Podcasts about appraisers association

This episode of Subtext & Discourse Art World podcast is brought to you by AIPAD and The Photography Show. AIPAD represents fine art photography galleries around the world and is proud to present the 2025 edition of its flagship event, The Photography Show. The fair will showcase photography from the earliest processes to cutting-edge contemporary work that pushes the boundaries of the medium, from April 23 – 27 at The Park Avenue Armory in New York City. Go to www.aipad.com/show for more information and to plan your visit.   The Association of International Photography Art Dealers (AIPAD) encourages public support of fine art photography through education and communication by enhancing the confidence of the public in responsible photography collecting. First organized in 1979, AIPAD and its current members span the globe with members in North and South America, Australia, Europe and Asia. AIPAD has become a unifying force in the field of photography and is dedicated to creating and maintaining high standards in the business of exhibiting, buying and selling photographs as art. - AIPAD official website https://www.aipad.com/ - Follow AIPAD on Instagram https://www.instagram.com/aipadphoto/ - Talks programme by AIPAD on YouTube https://www.youtube.com/@aipadphoto - AIPAD On Collecting Photography guide https://www.aipad.com/collecting   Sophie Wright is the Executive Director at Fotografiska New York, a position held since April 2022. Prior experience includes serving as Global Cultural Director at Magnum Photos from October 2003 to October 2020, where responsibilities encompassed developing and delivering global cultural programs, business development, and managing large-scale sales initiatives. Sophie Wright also worked as a Creative Consultant at Sophie Wright Consulting from 2002 to July 2011, focusing on strategy and communication for creative projects. Earlier roles include Deputy Editor and Gallery Manager at PLUK Magazine and Witness Gallery, and Non-Executive Director/Project Manager at MMAN Ltd. Sophie Wright holds a BA in Modern History from the University of Oxford and an MA in Art History from The Courtauld Institute of Art. - Fotografiska Global official website https://www.fotografiska.com/ - Follow Sophie Wright on Instagram https://www.instagram.com/wrightsophie/ and Fotografiska Global https://www.instagram.com/fotografiska/ - Fotografiska talks and presentations on YouTube https://www.youtube.com/@fotografiska.global   Andra Russek is a certified member of the Appraisers Association of America specializing in the field of fine art photography. She has been working in her field since 2000 when she became the assistant in the conservation department at the George Eastman House, Museum of Photography.  She continued her work at Swann Galleries, New York as a Specialist from 2002 – 2005. In 2005 she joined the Photographs Department at Sotheby's New York as a Specialist/Senior Cataloguer. In her role at both auction houses she catalogued and valued photographs for four to six sales per year. At Sotheby's she worked on important sales including Important Photographs from The Metropolitan Museum of Art, Including Works from the Gilman Paper Company Collection and Photographs from the Private Collection of Margaret W. Weston. Andra is currently the Director of Scheinbaum & Russek Ltd., a gallery specializing in 20th century and contemporary photography. - Scheinbaum & Russek Ltd. official website https://www.photographydealers.com/ - Membership page on AIPAD https://www.aipad.com/member/scheinbaum-russek-ltd - Follow Scheinbaum & Russek Ltd. on Instagram https://www.instagram.com/scheinbaumrussek/ - Straight Talk on Collecting Photography https://www.youtube.com/@scheinbaumrussekltd8037   Michael Dooney https://beacons.ai/michaeldooney This episode of Subtext & Discourse Art World Podcast was recorded on 18. March 2025 between Perth (AU) and New York (US) with Riverside.

Enjoy today's conversation with Shelli Beermann. Shelli Beermann has held various roles in the art business world, including artist manager, gallery manager, fine art appraiser, and fine art insurance broker. She is an Accredited Member of The American Society of Appraisers and her reports are compliant in the Uniform Standards of Professional Appraisal Practices (USPAP) set forth by the Appraisal Foundation. She serves as the Vice President of the Appraisers Association of Georgia and a member of Georgia Committee for the National Museum of Women in the Arts. Shelli graduated Cum Laude from the University of Miami with a double major in Finance and Marketing and a minor in Art History. She then moved to New York City to pursue her Master's of Art degree in art business from Sotheby's Institute of Art. She graduated With Distinction for her thesis titled Borrowing Against Brushstrokes: Art as an Asset Class and Its Evolution into Art-Backed Lending which explored the use of art as loan collateral. While completing her degree at Sotheby's Institute, Shelli worked as an intern in the Global Fine Art Practice at Aon Private Risk Management in New York City. After graduation, she accepted a full time position at Aon as Account Executive where she specialized in insurance coverage and risk management for high net worth individuals and their private collections. After relocating to Atlanta, Georgia in 2014, Shelli worked as a gallery manager and appraiser at Spalding Nix Fine Art. She then accepted a position as the business manager for Atlanta-based artist, Sally King Benedict, where she handled day-to-day business operations, marketing, and sales. Shelli has combined her 15 years art industry experience to start Beermann Art Advisory. Originally from Naples, Florida, Shelli resides in Atlanta with her husband and two daughters. When not absorbing all things art, she is cheering on her beloved Miami Hurricanes or planning a beach vacation. You can learn more about Shelli on her website and Instagram.

In this episode, Aubrey Catrone explains the importance of provenance, defining it as the history of ownership of an art object from its creation to the present day. She highlights the necessity of distinguishing between stated and verified provenance, emphasizing the need for supporting documentation. Aubrey discusses challenges such as the rapid pace of art transactions and the importance of trusting sources in the art market. She advises collectors to proactively ask for documentation, conduct risk assessments, and digitize their records. New technologies like blockchain and AI are explored, with Aubrey noting their potential and limitations. She outlines the three-pronged process of verifying authenticity through scientific testing, provenance, and connoisseurship. And the part we love most: Aubrey highlights the emotional and historical connection that provenance provides, enriching the collector's experience and deepening their connection to the artwork. Aubrey Catrone is an international art historian, appraiser, and provenance researcher. Aubrey earned an MA in the History of Art from University College London, specializing in the documented histories of art objects. With an art gallery and academic research background, Catrone founded Proper Provenance, LLC to provide her clients with the tools, not only to historically contextualize art, but also to shed light on attribution and legal title within the international art market. She is an Accredited Member of the Appraisers Association of America with a specialization in Impressionist & Modern Art. Catrone has researched artworks including paintings, artefacts, works on paper, prints, and sculptures spanning the fourth century B.C.E. to the twenty-first century C.E. She has appeared as a guest expert on the History Channel and published her scholarship in a variety of publications including RICS Journals and the Journal of Art Crime. Learn More About Aubrey Catrone: Aubrey's company Proper Provenance LLC: https://www.properprovenance.com   Connect with Aubrey on Instagram @properprovenancellc Articles written by Aubrey: "Risky Business: How Provenance Can Influence Collecting" in Worthwhile Magazine   "The Role of Punctuation in Assessing History:  Provenance Formatting Explained" in Worthwhile Magazine   "Due Diligence in the Digital Era:  A Case Study of Jean-Baptiste-Camille Corot's Les Petits Dénicheurs," in Worthwhile Magazine   "Why Provenance Is Critical for Assigning Opinions of Value," in RICS Journals  

There's often a ton of art in medical spaces, but who are the curators of those health system collections? In s3e44, Platemark host Ann Shafer speaks with Naomi Huth, chief curator and director of the art collection for NYC Health + Hospitals. Held within the Arts in Medicine department, NYC Health + Hospitals has one of the largest public (non museum) art collections in New York City with more than 7,000 works of art, including a number of murals. Their goal is to make art accessible to the public and integrate the collection into healing environments across NYC Health + Hospitals' eleven acute care hospitals, five nursing homes, six diagnostic and treatment centers, and more than seventy community-based primary care sites. A major part of Naomi's job is to highlight the concepts of diversity and accessibility in collecting, collaboration, and mentoring emerging artists. She has focused on acquiring works by underrepresented artists to improve and diversify the collection as well as integrating diverse perspectives into the collection and fostering a better understanding of the issues of today through the lens of art. We talk about how art can reduce stress, offer peace, and help both patients and their families and medical staff members find moments of respite in busy and intense spaces. It's different yet not from being a museum curator.  From 2012–2021, Naomi was the curator for the Joseph M. Cohen Family Collection, a large private collection with six locations around the United States. She has previously held curatorial positions at the New Museum, Museum of Arts and Design, Rubin Museum, and the de Young Museum. Naomi is a member of the Young Collectors Council acquisitions committee at the Guggenheim, the advisory board of the Center for Photography in Woodstock, Independent Curators International, and is an accredited member of the Appraisers Association of America. She earned her M.A. in Art History and Museum Studies from the City College of New York (CCNY) and her B.S. in Fashion Design and Art History from Drexel University. William Palmer. Function of a Hospital, 1934. Mural. NYC Health + Hospitals/Elmhurst Hospital Center, Queens. Georgette Seabrooke. Recreation in Harlem, 1936. Mural. NYC Health + Hospitals/Harlem Hospital Center, Manhattan. Angel Garcia. The Shoulders of Legacy, 2021. NYC Health + Hospitals/Harlem, Manhattan. Charles Alston. Man Emerging, 1969. Mural. NYC Health + Hospitals/Harlem Hospital Center, Manhattan. Staff wellness room, NYC Health + Hospitals/Kings County, Brooklyn. Linda LeKniff pastels in the pharmacy at NYC Health + Hospitals/Gotham Health, Morrisania, Bronx. Andy Warhol print at NYC Health + Hospitals/Bellevue, Manhattan. Oscar Lett. Origins and Today, 2019. Mural. NYC Health + Hospitals/Kings County, Brooklyn. Kristy McCarthy. Together We Heal, 2023. Mural located in the waiting room of the pediatric emergency department at NYC Health + Hospitals/South Brooklyn Health, Brooklyn. Fernando “Ski” Romero and Modesto Flako Jimenez. Guns Down, Life Up, 2023. NYC Health + Hospitals/Lincoln Hospital, Bronx. Fernando “Ski” Romero and Modesto Flako Jimenez. Guns Down, Life Up, 2023. NYC Health + Hospitals/Lincoln Hospital, Bronx. Keith Haring. 1986 mural at NYC Health + Hospitals/Woodhull, Brooklyn.   USEFUL LINKS NYC Health + Hospitals Arts in Medicine department: https://www.nychealthandhospitals.org/artsinmedicine/ NYC Health + Hospitals Arts in Medicine art collection: https://www.nychealthandhospitals.org/artsinmedicine/art-collection/ NYC Health + Hospitals Arts in Medicine programs: https://www.nychealthandhospitals.org/artsinmedicine/programs/ NYC Health + Hospitals Arts in Medicine Bloomberg Connects app:https://www.nychealthandhospitals.org/artsinmedicine/programs/#artsInMedicineMobileApp Naomi Huth's IG: https://www.instagram.com/naomi__huth/  

In this episode, Eric sits down with AAA certified art appraiser, friend and colleague… Pamela Brown. They discuss her educational background and her love of history, research and learning… especially related to African American culture. How she first became interested and exposed to the arts including new and emerging artists. Her educational background, working in the corporate world — to eventually devoting herself to art full-time. How her love of research and learning lead to becoming an art appraiser.. fueled by her passion for exposing African American artists. Eric and Pamela discuss the factors that are considered in order to determine the value of a piece of art and the excitement and fun that the challenge of each assignment brings..! They discuss the significance of getting artwork appraised.. the process it involves, while offering valuable advice for art collectors to consider; including tips, pitfalls to avoid and debunk frequent myths and misconceptions related to appraising..!  Guest Bio: Pamela Brown has spent the last twenty-three years as a private art dealer and gallery owner specializing in artists of the African Diaspora. With sixteen years of professional appraising of African American Fine Art, African and Decorative Art; she is a certified Member of the Appraisers Association of America, New York, NY through June 2023 and Uniform Standards of Professional Appraisal Practice (USPAP) compliant. Brown has many years of experience in African, Contemporary African American Fine Art as an art dealer, gallerist, collector, advisor, and curator. Her clients include Private Collectors, Museums, Institutions, and Businesses. She earned her Bachelor of Arts degree from the University of Delaware, 1976. She was awarded the University of Delaware Presidential Citation Award for Professional Achievement in 1996. Ms. Brown earned her Certificate in Fine and Decorative Arts, New York University, (NYU), 2006. About Eric's Perspective: A podcast series on African American art with Eric Hanks — African American art specialist, owner of the renowned M. Hanks Gallery and commissioner on the Los Angeles County Arts Commission; offers his perspective on African American art through in-depth conversations with fellow art enthusiasts where they discuss the past, present & future of African American art.For more on Eric's Perspective, visit www.ericsperspective.com#ERICSPERSPECTIVE #AFRICANAMERICAN #ART SUBSCRIBE: http://bit.ly/2vVJkDn LISTEN ON: Apple Podcasts: https://apple.co/2B6wB3USpotify: https://spoti.fi/3j6QRmWGoogle Podcasts: https://bit.ly/3fNNgrYiHeartRadio: https://ihr.fm/2KtYGXv Pandora: https://pdora.co/38pFWAmConnect with us ONLINE: Visit Eric's Perspective website: https://bit.ly/2ZQ41x1Facebook: https://bit.ly/3jq5fXPInstagram: https://bit.ly/39jFZxGTwitter: https://bit.ly/2OMRx33 www.mhanksgallery.com

What you'll learn in this episode:   How the internet has changed the way people research and shop for jewelry  Why even antique jewelry should be appraised with today's market in mind Why lab-grown diamonds are becoming increasingly popular, even if they aren't necessarily a good financial investment How to tell if you're working with a qualified appraiser, and what techniques they use to determine a piece's value Ed's advice for purchasing jewelry at auction, online and while traveling   About Ed Lewand  Edward A. Lewand, GG, ASA, AAA, is a professional, independent appraiser of fine and antique jewelry. He has earned a Graduate Gemologist degree from the Gemological Institute of America, is a Certified Member of the Appraisers Association of America and a Senior Accredit Member in Gems and Jewelry from the American Society of Appraisers.   Mr. Lewand also teaches a course that he developed on appraising jewelry called the Art of Appraising Jewelry at the NYU School of Continuing and Professional Studies. He lectures on appraising and antique jewelry. He maintains his insurance brokerage license in P&C and has a certificate in Paralegal studies from Adelphi University.   He specializes in antique jewelry appraisals and works with attorneys on estates, trusts, insurance matters, and copyright issues as well as appraisal theories and concepts. He is also an outside expert for the IRS and consults with numerous galleries and dealers in New York on antique jewelry.   Mr. Lewand is also the director of Jewelry Camp (JewelryCamp.org), now in its 43rd year, held at PHILLIPS Auction House in New York, an international conference on antique jewelry and art pertaining to jewelry.    He does work for international accounting firms as well as appraisals for the sale of major companies.  Additional Resources: Jewelry Camp Website Consultant Appraisal Service, LLC Website www.independentlychecked.com   Instagram Facebook Twitter Photos available on TheJewelryJourney.com Transcript: A good jewelry appraiser can give you much more than just an estimate of what your jewelry is worth. As a professional, independent appraiser of fine and antique jewelry, Ed Lewand draws on his historical knowledge of jewelry and his connections in the industry to give his clients a deeper understanding of what they have in their collections. He joined the Jewelry Journey Podcast to talk about how to know you're working with a qualified appraiser; why less expensive jewelry, like lab-grown diamonds and art jewelry, is on the rise; and why you should always read the fine print when making a purchase. Read the episode transcript here.  Sharon: Hello, everyone. Welcome to the Jewelry Journey Podcast. This is the second part of a two-part episode. If you haven't heard part one, please head to TheJewelryJourney.com.    Today, our guest is Ed Lewand, who was one of our first podcast guests several years ago. He's a professional independent appraiser. Welcome back.    Ed: So, I do recommend product knowledge. As far as theories and concepts, a lot of places like to make appraisals more important than they really are. As long as you do your research and your documentation, provide whatever is needed for that particular assignment, explain what you're doing in your scope of work, and maintain all your files and notes, you've pretty much got it. [End of repeat of first part]   It's also establishing the right market for somebody. I don't know who wrote the books a long time ago. There are 12 principles about appraising and theory. I always put every little note down. I'm valuing the second retail. The model is no longer in current production. The value is based on auction comps and comps on the internet from sites such as 1stDibs. I put that in my notes. I don't put the actual comps in; those are in my notes, but I put that on the appraisal just so people understand where the numbers are coming from.    One of the misconceptions—I just ran into this last month in Nashville; I don't run into it in New York—is that everybody is like, “Why isn't the item appraised for double?” It's a real item. It exists in the real world. Appraising it for double isn't doing anybody any favors. It's misleading. The appraisal should reflect a real number that exists and that the piece sold for. This way you understand that it's the value of the piece. It's just like when you're buying a house. The appraisers value it based on comps in the marketplace, the location and everything else. They're not going to give an appraisal for double on the house, because the bank's only going to give you money based on that loan and what they could sell it for if they have to take over the house and you default. The same thing with an engagement ring. If everybody in the area sells the ring for $5,000 for a comparable ring, then the price of the ring is going to be $5,000 on the appraisal. How is it presented? If the color and clarity are correct, this is a $5,000 ring. “Well, my mother always taught me to appraise for double.” Well, if it was worth double, why weren't they selling it to you for double?    Now, when we get down to value, a lot of people don't understand value. I don't fight people on value. I fight people on documentation. I fight people on research, on comps. Value is whatever somebody wants to pay for something, whatever anybody wants to charge for it. There's nothing wrong with that. If you feel this ring is worth $10,000 and somebody buys it from you for $10,000, even if all the appraisers say it's worth $2,500—but I really love the ring, so to me it's worth $10,000—that's fine. The guy didn't do anything wrong. That's what he wanted for it. That's what you paid for it. It's just like with certain things I collect. If I want it badly enough, I'm going to pay what they're asking for it. Even if they think it's high, I'm not buying for investment; I'm buying it for my own enjoyment. As you can see from the background, I have a lot of things in the house on the walls, the bookshelves and everything else. This is my private office. The wife is not allowed to go past the door of my office. I enjoy collecting weird little tidbits here and there. You have to understand; there are certain things you argue, certain things you can't argue. It's basically representation.    Now, if you're buying a new piece—in fact, a situation just came up. I can't mention the names, but the salesperson represented the price with four numbers. She never added the zero. She had said 1625. She said to them, both the husband and wife, 1625, and they took that to mean $1,625. I think anybody would. Now, if you said 16250, that's $16,250. You never add the zero on this particular item. The people came back from their cruise and took it to a local jeweler, and the local jeweler said, “Oh, it's only worth $8,000.” So, they called me. I said, “Well, there's a conflict here. I can't physically give you an appraisal. This firm is connected to an accounting firm and a bank that I do work for, so I can't do that; it wouldn't be fair.” It affects all the companies and businesses too. So, I suggested and recommended that they call the company and see what they can negotiate. I looked at the earrings, the item, and I agreed they were only worth $8,000. Actually, between $6,000 and $8,000. I think they had a very valid thing, and they'll end up getting money back or being able to return them.    What I always advise people is know what the rules are before you buy something. When you're traveling it may seem like a good deal, but jewelry is jewelry, no matter where we go in the world. It has a certain value and that's it. Sometimes you can negotiate. Maybe somebody has things marked higher so they're expecting you to negotiate. It just depends on what region of the world you're in. Always check. Is it a returnable item? Are there no returns? If you're traveling, I also suggest—I'm not an expert or anything, but from my own personal experience, I strongly recommend that you use a regular Amex card, not a credit card, because there is a difference. Some companies have rules that you can't dispute anything more than 100 miles from your home. You've got to be careful with what you do and read the fine print. Unfortunately, today, the fine print is 30 or 40 pages on some things. So, you've got to be very, very careful with that.   Sharon: I missed something, or I didn't understand. If you have a platinum card, let's say, and it's not a credit card, or you use a green Amex, what's the difference?   Ed: It's a charge card. Amex is a charge card. It's an international bank. It's not a local bank. With Visa and Mastercard and some of these others, you have to see what the rules are for disputing something beyond a certain range from the address of the card. Some companies don't do it. Amex is an international company, so they handle things everywhere you go. They're very, very good to their members—they call us members. That's something I always tell people. Do a little research before you buy something. It takes you five minutes to Google, read the fine print, see what their policy is. In this way, if something goes wrong, you don't have a problem a month later. It's always a good thing, even here in the States. If you buy something and the pricing is too good to be true, it probably is.    Sharon: Have you ever bought anything in your travels that you thought was a good deal and then you came home and found it wasn't?   Ed: No, because when I used to go the islands or to Europe and I'd find something for myself or the family, it's basically some souvenir. I like antiques. I collect Sorcerer's Apprentice, Mickey Mouse paraphernalia and stuff. I know what the markets and the values are, but sometimes I'll overpay. If I'm down on the islands and I go into one of these little shops with the balloons and stuff, I'll buy the kids those; they're a few bucks.    Have I ever bought anything overseas where there was an error or mistake? No, luckily, I haven't. I never did. I think when I started, I had some very good teachers who I used to travel with, and they would say, “Oh, don't do that. Don't do this. Don't do that.” We flew to Europe right after 9/11. They took away my tweezers at the airport, but we got on the plane. We're flying business class and first class. When we got on the plane, they gave us steak knives with the dinnerware, and we're going, “Wait a minute. They took my tweezers away as security, but you're giving me a real steak knife? That's classic.” We're sitting there trying to understand this concept.    I think on the trip back, we flew out of Geneva. The people I was with, we all bought Swiss army knives, and we said, “O.K., make sure we put it into our checked luggage, not in our carry-on.” One left it in his carry-on, and we were sure it was going to get confiscated. They called him over. They took everything out, looked in his bag, took everything. We get to the gate and there's a duty-free store. What were they selling there? Swiss army knives. Remember they used to have the little clerks that would go around the plane and sell souvenirs and things? What were they selling? Swiss army knives.    Sharon: You did better than I did. They took away my plastic steak knife and I couldn't believe it.    Ed: I'm telling you, it's weird. It's very, very strange. Our government has developed TSA PreCheck. They've developed Global Entry. There are all different things you could do. There's Clear, which I strongly suggest people use. It makes life so much easier, and it moves so much faster. But you're always going to run into a problem traveling. Like I said, if people take five minutes to read the fine print, they avoid a lot of problems later for themselves. That's what I suggest. That's the story.   Sharon: Yeah, I can believe that. What should we look for in a good appraiser?    Ed: That they have kept updated with the latest USPAP, the Standards of Professional Appraisal Practices, that they have obtained a certain level in one of the appraisal organizations for gems and jewelry, that they're providing you with an adequate description of the item with a photograph, and that they're charging a fair price and explaining the value to you. In other words, they're not just saying, “O.K., here's a ring. It's worth $3,000. Thank you, goodbye.” No. “It's worth $3,000. We checked the internet. We made a few phone calls. We looked at the Rapaport List. We looked at the guide. This is the number we came up with for you, and here's the reason why.” It takes a few minutes to explain it to people. Your explanation should be a narrative of the report, or for a standard retail replacement appraisal, it should contain a very good description for replacement purposes. It should have a fair value on it, which makes sense. Now, if it's not a new purchase, if it's an older purchase, if it was mom's engagement ring, it should still be based on information related to what it will cost you to go out and buy a new ring in a store in this area or nationally.   I take into account the internet because I see a lot of diamonds coming off the internet still. Remarkably, you can buy some very large, expensive stones on the internet. I'm shocked; five, six, eight carats. I'm fascinated that people spend that kind of money, but they do. The other thing, too, when you're buying diamonds, is making sure you have an accompanying GIA web report. They're not certificates; they're reports. A certificate in different states means warranty, but they're lab reports. GIA developed the system we use today. They are still the premier lab that everybody wants to use for identification and grading. I think you solve a lot of headaches for yourself that way.   And, be forthcoming with your appraiser. If you're going to have jewelry appraised or if you're selling something, the appraiser is going to ask you certain questions. Do you have the original box and papers for this watch? Do you have the original receipt? What type of store did you buy it in? Are there problems or situations? Professional appraisers are there to work for you. I can do a standard engagement ring in about 10 minutes. The more information you give me, the better I can research everything you're looking for and help figure out if there's a problem. So, don't withhold the certificate. It's not a game. We're here to work for you. We're charging anywhere from $150 for a ring under a carat to $400 or $500 for something that's five carats. We're charging you a lot of money to sit there, talk to you and explain and investigate your piece of jewelry so we can derive a value that's in the correct marketplace.   Sharon: Do you look for a hallmark on a piece or something that would be a manufacturer's signature?   Ed: Just to clarify something, a hallmark is a government-issued stamp for taxes and content for the gold. A trademark is the seller's mark or the manufacturer's mark. They're two different things. One of the best people that knows about that is—I just forgot his name. He used to teach at Jewelry Camp. He's a good friend; I talk to him all the time. It's Bill and Danusia, who do a great class. They wrote the World Hallmark Book, which is right behind me.   Sharon: I didn't know Danusia wrote a hallmark book.    Ed: Danusia is going to be mad at me if she listens, but Bill, Lindy and Danusia wrote World Hallmarks. It's a great book. They put so much time and effort into that. It was never about profit; it's just about education. They have the most information. They are the top people in identifying marks, and Bill is a walking encyclopedia. If you ever get to hear them lecture—I think this summer they're lecturing for Gail Levine at her NAJA Conference. If you have a chance, you definitely have to hear them talk. They're fantastic.    That's another good little jewelry organization that just specializes in jewelry, the NAJA. Gail tries her best to bring people the best information they can possibly get. The difference between a jeweler appraiser and a professional independent appraiser is not much. If the values are there and they do the work correctly and their report is defendable, then they're doing a good job. Niklewicz, that's Danusia's name.    Sharon: So, a hallmark is like a Tiffany mark?   Ed: No, that's the manufacturer's mark. Hallmark is like the eagle's head for 18-carat gold in France, the wolf's head or dog's head for platinum, whatever you use. You could date a piece with it. You could date an antique from the cut of the stone. You could do a lot of things from understanding products. When was platinum first used? When did it develop? When did the torch come, which combined oxygen and gas to give a hotter, higher flame so you could work in platinum? When you see black platinum pieces, it's because it was a white metal. They used to back silver in gold; otherwise, it would rub on your skin and everything and turn black. They were doing that with platinum early on. Platinum stands by itself, but by understanding hallmarks you can understand if the piece is all platinum. If the piece is platinum in 18-carat white gold, you can understand the country or where it comes from; you can understand a timeframe.   Understanding history is very important if you're an appraiser. I tell people I don't authenticate. It's not my place to do that, but I will value something. If the stamps and everything are correct, I will value something based on those markings. Do I guarantee them to be genuine? To the best of my knowledge, they might be, but again, I'm not authenticating it.    To this day, with the major houses and the major pieces, you still have to go to them to get the best authentication. From what I'm told right now, they're not doing it. There's a new service out there that will verify, I think, Winston, Cartier, Tiffany and Van Cleef. They do those four houses. I think auction houses are finding them quite useful. They're still not the company itself, but they're accepted. They are very intelligent, knowledgeable people who are doing it. They've all worked for those companies. Like I said, you may have to hire someone or find other people who know more than you do, but the sign of a good appraiser is they will ask other people who have more knowledge than they do about something. I do that all the time, especially with antique and aesthetic jewelry. I always ask a dealer I know, who's like a walking encyclopedia. I ask for their opinion, their thoughts, their input, what their prior sales were, so I can provide the best information, not only to cover myself, but also to protect the client. That's important. You're there to protect your client no matter what and to be honest and truthful.   Sharon: Yeah, that would be very important.    Ed: I think so.   Sharon: One last thing I wanted to ask. I was going back and reading the transcript of the very first time you were on the podcast. You talked about the fact that brooches originally were heavier, and people don't want them now because they stretch fabric. What do you think today?   Ed: It's still taste. They're not as popular as they once were. People would wear them because you could wear it with a scarf; you could wear it with a jacket; you could put it on a hat. There were a lot of different things. I do see some designers and people still making a brooch or two, but it's not something that's a mainstay. People don't want heavy things on their clothing. Clothing is lighter. With some people, it's less clothing. So, they're still not super-popular, but they're still there and collectable. A lot of times they're worn on a chain, or they're made with a pendant attachment.    A lot of people don't realize jewelry was sometimes made for several purposes. I've seen pieces made by some of the finer houses where they could be attached onto a bracelet, they could be a brooch and they also had a pendant fitting. Some of them even had tiara fittings to be worn as a tiara back in the day. But as times, styles and people's choices change, so does the jewelry industry and the art world.    Right now, I know that art jewelry is very popular. It's a hard item. There's a lovely lady—I'm getting old; I can't remember her name. She's going to hit me when she sees me, but she represents artists, and it's fun jewelry. Is it super-expensive? Yes and no. If it's a noted artist, it could be worth $20,000, $25,000, but most of the time it's not. She's been to Jewelry Camp a number of times. Some of this stuff is so amazing, how they can concoct it and how they make it and design it. It's a lot of fun. People should consider art jewelry. It's a statement, but it's fun to collect. It's not super-expensive, and it's a piece that when you wear it and walk into a room, people go, “Look at that ring. Oh my god, I've got to ask her about it.” It may be made out of tin. I've seen some weird stuff, but it really is interesting. Not to show my age, but as we used to say, it's really cool. People love to wear it. Some of the finer houses have just now started seeing auctions. I know Heritage had one on art jewelry. You don't see them a lot, but they are starting to come about a little bit more.   Sharon: That's interesting, just became I happen to like art jewelry and it's been behind the scenes for so long. Ed, thank you so much for being with us today. I really appreciate it.   Ed: My pleasure. It was great seeing you and talking to you. Hopefully somebody can use this knowledge. If people contact you with a question, feel free to forward it to me and I'll help them out anytime I can.   Sharon: Thank you very much. We will have photos posted on the website. Please head to TheJewelryJourney.com to check them out.   Thank you again for listening. Please leave us a rating and review so we can help others start their own jewelry journey.

What you'll learn in this episode:   How the internet has changed the way people research and shop for jewelry  Why even antique jewelry should be appraised with today's market in mind Why lab-grown diamonds are becoming increasingly popular, even if they aren't necessarily a good financial investment How to tell if you're working with a qualified appraiser, and what techniques they use to determine a piece's value Ed's advice for purchasing jewelry at auction, online and while traveling   About Ed Lewand  Edward A. Lewand, GG, ASA, AAA, is a professional, independent appraiser of fine and antique jewelry. He has earned a Graduate Gemologist degree from the Gemological Institute of America, is a Certified Member of the Appraisers Association of America and a Senior Accredit Member in Gems and Jewelry from the American Society of Appraisers.   Mr. Lewand also teaches a course that he developed on appraising jewelry called the Art of Appraising Jewelry at the NYU School of Continuing and Professional Studies. He lectures on appraising and antique jewelry. He maintains his insurance brokerage license in P&C and has a certificate in Paralegal studies from Adelphi University.   He specializes in antique jewelry appraisals and works with attorneys on estates, trusts, insurance matters, and copyright issues as well as appraisal theories and concepts. He is also an outside expert for the IRS and consults with numerous galleries and dealers in New York on antique jewelry.   Mr. Lewand is also the director of Jewelry Camp (JewelryCamp.org), now in its 43rd year, held at PHILLIPS Auction House in New York, an international conference on antique jewelry and art pertaining to jewelry.    He does work for international accounting firms as well as appraisals for the sale of major companies.  Additional Resources: Jewelry Camp Website Consultant Appraisal Service, LLC Website www.independentlychecked.com   Instagram Facebook Twitter Photos available on TheJewelryJourney.com Transcript: A good jewelry appraiser can give you much more than just an estimate of what your jewelry is worth. As a professional, independent appraiser of fine and antique jewelry, Ed Lewand draws on his historical knowledge of jewelry and his connections in the industry to give his clients a deeper understanding of what they have in their collections. He joined the Jewelry Journey Podcast to talk about how to know you're working with a qualified appraiser; why less expensive jewelry, like lab-grown diamonds and art jewelry, is on the rise; and why you should always read the fine print when making a purchase. Read the episode transcript here.    Sharon: Hello, everyone. Welcome to the Jewelry Journey Podcast. This is the first part of a two-part episode. Please make sure you subscribe so you can hear part two as soon as it's released later this week.    Welcome back to the Jewelry Journey everybody. We've had about a month-long spring break. It's really good to be here again. Even though I missed all of you, I'm always hearing your suggestions. I also want to know who you want to hear, the speakers that would be of interest to you or whatever ideas you have. Please write me at Sharon@ArtsandJewelry.com, or you can send your ideas to me via Instagram @Arts and Jewelry.   Today, our guest is Ed Lewand, who was one of our first podcast guests several years ago. He's a professional independent appraiser, and he's had a lot of experience. He's worked for banks. He's worked for all the big houses. He's travelled, I would say the world, but I know he's gone to New York. Today he's going to be talking about the importance of appraising. I think that's something we all want to hear about. I know it's so important; especially living in California, you have wildfires when you wake up in the morning or you have a mudslide in the backyard. Whether it's fire, theft or something else, appraising is important, especially when you have to prove to somebody else what something is worth.   Ed is also the director of what is colloquially known as Jewelry Camp. The Antique Jewelry and Art Conference is its real name, but it's known as Jewelry Camp. It's really where I got my start. I learned very quickly that I could sit through a whole day of jewelry-related meetings and not even think about the time, but if it was anything else, if it was work-related, I didn't have the patience. It really helped point me toward what I liked and what I thought I should like, but I found out I really didn't like. So, I have homed in on jewelry. Without further ado, I'd like to welcome Ed to the program.   Ed: Thank you, Sharon. How are you doing?   Sharon: I'm doing O.K. It's good to have you since you were one of our first ones. One thing I wondered is how you kept your business going through Covid.   Ed: That's very interesting. One, I still flew, believe it or not. I got on planes and flew. Yes, you wore a mask, and yes, you sat in alternating rows and everything else like that. Not many people were traveling. New York, where I had an office—I still do; I share an office now—was on lockdown, but essential businesses were still allowed to operate and see people. Guess what? Appraising fell under banking and accounting. So, I was still able to see people. We did a lot of Zoom work for the accounting firms and banks. Of course, that was mainly verifying investments. As long as I saw the piece, I was O.K. with figuring out what was needed for that particular assignment. It wasn't that bad. I didn't see a lot of private people like I normally do, but I was still doing work for the companies.   Sharon: When you were traveling, it was a lot easier I suppose.   Ed: It wasn't crowded. I had to go to Florida for a client and see my sister. That was the first time I was ever on Delta Airlines, in the terminal in Orlando, and I was the only person there. There was nobody else there. I was like, “Whoa, this is like the Twilight Zone. Orlando, Delta Terminal, no one there.” Four or five other people finally trickled through, but I was still able to do stuff remotely for people. One of the weird things was if I was going live in person, I carried a UV lamp with me to scan everything. Supposedly the UV light was killing the Coronavirus. So, I would scan everything before I touched it, and I would scan it again before I gave it back. I would tell people, “I can't wear a mask while I'm working, looking in a microscope with a mask on.” I just couldn't do it, and nobody had a problem with that. So, business still went on; it was at a different level or a different procedure.   Sharon: I'm really surprised to hear that appraising came under banking and accounting as an essential service.   Ed: Well, you've got to understand, you actually get values every day. You get an estimate to have your car fixed, and there's a number at the bottom of the page. That's sort of like an appraisal. Your house gets appraised for a loan or a mortgage. Your insurance company comes in after a car accident. They're valuing what the car is going to be. Appraising is a general term, and it's very important. It's not proof of ownership, but it does help establish that you are in possession of the product. It establishes a value and identifies the product; it's not necessarily always authenticating.    Sharon: I'm learning something then, because I always thought if you have the piece, then you own it. I guess you could steal it and have the piece.   Ed: Yeah, something could go wrong. You could lose it. It's good to have a record. That's what an appraisal basically is; a record. I do a lot of work where people aren't insuring their jewelry. They're just keeping a record for themselves in a safety deposit box. As a matter of fact, with some of my better clients now, the kids decided they don't want the jewelry. They're my high-value clients, and we're doing a value of what the jewelry could be sold for after their time of death, so the kids don't have to go crazy. At first, I thought it was nuts, but I understand it better. I've been getting a lot of calls from my high-value clients to do that.    Sharon: I can see how that would eliminate a lot of bickering afterwards.    Ed: A tremendous amount. So, appraising is used every day. Besides jewelry, which is my specialty, I still did floor plans for some companies and manufacturers for another firm that would call me in. A lot of stuff is looking at numbers and checking and doing the research and valuing it in that aspect. Appraising is basically a lot of research and comps and documentation. You don't always have to put everything into the appraisal, but you do have to keep it in your notes.   Sharon: If you were doing all of this during Covid, was there a change in what you were appraising? Was it one-offs versus a whole estate where somebody had died?   Ed: No changes. The only change was the research. It was very limited because people weren't in. Things stopped, so I couldn't research or make calls or do anything as much as I normally would. I had to put a disclaimer in their reports saying, “This is during the time of Covid, there's a national lockdown, blah, blah, blah,” and that research, which might be necessary, is not obtainable at this point.    Sharon: Today do you see a change in terms of the things you're seeing?   Ed: That's very funny. A change in procedures, no. When things go back to pre-Covid and things are moving smoothly, people again want an appraisal for insurance. They may still want an appraisal because they're looking to get an occasional order to be sold or just for their own knowledge. So, procedures are back to pre-Covid.    What is different now is that people are learning. The internet has become very, very big in the jewelry industry. You could find almost any piece of jewelry you want on the internet, and you'll probably find it for a very good price. There are so many sites that sell loose diamonds—and if you're in the trade, you'll understand what I'm going to say—and there's a price list of things, and they're discounted. Some of these sites are literally wholesaling diamonds for the public, sometimes better than a jeweler can pick them up for.    In my opinion, it's created a problem in the industry and for me. Do I use those sites as a comp, or do I have to take into reality what a jeweler might put on the price to make his fair markup? Which isn't much on a diamond. A fair markup on a diamond today could be 5% to 20%. In some situations, it's more, but there are reasons why, price points, things like that. When you're appraising, it's a lot of market research. As a matter of fact, a lot of organizations now require that the appraiser put in a market analysis for the appraisal. Is it really necessary? Yes and no. In some appraisals it is and other ones it isn't.   Sharon: Have you had anybody come back and argue or dispute an appraisal that you've had?   Ed: I've had people come back and say, “I had it appraised in 2008 for more money,” and I explain to them and show them that times have changed and markups have changed. Once it's explained to a person, they understand that. I can only value something on a certain date. I can't predict the future or anything like that. So, is it sad? Yes.    We just got done with a situation where one report from a government agency, who will remain nameless, said that the diamond business increased in value from 2013 to 2020, and I'm like, “No, it didn't.” I used one of these lists, the Rapaport List, and I showed them the decline in the marketplace. Why are you saying it went up 30% when it declined? I do a lot of reviews and a lot of work within the trade for estates and trusts of people. There's a lot to it, to establish certain markets and things like that.    I think today, what I'm seeing at the little office in Nashville I use—the appraiser there got ill, and she can't work anymore. So, I go up and take care of clients and give her a percentage of everything, so she can afford to pay her bills at least. What I have noticed there is an increase in sales of lab-grown diamonds.   Sharon: I was just going to ask you about that. Do you see more of those?   Ed: I'm seeing more, which is unusual, but then again when I go to Nashville, I'm dealing with the public. I really enjoy going to Nashville. The people up there are great. I have such a good time appraising and having conversations. I do see more and more of it coming. I have to admit that, even with friends of mine, even though some people disagree and there are reasons why they don't like LGDs, but to me, it's a diamond. It will test as a diamond. It is a diamond. You can't pick up a loupe and look at it and say, “This is lab-grown.” It's a real diamond, and they're very, very inexpensive.    We've got to look at these things. You'll have reports coming out saying, “Well, they don't hold their value.” O.K., is a person really buying a diamond engagement ring for value? Because if you pay $10,000 and you go to sell it, you're only going to get $4,000, so it has lost value. Are you buying the ring for value or an investment, or are you buying the ring for love and a symbol? I think a lot of younger people—and I hate to say this, but even us older people are realizing it's for enjoyment. It's for fashion, and it's a symbol. It is not a symbol of, “Look, I spent $25,000 on a two-carat ring.” I have a two-carat ring, but it only cost me $4,000.   I have a very dear friend. His son wanted to get a stone, and he asked me for the lab-grown. I said, “Fine, what do you want?” He said, “Well, on this website it's $15,000. Dad said you could do better.” I said, “Let me make a call to a supplier I know.” Yes, I got him a five-carat D VS1 oval cut for $5,500. The equivalent stones can be very, very expensive, tens of thousands of dollars more. Is he happy? Yeah. Will anybody realize the difference? The guy's in law school. Daddy has money. No, they'll probably think it's real or a natural stone.    I even recommend them to my family. My son, my daughters, they all end up doing lab-growns because you're wearing it on your finger or your ear. If you spend $2,000 on something, it's not the same as spending $15,000. So, yes, I do recommend them. As a matter of fact, a lot of people I know recommend them now. I'm seeing an uptick. Even secondary market jewelers who do things for their clients are starting to get requests for lab-grown diamonds. They're taking their market share.    Sharon: I can understand that.    Ed: It's funny. Originally, I was trying to get something going where there had to be fines and things like that for lab-growns. Going back five or six years, most people were saying it was just a fad that wasn't going to develop into anything. Well, guys, it's developed into something very fancy. I don't have the stats right now because I haven't checked in a while, but I'm sure if you called JA or one of these groups that monitors things, we'll see a large increase in the sales of lab-growns.   Sharon: That's interesting. It took me a while to get used to it, but you're right; it's exactly the same as the diamond. What does it matter?   Ed: Exactly. Again, like I say to people, you're not buying it for an investment; you're buying it as a symbol of love or devotion or whatever you want to use it for. I've seen women buying themselves diamond studs that are lab-growns. They're like, “Well, why should I wait for my boyfriend to buy me one?” It's not $20,000 anymore; it's $2,000, $3,000, and they're taking it upon themselves to buy it for themselves.    Now, don't get me wrong. If the average person who wouldn't have the money for a five-carat diamond buys a five-carat lab-grown, yeah, people wouldn't know it's not a real stone, or a natural diamond I should say. It's still a diamond, but people would not suspect this person could afford it. They would think it's CZ or moissanite or something like that. But as long as you stay within the realm of what your circle is, nobody would ever suspect that you have a lab-grown diamond.   Sharon: That's interesting. It's worth a second thought.    Ed: Yeah. I strongly recommend them.   Sharon: I know you do a lot of teaching, too.    Ed: I don't teach regularly. I host classes down here every two years because we all need to get our seven-hour update. Between you and me, not much changes, just the wording, but I have an old friend, also from Jewelry Camp, who comes in and does it. She's a certified instructor and does the seven hours. To be honest with you, it's really done for selfish reasons, which is mainly so I get my time in and I get to travel somewhere.    Believe it or not, business down here in the southeast is quite plentiful; it's quite important. Do I see large, 20-carat diamonds? No, that's New York or Florida or California, but I do see a lot of people. One of the things about appraising, you have to have a good bedside manner. You can't insult people. I had one instance where I said to a gentleman, “These items are going to be appraised for less than a certain price point at $1,000. I don't think you need to have them appraised and spend $150 an item on me, but if you want them appraised, I'll do it.” I said, “It's your prerogative.” He said he had a strand of pearls worth a lot of money, and I didn't see a strand of pearls worth a lot of money. Standard cultured pearls under five or six millimeters is not a $20,000 necklace, but whatever. People are told things from relatives.    Funny thing: I had one person once, when I lived up in New York, and I looked at the string and said, “This is a textbook example of a synthetic sapphire.” “Oh no, my grandfather told me it's a real sapphire and it's worth a lot of money.” “I'm sorry to disappoint you, but no, it's not.” I didn't charge for the appraisal. A few weeks later, a colleague and close friend of mine, Barry Block, gets the same stone and said, “Ed, it's a synthetic.” I said, “Yeah, I know.” “I'm trying to explain to her it's synthetic.” I said, “Barry, don't.” From what I understand, later on she took it to the GIA. They called it a flame fusion synthetic sapphire, and she still didn't even believe them. You get people, when they're told a story, they believe it. You can't prove anything wrong because they believe it, even though you're showing them pictures in the book and showing it through the microscope. They don't quite want to hear what's right or wrong. It's interesting human nature.   Sharon: You brought up an interesting point. Last night I was watching a rerun of Antiques Roadshow. I was wondering if you look at the jewelry on there and think, “That's not really the appraisal,” or “They never mention a buyer's premium,” or that, if somebody gets something for $500, they're going to pay at least more than half in fees.   Ed: Yeah, as I tell people, if you're buying at auction, you've got to see what the fees are going to be. If you're selling at auction, are there going to be fees? An estate I did here, after several months, the family decided to sell it. I had an auction company from New York I knew would do well with it come down and look at. It had some interesting pieces in it. Some of the pieces were not correct, and the client knew that, but they got some strong cash offers for the collection.  As a matter of fact, the sale is coming up in Phillips this June. They decided to do that, and I was like, “That's great.” I don't care. I'm not making money on it. I did my fee for the appraisal, and I made the introductions and I was there. I was paid for my time, so it didn't matter if they sold it for cash or sold it through auction. In that particular instance, there were a lot of pieces; it was a great collection. The client is paying nothing, but there are situations where the client does pay 15% or 20%.    When you're figuring value, you've got to figure in the buyer's premium when you're buying at auction. Some places are as high as 20%, 25%. If you don't figure that into your purchase price, you may overpay for something. Auctions are great because they're a lot of fun, especially live when you're in the audience. You watch people bidding, and then somebody really wants something. The auctioneers do their best to represent the best they can get for anything. They try to make sure what they're giving you is accurate, but as I tell everybody, if you want to buy at auction, check the rules. Check what they have disclosed, check what they're liable for, read the condition reports, look at the piece yourself, try it on. They all have previews. Decide that way, because that's the best way, especially if you're spending a lot of money.    You could save money on diamonds—natural diamonds; I can't see putting a lab-grown up for auction—but you should be able to save a considerable amount of money buying something at auction. Again, like I said, going online to buy a diamond, you can save considerable amounts of money. I don't recommend buying colored stones online because color is a personal preference, so you want to see that in person. But with diamonds, the normal person is not going to notice too much difference with their naked eye. As a matter of fact, I don't notice too much either anymore, unless I have my glasses on. That's about it on that, but I do recommend people are aware. Like I said, buying at auction is fun and educational for people.   Sharon: I'm surprised when they give a price and say, “The retail price would be this,” or “I think this would be conservative at retail.” I always want to jump in and say, “Oh, that's retail,” but it isn't really.   Ed: I know some smaller auction companies do that. I know some online sites that are selling people's merchandise for them will say suggested retail, what the retail price is, and what they're selling it for. It's not misleading in my opinion. It's just letting you know that the price was originally $7,000, and today you're able to get it for $2,500. If you went into the store and bought it, you'd pay $7,000, but right now, it's used; it's in excellent condition; all the boxes and papers and everything else you need are here; it's complete for $2,500.    Now, people who sell on those sites also have to keep in mind what the site is charging you as a fee for selling, because there are no buyer premiums there. The seller is paying that commission to those sites. You've got to keep that in mind when you're doing something like that. People will go, “Well, I'm going to go have it appraised,” and I say, “Well, if you're selling, why are you having it appraised? I'm not buying it.” In certain situations, I do the appraisal because there's a reason. But if you're selling something, I recommend you go to several places to get estimates. You'll see the comparison, and the estimates will be very close to each other, and you've established a guideline.    Paying for somebody to appraise it who's not buying it, I'm not putting my money where my mouth is. I could tell you, “You should be able to see up to $4,000,” and you go to four different jewelers, and they all turn around and say $1,800 or $2,000. I'm not buying it. I'm not working off a formula. I'm actually making calls to dealers, seeing what they're offering, what the market is bearing. That's how I come up with a price if somebody wants to sell something for them. I normally don't recommend it because you're paying me for my time. Like I said, if you go to three legitimate, honest, old-world jewelers, they will all be within the same range and be willing to work with you and get you a price. That's what I suggest to people.   Sharon: That's interesting. I wouldn't think about not having it appraised. It makes a lot of sense. What kind of licenses or training do you need to do this?   Ed: There's no licensing for personal property appraisers. There is licensing for real estate appraisers. If you want to appraise, you should take a class. Some of these organizations offer excellent classes to give you a background in valuation theory. There's a number of books one can read. There are one or two schools that still teach valuation theory that I recommend, depending on what you want to go into. If it's jewelry, the group ASA offers several good classes. AAA, another appraisal group, offers very good classes. ISA offers some very good classes.    One of the more important things a lot of people forget is product knowledge. How are you going to appraise something if you don't have knowledge of the product? That's where places like Jewelry Camp come in, where other lectures and talks come in. They are very important because, without product knowledge, you could hire an expert to look at it and tell you, yes, it's real, but you should be able to do a lot of that yourself, unless you have a suspicion something's not right. So, I do recommend product knowledge.    As far as theories and concepts, a lot of places like to make appraisals more important than they really are. As long as you do your research and your documentation, provide whatever is needed for that particular assignment, explain what you're doing in your scope of work, and maintain all your files and notes, you've pretty much got it.   Sharon: We will have photos posted on the website. Please head to The JewelryJourney.com to check them out.

This week, Amy welcomes Linda Selvin to the show for a new edition of Sponsor Spotlight to discuss the Appraisers Association of America.

African American art specialist and owner of the renowned M. Hanks Gallery; Eric Hanks — offers his perspective on African American art through in-depth conversations with fellow art enthusiasts… on the past, present & future of African American art.    For more visit: www.ericsperspective.comAfrican American art specialist and owner of the renowned M. Hanks Gallery, Eric Hanks is one of the leading representatives of Black artists, promoting and selling their works nationally to individual and museum collections, publishing exhibition catalogues, teaching art appreciation classes, and writing articles and essays appearing in prestigious art books and various other publications.For over 34 years Eric Hanks has performed art appraisals for a variety of clients across the country.  He is a certified member of the Appraisers Association of America and maintains compliance with the Uniform Standards of Professional Appraisal Practice (USPAP).  Donations of art, buying the right amount of insurance, estate planning, selling art, or simply wanting to know the current value of one or more works of art are some of the reasons collectors seek Hanks's appraising expertise.Utilizing his knowledge, experience, and extensive connections with artists, collectors, and art professionals Hanks helps collectors locate and invest in best works of art that fit their needs and tastes.#ERICSPERSPECTIVE #AFRICANAMERICAN #ARTLISTEN ON: Apple Podcasts: https://apple.co/2B6wB3USpotify: https://spoti.fi/3j6QRmWGoogle Podcasts: https://bit.ly/3fNNgrYiHeartRadio: https://ihr.fm/2KtYGXv Pandora: https://pdora.co/38pFWAmConnect with us: Facebook: https://bit.ly/3jq5fXPInstagram: https://bit.ly/39jFZxGTwitter: https://bit.ly/2OMRx33

At first glance, non-fungible tokens, or NFTs, would seem to have little place in the world of fine art. After all, they've only been around for nine years, and during that time, they've developed a reputation as an abstract form of digital currency only fully understood by tech-savvy early adopters. The mere mention of NFTs raises a bit of skepticism in some circles, partly because not many of us comprehend the technology behind them.    Ask someone to explain NFTs and blockchain technology in layman's terms, and you're likely to hear plenty of stammering and double talk, but our newest episode of Absolute Trust Talk will provide a welcome reprieve from that. Kirsten Howe's guest is Claudia Worthington Hess, who brings an unusual combination of 40 years of experience in the art market and a thorough knowledge of NFTs to the discussion.    A member of the Appraisers Association of America (AAA), Claudia is a certified fine art appraiser who works with museums and other clients throughout the US and Canada on insurance, donation, and estate appraisals. After founding Hess Art Advisory in 2010, she eventually broadened her focus to accommodate the rapidly growing role that NFTs had come to play in the realm of fine art, prompting her to co-found New Media Art Advisory. Her new book, NFTs: A Handbook for Art Lovers, results from 17 months of research on this often-misunderstood topic.     In this episode, she'll explain why NFTs and fine art — two worlds that seem to have nothing in common — are a natural fit for each other and why NFTs are here to stay, becoming more prevalent in the future. She'll also provide some interesting perspective on just what goes into determining the value of a given piece of art — much like the fundamentals of NFTs, this is a process that also leaves many of us mystified.   We will also discuss:  The various events that prompt someone to hire an art appraiser and the distinction between “retail/replacement value” and “fair market value” that not only guides the appraisal process, but also result in a different valuation for each of these.   Why, as entertaining and compelling as it might be, the story behind a given piece of art is often misleading and shouldn't play a part in the appraisal process. The role that NFTs currently play in the world of fine art and why they're likely to take on an even more prevalent role in the future — some of the statistics that Claudia will provide are sure to surprise you! How NFTs can benefit artists in the future by providing solid proof of agreements between artists and galleries.   Some actual appraisals Claudia has made not only run contrary to the images most of us conjure up when we think of high-price artwork but also resulted in welcome surprises for art enthusiasts who bought wisely and held on for the long run. And more!   We hope you will join us as we take a look at the world of art appraisal, the rise of NFTs and the connection that's been growing between these two seemingly disparate worlds. 

Sarah is a Certified Member of the International Society of Appraisers with the Private Client Services designation for working with high-net-worth individuals and a Certified Member of the Appraisers Association of America.  Sarah is CEO of Artifactual History® Appraisal which provides USPAP-compliant appraisal services of art, Midcentury Modern Design, silver, furniture, antiques and decorative arts for clients including private collectors, corporations, institutions, and members of the diplomatic community.  Sarah is the Co-Founder and Co-Editor of Worthwhile Magazine™ which publishes about collecting, connoisseurship, and appraising.  She is also the creator of the online course SILVER 101: Quickly Learn How to Identify Your Sterling Silver and Silverplate to Find the Valuable Pieces and Sort with Empowered Confidence, available for enrollment through her website or Teachable school.  Larissa is also a Certified Member of the International Society of Appraisers and an art consultant and can be found at: https://www.larissawild.com/You can find out more about personal property appraisers at: https://www.isa-appraisers.org/ , https://www.appraisersassociation.org/, https://www.appraisers.org/Home. Sarah and I sit down in this new series where we discuss the world of appraising and give an inside look into what the appraisal world looks like. In today's episode, Sarah and I discuss: What is in a qualified appraisal How to find a qualified appraiser The benefit of using USPAP -compliant appraisers. Plus much more! Find all the links and show notes at theartelevator.com/blog.

Aubrey Catrone is an international art historian, appraiser, and provenance researcher. Aubrey earned an MA in History of Art from University College London, specializing in the documented histories of art objects, and is a USPAP-compliant Associate Member of the Appraisers Association of America. With an art gallery and academic research background, Catrone founded Proper Provenance, LLC to provide her clients with the tools, not only to historically contextualize art but also to shed light on attribution and legal title within the international art market. #13 I'm so excited to give a clearer picture of art provenance and its role in the art world. In today's episode, you'll learn: What is art provenance and why does it matter Why you want to do your due diligence when you purchase artwork The importance of your paperwork and the role it plays in art history. And much more! Find all links and show notes at theartelevator.com/blog.

#11 Sarah and I sit down in this new series where we discuss the world of appraising and give an inside look into what the appraisal world looks like. In today's episode, Sarah and I discuss: How we determine if someone needs an appraisal The frequent objects that get we get requested to appraise Why knowing what markets are available to sell in are so important The benefit of using USPAP -compliant appraisers. Plus much more! Sarah is a Certified Member of the International Society of Appraisers with the Private Client Services designation for working with high-net-worth individuals and a Certified Member of the Appraisers Association of America. Larissa is also a Certified Member of the International Society of Appraisers and an art consultant and can be found at: https://www.larissawild.com/

#6 Sarah is an appraiser, a Midcentury Modern Design specialist, and scholar of the 20th century artist and designer Ray Eames.  Sarah is CEO of Artifactual History® Appraisal which provides USPAP-compliant appraisal services of art, Midcentury Modern Design, silver, furniture, antiques and decorative arts for clients including private collectors, corporations, institutions, and members of the diplomatic community.  Sarah is the Co-Founder and Co-Editor of Worthwhile Magazine™ which publishes about collecting, connoisseurship, and appraising.  She is also the creator of the online course SILVER 101: Quickly Learn How to Identify Your Sterling Silver and Silverplate to Find the Valuable Pieces and Sort with Empowered Confidence, available for enrollment through her website or Teachable school.    Sarah is a Certified Member of the International Society of Appraisers with the Private Client Services designation for working with high-net-worth individuals and a Certified Member of the Appraisers Association of America.     In today's episode, you'll learn: How the migration of European artists during World War Two influenced mid-century artists and designers Why artists though everyone should be able to afford good art/design The connection between artists and how it influenced their art   And much more! Find all the links and show notes at theartelevator.com/blog!

Aubrey Catrone is an international art historian, appraiser, and provenance researcher. Aubrey earned an MA in History of Art from University College London, specializing in the documented histories of art objects, and is a USPAP-compliant Associate Member of the Appraisers Association of America. With an art gallery and academic research background, Aubrey founded Proper Provenance LLC to provide her clients with the tools, not only to historically contextualize art, but also to shed light on attribution and legal title within the international art market. Aubrey has researched artworks including paintings, artefacts, works on paper, prints, and sculptures spanning the fourth century B.C. to the twenty-first century A.D. She continues to volunteer with the Cultural Plunder by the Einsatzstab Reichsleiter Rosenburg: Jeu de Paume Database.

Edward A. Lewand, GG, ASA, AAA, is a professional, independent appraiser of fine and antique jewelry. He works with attorneys on estates, trusts, insurance matters and copyright issues; appraisal theories and concepts; and matrimonial appraising. Edward also works with international accounting firms such as KPMG and PWC with banks for inventory review, as well as appraisals for the sale of major companies. Additionally, he is retained as a business consultant by jewelry companies. Edward earned a Graduate Gemologist degree from the Gemological Institute of America and is a Certified Member of the Appraisers Association of America as well as a Senior Accredited Member in Gems and Jewelry from the American Society of Appraisers. Edward is the Co-Director of the Antique Jewelry & Art Conference (Jewelry Camp™), an international educational conference for the beginner to the advanced in antique, estate and modern jewelry, which is now in its 41st year. What you’ll learn in this episode: The certification process for appraisers, and why it’s important to know the background of the appraiser you’re working with. The history of Jewelry Camp and who should attend. The lineup of speakers and topics for the 2019 conference. How Jewelry Camp exposes you to research and expert information about periods, styles, motifs and stones. Ways to contact Edward Lewand: Jewelry Camp Website Consultant Appraisal Service, LLC Website Instagram Facebook Twitter

Edward A. Lewand, GG, ASA, AAA, is a professional, independent appraiser of fine and antique jewelry. He works with attorneys on estates, trusts, insurance matters and copyright issues; appraisal theories and concepts; and matrimonial appraising. Edward also works with international accounting firms such as KPMG, LLC. and PWC, along with banks for inventory review as well as appraisals for the sale of major companies. Additionally, he is retained as a business consultant for jewelry companies.   Edward earned a Graduate Gemologist degree from the Gemological Institute of America and is a Certified Member of the Appraisers Association of America as well as a Senior Accredited Member in Gems and Jewelry from the American Society of Appraisers.   Edward is the co-director of the Antique Jewelry & Art Conference (Jewelry Camp™), an international educational conference for the beginner to the advanced in antique, estate and modern jewelry, which is now in its 40th year. Edward also developed a class titled the “Art of Appraising Jewelry” at the NYU School of Continuing and Professional Studies.   What you’ll learn in this episode: How jewelry follows history. How the diamond industry has changed over the years and what has caused that change. What signed jewelry is and the price difference between signed and unsigned pieces. Trends in the jewelry marketplace, including jewelry trends among millennials and why they’re buying less jewelry. How clothing trends can influence popular types of jewelry. Best practices for networking in the jewelry industry.   Ways to contact Edward:     Website: www.jewelrycamp.org     Website: www.consultantappraisalservice.com  

John Grillo and I recorded this interview with Barrie Kolstein back in 2008, and it has proven to be a very popular episode in the catalog. Barrie runs the Kolstein shop Long Island, and his instruments have been utilized by Jeff Turner of the Pittsburgh Symphony, James Van Demark of the Eastman School of Music, Scott Haigh of the Cleveland Orchestra, and many others. John Grillo has been frequenting the Kolstein shop for years, and it was great to have John in on the conversation.  This was a great chat about all sorts of bass-related topics. About Barrie Kolstein: 1967-1971 Kolstein basses State University of New York at Albany Obtained a Bachelors of Science Degree in Business Administration and Marketing. 1967-1973 Formally studied the Double Bass under the pedagogues: Frederick Zimmermann, Assistant Principal of the New York Philharmonic; Orin O’Brien, New York Philharmonic; Georges Andre, Metropolitan Opera; Robert Gladstone, Principal Bassist Detroit Symphony; Samuel Hollingsworth, Principal Bassist Pittsburgh Symphony Orchestra; David Holland, renowned Jazz artist. 1971-1974 Served in formal apprenticeship for instrument and bow restoration, construction and appraisals, under the expert auspices of renowned violin and bow maker, restorer, and appraiser, Samuel Kolstein. 1974-1978 Served as staff instrument and bow restorer as well as making numerous new violin and celli with Samuel Kolstein. 1979 Promoted to head violin master in the shop of Samuel Kolstein. 1981 Assumed full business responsibilities for operating all aspects of Samuel Kolstein & Son, Ltd. and Kolstein Music, Inc. 1981 to present Head violin maker, restorer, and appraiser with a staff of nine violin makers working under his supervision. Published numerous technical articles on restoration and appraisals in the International Society of Bassists with feature article published in the Strad, February 1991; presently editor of the “Luthier Corner” in the International Society of Bassists magazine restoration and repair forum; published regularly in the Double Bassist magazine and the Strad magazine, both of London, England, since 1996. These articles have ranged form interviews with makers and performers, technical articles on repair/making, and expert appraisal articles on historic master makers; featured in the violinmaking segment of Robin Lehman’s documentary, Young Peoples Guide to the Orchestra; contacted to appear in the upcoming educational video on “Careers in Music”. On the expert appraisers staff of Art Conservation fine arts adjusters as a String Instrument and Bow Expert. Barrie Kolstein has completed well over one hundred instruments (Violin, Viola, Cello and Bass Violins) utilized by renowned players including Jeffrey Turner, Pittsburgh Symphony; Robert Gladstone, Detroit Symphony; James Van Demark, Professor of Double Bass Eastman School of Music and world famous soloist; Charles Urbont, Metropolitan Opera; James Clute, Minnesota Symphony Orchestra; David Sheets, Baltimore Symphony Orchestra; Lou Norton, New York Philharmonic; Caitlyn Kamanga, Hong Kong Philharmonic;, Scott Haig, Assistant Principal Bassist, Cleveland Orchestra; Hienrich Joachim, renowned soloist and former member of the New York Philharmonic; Lew Norton, New York Philharmonic; Barbara Yendell, Hong Kong Philharmonic, to name a few! Mr. Kolstein is a member of: Appraisers Association of America, 1994 to present International Society of Bassists, 1979 – present Violin Society of America, 1980 – present Viola Congress, 1983 – present Cello Congress, 1982 – present Listed in The Violin Makers of the United States, by Thomas J. Wenberg, Mount Hood Publishing Company, 1986.

Miller Gaffney has a wide-ranging background in the art world, having worked with leading auction houses, commercial galleries, artists, museums, and information-providers for art collectors. She began her career with L'Antiquaire & The Connoisseur on New York's East 73rd Street where her responsibilities included assisting in the purchase of artworks and antiques on behalf of collector clients from international auction houses. In 2004, Miller joined Art + Auction magazine. She was later called by its parent company, LTB Holding, to work as a Business Development Officer. While in these positions, Miller also worked as a private consultant for clients in New York and Europe. A graduate of the Sotheby's Institute of Art, Miller is a certified member of the Appraisers Association of America, auctioneer and member of the National Auctioneers Association, as well as a member of ArtTable. She founded Miller Gaffney Art Advisory in 2006 and lectures and writes on all aspects of art. Miller can be seen on the PBS series Market Warriors, Monday nights at 9 pm EST.

We’re wrapping up our chat with Barrie Kolstein this week on the Contrabass Conversations show. We began this interview on episode 70 of the program, and in it we discussed Barrie’s father Samuel Kolstein and how he got into the bow making business, the progression into the bass making business, and the development of the Kolstein line of products (including rosin, stings, and cases) that bassists worldwide use today. Barrie discusses Kolstein rosin, challenges facing modern double bass retailers and luthiers, advice on buying a double bass, and how the business has changed in the past few decades. Visit the Kolstein shop online at www.kolstein.com, and check out our co-host John online atwww.classicalmusicnews.tv. Enjoy!   About Barrie Kolstein: 1967-1971 State University of New York at Albany Obtained a Bachelors of Science Degree in Business Administration and Marketing. 1967-1973 Formally studied the Double Bass under the pedagogues: Frederick Zimmermann, Assistant Principal of the New York Philharmonic; Orin O’Brien, New York Philharmonic; Georges Andre, Metropolitan Opera; Robert Gladstone, Principal Bassist Detroit Symphony; Samuel Hollingsworth, Principal Bassist Pittsburgh Symphony Orchestra; David Holland, renowned Jazz artist. 1971-1974 Served in formal apprenticeship for instrument and bow restoration, construction and appraisals, under the expert auspices of renowned violin and bow maker, restorer, and appraiser, Samuel Kolstein. 1974-1978 Served as staff instrument and bow restorer as well as making numerous new violin and celli with Samuel Kolstein. 1979 Promoted to head violin master in the shop of Samuel Kolstein. 1981 Assumed full business responsibilities for operating all aspects of Samuel Kolstein & Son, Ltd. and Kolstein Music, Inc. 1981 to present Head violin maker, restorer, and appraiser with a staff of nine violin makers working under his supervision. Published numerous technical articles on restoration and appraisals in the International Society of Bassists with feature article published in the Strad, February 1991; presently editor of the “Luthier Corner” in the International Society of Bassistsmagazine restoration and repair forum; published regularly in the Double Bassist magazine and the Strad magazine, both of London, England, since 1996. These articles have ranged form interviews with makers and performers, technical articles on repair/making, and expert appraisal articles on historic master makers; featured in the violinmaking segment of Robin Lehman’s documentary, Young Peoples Guide to the Orchestra; contacted to appear in the upcoming educational video on “Careers in Music”. On the expert appraisers staff of Art Conservation fine arts adjusters as a String Instrument and Bow Expert. Barrie Kolstein has completed well over one hundred instruments (Violin, Viola, Cello and Bass Violins) utilized by renowned players including Jeffrey Turner, Pittsburgh Symphony; Robert Gladstone, Detroit Symphony; James Van Demark, Professor of Double Bass Eastman School of Music and world famous soloist; Charles Urbont, Metropolitan Opera; James Clute, Minnesota Symphony Orchestra; David Sheets, Baltimore Symphony Orchestra; Lou Norton, New York Philharmonic; Caitlyn Kamanga, Hong Kong Philharmonic;, Scott Haig, Assistant Principal Bassist, Cleveland Orchestra; Hienrich Joachim, renowned soloist and former member of the New York Philharmonic; Lew Norton, New York Philharmonic; Barbara Yendell, Hong Kong Philharmonic, to name a few! Mr. Kolstein is a member of: Appraisers Association of America, 1994 to present International Society of Bassists, 1979 – present Violin Society of America, 1980 – present Viola Congress, 1983 – present Cello Congress, 1982 – present Listed in The Violin Makers of the United States, by Thomas J. Wenberg, Mount Hood Publishing Company, 1986. Learn more about the Kolstein shop at www.kolstein.com

This week, we’re featuring Barrie Kolstein on the Contrabass Conversations show. Barrie discusses his father Samuel Kolstein and how he got into the bow making business, the progression into the bass making business, and the development of the Kolstein line of products (including rosin, stings, and cases) that bassists worldwide use today. Barrie is a perceptive and extremely knowledgeable figure in the double bass community, and it was a real pleasure to do this interview. John, Barrie, and I actually chatted for a couple of hours, and it is all excellent content, so I’ll be breaking this interview into two hour-long segments, and you’ll be hearing the first half today. Visit the Kolstein shop online at www.kolstein.com. Enjoy!   About Barrie Kolstein: 1967-1971 State University of New York at Albany Obtained a Bachelors of Science Degree in Business Administration and Marketing. 1967-1973 Formally studied the Double Bass under the pedagogues: Frederick Zimmermann, Assistant Principal of the New York Philharmonic; Orin O’Brien, New York Philharmonic; Georges Andre, Metropolitan Opera; Robert Gladstone, Principal Bassist Detroit Symphony; Samuel Hollingsworth, Principal Bassist Pittsburgh Symphony Orchestra; David Holland, renowned Jazz artist. 1971-1974 Served in formal apprenticeship for instrument and bow restoration, construction and appraisals, under the expert auspices of renowned violin and bow maker, restorer, and appraiser, Samuel Kolstein. 1974-1978 Served as staff instrument and bow restorer as well as making numerous new violin and celli with Samuel Kolstein. 1979 Promoted to head violin master in the shop of Samuel Kolstein. 1981 Assumed full business responsibilities for operating all aspects of Samuel Kolstein & Son, Ltd. and Kolstein Music, Inc. 1981 to present Head violin maker, restorer, and appraiser with a staff of nine violin makers working under his supervision. Published numerous technical articles on restoration and appraisals in the International Society of Bassists with feature article published in the Strad, February 1991; presently editor of the “Luthier Corner” in the International Society of Bassistsmagazine restoration and repair forum; published regularly in the Double Bassist magazine and the Strad magazine, both of London, England, since 1996. These articles have ranged form interviews with makers and performers, technical articles on repair/making, and expert appraisal articles on historic master makers; featured in the violinmaking segment of Robin Lehman’s documentary, Young Peoples Guide to the Orchestra; contacted to appear in the upcoming educational video on “Careers in Music”. On the expert appraisers staff of Art Conservation fine arts adjusters as a String Instrument and Bow Expert. Barrie Kolstein has completed well over one hundred instruments (Violin, Viola, Cello and Bass Violins) utilized by renowned players including Jeffrey Turner, Pittsburgh Symphony; Robert Gladstone, Detroit Symphony; James Van Demark, Professor of Double Bass Eastman School of Music and world famous soloist; Charles Urbont, Metropolitan Opera; James Clute, Minnesota Symphony Orchestra; David Sheets, Baltimore Symphony Orchestra; Lou Norton, New York Philharmonic; Caitlyn Kamanga, Hong Kong Philharmonic;, Scott Haig, Assistant Principal Bassist, Cleveland Orchestra; Hienrich Joachim, renowned soloist and former member of the New York Philharmonic; Lew Norton, New York Philharmonic; Barbara Yendell, Hong Kong Philharmonic, to name a few! Mr. Kolstein is a member of: Appraisers Association of America, 1994 to present International Society of Bassists, 1979 – present Violin Society of America, 1980 – present Viola Congress, 1983 – present Cello Congress, 1982 – present Listed in The Violin Makers of the United States, by Thomas J. Wenberg, Mount Hood Publishing Company, 1986. Learn more about the Kolstein shop at www.kolstein.com