incise lines or pits into the plates. These incisions or pits are filled with ink, which is then transferred to a medium such as paper to produce an image.
  • Relief. Includes wood block, lino cut, and stonecut. In relief printmaking, material is removed from a base of wood, linoleum, stone, or even potato to leave a relief that is then inked and pressed against a medium such as paper to produce an image.

    Relief carving for stone cut print

  • Planographic. Includes lithograph, serigraph (aka silkscreen), and stencil. Lithographic stones or metal plates are prepared to receive oily or greasy drawings which adhere ink to the drawings, and are then transferred to a medium such as paper to produce an image. Stencils can be created using a variety of media, and are sometimes attached to screens (now usually fine nylon screens), through which ink is pressed with a squeegee onto a medium like paper to produce an image. Planographic printmaking usually does not include offset (or photo) litho, inkjet, or giclée, although some conceptual artists have deliberately used those processes for creating multiples.
Pulling an image from a lithograph stone


Printmaking through History


Prints from the 14th and 15th centuries to the early modern era were not usually numbered. They may carry the names of the printer as well as the artist in the image.

Since the early 20th century, traditional prints have usually included signatures in pencil with notations of print number out of (/) a numbered edition. Signatures however, do not guarantee authenticity of a traditional process, nor do they guarantee a limit on the number of works in an addition or numbers of editions or states. (For instance, a very well-known twentieth century artist issued editions of 5000 silkscreens each for a number of regions of North America and Europe). Any work containing a signature added (in pencil or pen, for instance) to an image that already has a painted signature is more than likely a reproduction.

Passing ink through a screen with a squeegee

In the past few decades, a number of artists have begun to explore computer-generated art, including digital printing with processes like giclée (which confusingly is more often a popular process to produce high-quality reproductions). Photography, which also can result in multiple images, is considered a completely separate field of artistic process.

What to Remember About Printmaking


The differentiation of original works of art as multiples from reproductions occurs when the artist is directly involved to some degree in the creation of the works of art. If the work being examined is directly the result of the creative process, it is an original print.

If the work is a copy of an image created at another time, in another size, in a different medium whether by the artist or not, whether signed (again) or not, it has been produced to be marketed more broadly without further artistic contribution and it is a reproduction.
Artist wiping an etching plate with ink

Daniel Deyell is a member of the International Society of Appraisers, He has twenty years’ experience in the field of fine arts and earned degrees in art and art history from University of Regina and University of British Columbia supplemented with professional museum and arts management certificates from Banff Centre and American Law Institute/American Bar Association. He has worked with public art galleries across Western Canada, including Mackenzie Art Gallery, Mendel Art Gallery, Glenbow, Alberta College of Art Gallery, Muttart Art Gallery, Penticton Art Gallery, Vancouver Art Gallery and International Museum of Cultures in Dallas in varying roles from preparatory to curatorial to managerial. At the Mendel, he prepared condition reports and digitized the catalogued collection of 4,400 objects for inclusion in a museum collection database.

Recommended Reading:
Glossary of commonly-used terms related to printmaking

Would you like to be an ISA blog contributor? Email us

Tuesday, September 19, 2017

Collecting Information for Appraisal Reports

Libby Holloway, ISA CAPP
“A picture is worth a thousand words” is a saying that we are all familiar with. It isn’t clear to cliché historians whether this phrase was coined in 1911 by newspaper editor Tess Flanders, earlier from a paraphrased comment by Napoleon Bonaparte or even earlier by Confucius. But, the statement rings true no matter who said it first.

In the Core Course, you are instructed to take clear photos and write descriptions that are thorough enough to enable the reader, who may not be familiar with art or antiques, to pick the item out in the room. Different objects require different levels of detail in their descriptions. For example, there is no need to write three sentences to describe assorted used pots and pans, nor is there a need to photograph each separately. However, you will likely need to take multiple photos of a piece of art. Make sure you are qualified to appraise the types of items you are tasked with valuing. If you are, you should be able to determine the detail needed to adequately describe the objects.

When you are on-site collecting information for your appraisal report, make sure you take the time to take the right number of good quality photos. Luckily, digital photography has made it affordable to take enough photos to insure you have gathered the information needed. I generally take 4 corner shots of each room, then methodically work my way around with group shots of less valuable items and singular shots of more important pieces. Practice working with your camera so you can adjust for different light levels, different finishes and small details such as silver marks. Learn to take photos of items under glass or with shiny surfaces. Carry solid dark and light cloths that can be used as a background for close photos. If you need more help with photographing objects, online tutorials can be a great resource and should be available for almost every type of camera.

No matter how much experience you have in the field you appraise in, there will be times when you aren’t sure about a piece. If you think you may be seeking help from someone else, you should take lots of photos from different angles and capture details such as marks, signatures or other characteristics that can be used for dating and identification. Be aware of what those characteristics are for each type of property you are inspecting. Did you know the number of toes on a dragon can be important? Did you know that some flaws show up in a photo taken with a flash that you might not be able to see in lower light? Your photos can give hints to an expert that you might not even have the words to express. ISA's Fine Arts and Antiques, Furnishings and Decorative Arts specialty courses include photography and description writing tips for that purpose.

Ceramic pieces may include markings that
will help you or another expert identify the piece.

Since condition is important to determining value, make sure you know how to properly photograph and explain condition issues or terms for types of damage. You might say that a finish is bleached from light exposure, silver is scratched from improper cleaning or that a print has suffered from exposure to moisture. Take clear photographs of the damage showing the extent of the damage and the overall condition of the piece. A scratch on a piece of art glass may not affect value if there are also large chips in the rim.

Speaking of words, in addition to informational photos, remember that you must use terms that make sense to your reader to describe the object. If your client is a knowledgeable collector, then pull out the ten-dollar words that you both know. If your client is an attorney who may know the law but not technical fine or decorative art terminology then use words they can relate to. Or, if it is necessary to use technical terms, include precise definitions in a glossary in the report addendum. Avoid using flowery, subjective language in appraisal writing. You shouldn’t describe something as beautiful, tasteless, tacky or glorious (yes, I’ve truly read those in appraisals before). Be careful using terms such as rare or one-of-a-kind unless you are sure that the industry considers that to be true. For information on important terminology in modern design, see our recent blog post by Valerie Hale, ISA CAPP.

Here is a new saying for you: “A picture is worth a thousand words, but a thousand words can’t replace a good photograph.”

- Libby Holloway, ISA CAPP

Tuesday, August 15, 2017

Design Patent in a Nutshell

Valerie Hale, ISA CAPP
When working with 20th-century design items, it's important to know how design patents and trademarks work and to use the correct terminology when describing these items.

Designers hold a bundle of rights to their designs, including intellectual property rights and the right to sell. Typically, production licenses are sold to large manufacturers, though the designer will still be able to control who produces the item and at what cost. Designers also hold trademark rights to their designs, which typically are renewable every ten years for an indefinite period of time. Most collectors of original modern design honor the creative process and want to own a quality item in its true form - these items are known as the "antiques of tomorrow."

When researching or reading a description for a 20th-century design item, you may encounter various terms categorizing the item. This article seeks to provide a quick reference guide for the meaning of these terms. When comparing items you also need to ascertain that you are comparing correct "vintage" or design type.

Original Issue

A design item that was manufactured during the initial period of production in the first conceived state.

Later Issue

An original design by the original manufacturer or currently licensed manufacturer, with minor modifications.

Example: The Eames molded chair has undergone some alterations over the years: the removal of rope edge, the curve of the back has become more inclined, upholstery is now glued to plastic shell. Also, since people are generally larger than they were in the 1950s, the Eames Lounge Chair is now available in the “big & tall” version, which is two and a half inches taller overall with an added seat depth of 1.75 inches. It's important to capture these design details to determine whether you are appraising an original issue item or one manufactured after a certain date.

Reissue

An item issued after the original production period, typically for a specific reason or period of time. There are a few different categories of reissues:
  • Special edition: A reissue by a specific authorized entity of a design when the original edition is not longer in production or when there has been a slight change to the design or manufacturing process, for example, in the color of materials used. Special editions are usually marked in a way that denotes the reissue, depending on the manufacturer. They are known in the market as a unique entity, and hold value as a reissue or special edition.

    Example
    : The Isamu Noguchi Cyclone Rocking Stool produced by Vitra Design Museum, ca. 2001. In the original conceived form, very few of these items were produced. The design was subsequently altered to make a small table with a circular vs. rocking base point.


  • Retired design: A design that was previously retired, but is now being produced and issued again.
  • Emerge from retirement: A return to an original trait of an original design, now a reissue, or to be more technically correct, a later issue.

    Example: The Eames molded chair stopped production due to hazardous materials (fiberglass straws) and disposal issues in the late 1980s. The chair has recently been reintroduced, due to improved manufacturing and material safety. In between, Modernica as well as others produced unauthorized replicas or knockoffs.

Knock-off

An item that apperas, especially at first glance, to be the original item. Retail cost is often substantially less due to cheaper materials, cutting corners in construction, and design variations. Due to differences in construction from the original, knock-offs typically do not violate design patents.

Reproduction

In the general world of furniture and decorative arts, a reproduction is an exact duplicate executed with the intent to deceive. Sometimes, the term is more loosely defined to fit the user’s purpose. Sometimes used interchangeably with "copy" or "replica."

Replica

The same concept as a reproduction minus the intent to deceive. However, retailers may use the terms "replica" and "reproduction" more loosely or interchangeably. A good replica is made with the same instructions, material, and care as the original. Also known as a "copy."

Style of

Denotes an item that is made or appears to be like the work of a specific maker or designer. It can also apply when the item produced is close to a stylistic period or region. In 20th-century design, some replicas will be denoted as “Style of Marcel Breuer’s Wassily Chair.”

Manner of

An item that appears similar to a specific designer or school of designers, that reminds the viewer of that designer or school.

Tribute

An item that is made or manufactured in honor of a designer or design. For instance, Knoll issued an 18k gold plated Bertoia Diamond Chair (ca. 1952) to honor the designer’s 100th birthday in 2015. The chair was developed in conjunction with the 50th (golden) anniversary of the Platner Collection. Tribute pieces are generally only available for a limited time. See also: Special edition.

- Valerie Hale, ISA CAPP