James Tissot, Portsmouth Dockyard, 1877

Migrations: Journeys into British Art
31 January – 12 August 2012

They all migrated to the Tate . . .

From their own extensive collection of art, the Tate in Britain has put together quite the exhibition. Over 500 years worth of art created in and inspired by all things British: be it royalty, countryside, landmarks, and citizens. The main purpose behind the exhibit is to consider how British art has been effected by the migration and integration of other peoples into its ever changing culture. You would think that the term “British Art” would encompass strictly the works of British born artists; on the contrary, for example, Anthony van Dyck was Dutch and still considered a British artist due, in part, to his famed portraits of King Charles I.

Reviews of the exhibition are mixed, yet remain favorable because of the individual strength of the works chosen. It has been noted that there is a lack of cohesion within the exhibit. Normally, this would be a valid issue; however, with over 500 years of different styles, perspectives, and personalities it would be nearly impossible to make all the works look as if they had been created to be shown together. Expecting it all to flow from one century to the next is unrealistic and defeating the purpose; after all, this is an exhibition embracing historic change, growth, and progression within a culturally diverse kingdom.

Experiencing this exhibit will allow each visitor the unique perspective of a time traveler:  tip-toe through 16th century portraits, and take the transcontinental Grand Tour through 18th century landscapes. Give a bow to Tissot, and say how-d’ye-do to Whistler and Sargent. Hold on tight to your hat and slide comfortably into the 20th century for visual storytime with David Medalla, Zineb Sedira, and Keith Piper. Who wouldn’t want to have a taste of that?

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Art Goes Wild

The 30th Annual Southeastern Wildlife Exposition Feb 17-19

Held in Charleston South Carolina, the Southeastern Wildlife Exposition is three days of artistically celebrating nature and wildlife. SEWE is not only the global front runner in exhibiting wildlife and nature art,  they also are a champion for conservation research and environmental education. There will be over 500 international artists represented, and over 40,000 in attendance.

There is no doubt, if you love nature and animals and are looking to invest in art inspired by both, then you may want to make a trip to Charleston. You can even bring the kids, there are workshops and a kids calendar of events already posted on their site. They have a scheduled visit from Jack Hanna, and other fun wildlife presentations that will teach your children new facts about nature and wildlife, it will also give them something to talk your ear off about for weeks.

What is not to like: art, education, environmental awareness, animals, music, and dancing. It’s going to be another fun weekend. Take a look at their site, just a glimpse at the events and you’ll see that they have something planned for everyone. But don’t worry, if you can’t make it this time, there is always next year.

Website: SEWE

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Heart-shaped Valentines Card, 1850–1899. The Metropolitan Museum of Art, New York, Gift of Morrison H. Heckscher, 1989 (1989.1154)

 

Historic Valentines and Paper Kisses, now on display at the Metropolitan Museum of Art. What better way to say I love you than to take a stroll through the history of love?

Valentines Day has come a long way (since 270 A.D.) not only in gesture but also in aesthetics. Perhaps, one of the most beautiful times for being in love was the Victorian era: a time when style and elegance ruled, honor and grace still guided the gentle hand. On display in the Robert Wood Johnson Jr. Gallery, you’ll find almost 250 romantic years of Valentine themed cards and love tokens to look at, taking your sweetheart to the MET may just be the perfect add-on to your day.

If you are in the NYC area and require more of a reason to go to the MET, I can think of 10 romantic ones (though there are more than 1,000):

Painting:

The Interrupted Sleep
François Boucher (French, Paris 1703–1770 Paris)
Date: 1750
   Accession Number: 49.7.46

• Antoine-Laurent Lavoisier (1743–1794) and His Wife (Marie-Anne-Pierrette Paulze, 1758–1836)
Jacques-Louis David (French, Paris 1748–1825 Brussels)
Date: 1788
   Accession Number: 1977.1

• Venus and Adonis
Titian (Tiziano Vecellio) (Italian, Pieve di Cadore ca. 1485/90?–1576 Venice)
Accession Number: 49.7.16

• The Stolen Kiss
Jean Honoré Fragonard (French, Grasse 1732–1806 Paris)
Date: ca. 1760
   Accession Number: 56.100.1

• Venus and the Lute Player
Titian and Workshop (Italian, Pieve di Cadore ca. 1485/90?–1576 Venice)
Date: ca. 1565–70
   Accession Number: 36.29

• Adam and Eve
Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg)
Date: 1504
   Accession Number: 19.73.1

• Rubens, His Wife Helena Fourment (1614–1673), and One of Their Children
Peter Paul Rubens (Flemish, Siegen 1577–1640 Antwerp)
Date: mid–late 1630s   
Accession Number: 1981.238

• Boating
Édouard Manet (French, Paris 1832–1883 Paris)
Date: 1874
   Accession Number: 29.100.115

Pen and Ink:

• The Muse Erato Writing Verses Inspired by Love
Charles Meynier (French, Paris 1768–1832 Paris)
Accession Number: 2001.506

Photograph:

• Couple d’amoureux dans un petit café, quartier Italie
Brassaï  (French (born Romania), Brasov 1899–1984 Côte d’Azur)
Accession Number: 1980.1023.5

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Join me at the Simeone Museum for The Best of Brittan Show Friday night Feb. 11th. Great cars and some great people

 

http://simeonemuseum.org/events/2012-best-of-britain-show

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I have been going to the Art Basel fair every year for the last 7 years. The last two years have been spectactular to say the least.  I would say the Pulse has had some of the best work this year. Connor Fine Art in Washington DC had a great booth with some wonderful though provoking works.  Patricia Piccinini had one of her fantsticaly wierd scultures of ailen type life forms. I had whished they had some of Vicotria Giatan’s photos. I love Victoria’s work. I think she and Tre Gallery are the two best photographers out there today. Lyons Wier Gallery had some great paintings of aging Superheros. Purdy Hicks (London), Samuel Freedman and Luis De Jesus ( LA) all had outstanding booths. I would say onof my favorite installations

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Jed Rapoport (Hagerty.com)

August 05, 2005

Insurance, legal issues and peace-of-mind are the leading reasons for needing an appraisal. A thoroughly documented appraisal is a valuable asset for any collector. Books have been written on types and methods of appraisals, but how can you tell if the appraisal you get has the information you really need?

Getting a worthy appraisal starts with picking the right appraiser. According to David H. Kinney, an Accredited Senior Appraiser with the American Society of Appraisers (ASA), “Appraiser qualification, experience, and knowledge beyond the particular make or brand of car is of utmost importance.” Looking for an appraiser with a professional designation is one way to assure quality. There are professional designations for personal property appraisal but few with an emphasis on collector car appraisals. Those designations conferred by the ASA, the International Society of Appraisers ( ISA ) or an institute of higher learning, such as the few colleges and universities that offer degrees in appraisal, carry the most weight. But university-trained appraisers and the extremely high standards of the ASA make those accredited appraisers for cars a rare commodity.

The likelihood of finding an accredited appraiser conveniently located to you is slim. In the absence of real credentials, ask your appraiser how many appraisals they do per year and how many they’ve done over the years. Ask to see a sample report and a résumé of his/her background on the subject. Make sure your appraiser knows the procedures and processes of appraisal and can demonstrate an ability to explain their methods. Remember, the appraiser may have no choice but to back-up his/her report in court, and you don’t want to be caught using one who can’t or won’t professionally explain his/her actions when the report is being questioned.

Also make sure to ask for features they offer. Is the appraisal updateable? Does the appraiser compare market value with receipts? Does the appraisal reflect a geographic value, i.e., ragtop exotics in Southern California ?

If you’re being given a one-page report with little more than a fellow collector telling you that he believes your car is worth “X,” this is not an appraisal. You need to be aware of the difference between one person’s opinion (regardless of qualifications) and his/her ability to access data from other appraisers. As well, an appraisal from your mechanic or the restorer/builder is useless.

The ASA has 26 points that it requires all members to include in reports. According to Steve Metz, an appraisal professional who performs car, art and real estate appraisals, these 26 points are dictated by law and are similar to the standards of real estate appraisals. There is no single standard form for collector car appraisals, but they all should conform to the Uniform Standards of Professional Appraisal Practice (USPAP). USPAP are the generally accepted standards for professional appraisal practice in North America as established by the Appraisal Standards Board. The Appraisal Standards Board is a division of the Appraisal Foundation, the organization empowered by Congress to set standards by law for all appraisals in the United States . USPAP standards were created to deal with the abuses of real estate appraisals in the banking crisis of the late 1980s and subsequently extended to all appraisal fields. To learn more about USPAP and make sure your report conforms to its standards, visit www.appraisalfoundation.org.

Not all appraisers are going to do the job the same way, although in theory, they should all come to roughly the same conclusion. Some of the key items (part of the 26-point list) that I believe should be included in all proper appraisals are:

Clear identification of the car being appraised including VIN, mileage and correct model designation
Who the report was prepared for
Who ordered the report
What the report is to be used for
Date the car was inspected
Date the report was completed and signed
Name and résumé of the appraiser
Clear and detailed description of the car, including options present vs. those available, actual build sheet and protecto plate present vs. researched, proof of numbers matching, build date/location, number of model produced, percentage of production, ways this car differs from a better model, specific notes on classic problem areas with vehicle.
Documentation of the valuation sources such as price guides
Comparable sales from auction results or private sales
Explanation of the valuation these sources indicate and how they equate to the subject car
Methodology used to arrive at the final value for the car
Photos of the car or copies of documents used to prepare the report
Most importantly, the report should arrive at a specific value for the subject car and not a range.
Professionally prepared appraisals will always be to your benefit. Making sure your appraisal conforms to the guidelines I’ve outlined above will help provide some peace-of-mind for you and others in the hobby.

 

From Hagerty.com

Metz & Company

Appraisal Services Specializing in Fine Art

Appraisal Services Specializing in Classic Cars

Estate Planning for Collectors

Art Advisers and Collections Management

912-288-0680
Email:mrpbody44@yahoo.com

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