Archive for the 'From Our Sales Team' Category

Pitfalls of buying at auction: the Good, the Bad, and the Ugly

November 13th, 2009 | posted by John Finnegan

Twenty years ago, when I first entered the revered doors of an auction house, I was overwhelmed, and I asked myself, “how can anyone or any business know so much about so many things”? Well it only took me a few auctions to realize that they really do not know everything about everything they’re selling. En garde, my foray into the world of auction.

As time went by, I made my mistakes, but I also learned quickly when it involved my money. The first thing I learned is that I knew little about value. Over time, I came to learn that real values can be an elusive and the disciple of appraisal is a comprehensive study.

My opener involved an artwork, which turned out, to be one of those example accomplished on uh… “One of his bad days?”. Verily and sadly, I had bought the name and frankly, that was about it. I remember giving it as a Christmas gift to one of my brothers only to receive it back the next year; reminiscent of Christmas fruit cakes and New Orleans Saints season tickets…. Wait the saints are winning… What’s that about?) My value mantra now reads, bad, better, excellent and exceptional. (Good)crayon212


My second gaffe was when I purchased a minor painting by Franz Richard Unterberger from a fairly well known auction house for “the right price”! Unfortunately, as it turned out, it was not actually by that artist according to three independent experts, all of which panned the painting. Of course, by the time I figured it out, the auction house told me that my right to return the picture had expired. Never mind misrepresentation and the expert’s opinions. The auction house stood by their attribution, claiming that it was “an early work.” I guess that rather equates to buying an “early” crayola on paper from Picasso’s third grade drawing class. See figure 1.  (Bad)

Since many events seem to happen in trios, lets continue with the third ghost of Christmas past, when I purchased an artwork by a well known artist only to find out that that I had overpaid for it, “at auction of course”. As it turned out, I managed to place myself into the middle of a bidding campaign between two well-to-do privates (non-dealers), one couple that had just recently finished a three-martini? lunch at Cipriani’s (so said the specialist) and the other whose wife really had to have it because it simply matched the bathroom’s pastel colors. This painting currently adorns my mantle over the non-pastel fireplace. (Ugly)

Therefore, as it turns out, value truly can be a very elusive concept, one not to be treated lightly. By definition, value is “a fair return or equivalent in goods, services, or money for something exchanged under normal circumstances.” (I categorize my latter faux pas as temporalis duress). Overpayment never helps the buyer much when he attempts to resell and there are for some odd reason no takers. I wish auction companies had a buy-back policy in place.

Value is more than this; value should be approached as a long-term concept with serious consequences if not fully researched. Real values stand the test of time, supersede short-term fads, and are not subject to the latest “thing,” sorry Damien Hurst. (Please…. a 100 million dollar diamond skull…or should I say numb-skull!) Instead of bejeweled skeletons for value, I recommend you take a look at Hohenberg’s “A Friendly Discussion.”

Keep this under the table…

October 8th, 2009 | posted by Susan Lapene

table7 The coolest table ever is our “Monumental Specimen Table”. It speaks to my Italian side.  I love it, from the hand carved oak winged lions on the base, to the two inch thick inlayed marble top with its plethora of Italian marble varieties.  It is a tribute to the maker’s ingenuity, creativity, and master artistry.

The previous owner used it for a conference table for his business, but in my mind’s eye, I can see it as a center table in a large entrance or library or even a great dining table, but most of all, I see it in my house.  If there is anyone out there that is willing to buy this for me, I will graciously accept.

One other thing I would like to mention, but we have to keep in on the QT, if anyone ever asks me if I really did what I am about to tell you, I will deny it.

I am a gardening addict.  One Sunday, I decided to move some plants around; big  plants.  Anyway, I pulled something in my lower back, but also being the slave to duty that I am, I came into the gallery.  Every step was painful, sitting was painful, standing was painful.  As I said earlier, the table is very cool.  I started thinking about the cool marble of my specimen table.  I sneaked into the back gallery where the table now stands, climbed on top, laid down on my back and pressed my lower back into the cool, cool marble. I stayed in that position for 10 minutes or so, praying the entire time that no one would walk in and see me lying on the table.  When I got up, my back felt 100% better!  I bent down and kissed the table then patted it lovingly.

Not only does the Monumental Marble Specimen table speak to my Italian side, it also speaks to my backside.

Palace works of art from Imperial Russia

September 30th, 2009 | posted by Jim Cottrell

True Russian palace furniture is so rare and so incredibly beautiful; we’re always thrilled when we have the chance to offer it to our clients. We just received an amazing pair of Russian palace slipper chairs that really capture the opulence of mid 19th century Russia. Hailing from the girls’ room at Peter’s Court, the chairs are chairsexceptional in both beauty and provenance.

Without question, these fine walnut chairs were carved by a furniture making genius… just look at the delicacy of the draped flowers that overlay the flowing seat back. Note how the curving legs allow the seat to literally hover in space. The art work alone would indicate that these are palace pieces but the original inventory labels on both chairs confirm it.

The chairs belonged to Duchess Vera of Wurttemberg, Grand Duchess of Russia and later to her daughters Elsa of Wurttemberg and Olga Nikolaevna. The labels read “H.V.v.W. private property no. 1853″ and “P.E. Villa” on one and “ON” on the other.

Duchess Vera’s story is at once intriguing and a little sad. At an early age she proved to be a difficult child, prone to tantrums and fits of rage and suffering from what was called a nervous condition. Her parents, hoping to avoid embarrassment before the Russian Court, and Vera’s uncle Tsar Alexander II, entrusted Vera to King Karl of Wurttemberg and Queen Olga who themselves were childless. They came to love Vera despite her illness and eventually adopted the girl.

Duchess Vera, who was rather plain in appearance, eventually outgrew her disruptive nature and married by arrangement Duke Eugen of Wurttemberg who would die in a duel just three years later. Vera had a son who died just 7 months after birth and twin daughters, Olga and Elsa. Though she never married again, Duchess Vera became a well-known and respected figure in German society, lending her name and financial assistance to more than 30 charitable and religious causes. She was not without controversy and was occasionally at odds with her Russian side of the family. She died when she was just 58 years old.

It is really quite extraordinary to find a matched pair of chairs of such a lovely appearance and with such a rich provenance, considering that many artifacts associated with the Russian court were destroyed. They are really special.

All the king’s horses and all the king’s men…

September 29th, 2009 | posted by admin

julieimage3 Container day is a really great time at M.S. Rau. Even though we have to be at work so early, the excitement of opening the boxes overcomes our sleepiness! There are so many unique pieces to find amidst all the cardboard and paper.

My favorite piece in our new container has to be the  German Maximilian Field Armor. It was a true group effort just to get this piece unwrapped. A leg here, a torso there, and even the horse’s tail was wrapped up by itself! With so many comments and jokes made with each unwrapped section, it was a massive team effort to get ‘him’ put together. Once everything was assembled he was quite a commanding sight.

Reminding everyone of days gone by, this has been a gallery favorite, not only for the people working here, but for the customers walking through the door. At first glance, this knight sitting astride this massive horse looks very real! Visitors are always amazed at the great, unusual pieces we are able to find to bring into the gallery, and it is the pieces like this wonderful suit of armor that keep our customers coming back for more. They love adding the unique conversation pieces to their homes. Please call me, I would love to tell you more about it!

Authenticating 19th Century bronze sculpture

July 29th, 2009 | posted by John Finnegan
 
bronze statue 'Music' by Jules-Felix Coutan

bronze statue 'Music' by Jules-Felix Coutan

 

Many people have asked me, “how can you tell the difference between a new and old (19th C or earlier) bronze sculpture”?   Moreover, I suspect many beg the question but hesitate to ask it for a variety of reasons.

 I remember not so long a when dealers and auction houses considered 19th century bronzes decorative items, to be used as doorstops, much like those little cast-iron Boston terriers on the shelves of local junk shops.  Good 19th-century European bronzes are much more than doorstops, or decorative pieces of sculpture. Once considered ornamentation they often found their home placed in a corner; I, however, ascertain that they are verily “fine art”, and valuations are beginning to reflect this.

 When I say “fine art”, what I am defining is the highest echelon on the art pyramid, simply regarded as the best. In years past, dealers and auction houses cataloged these artworks as decorative. I am here to aver the contrary and finally the rest of the market is beginning taking notice. 

 On average, it took 4-5 months to produce a 40-inch bronze sculpture and it involved no less than five or six artisans’ participation in the creation of the sculpture. (This of course depended upon the size of the foundry.) The process started with the original model. The foundry then reduced or increased the size of the original in a plaster form. Casings were fashioned around the arms legs, torso and other sections using a method known as “sand casting”. Rarely used at this time on the other hand, lost wax or “cire perdue”, was preferred because of the preponderant requirements such as materials rather than sand casting which was more laborious and therefore at this time less expensive. The molds were cast and then “chased” or chiseled, after which the bronze was “finished” and then patinated in either acid or lacquer.  

 

 

 

 

Bronze Sculpture, Hymenee by Charles-Adrien-Prosper d'Epinay

Bronze Sculpture, Hymenee by Charles-Adrien-Prosper d'Epinay

 When I inspect a bronze sculpture, I look for the following criteria:

  1. Detail- Older bronzes have sharp internal detail as opposed to sharp external cuts.
  2. Finishing- protruding edges are always smoothly rounded and never “scraped”.  
  3. Separate castings- The arms, legs, extremities, attributes (i.e. Diana’s bow), are “pieced and pegged”, where the lines are precisely and often very difficult to identify.
  4. Patina- patinas and colors were closely held trade secrets within the foundries. Creating a consistent and beautiful patina was extremely challenging due to variations in waters (chemicals) and the coloring agents such as barium for browns.  The Barbedienne foundry became known for their “Barbedienne brown”, which emulated the color of milk chocolate.

  

In addition to the aforementioned points, I would like to note that this entire process took much laborious effort on the part of many skilled craftsmen, and the finished product always distinguished itself from other eras and especially from those of late!

 Moreover, with 19th-century examples, sculpture details are crisp but rounded. The incised cuts are “scratch patched or non-linear” and never wheel driven. And finally, the older patinations generally show areas of wear and most always exhibit a distinction in colour and depth. I always look for areas of wear on the sculpture where the piece would have been picked-up repeatedly resulting in patination losses. In addition, protruding elements often lose the original patina as well.

 Regards,

John

 

 

 

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