Artworks, important designs, carpets and rare objects from several noted Rhode Island and New England collections. Artworks include a major Sir Thomas Lawrence portrait and noted contemporary works from the former collection of the New England Center For Contemporary Art.
Greetings, Vallot bidders! Michael Dym, our auctioneer, has been invited to curate an upcoming exhibition at the Jamestown Arts Center. Jamestown is a small island located off the coast of Rhode Island. The Jamestown Arts Center is a community arts non-profit organization dedicated to providing a space for exhibitions, films, performances, and art and design education.
The exhibition, titled New Impressions, will showcase a host of exciting Rhode Island based printmaking artists. It will focus on the diverse and unique artistic methods which arise as printmakers gain mastery and flourish in their craft. The show will feature work by several noted contemporary and emerging artists, including Andrew Raftery, Serena Perrone, Allison Bianco, Nancy Friese, Peter Marcus, and more.
Some of the artists featured are represented by Cade Thompkins Project, Providence, RI. The gallery will also have work available for collectors to view in conjunction with the exhibition at the JAC.
In addition to the exhibition in the physical gallery of the Jamestown Arts Center, there will also be an online exhibition displayed on Jamestown Arts Center’s website. The online component will feature the same artwork that is on display at the physical gallery, along with many other works by the show’s artists.
The exhibition will run between March 26 and May 1.
Meet some of the featured artists:
Explore Jamestown Arts Center’s website: https://www.jamestownartcenter.org/
- ASSUMING WHAT WAS PAID FOR SOMETHING IS WHAT IT IS WORTH.
This cuts both ways. Sometimes people will assume that a possession is worth more than it is because “Mom paid a lot for it,” or that something has little value because “Mom bought it for $5- at the flea market” years ago.
What’s “collectible” can and does change. I have had the personal experience of auctioning off artworks and other collectibles for thousands of times more than what was originally paid for them.
- NOT SEEING THE VALUE IN THE WHOLE(S)
Executors and administrators of estates will often think in terms of the value of each item of personal property to be sold, but sometimes value is maximized if things are cleverly grouped together. For example, if there is a group lot of the same mid-century designer’s vases, it will drive more competition into bidding. Bidders, on the other hand, will be excited to have the pieces missing from their collection but also the ones that will upgrade their collection.
- SCRUBBING, CLEANING, FIXING, REFINISHING…
Bidders prize estate fresh contents. Often, those tasked with selling the contents of an estate will make the mistake of trying to “fix” things before they are sold. It’s heartbreaking when, for example, I have to tell someone that the “I saw it on the internet” restoration/fix killed the value of an important possession. In plain terms, rely on a professional to advise on what, if anything, should be done to a damaged possession before it’s offered for sale. Most of the time, nothing should be done, because collectors prize original condition and the ability to do their own restorations. Oftentimes I tell people, even beg, to leave the dirt.
- TRYING TO PASS THE HOT POTATO(S)
Often a collection, especially one built over many years, will have a fraudulent work or forgery. A fraud is an object or artwork masquerading as something it’s not. A forgery is a work made with the intent to deceive. A deceased collector may have been duped early on in their collecting into buying a fraud or, worse, a forgery. There are often one or two of these bad apples in even the best collections. These items should never be mixed in with the good. If they are not to the outright point of being illegal to sell, as would be the case with trying to pass off a known forged artwork, they should still never be combined with quality, legitimate works. If they are, more often then not they will pull down the value of everything that is offered with them. Sometimes legitimate reproductions or “married antiques” when properly identified can have a significant value.
- THROWING THINGS OUT AND NOT THROWING THINGS OUT
This happens more often than not: I show up on a house call and see a full rain-soaked dumpster in the driveway. I always tell people, call me first, then call for the dumpster. It’s heartbreaking to tell people that the ’empty frame’ they threw out was a Foster Brothers. Conversely, it’s equally frustrating when people think every scrap has value, which philosophically is true but, practically speaking from an auctioneer’s standpoint, not so much.
Based on our assessments in viewing thousands of artworks in various physical and online venues, here is a list of art forgeries and faking gamesmanship to be on the look out for:Continue reading “ART FORGERIES TO WATCH OUT FOR IN 2020”
When rooting out art forgeries, one solid piece of evidence that a print is authentic is a publisher’s blindstamp. A blindstamp is a small embossed raised seal used by some print publishers to identify their work. Blindstamps are difficult to fake and often not worth a forger’s efforts, and forgers who often work off of legitimate prints miss this tiny detail.Continue reading “Authenticating Fine Art Prints Using Blindstamps”