How to become a "print detective"
By Nan Brewer, the Lucienne M. Glaubinger Curator of Works on Paper at the Indiana University Art Museum
As the Indiana University Art Museum's curator of works on paper, I often get people calling about a print that they've found at a flea market or in a relative's attic. Most are simply curious to know if it is real and if it is valuable. While the museum is unable to provide appraisals, we are generally happy to assist people in finding out what they have. However, I usually warn them in advance that -- although they may have read about a $100,000 Rembrandt etching that was found in a New England barn -- the reality is that many of the prints that people bring in are photographic reproductions (i.e., mass-produced and therefore of limited monetary value).
Photo by: Peggy Bacon (American, 1895–1987). The Priceless Find, 1944. Lithograph on paper. Gift of Dr. and Mrs. Henry R. Hope, IU Art Museum 68.123.56.
When Bloomington Continuing Studies approached me with the idea of doing a course on art connoisseurship for the casual collector, I envisioned a class that would teach participants the basic research skills needed to determine what they own or hope someday to acquire. The course -- which was offered this November -- was modeled on the popular PBS show History Detectives, which uses artifacts to explore issues of authenticity, dating and previous ownership. Researchers are often shown closely examining the work for visual "clues," searching through libraries and archives, and consulting with curators and conservators. Likewise, I enlisted the help of experts B. J. Irvine, IU Fine Arts Librarian, and Margaret Contompasis, the IU Art Museum's conservator, for my class.
To become a print detective, the first thing that you need to do is to look at your piece(s) through a magnifying glass to determine if the print is "real." If your piece is a photographic reproduction, you will see a dot pattern much like those seen when looking at a picture in a magazine. Once your print passes this first test, it is important to learn what medium was used to produce the work. Physical signs are important -- for instance, an indentation just outside of the image area suggests that the print is an etching or engraving.
The next step is to determine the artist or maker. Start by looking for a signature, monogram and other indications of the image's designer, printer and publisher. More subtle clues can be found in collectors' stamps (marks that previous owners have put on the print), watermarks, chop marks (an embossed seal indicating the printer and/or publisher), inscriptions and annotations. All of these clues can be used in establishing artist, date and value.
Knowing how to find the visual clues is only the first step; research is the second. B. J. showed the class how to learn what all of those clues really mean. Whether searching for information on the Web or in the library stacks, there is really no shortcut to doing your "homework" -- but learning the standard sources can certainly make your quest easier, quicker and more fun.
Condition is an important indicator of quality and value. Margaret assisted the class in understanding what types of problems to look for in works on paper, such as mat burn, light damage, fading and foxing (mold, mildew or rust stains). She suggested which types of problems can be remedied and how to find a conservator. If you are lucky enough to have a work in "perfect" condition, be sure to provide proper housing and storage conditions.
It is best to start with one artist or a small group of artists from one period, region or school, in order to become an educated collector (or connoisseur). Visiting museums and galleries to see many pieces by an artist can help to build your visual vocabulary (or "eye"). Print study rooms are often open to individual collectors, but it is always best to check a museum's website to determine rules and accessibility well in advance of a trip.*
The class was part of an ongoing series, "For the Casual Art Connoisseur," offered jointly by the IU Art Museum and Bloomington Continuing Studies. Be on the watch for Diane Pelrine's course on collecting African art, to be offered next spring.
* For the IU Art Museum, go to the museum's Web site at http://www.artmuseum.iu.edu. From there, navigate to The Collections/Access the Collections/printroom viewing.
