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Bernards Appraisal Associates, LLC

Tag Archives: Fine Art

Dali, or Not Dali, That is the Question.

14 Tuesday May 2019

Posted by Bernards Appraisal Associates, LLC in Antiques & Decorative Art, Appraising Personal Property, Fine Art

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Catalogue Raisonne, Dali, Fake, Fine Art, Forgery, Fraud, Personal Property Appraisal, Prints, Reproduction, Salvador Dali

Prints by Salvador Dali are typically met with skepticism, as his works are notoriously found to be inauthentic. In Albert Field’s official catalogue raisonné for Dali graphic art, an original print is considered “one for which Dali created all or part of the image on the plate or stone directly or by transfer.” In order to determine the authenticity of a Dali print, many factors must be considered and it is important to compare all qualities of the print with the catalogue raisonné. In the catalogue each print is detailed with a photograph, title, print medium, plate size, edition sizes, types of paper used, publisher/printer, and date. All of these details need to match up in order for a print to be considered authentic.

In order to determine that the print at hand has been printed properly, the blind stamp (an embossed seal) of the printer/publisher needs to be evaluated, as well as the watermark on the paper itself. It is also important that the edition number matches what is notated in the catalogue. Unfortunately, for some editions of a number of prints, unknown quantities of unnumbered AP and EA have been made in hundreds. Experts have questioned the amount of proofs that were actually signed by Dali. It is also important to note the manner in which a print has been signed. Some listings in the catalogue outline whether Dali signed in colored pencil or pencil, as well as the number of editions that he signed. On August 14, 1986, Dali signed a new statement, in English, that he had signed no editions during the entire year of 1980. Additionally, Dali’s genuine signatures on documents from 1980 and after are shaky and infirm, clearly made by a trembling hand due to severe nerve damage. Therefore, signatures on prints published after 1980 in a firm hand are not by Dali and are forged. At times Dali left Paris for New York and would leave pre-signed blank sheets in advance of printing so that his printer could complete the edition. Whatever had not been used was returned to him and destroyed. All sheets were used for authentic editions. However, there are false reports that Dali had signed between 40,000 and 350,000 blank sheets for later printing. These claims are believed to have been spread intentionally by fraudulent publishers to cover up the fake signatures.

Also included in the catalogue is a guide to prints that have been excluded from the catalogue raisonné: those denounced by Dali, extended editions, restrikes, “afters”, pastiches, counterfeits, and facsimiles. Because there have been so many accounts of fraud, the Dali print market is often met with suspicion. Even printers that were trusted by Dali had taken advantage and created extra or new prints for their own benefit.

Center Art Galleries in Hawaii is one of the most notorious Salvador Dali art fraud cases. In 1984, The Washington Post published an article about a very prominent art gallery that was considered by many art dealers to be one of the nation’s biggest art galleries. The article described how the owner, Bill Mett, came to buy the gallery as a young lawyer with minimal knowledge of art, but worked hard to turn it into a worldwide business. Much of what they sold were prints, although they also carried original works. At the time of the article, the gallery had many critics in the art world who said Mett used elaborate marketing techniques in order to sell art at extremely high prices to tourists on vacation. The gallery would keep in touch with their clients, continuing to promote artworks and pushing their clients to purchase additional pieces once they had returned home, and many did.

Center Art Galleries was also considered to be one of the biggest dealers for works by Salvador Dali. While they sold many authentic Dali prints by other publishers, the gallery also counterfeited a number of prints. There is no evidence that Dali participated in any of these works, despite the gallery’s insistence that the works were authentic originals. Many of the reproductions were copied from originals that the gallery owned, and there is no proof that Dali approved or signed any of these works, making the signatures forgeries. Mett and his art curator, Marvin Wiseman, provided certificates of authenticity, as well as appraisals with all of their works, often sending updated appraisals periodically to their clients. The “Confidential Appraisal Certificate of Authenticity” continued to state that the works were originals, and reflected an increase in value of the works. These fraudulent prints were being created during a time when there was already much speculation about authenticity regarding works by Dali. Many major auction houses and art dealers wouldn’t even consider consigning works published after 1950, as there was a greater risk that they were not right, and that the signatures were forgeries.

In 1987, Center Art Galleries became one of the largest Dali forgery rings ever uncovered. Federal agents seized over 12,000 prints and sculptures from the gallery, and in 1990, Mett and Wisemen were convicted and sent to prison. They served thirty-six and thirty months, respectively. The U.S. Postal Inspection Service received court permission to auction off the seized artwork, in order to offset some of the lengthy trial costs. This sale took place in Belmont California in October of 1995, and was handled by Koll-Dove Global Disposition Services. In addition to the sale of the fraudulent works, some authentic pieces by other artists were sold as well. The pieces were represented appropriately and sold as fakes, but oftentimes were only stamped on the back of the framed works, which can easily be removed. This means that many of the works have come to market again, often sold as originals by owners, and purchased by unsuspecting buyers. As such, the gallery and a list of known forged prints, are included in Field’s catalogue raisonné. While these works can still be sold legally, they should be advertised as prints “after” Dali.

IMG_9055

Christ of Saint John of the Cross, a reproduction after a painting by Dali from 1951. One of the known falsified prints sold by Center Art Galleries

Works Cited:

Field, Albert, The Official Catalog of the Graphic Works of Salvador Dali, authorized by Dali, Astoria: The Salvador Dali Archives, 1996.

Vise, David A. “Chain Carves Prominent Place In Art World,” The Washington Post, October 7, 1984.

Examiner Staff Report, “Auction to feature fake Dali prints from art fraud case,” SFGate, October 20, 1995.

The Great Divide – Antique Floor Screens

13 Monday Jan 2014

Posted by Bernards Appraisal Associates, LLC in Conservation

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19th Century, Antique screen, Antiques, Appraisal, Appraisers Association of America, architectural, Bernards Appraisal Associates, certified appraiser, Chinese export, Chinese screen, Coromandel, decorative art, embroidery, Fine Art, Furniture, Interior Design, jewelry, lacquered panel, Martine White, needlepoint, oil lamp, oriental carpets, Ray & Charles Eames, silk panel, sterling silver, Victorian

Photo 1. Screen Decoration; applied cloisonné Calligraphic Banquet Poem copying a famous poem from 1682.

Photo 1. Screen Decoration; applied cloisonné Calligraphic Banquet Poem copying a famous poem from 1682.

It may not seem an essential piece of furniture, but an attractive floor screen can easily transform any living space and add dimension to your interior. Coco Chanel recognized the appeal as she famously sought out dozens of antique lacquered screens to adorn her Paris abode. Even Yves Saint Laurent favored the glamour of parchment panels by the designer Jean-Michel Frank. Many interior designers also agree that a thoughtfully placed screen can add drama and mystery to a space.

Whereas drama is not an essential component to a living space, the screen served practical functions as well. From as early as the third century B.C., the screen adorned imperial palaces in China, and was known to not only block drafts but shield the heat of embers in the Victorian period. Even the needlepoint fire screen became the focal point in Victorian homes as it displayed the embroidery skill of the homemaker.

While English and American screens were primarily framed woven panels intended for re-directing heat from the fireplace, Asian screens were hand-painted wooden panels that served purely as decoration. Artists in both China and Japan joined multiple panels to create elaborate scenes of painted imagery using gold and silver leaf to reflect the light of oil lamps. In the 17th century these painted and lacquered panels soon became symbols of wealth as English and Dutch tradesman began supplying Europe with these exotic decorations.

The Chinese Coromandel screens, named for the Indian coast where they were loaded onto ships for export, were ebonized folding lacquered panels often decorated in gold and frequently applied with specimen stones illustrating in-depth landscapes featuring figures at leisure in gardens and pavilions. In contrast, Japanese screens of the 19th century were often decorated with naturalistic imagery in gold detail on silk panels.

Today modern screens can reconfigure a room, create a dramatic backdrop or establish an entirely different mood.  Whether they are relief carved, perforated wood panels or Modern molded plywood screens by Charles and Ray Eames, a screen can add an architectural element where one doesn’t exist. Perhaps it’s the versatility that makes screens so desirable.  You can rearrange them, transfer them to another room or fold them up for storage. Unlike the walls we live within, you can even take them with you.

Photo 2. Detail; a 19th Century Chinese Eight-Panel Folding Screen in the Kangxi style.

Photo 2. Detail; a 19th Century Chinese Eight-Panel Folding Screen in the Kangxi style.

The above article was written by Martine M. White of Bernards Appraisal Associates, LLC, in Gladstone, New Jersey. Ms. White is a Senior Certified Appraiser of Antiques & Decorative Arts with the American Society of Appraisers and the Appraisers Association of America. Ms. White has been appraising personal property in the Metropolitan area since 1988. Martine and her associates specialize in appraising fine art, antique furniture, Oriental carpets, silver and jewelry. Martine can be reached at 908.234.1153.

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Taking Stock – The Importance of Archiving Your Assets

07 Thursday Mar 2013

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antique furniture, Antiques, Appraisal, Appraising, Archive, artwork, Charitable Contribution, damage/loss, decorative art, Estate Appraisal, Fine Art, Insurance Claims, insurance scheduling, Inventory, jewelry, Matrimonial Appraisals, oriental carpets, Peace of Mind, personal property, personal property appraisers, silver

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It’s human nature to keep thoughts of devastating fires, storms and theft furthest from our minds. But if disaster strikes, are you prepared? Having a detailed property inventory is the first step to ensuring that you will not only survive a damage loss, but that you will be made whole again.

So why is it that doing a property inventory is the last thing on our ‘to do’ list? Is it that taking inventory of our lives is too close to home? A property inventory is crucial not only to determine adequate amounts of insurance coverage prior to a loss, but it will also expedite the claims process after a loss has occurred.

Establishing adequate insurance coverage for the contents within your home is the driving force behind the decision to conduct a personal property inventory. Having an up-to-date inventory not only establishes your net worth of tangible property, it also helps you to adjust your insurance coverage accordingly. You may even discover that after your assets are valued you are under-insured, or better yet, over-insured, and paying too high an insurance premium.

However, there is another reason you may consider conducting an inventory. Perhaps you are relocating, scaling down or starting to consider which items to bequeath to loved ones. Whatever your goals, knowing the value of your property is the first step to making an informed decision.

Developing an Inventory/Appraisal

There are two common types of property inventories: written and pictorial. The ideal inventory combines both types of inventories, including a detailed written and enumerated inventory that is supported by photographs of the property. There are many different software options out there to help with the inventory process, however it is essential that you have a value to go along with the description.

After the Inventory/Appraisal

After you have developed your inventory or received your appraisal it is important to store a backup copy at an off-premise location, such as a safe deposit box or with a trusted relative. You should also provide a copy of your inventory/appraisal to your insurance agent and use this document to review your current content coverage to make any necessary adjustments. In many instances, the valuable items, including antiques, silver, Oriental carpets and jewelry may not be covered under your general homeowners insurance. Specialty items often require special coverage beyond the basic contents coverage. This additional insurance coverage is referred to as a rider or floater and provides the policyholder with extra protection beyond the provisions contained in a standard insurance agreement.

Updating the Inventory

The property inventory should be updated every six months to one year. The appraisal is required by the insurance industry to be updated every three years for adequate insurance coverage. If you are in the process of re-furnishing your home or collecting, be sure to continuously collect receipts from new purchases and keep them entered in a database.

Tips for Pictorial Inventories

  • Take wide-angle photographs or a video of entire rooms.
  • Take individual, close-up shots of expensive items.
  • Zoom in on important labels and special features such as signatures of paintings, underside of an antique vase, close-up image of the reverse of an Oriental carpet to illustrate the foundation weave, and the secondary construction of antique furniture, i.e., the drawer frame.
  • Take photos of the interior of cabinets, and drawers to illustrate the contents.
  • Label each photo with the description, item name and date.

Although it is always important to document the big ticket items, such as artwork and antique furniture, don’t forget that the small items such as decorative art and silver can really add up. At some point in our lives there comes a time when we need to take stock of all the personal artifacts we have inherited and/or accumulated along the way. Don’t wait until it’s too late, for you never really know what you have until you have lost it.

The above article was written by Martine M. White of Bernards Appraisal Associates, LLC, in Gladstone, New Jersey. Ms. White is a Senior Certified Appraiser of Antiques & Decorative Arts with the American Society of Appraisers and the Appraisers Association of America. Ms. White has been appraising personal property in the Metropolitan area since 1988. Martine and her associates specialize in appraising fine art, antique furniture, Oriental carpets, silver and jewelry. Martine can be reached at 908.234.1153.

Posted by Bernards Appraisal Associates, LLC | Filed under Antiques & Decorative Art, Appraising Personal Property, Conservation, Estate Appraisal, Fine Art, Matrimonial Appraisal

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Whether for insuring your valuable possessions, providing an equitable distribution of property to your heirs or maximizing your investments at market peaks, an unbiased opinion of value by a certified appraiser limits risk and provides for confident decision-making and personal peace-of-mind.

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