Tag Archive for: Contemporary Art

Not The Antique Roadshow: Myth Busting about Appraising Art

As a professional art appraiser, I get asked the question daily: ” How much is this worth?” And while this may seem like a simple inquiry that can be answered quickly based on a visual inspection of age, artist, medium, and condition of a specific decorative or fine work of art, in fact, there are numerous factors and methodology required to answer accurately. As well as a lot of myth busting.

The Antiques Roadshow, while entertaining to watch, does not convey the complex process of appraising art or create realistic expectations of what appraisers do. It gives an almost magical illusion that experts pick numbers out of thin air to the delight of amazed owners.

Here are some of the most common myths I regularly encounter:

Myth #1

Old items are always more valuable than newer items. Just because an item is a thousand years old, doesn’t automatically translate to a high value. Buyers decide what is desirable in the market. For Example, back in the late 1970’s and 80’s, interior designers often included Tang dynasty ceramic horses (dating to the 10th century AD) in homes. Wealthy clients paid top dollar for late tri-coloured glazed horses, sometimes upwards of $30,000. In today’s market, however, because they are not currently popular, the seller would likely get significantly less. The same goes for signed works of art. Value depends on whether the artist has an established market, and factors such as subject matter, rarity and provenance. An Andy Warhol limited edition lithograph print might be”worth”m more than an older original oil painting by a lesser-known artist.

Myth #2

There is only one monetary value for an item. In fact, there can potentially be six or more different values for the same work of art depending on the purpose of the appraisal. Values typically rand from the low end for probate tax purposes to the highest for insurance replacement cost. There are more values in between, such as auction value and Fair Market Value for donation or equitable distribution in divorces. Sometimes a piece has more sentimental value than monetary value for an owner. Sadly, appraisers can’t take personal feelings into the equation when estimating value. Appraisers provide an unbiased opinion based on facts. Appraising is an art, not a science, but it has definite criteria and appraisal theory that is applied to reach accurate value conclusions.Viewers can be mislead watching a TV appraisal program when a dollar amount is announced as a value, if they don’t understand there are many ways of answering the question what a piece is ‘worth.’

Myth #3:

Image of Susan Lahey appraising a statue

Anyone can be an art appraiser. Technically any person walking down the street can offer an opinion on your work of art, but how much confidence can you have in that opinion? Guessing isn’t good enough. Qualified art appraisers belong to recognized appraisal organizations such as the International Society of Appraisers, the American Appraisers Association, or the American Society of Appraisers. Like doctors, electricians and other professionals, appraisers must meet qualification standards of formal education and experience to be a member of these organizations. He/she must pass exams, including the Uniform Standards of Appraisal Practices (USPAP) to ensure a level of competence in the art appraisal field. Professional credentials are based on testing and successful course completion. Fortunately for clients, awareness of the importance of hiring qualified appraisers is growing. The Canada Revenue Agency now suggests that individuals and institutions hire qualified appraisers, and lawyers, banks and insurance companies also recognize the expertise of professional appraisers as resources. Whether it is a Group of Seven painting or a collection of Coca-Cola memorabilia; a Qing dynasty Chinese ink and colour scroll painting or a Lalique glass vase, another consideration when hiring an appraiser is to find someone who specializes in appraising a particular type of artwork. Experts are familiar with items that are faked (items made with the intention to deceive) and specific markets. In other words, don’t ask an appraiser who is an expert in French furniture to value your Greek coins. A good appraiser wouldn’t accept an assignment outside of their field.

Myth #4

Appraisals are free. Appraisals are not free, whether they are verbal or written. Unfortunately, people expect appraisers to give information away, like on the Antiques Roadshow. Research is required, which takes time. An appraiser should charge according to the time necessary to inspect, research and prepare a report, but never according to its potential value. It’s unethical for an appraiser to charge a percentage of the value. Each individual appraiser sets her/his own rates, as there is no official standard hourly rate. A professional services agreement should be signed by both parties outlining the scope of work, fee payment and other critical information to ensure objective, satisfactory results. While we all hope our works of art are treasures just waiting to be discovered, appraising is a complex task. The next time you are watching the Antiques Roadshow, enjoy it, but remember what it is: entertainment with a splash of education. In real life, there are professional appraisers available to help guide you through the process of learning what your works of art are truly ‘worth.’


Susan Lahey, MA, ISA CAPP, is a professional art appraiser specializing in Asian art. She provides independent art research, advisory, collection management, teaching and public speaking services.

Susan writes the Art Buzz column for the East Gwillimbury’s Bulletin Magazine

Need a piece appraised? Contact Susan here

Susan Lahey Appointed to the Ontario Arts Council Board of Directors

Susan-LaheySusan Lahey of Mount Albert, Ontario, was appointed to the Ontario Arts Council (OAC) board of directors in April 2019.
 
Fluent in Mandarin Chinese, Susan holds degrees from the University of Toronto and the University of British Columbia, as well as a post-graduate diploma in Asian art from Sotheby’s School of Oriental and African Studies in London, England.  Her interest in Chinese culture and its arts led her to Taipei, Taiwan, for two years studying at Stanford’s Inter-University Program for Chinese Language Studies at the National Taiwan University.
 
Susan is President of Eastern Art Consultants Inc.  Prior to this, she served as the Department Head for Asian arts at Ritchies Auctioneers & Appraisers, a former Toronto auction house.  Currently she is an Accredited Member of the International Society of Appraisers (ISA), an organization that maintains the highest standards in the methodology and ethics of appraising.  Susan regularly works as an instructor of Chinese art (both ancient and contemporary); engages in public speaking at arts events, and contributes articles to digital and print publications on the Asian art market.
 
Previously, Susan held various work positions at the Royal Ontario Museum’s Near Eastern & Asian Civilizations Department.  She also served there as the Program Chair of the Friends of the Far East, Bishop White Committee Executive.
 
Susan is an active volunteer in her community of East Gwillimbury, where she serves on the Town’s Arts & Culture Advisory Committee.  She volunteered as secretary for the Foundation for Appraisal Education and served as the Art Society Convener at the Granite Club, organizing a wide variety of art-themed events and lectures for more than five years. 

Original article can be found here

What’s the Big Deal About Ai Weiwei?

Ai-Weiwei-Zodiac-Head

What’s the Big Deal About Ai Weiwei? 

Toronto has been invaded by the art work of Ai Weiwei.  This past summer and fall, his bronze sculptural installation at Nathan Philips Square of Circle of Animals/Zodiac Heads (a reinterpretation of the originals looted from the Old Summer Palace in Beijing in 1860), and the exhibition “According to What?” at the Art Gallery of Ontario, have permeated the local art scene.  As well, Scotiabank’s Nuit Blanche event was dominated by his work Forever Bicycles.  Consisting of an arrangement of 3,144 bicycles, it took 15 days for workers to assemble it.  Combined with the opportunity to walk through the structure, the lighting, and dry ice, it made for a dramatic and memorable hit with the public. 

 

So what is the fuss all about and why is his work so ubiquitous?

 

Cardboard-Ai-Weiwei

Sean Martindale, “Love the Future/Free Ai Weiwei,” 2012, 8′ cardboard sculpture of Ai Weiwei

 

The main themes embodied in his work usually fall into, or combine, two categories:  1) an emphasis on the value of every individual human life, and 2) the creation of new works of art from destroyed materials, often wood from Qing dynasty temples which he reassembles.

 

Around the time of the 2008 Sichuan earthquake, Ai emerged as an influential blogger and social activist.  He is known for his social commentary, and as a result, he has had frequent run-ins with Chinese authorities, as depicted in Alison Klayman’s documentary about Ai, titled “Never Sorry.” 

 

Accessibility to his work is significant.  You don’t have to be an expert on Chinese culture or art to appreciate the creative force behind it.  His work speaks cross-culturally.  This is a common denominator to all great art.  Anyone can emotionally access the impact of his work Straight, consisting of 38 tons of rebar (the steel bars which reinforce concrete in buildings).  Ai’s response to the earthquake is embodied in a work which consists of metal bars from the twisted wreckage of collapsed schools where more than 5,000 children lost their lives.  Ai has straightened each bar to represent a lost child.  This work of art, 40 by Ai-Weiwei-AGO-Rebar20 feet, varies in height like a rolling landscape.  From the side it has the appearance of an earthquake seismic graph.  There is even a fissure down the middle.  Visually, and literally, this is a heavy piece.  It protests the corrupt concrete construction business which built the schools, and the government’s refusal to officially acknowledge the number of people who perished in the disaster. 

 

An example of Ai’s assemblage of old materials using traditional techniques to create a new work of art, is China Log, 2005. Using tieli wood (iron wood) salvaged from eight Qing dynasty temple pillars, Ai creates an “opening” in the shape of a map of China.  The nation symbolically appears within the pieces of jigsaw-like assembled pieces.  It is both a political statement (due to the geographical boundaries Ai chooses to use to define China’s borders), and a social comment on how new creations evolve from the destruction of China’s Ai-Weiwei-Map-of-Chinatraditional architecture. 

 

A final, and interesting question to consider, from an appraiser’s or collector’s perspective is: “What is Ai Weiwei’s art ‘worth’?”

 

Given his mainstream popularity, his work is commanding high prices in the auction market.  Three pieces to consider which have similar counterparts in the AGO exhibition give us a glimpse into value in the auction market.  For example, a Group of 9 Coloured Vases, consisting of Neolithic vases painted by Ai Weiwei in 2007, sold at Sotheby’s in London in 2012 for $156,325 USD; a porcelain Ruyi Sceptre, made in 2006, sold at Hosane auction (in Shanghai) in 2011 for $159,940 USD; and a Stool, signed and dated by Ai Weiwei, made from two joined Qing dynasty (1644-1911) stools, sold at Christies in New York in 2012, for $206,500 USD.  (All prices include buyer’s premium.)

 

Why is everyone talking about Ai Weiwei?  Simply put, he is many things to many people.  The ‘worth’ of his art goes beyond the monetary.  He is not only a master of various media, as sculptor, photographer, architect, ceramicist, and Internet blogger but also a galvanizing figure in the struggle for freedom of expression in a country where human rights are not always respected.  He is an artist who deliberately takes risks and suffers consequences for his authenticity.  As such, Ai Weiwei can be counted as among the most influential artists of the 21st century.

 

Want to learn more about contemporary Chinese art in Toronto? Check out the UCCA booth (Ullens Centre for Contemporary Art) visiting from Beijing at Art Toronto this October 24-28, 2013.  They will be featuring limited edition prints of other famous artists such as Zhang Xiaogang, Wang Guangyi, and Yue Minjun, along with emerging artists.  Still want more?  Visit the monumental public stainless steel sculpture The Rising by Zhang Huan installed in front of the Shangri-La hotel on University Avenue.  Explore the work of Xiao Gui Hui, currently living and working in Toronto, who is represented by the Christopher Cutts gallery; and visit the Gendai gallery which features Asian contemporary exhibitions.  To read more in English about Contemporary Chinese art, pick up a copy of the Yishu Journal of Contemporary Chinese Art

 

Susan Lahey, MA ISA

President, Eastern Art Consultants Inc.

www.easternartconsultants.com