One of the essentials of being a tangible asset fiduciary as it relates to valuation is two part. One, is there a clear understanding of the value of the tangible assets? Two, is the value being applied to objects reflective of the strategies.
What is a Tangible Asset Fiduciary?
The word Fiduciary evolved out of the Latin Fidere, to trust. In order to truly act on behalf of a client’s interest trust needs to be the bedrock of the relationship. A tangible asset fiduciary has no “skin in the game”; the focus of our work is the valuable objects in a client’s collection. Our approach is independency and transparency. This essentially means that every action we take and every strategy we propose is directly in the best interest on the objects and the clients that own them. The client trusts us to represent them.
TOPIC #2: INDEPENDENCE AS THE FOUNDATION OF VALUATION
St. George’s Kermis With the Dance Around the Maypole” (1627), by Pieter Bruegel the Younger. Appraised by Sotheby’s for estate tax purposes in 2005 for $500,000; Sold at Sotheby’s in 2009 for $2.1 million.
When is an appraisal needed?
Whether it is for purchase, sale, estate planning, probate, divorce, rental lease back, fractional interest, insurance or donation, a correct appraisal is needed for any tangible asset. The methodology will directly reflect the overall goal of the valuation. Looking at one object as an example, you can track the different values depending on the purpose.
CASE STUDY
Mr. Smith has decided that he wants to acquire a Milton Avery painting from a gallery in New York City. He contacts The Fine Art Group to obtain a market analysis so that he can negotiate correctly with the gallery. The market analysis reveals that the work sold previously at auction for $200,000 in 2007. As the Milton Avery market has increased in value for the right subject matter and year, his Fine Art Group advisor recommends paying no more than $300,000 for the painting. He purchases the painting at $300,000.
Mr. Smith needs to add the painting to his insurance. As he purchased from a gallery in NYC, his insurance value will be the receipt from the gallery plus tax and shipping. The total cost with expenses was $330,000, which is the retail replacement value.
Mr. Smith decides he would like the portfolio value or estate planning value to begin strategizing with his financial advisor and accountant. The portfolio value is the fair market value. In the current auction market with premium, the Milton Avery would sell for $250,000. This is the value he can use for rental lease back, fractional interest, divorce, estate planning or donation.
Eventually Mr. Smith is interested in using the painting as collateral. The value most appropriate for collateral is marketable cash value which is the auction price minus fees. For the Milton Avery the MCV would be $200,000.
To summarize in this example:
The recommended purchase price was $300,000
The retail replacement value was $330,000
The fair market value price was $250,000
The marketable cash value was $200,000
When the values of the works of art are even more significant, this price differential can be very substantial.
Who does appraisals?
Independence is the key to accuracy.
Appraisals are done by auction houses, dealers, and appraisers. To be a tangible asset fiduciary, it is essential that the valuation should only be conducted by an appraisal firm. While a free-lance appraiser have the knowledge of the piece, frequently individual appraisers do not carry the appropriate liability insurance or insurance to cover damage to an important work of art. There is no licensing for appraisers, the only regulations we have are appraisal associations, including the Appraisers Association of America (AAA), International Society of Appraisers (ISA) and the American Society of Appraisers (ASA) as well as an exam known as Uniform Standards of Professional Appraisal Practice (USPAP). If an appraiser is not a member of at least one of these organizations and is USPAP compliant, he or she should not be conducting appraisals.
There is an inherent conflict when a valuation is conducted by the auction house that wants to sell your work or the dealer that either hopes to sell your work or substantiate a price that they used to sell you the work you purchased from them.
Auction houses often offer appraisals at discounted rates in order to gain access to material and provide additional services for clients. There are several issues with auction houses appraising, including inherent bias and their lack of knowledge on all the markets for objects. While Auction houses have a strong sense of the auction market, they often lack experience with the primary, retail market and with other values such as marketable cash value. If an auction houses wants to sell an object, or recently sold an object, they have a vetted interest in the value benefiting them. A recent court case found that Sotheby’s had valued a painting too low for estate tax in order to entice the estate to sell the painting with Sotheby’s. The painting did sell with Sotheby’s just months later at more than 3 times the estate appraisal value. “Judge Joseph H. Gale ruled instead that the expert had most likely placed a “lowball” estimate on that painting and a second work so as to “curry favor” with the owner, an estate facing a potentially large tax bill, and thus win the business of selling the works at auction.” It should be noted that the IRS art panel strictly follows USPAP and both state that an appraiser is prohibited from appraising an item if they have been involved in the sale of the item.
Similarly, dealers and galleries lack the knowledge and independence that appraisers have, often appraising works of art for substantially higher values than what the client paid. Yearly, complimentary appraisals by the dealers that sold works the works to the owner, often inflate values in order to prove to client’s that their purchase was a good investment. We see this regularly when reviewing insurance schedules that show a yearly increase in the value of the object with appraisals directly from the place of purchase.
Appraisals are a beneficial tool for financial planning, insurance and investment. However, in order to truly be a tangible asset fiduciary, the correct values must be determined by an independent appraisal firm.
FANTASTIC SELL THROUGH RATE OF IMPORTANT JEWELRY COLLECTION
Doyle was honored to auction jewelry from the Estate of Alyce Kalin of Sarasota, Florida, as a highlight of the sale of Important Jewelry on Wednesday, December 12, 2018 at 10am. A private client, we were thrilled with the spectacular sell-through rate of 56 of 60 sold.
Lot 173
Gold, Platinum, Citrine and Diamond Cuff Bangle Bracelet, Trabert & Hoeffer, Mauboussin, Reflection
14 kt., centering one oval citrine approximately 200.00 cts., flanked by 12 fancy-shaped citrines, tipped by rectangular platinum bands of 114 single-cut diamonds approximately 2.70 cts., signed Trabert & Hoeffer, Mauboussin, Reflection, no. 2128, circa 1940, approximately 90 dwts. gross. Inner circle 6 5/16 inches.
Estimate: $5,000 – $7,000
Sold for $43,750 (includes buyer’s premium)
Henry Dunay
Gold, South Sea Semi-Baroque Cultured Pearl and Diamond Necklace
Sold for $22,500 (with Buyer’s Premium)
Lot 252
Buccellati
Gold, Silver and Diamond Pendant-Brooch
18 kt., the delicate filigree oval brooch centering one old European-cut diamond approximately 1.75 cts., within an openwork garland frame of 24 collet-set old-mine cut diamonds approximately 2.80 cts., accented by rose-cut diamonds, signed Buccellati, Italy, 9G, approximately 6.6 dwts. With signed pouch.
Estimate: $4,000-$6,000
Sold: $9,375 (with Buyer’s Premium)
Lot 380
Henry Dunay
Carved Coral, Gold and Diamond Necklace and Bracelet
18 kt., the necklace composed of 31 carved coral beads of floral detail approximately 21.0 to 10.8 mm., bisected by textured gold rings, centering three bombé rings pavé-set with round diamonds approximately 3.00 cts., the bracelet composed of 15 carved coral beads of similar motif approximately 11.8 to 9.3 mm., both signed Dunay, with maker’s mark, necklace no. D2110, bracelet no. C9923. Lengths 20 1/2 and 8 inches.
Estimate: $6,000-$8,000
Sold: $16,250 (with Buyer’s Premium)
Lot 383
Henry Dunay
Gold, Coral and Diamond Bracelet
18 kt., composed of 7 square coral panels approximately 20.0 x 18.5 mm., spaced by brushed stepped bar links, completed by a brushed three bar clasp spaced by a pavé-set diamond bar approximately .55 ct., signed Dunay, no. D3435, approximately 78 dwts. gross. Length 7 inches.
Estimate: $5,000-$7,000
Sold: $12,500 (with Buyer’s Premium)
Lot 267
Wide White Gold, Invisibly-Set Ruby and Diamond Bracelet
18 kt., centering rows of invisibly-set square-cut rubies approximately 78.25 cts., framed by staggered bands of round diamonds approximately 2.40 cts., approximately 59.5 dwts. gross. Length 7 1/16 inches.
Estimate: $8,000-$12,000
Sold: $23,750 (with Buyer’s Premium)
Henry Dunay
Gold, Peridot and Diamond Curb Link Chain Necklace
Sold: $20,000 (with Buyer’s Premium)
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OUR SERVICES
Offering expert Advisory across sectors, our dedicated Advisory and Sales Agency teams combine strategic insight with transparent advice to guide our clients seamlessly through the market. We always welcome the opportunity to discuss our strategies and services in depth.
SUMMER 2018: AN ART ADVISOR’S ROUND UP OF ART BASEL MIAMI
Roxanne Cohen, Director of Art Advisory, The Fine Art Group, at Art Basel Miami Beach 2018. Leading galleries from North America, Latin America, Europe, Asia and Africa show significant work from the masters of Modern and contemporary art, as well as the new generation of emerging stars.
THE REAL & THE IMAGINED: THE AGE OF IMPRESSIONISM
On loan from a Private Collection at the Columbus Museum of Art through September 2019.
Edgar Degas (French, 1834-1917)
Quesnoy Road, Saint-Valéry-Sur-Somme
1895-1898
Pastel on paper
18 7/8 x 25 1/8 in. (48 x 64 cm)
Henri Eugene Augustin Le Sidaner (French, 1862-1939)
The Quay in Moonlight
1920
Oil on canvas
25 3/4 x 31 7/8 in. (65 x 81 cm)
Camille Pissarro (French, 1830-1903)
Goose Girl
c. 1890
Gouache on silk
9 1/4 x 7 1/8 in. (23 x 18 cm)
Auguste Renoir (French, 1841-1919)
View of a Town and Port from a Window
1893
Oil on canvas
9 x 11 3/8 in. (23 x 29 cm)
Henri Rousseau (French, 1844-1910)
View of Billancourt and Bas-Meudon in the Mist
1890
Oil on canvas
8 5/8 x 13 in. (22 x 33 cm)
Maurice de Vlaminck (French, 1876-1958)
Village Square
1918-1919
Oil on canvas
28 3/4 x 36 1/4 in. (73 x 92 cm)
OUR SERVICES
Offering expert Advisory across sectors, our dedicated Advisory and Sales Agency teams combine strategic insight with transparent advice to guide our clients seamlessly through the market. We always welcome the opportunity to discuss our strategies and services in depth.
JOHN SINGER SARGENT AT THE AMERICAN ART FAIR
A private client artwork sold at the 11th Annual American Art Fair held November 10-13th, 2018.
John Singer Sargent (1856-1925)
Festa della Regatta
Oil on glass over watercolor on paper
circa 1903
13 ½ x 19 ½ in.
The gallery’s booth on the 4th floor featured works by George Copeland Ault, George Wesley Bellows, Frank Weston Benson, Albert Bierstadt, William Merritt Chase, Jasper Francis Cropsey, Arthur Garfield Dove, William Michael Harnett, Winslow Homer, Eastman Johnson, Fitz Henry Lane, Robert Laurent, George Benjamin Luks, Thomas Moran, Fairfield Porter, Edward Henry Potthast, and John Singer Sargent, among others.
OUR SERVICES
Offering expert Advisory across sectors, our dedicated Advisory and Sales Agency teams combine strategic insight with transparent advice to guide our clients seamlessly through the market. We always welcome the opportunity to discuss our strategies and services in depth.
Selection of works from the Private Collection of a TFG Client coming up in auction at Sotheby’s – 219 lots across five sales between now and February 2019.
Impressionist & Modern Art Evening Sale,
Sotheby’s New York (2 Lots)
November 12, 2018
Lot 57
Henri Fantin-Latour
Reines Marguerites
Estimate: $700,000-$1,000,000
Lot 58
Alfred Sisley
Les Noyers, Effet de Soleil Couchant – Premiers Hours d’Octobre
Estimate: $1,500,000-$2,000,000
Impressionist & Modern Art Day Sale
Sotheby’s New York (4 Lots)
November 13, 2018
Lot 149
Henri Fantin-Latour
Roses
Estimate: $250,000-$350,000
Lot 150
Henri Fantin-Latour
Pommes
Estimate: $400,000-$600,000
Lot 151
Alfred Sisley
La Seine au Point du Jour
Estimate: $700,000-$1,000,000
OUR SERVICES
Offering expert Advisory across sectors, our dedicated Advisory and Sales Agency teams combine strategic insight with transparent advice to guide our clients seamlessly through the market. We always welcome the opportunity to discuss our strategies and services in depth.
Impressionist & Modern Art Day Sale at Sotheby’s
FEATURING THE GILDED AGE REVISITED: PROPERTY OF A DISTINGUISHED AMERICAN COLLECTION
Jean Béraud (French, 1849-1935)LE PARC MONCEAUSigned Jean Bèraud and dated Xbre 1887 (lower right)
Painted in October 1887
Oil on panel
9 1/8 by 12 7/8 in. (23.2 by 32.7 cm)
Estimate: $150,000-$200,000
PROVENANCE
Madame H. Antoine-May (acquired by 1933)
Sale: Hôtel Drouot, Paris, March 18, 1983, lot 21
Richard Green Fine Paintings, Ltd., London
Acquired from the above.
EXHIBITED
Paris, Exposition du Cercle de l’Union artistique, 1888, n.n.
Paris, L’Union interalliée, Exposition des cent portraits, 1922, no. 13 (titled Portrait de M.A.M. et de ses fils)
Paris, Palais du Louvre, Pavillon de Marsan, Le Décor de la vie sous la IIIe République de 1870 à 1900, 1933, no. 23 (titled Monsieur Antoine-May et ses fils)
Paris, Musée Carnavalet, Jean Béraud, Peintre de la vie parisienne, 1936-37, no. 23, illustrated in the catalogue (titled Portrait de M. Antoine-May et de ses fils (Devant la grille du parc Monceau))
London, Richard Green Fine Paintings, Ltd., Exhibition of 19th and 20th Century French Paintings, 1983, no. 2, illustrated in the catalogue
LITERATURE
“Les Expositions des Cercles,” in L’Artiste, 1888, vol. CXXVII, no. 1, p. 190
“Les Oeuvres et les Hommes,” in Le Correspondant, Paris, 1888, vol. 150, p. 728
Auguste Dalligny, “L’Exposition du Cercle de l’Union artistique,” in Le Journal des arts, February 14-17, 1888, p. 1
Ernest Hoschedé, “Exposition de l’Union Artistique,” in L’Événement, February 15, 1888, p. 3
Paul Mantz, “Exposition du Cercle de l’Union artistique,” in Le Temps, February 28, 1888, p. 3
Louis de Fourcaud, “À travers les expositions,” in La Revue illustrée, April 1, 1888, pp. 247-48, illustrated p. 245
Patrick Offenstadt, Jean Béraud 1849-1935, The Belle Époque: A Dream of Times Gone By, Catalogue Raisonné, Cologne, 1999, no. 5, illustrated p. 89
OUR SERVICES
Offering expert Advisory across sectors, our dedicated Advisory and Sales Agency teams combine strategic insight with transparent advice to guide our clients seamlessly through the market. We always welcome the opportunity to discuss our strategies and services in depth.
Over the next five months, each of our executives – Anita Heriot, President, Roxanne Cohen, Director of Art Advisory, Kerry-Lee Jeffery, Director of Consignment, Colleen Boyle, Director of Sales, Kate Molets, Director of Appraisals – will focus on some of the ways we embrace independence, transparency and expertise to bring the best service to our clients. We will be exploring the importance of choosing the right auction house for the sale of our client’s objects, understanding appraisal values, art financing, Philanthropic strategy and acquisition due diligence as key components in working as a fiduciary on behalf of our clients and institutions.
WHAT IS A TANGIBLE ASSET FIDUCIARY?
The word Fiduciary evolved out of the Latin Fidere, to trust. In order to truly act on behalf of a client’s interest trust needs to be the bedrock of the relationship. A tangible asset fiduciary has no “skin in the game”; the focus of our work is the valuable objects in a client’s collection. Our approach is independency and transparency. This essentially means that every action we take and every strategy we propose is directly in the best interest on the objects and the clients that own them. The client trusts us to represent them.
TOPIC #1: CHOOSING THE RIGHT AUCTION HOUSE
When contracted with assisting a client with the sale of a single work of art, an entire collection, or other valuable objects; our responsibilities include making it an effortless and transparent process, negotiating all commissions and fees, facilitating all logistics and most importantly maximizing the return.
The initial step when first approached by a client who is looking to monetize a work is to determine the most appropriate method and market for sale. Certain works can and should be sold privately, while others would benefit from a more competitive market by being sold through specialized sale at auction. While most regional and national auction houses will have Fine Art Departments, only a select few will have specialized sales that target the right collectors for a particular work. These specialized sales include more thematic categories like the annual ‘Orientalist Sale’ at Sotheby’s in London or Copley Fine Art’s bi-annual ‘Sporting Sale’, or regional specializations such as Freeman’s bi-annual Pennsylvania Impressionists sale, or Leslie Hindman’s ‘Made in Chicago’ sale.
A further layer to this specialized approach is when a particular auction venue has cornered the market, so to speak, for a particular artist. A little known artist is Ida Rittenberg Kohlmeyer, a Louisiana based abstract artist who studied and was influenced by Hans Hoffmann. Kohlmeyer is predominately collected in the south, with 288 records at auction, 216 of those are split between two New Orleans based auction houses that also hold the record prices for the artist. Examining the sales records for this particular artist shows that the best results, save for one or two outliers, are when works have sold at one of those two venues. An even more compelling example is that of Boris Vallejo, a Peruvian born illustration artist, with 224 records at auction and a staggering 210 of those at Heritage Auction House! We recently assisted a client in Pennsylvania with an illustration work by Vallejo. The value was fairly modest and most may think special consideration need not apply. However, based on the results for Vallejo at Heritage, where there is a considerable interest for the artist’s work in their illustration sales, the work sold for ten times the estimate – and set a world record for the artist! This is a result that would not have been achieved had the work been sold in a more general paintings sale at a regional house.
We assisted a West Coast based client with the sale of a modern Chinese work by famed artist Xu Beihong. While works by this artist have sold in New York and London, the most successful results have always been achieved in Hong Kong. In this particular case, the work soared past its estimate of $400,000-$600,000. A result that would not necessarily have been achieved had the work been sold in the United States where the work had been consistently estimated for under $100,000.
We utilize this same thought process when assisting with all tangible assets; including furniture and decorative arts, collectibles and other asset areas. For example, there are certain auction houses that specialize in 20th Century design, and in some cases, build the secondary market for a particular craftsman. The curated nature of the sales and specific marketing introduce works that had formerly no secondary market and generate a higher sale price. Other houses have a regional focus, like Leslie Hindman’s ‘Made in Chicago’ or a very focused specialty like Rago’s Modern Ceramics and Glass sales. When looking at larger traditional collections with varied contents and value levels we look to see where the overall collection will be best served as a possible ‘single owner sale’, pulling out specific pieces to be sold in specialized venues. Keeping more of the collection together allows for lesser or more moderately valued property to be marketed and cataloged in a better venue and allows for more competitive terms. Once the right venue placement has been identified we negotiate to ensure all fees are minimized or eliminated altogether. Auction houses can present a laundry list of fees; including seller’s commission, buy-in fees, insurance, catalogue fees, registrar fees, photography fees, storage fees, shipping fees etc. Based on the value of the overall consignment, these fees are always negotiable. In some cases, for highly desirable works, we negotiate to have the auction house *pay* our client a percentage from the buyer’s commission.
Another small, but very important aspect where we advocate on behalf of the client is in regards to marketing and catalogue placement. We need to ensure our client’s work is placed sequentially in the most advantageous place in the catalogue. I.e. if there are several works by the same artist or a very similar work, there is a strategy in place to which work comes first and last in the sequence as this can impact buyers’ spending. We would also work with the specialists to ensure other works are not consigned in for the same sale which would ‘compete’ directly with our clients’ work. We also work directly with the marketing departments to ensure our clients’ work or collection is given the utmost attention from a promotional standpoint, from basic advertisements, catalogue cover placement, signage, panels or lectures, cocktail events, traveling exhibits or luncheons.
The overall success of this bespoke service in placing works of art and other tangible assets in specialized sales is based ultimately on the fact that the auction venue has dedicated marketing and a focused clientele within reach for the specific work or item. Even with the full scope and reach of the internet and international bidding – choosing the right brick and mortar venue can be the difference between a work selling and a work selling well.
By Neil Kaplan, Esq., the Managing Partner of Cork Counsel, and Charles Curtis MW, the Founder of WineAlpha.
COLLECT WHAT YOU LOVE
Or understand what you collect. Collecting is about passion, and the most successful collectors have the understanding of their category that comes only with true love (or hire an expert)
GO DEEP
- Break the category into sub-genres, as what is true of Bordeaux wine is not necessarily true of Burgundy. Understand the multi-year trends for each wine type. Slavishly following trends can result in strategic errors.
- Example: Find the sleeper to maximize alpha (vintage port and sauternes are great categories to nab a bargain)
AVOID THE BUBBLE
Example: Right now Burgundy is trading at historic highs, and finding value is tricky. To do so, know which producers are popular (Domaine de la Romanée Conti), and where prices are rising (La Tâche) and where they are stagnant (the bottling from the Romanée Conti itself).
PROTECT VALUE BY PAYING ATTENTION TO PROVENANCE, CONDITION & RARITY
- As in any category, these three factors are essential to driving asset value.
- Example: there will be tens of thousands of cases of your typical first-growth Bordeaux produced and hundreds of cases of magnums, but only a few dozen to a few score of larger bottles such as double magnums (3 liters), jeroboams (5 liters) or imperials (6 liters)
AVOID THE UNICORN
While rarity is important, don’t overlook common sense. Certain wines such as Lafleur ’47 or magnums of Petrus ’29 are so rare that they are almost invariably counterfeit. To steer clear of problems, stick with wines that have a solid provenance and trading history.
PLAY THE ARBITRAGE
Wine is a global category. In order to get in at the right price, don’t overlook sourcing in London or Hong Kong. Typically London sales have the lowest prices, while the best property often comes up in Hong Kong (albeit at a premium).
PAY ATTENTION TO EXPENSES, BUT DON’T CUT CORNERS
It is essential to use temperature controlled shipping and storage and to insure wine end to end, but it is important not to over-pay for these services, or to pay too much tax. As with everything, the devil is in the details.
In order to combine their respective talents to provide you with the best services possible; Neil & Charles have formed a New York–based strategic alliance for the purpose of performing not only wine appraisals and providing consultancy services for wine collectors, but also inspections, relocations and brokerage of wine collections.
CHARLES CURTIS
Charles Curtis of WineAlpha has unparalleled qualifications. He is:
- A Master of Wine
- An Appraisers Association of America certified wine appraiser
- A published author
- A member of the board of the Institute of Masters of Wine.
With a certified wine and appraisal expert, you are guaranteed a wine appraisal that stands up to scrutiny. Charles has been called to testify in court proceedings regarding his wine appraisals, and none has ever been rejected.
Charles is also fully expert as a wine broker. He was for many years Head of Wine for Christie’s in both Asia and the Americas, during which tenure he acquired intimate knowledge of the collectible wine market. He continues to hone his expertise:
- Monitoring and documenting trade in fine and rare wine
- Remaining up to date on market conditions
- Identifying the most effective wines to sell at a given moment.
NEIL KAPLAN
Neil Kaplan of Cork Counsel will monitor each project to ensure that your particular needs are being fulfilled. Neil’s background makes him uniquely suited for this role. He:
- Practiced for six years as an attorney in New York City
- Has 25 years of sales and support experience in the wine and spirits industry
- Has advanced wine certification.
Moreover, Neil has learned and understands first and foremost that service and communication are the essence of any business. During all phases of each relationship, from the initial consultation through the final report, Neil is listening to your individual needs and objectives. He will:
- Design each deal accordingly
- Maintain effective communication
- Provide appropriate updates.
With Cork Counsel handling your personal, business and administrative needs and WineAlpha directing the wine appraisals and wine brokerage you can be confident of receiving expert and timely work, distinctive service, and an authoritative final product.
COMMISSIONING PET PORTRAITS AS AN ART COLLECTOR
You may not have noticed but there is a new staff member of staff at Pall Mall Art Advisors, Augie, our Springer Spaniel.
I never anticipated writing about a dog in our monthly correspondence, but Augie’s addition to my home and to our office has provided me with insight into how much we all love our pets. Certainly, artists have been portraying pets for kings, pharaohs, emperors and aristocrats throughout the history of painting. This renewed focus on our furry friends motivated me to gain greater knowledge into the techniques necessary when painting our pet.
Having seen the lively portrait of a terrier painted by Philadelphia artist Stephen Megargee, I was inspired to have him share a bit of his insight into the secret of painting a pet portrait.
Stephen Megargee comes from a long line of horse and dog painters. His ancestor S. Edwin Megargee was one of the official artists of The Kennel Club. So, it seems inevitable that Stephen would embrace that path.
Stephen pinpointed the key ingredients to a successful pet portrait:
- The artist needs to have mastered technique by practicing and perfecting. If the artist doesn’t have his 10,000 hours of practice, it will be evident in the work.
- Empathy and passion for the subject matter are essential. Many of the clients who commission a portrait of their pet have a strong emotional connection to the subject matter. It is essential that the artist himself empathizes with that connection and treats the subject matter with that level of respect.
- The painting needs to actually look like the pet. If it doesn’t, then the artist has not done his or her job. As Stephen said, “I don’t want my clients to think they are looking at a drawing of their dog, but the dog himself”.
Every portrait of a dog, cat or horse, loved by an owner, has its own story to tell. Stephen interviews the owner to find out why they are having a portrait painted and some of the key memories of their pet. This helps inspire Stephen. A good example would be the owner whose Dalmatian had passed away. All the owner had were two little snapshots of her beloved pet. Stephen decided to create a portrait that played on the two photos. The finished work became a painting within a painting. A true sign of success is the fact that many of Stephen’s clients cry when they see the final portraits of their pets.
As I welcome Augie, our Springer Spaniel, into our family, I can fully see the impact of these pets on our lives. More information on Stephen’s work can be seen on his website.