art expert, expert authentication of master paintings, painting and art authentication expert evaluation  JMW Turner the source expert: Renaissance Rubens Manet Whistler Monet Rembrandt Inness Diaz Delacroix Murillo Kauffmann Dürer Zorn Goya Boucher Cezanne Morriseau Varley... art expertise, who and why??
                                                                                      art expert

presumptuous indeed... but what is involved???

forensics studies in art

art scientific analysis



art politics

It is clear that an art expert must tackle diversity!!!

What one should look for when acquiring artwork: Quality... originality... support... rarity... condition

Quality might best be defined as the ability of an artwork to rest comfortably within its format. This takes skill and practice on the part of the artist, and it is the 'master' with the greatest ability to present a bondable unity for the viewer who gains 'genius' status.

This is surely a two-way process by which the viewer must also have the harmony of spirit to appreciate the artwork.

Originality brings the artwork as close to a creator's genius as possible. Firstly the object must be done by the hand of the artist as opposed to a reproduction; and secondly, it should be as central as possible to one of the artist's most innovative periods.

Support for an artist can come in many ways, some orthodox and others revolutionary. The orthodox ones might include: prizes, medals, and professional designations from institutions (for example: JMW Turner RA, or James Orrock RI, ROI). Institutions by virtue of their bureaucratic nature tend to reward traditional artists as opposed to the most innovative ones. There are many more traditional artists.

The French impressionists won very little orthodox support, but were very revolutionary. Price listings for their work and the volume of literature about them attest to their posthumous importance. Turner was also revolutionary and this is what bolstered his fame; much more-so than the support he received from the Royal Academy R. A.

Rarity is a result of limited supply and this in and of itself will increase the price of an artwork. If the art and historic value of an item is great, and the supply is limited, competition will make such work hard to find.

Condition is a relative term. How old or fragile an artwork is will determine the amount of degradation or damage that is acceptable. Seldom does one find a Renaissance sculpture or a medieval picture unscathed. Conversely, experimentation with untested media has resulted in substantial conservation problems for modern works.

general advice on collecting is available by contacting Robert and Graham Setters


          - Is it portable?
          - Is it easy to store?
- Is it easy to protect; does it fit into a vault or safety deposit box?
          - Lifestyle; do you have a small or large home, apartment or country estate?

         - Consider the proposed use of your potential new treasure, and if it is suitable for it’s new location and purpose.
         - Shipping; will it require special packaging?
         - Longevity; is it subject to environmental degradation?

        - This is good for immediate resale.
        - Conversely, as an intermediate to long term investment, popularity is a negative factor (a fad soon passes).

        - Is the piece from an important collector, dealer, collection? It helps to establish authenticity and gives the piece prestige. Although celebrity of a former owner may perk interest presently, memories of famous people fade, reducing the effectiveness of this factor long term.
        - Has the piece sold through a major auction house?
        - Collect as much literature and history on a piece after acquisition; this will prove invaluable if resold.

        - The dealer motto: “buy low/sell dear”; if you choose the right dealer he/she will help you accomplish the same.
        - Predict popular trends before they become full blown.

        - Is the piece important enough to interest major dealers, museums, or major auction galleries?
        - If an item is part of a collection, lesser important pieces are acceptable additions.

        - Is this easily established?
        - Have similar items sold at major auction galleries?

        - Recognizable items are easier to classify and therefore, often develop into unquestioned commodities.
 Helpful for authentication.
        - It is more difficult to find recognizable pieces, because most have already been discovered.

        - Is the item attractive to nations with strong economies relative to ones own?  Presently some of these are USA, Germany and Hong Kong.

        - This is important but is relative to age, material and rarity. 

 If your object is aesthetically appealing, then your potential new treasure will command greater appreciation.
       - Has your potential treasure been produced by a skilled artisan, craftsman or talented artist?
       - Decorative quality increases demand and raises price.

       - Historic (appreciated by scholars and connoisseurs)
       - Heritage and sentimental value
       - Educational value
       - Cross-cultural appreciation

       - Negative and positive publicity
     - Ivory collecting; what are the legal consequences? Although an important historic carving medium, recent negative attitudes towards its use have been very influential politically and socially; which in turn has affected its desirability as a collectable. Gun collecting is affected likewise.
      - Impressionist paintings, the Art Deco style, Ming porcelain and the like; recognize how publicity has reinforced the popularity of these and other collectibles.

      - Heirloom
      - Heritage
appraisal and art authentication of European and American Master paintings, art appraisal, art value, art authentication, fine art appraisal, art appraiser, fine artappraiser, estate appraisal, estate appraiser, painting value, painting appraisal, painting appraiser, online art appraisal, online art appraiser, online fine art apprais

Art World’s Dirty Little Secret r malcolm setters / graham setters


                                                                                                                                      Terms and conditions J.M.W. Turner
                                                                                                                        Site criticism is appreciated at Penticton
 © setters 2003, Rescuing Turner: The Art Project &

Institutional evolution        Tribal Instincts       Art Expertise       Art versus Science

Source: JMW Turner Joseph Mallord William, National Gallery of Canada Metropolitan Museum of Art Museum of Modern Art the British Museum art museum art history Christie’s Sotheby’s Tate Gallery art world painting old master paintings sea piece Shipwreck Martin Butlin Wildenstein Institute Yale Center British Art The Getty Getty Research Institute provenance Clore Gallery Tate Gallery Turner Gallery curator museum  antique forensic fingerprint conservator International Foundation for Art Research IFAR English landscape art historian art criticism IIC CCI Canadian Conservation Institute McCrone Research Institute artist artists pictures paintings gallery galleries drawing picture biography collection archive history of art discovery discoveries discovery ca discovery forensic science Tate Gallery London the tate Turner Society Turner Society News TSN old master masterpiece Rembrandt Picasso Francoise Boucher Monet Boucher Claude Monet Angelica Kauffmann Murillo Whistler James McNeill Whistler Rubens Peter Paul Rubens Renior Claude Titian Joshua Reynolds fakes forgeries connoisseurship connoisseur art expert renaissance Getty Museum James Orrock Orrock Sir J.C. Robinson Turner portrait John Paul Getty Agnew Agnew’s antiques research specialist consultant expertise professional expert witness Oxford Cambridge Frick Collection curator Andrew Mellon Goya Manet Emily Carr Manet Durer Albrecht Durer Peter Paul Rubens







































































                                         An introduction: JMW Turner  Rescue      

                   off site: Turner Society  Tate Gallery  National Gallery London Courtauld Institute of Art 
                   IFAR International Foundation for Art Research NGC National Gallery Canada  Frick Collection
                   Yale Center for British Art  The Getty Biro Forensic Studies  CCI Canadian Conservation Institute
                   Wildenstein Institute McCrone Research Institute Collections International Center for Art Intelligence
          GMM Village Voice  Andrew Wilton Rizzoli Tate Clore Christie's Sotheby's auction house On site:  JMWT bequest news corresp bibliography sa
Home discovery style provenance connoisseur Orrock forensic signature Butlin legal catalogue portrait sting Courbet Roach old St Durer Manet bio Rubens
medal Unknown Turner ngc shipwreck IFAR/RRP institutional copies book your story Hand C theory C dialogue expertise expert Kayser NGL Fraud Chronology

Oxford  Cambridge Yale Princeton Harvard Stanford Penn State Rockefeller UPA J. Paul Getty  Trust Publications University College London UCL
                                 Terms and conditions J.M.W. Turner
                                                                        Site criticism is appreciated at Penticton British Columbia Canada
                                                  © setters 2003, Rescuing Turner: The Art Project &
                                                    search for jmw turner Google H A T D O AJ Y M W AOL