Inventory Records and Provenance Feed

Updates on the Professional Guidelines

Professional-guidelines

The Professional Guidelines were conceived in 2000 and I along with others pursued this idealistic effort until completion a few years later
.  Many people helped to bring these documents to fruition -- and to give them grateful recognition, their names are listed at the bottom of this post*  and at the bottom of every document.

Now in 2019, a few updates are due.  

The updates involve all three contracts: 

and updates in the professional practice documents:

Professional-guidelines-professional-quality-imagesSome of the updates are significant, such as references to outdated visual technologies like slides (which have been removed). 

The updated versions are now ready for more current use. 

Take a moment to download any of the 19 documents that interest you to boost your career goals -- or share with a fellow artist or maker. More updates are coming. If you notice anything that should be updated, please bring it to my attention. 

Artists and makers may sometimes underestimate the value of professionalism in their field, but a recent situation reminded me just how important it is to keep appropriate records. A well-known curator in the jewelry metal arts field contacted me regarding an important and historic book.

7729-A Lucretia-Mott-Way Harriete Estel Berman 1979
7729-A Lucretia-Mott-Way

Amazingly she asked me to go back 35 years looking for exhibition records.  When did I first show this work? What other artwork was in that show? We are talking about craft history of the 20th century and I hoped that my "20 something" self wrote it down or kept sufficient records. 

Yikes! 

 

Fortunately, (or at a bare minimum), I found my original index cards with the necessary information -- but I had them.   Looking back, those index cards were the precursor foundation that led to the recommendations presented in the Professional Guidelines document "Inventory Records: Documentation and Provenance".

Photos of Harriete posing for Silver-Iron
Photos taken for Silver Iron, 1979

 

Silver-Iron-1980
Silver Iron, 1980

Ahh, what a stroll through distance memories as I was looking through boxes of old images, even black and white photos, that seem so archaic in comparison to our technologies now, but I found them.

 

 

 

Berman-silver-iron-open
Silver Iron, 1980

Your work could be part of the history in your field. Yes, the media that you might be inventing today may become history in future decades, but only if you document the work in a permanent way.  Posting on Instagram is great, but it is not a permanent record. 

Are you prepared for your future history in the arts?

Harriete  

 

 

 

 

 

Professional-guidelines-inventory-records

Professional Guidelines Committee:

Author: Harriete Estel Berman
Artist, Advocate
San Mateo, CA

Contributing Editor: Andy Cooperman
Jeweler, metalsmith
Seattle, WA

Suzanne Baizerman
Independent Curator
Previously curator, Oakland Museum of California
Oakland, CA

Boris Bally
Production metalsmith
Providence, RI

Sharon Campbell
Collector, Artist Representative
Seattle, Washington

Tami Dean
Jeweler
Portland, Oregon

Jeannine Falino
Independent Curator
Previously curator at Museum of Fine Arts, Boston
Wayland, MA

Cherry LeBrun
Owner, de Novo Gallery
Palo Alto, CA

Nancy Moyer
Jeweler, Professor (retired)
McAllen, TX  

Marc David Paisin
Attorney at Law
Oakland, CA

Sienna Patti
Owner of Sienna Gallery
Lenox, MA

Biba Schutz
Studio jewelry
New York, NY

Linda Threadgill
Educator, metalsmith
Santa Fe, NM


Bruce Metcalf
Board Liaison & Editor
Bala Cynwyd, PA

Kathleen Browne
Board Liaison
Ravenna, OH

Lloyd Herman
Independent curator
Bellingham, WA

Darle and Patrick Maveety
Collector, former curator and gallery owner
Gleneden Beach, OR
Palo Alto, CA

Marilyn da Silva
Metalsmith; Professor, California College of the Arts
Oakland, CA

Lynda Watson
Artist
Santa Cruz, CA

Don Wollwage
Distribution of paper copies
Alameda, CA

 

 


Fabricating TRUTH - Speaking our own mettle

IMG_20170320_155059415_HDR truth fruit crate label
Since the Inauguration, the political situation seems to turn every day a bit sideways or upside down.
After the Women's
March, I felt paralyzed.  Truth, which I thought was an absolute concept with a clear definition, was being repeatedly perverted, dismissed as fake, and replaced by fabricated alternative facts.

Then I realized that a piece that I had worked on several years ago had more resonance than ever.  It was inspired by a fruit crate label (from around 1930) that signified quality.  The brand name was "TRUTH".   

 

 

Truth-newsletter


IMG_20170221_161211771_HDRThe irony was obvious.  Here I was also fabricating TRUTH.  But unlike the current administration, mine is made by hand, not made up.

Putting everything aside, I started fabricating several companion pieces: ALTERNATIVE FACTS,  Circular Logic, and Web of Lies -- all as bracelets to be juxtaposed with TRUTH.  

Creating tangible artworks with symbolic meaning helped me express my perspectives about the current political mess. But as I sat at my bench spending all my free time on political work to vent my frustration, I wondered why I was dedicating so much time and effort to fabricating TRUTH instead of my other projects or just having a good time.

Would anyone ever get to see these pieces beyond the lone page on my website?

Alternate-Facts-Bracelet-500

To my amazement, my political protest jewelry was shared with a larger audience on the political pages of CNN.  YEP! CNN.   CNN included my work in an article, "How artists are marking Trump's 100th day in office" and it was posted last weekend written by Shachar Peled, CNN.  

CNN actually found my work on the local San Francisco station, KQED, arts series, "First 100 Days: Art in the Age of Trump" where there was an excellent feature article by Cleo Noveno, Fabricating ‘Truth,’ One Tin Can Bracelet at a Time.

In preparation for my interview with Cleo Noveno, I practiced with my husband to articulate the ideas behind this work. It is one thing as an artist to make something based on intuition, but it is another skill entirely to be able to articulate the ideas to a different audience using words.  New work always takes me weeks to months to verbalize and I had one day to figure this out.

Why jewelry inside TRUTH?
Why jewelry to articulate political issues?


It was then that I started thinking about historical jewelry and metalwork that has expressed powerful and important political and patriotic ideas throughout our nation's past. There are many examples.   

Sons-of-liberty-bowl
Sons of Liberty Bowl
Dimensions: 14 x 27.9 cm (5 1/2 x 11 in.) The irregular finish is the fire scale from the original fabrication. 

The most famous American example of metalwork expressing a political and even patriotic idea is the Sons of Liberty Bowl, which is more commonly referred to as a "Revere Bowl."   This silver bowl was fabricated by the famous Paul Revere prior to the American Revolution. It was commissioned by fifteen members of the Sons of Liberty and "raised" by hand (a metalsmithing term for the fabrication of the bowl in metal) by Paul Revere in a patriotic fervor.  It was then engraved by hand with the names of the members of this secret political group. Engraved deeply, it represented a pact, a resolution.

These brave patriots literally engraved their names in history.  "The Liberty Bowl honored ninety-two members of the Massachusetts House of Representatives who refused to rescind a letter sent throughout the colonies protesting the Townshend Acts (1767), which taxed tea, paper, glass, and other commodities imported from England. This act of civil disobedience by the “Glorious Ninety-Two” was a major step leading to the American Revolution."  

Sons-of-liberty-not-to-rescindBut take special note of their engraved pledge at the bottom,  it says, "Voted - Not to Rescind."

There is plenty of additional text engraved on the bowl 
including the provenance of the bowl. It is worth taking a look at the many images and information on the website of the Museum of Fine Arts, Boston. 

Metal, work hardened, fabricated with sweat, and engraved permanently with political meaning, the "Sons of Liberty" bowl is described as one of three most important objects in the United States of America. This bowl stands with the Declaration of Independence and the Constitution.  

Throughout world history, there are many examples of jewelry reflecting political sentiments.

Iron-jewelry-19th-century Some very famous patriotic jewelry is a series of Prussian ironwork from the 19th century. 

As Prussia fought wars with Napolean, the government asked its patriotic citizens to give their gold jewelry to the government to fund the war efforts. In return, they were given this finely made iron jewelry.

Antique-Berlin-Iron-JewelryAt a fraction of the intrinsic value, it had another value instead. Imagine giving up your gold jewelry for this iron replacement, but wearing this jewelry must have been a visible symbol of your patriotism in that time.

  

 

Holloway BroochWhile researching for other historical political jewelry, I found this brooch designed by painter, Sylvia Pankhurst around 1900.  Sylvia's artwork and imagery gave the Suffragette Movement, and more specifically, "the Women's Social and Political Union, its coherent visual identity."


This Holloway Brooch (left) was presented (after imprisonment) to ex-suffragette prisoners at a mass demonstration at the Albert Hall on 29 April 1909."

Fabricated in silver it represents the portcullis symbol of the House of Commons in London, including the gate and hanging chains in silver. Superimposed on top was a broad arrow in green, white and purple enamel.  The three colors green, white, and violet were symbolic for the slogan "Give Women the Vote."  

Political activism for women's right to vote was a hard won battle we still seem to be fighting more than 100 years later.  I appreciate the parallel to the political activism and symbolism of the Suffragette jewelry and the parallels to what is happening in politics.  You may enjoy reading more about the Suffragette movement. 

Suffragette-pinFor wealthy women supporting the Suffragette Movement fine jewelry was also sold. This brooch (right) was shown in the Madeline Albright book and exhibition "Read My Pins." The first letter of each color Green - White - Violet were translated into gemstones and pearls.  More information about Suffragette Jewelry.

 

Victory-bakelite-pin Moving into the 20th century, there are examples of patriotic jewelry like this V for victory pin. (It looks a little odd, but the plastic has yellowed giving all the colors including the white and blue a soft yellowish cast.)

 

Vintage-1960-peace-signA final example for the moment is the Peace sign pendant. Considering that the peace movement was generally of the counter culture, I wonder if there ever was a more precious peace sign. 

 


These examples only 
begin to touch on the idea of metal work and jewelry with a political message.  There are more...

I.M.A.G.I.N.E.PEACE-NOW.posterThe recent exhibitions and catalog about gun violence Imagine: Peace Now includes a wide selection of metal work with a political statement that also runs counter to the right wing agenda. 90 decommissioned gun  are transformed into art objects.

Organized by Boris Bally it sends a visual message about the impact of gun violence.

The beautiful catalog includes professional quality images of all the work.


If you think artists have something to say in this political climate, say something.

Catalog-book-IMAGINE-exhibitionOne way is to VOTE for this show on USA today.

Thank you to everyone who voted to support Imagine Peace Now's next exhibition venue in a competition sponsored by USAToday.  (scroll down a little for the "VOTE" text.) 

For all the artists and makers reading this post I want us to remember and hold close to our hearts, that a visual image carries the weight of words.   A visual image can represent or unify a vision more readily than a speech. This is why political marches include signs. Our work has something to say, and others of like mind would like to see it and share it with an even larger audience. RESIST!  

Send me an image of your political work.

Options:
Leave me a comment for how to get in touch,
I will reply, and then you can send an image of your political work.  
Email me directly by clicking on the envelope below my profile photo in the left column.  

I will add images to this post. I am thinking about writing an article.

Where is a show about the politics of our time?

Harriete

This post was updated on December 13th, 2021.

RELATED POSTS: 

Using a Gun in Whole or In Parts - The Meaning of Materials

Vision of the Artist, Vision of the Photographer

"Previously Owned By . . ." ADDS Value IF you have the Provenance

Lineage, Provenance, Maker Marks, & Macchiarini


An Astounding Jewelry Discovery

The Professional Development Seminar for the 2014 SNAG Conference focused on the importance of documenting your work, Inventory Records: Documentation and Provenance along with your maker's mark. History can have a short memory and recently this was brought to my attention in a very surprising and astounding jewelry discovery!

In 2006 my parents bought this wonderful necklace and earrings for me!
Caroline-Broadhead-Nuala-Jamison-Necklace-Earrings
My parents knew I would like the colorful necklace and big earrings -- just my style. In addition, I collect vintage acrylic jewelry and lamps so they knew they had found something that would fit my tastes perfectly.   For the past nine years, the only thing that I knew about the necklace and earrings was that my parents bought it in Florida at some antique or consignment shop.

Fast forward to the recent 2015 SNAG Conference in Boston.  On the final night I decided to wear the necklace and earrings for the evening activities. As you can imagine, many people wear fantastic jewelry to a finale event for the Society of North American Goldsmiths. 

It was then that my friend Marjorie Schick identified the necklace as the work of Caroline Broadhead (one of my jewelry & installation heroes).  I was stunned. I had no idea.  Marjorie recalled that in the 1980's, Broadhead set up a business in London with Nuala Jamison "making buttons and acrylic jewelry for Jean Muir and other dress designers." 

Caroline-Broadhead-Nuala-Jamison-Earrings-1

Marjorie and I immediately looked carefully at the necklace and earrings in better light but found no maker marks.  We went to a computer to research further and promptly found these similar earrings (left) from the Crafts Council Collection Online with attribution to Nuala Jamison and Caroline Broadhead for C&N Buttons & Jewellery Production circa 1992. 

Caroline-Broadhead-Nuala-Jamison-VZ-cu2Further research also discovered this necklace by Nuala Jamison and Caroline Broadhead at a Von Zezcchwitz auction in 2009.

Caroline-Broadhead-Nuala-Jamison-Von-Zezschwitz

How did Marjorie Schick know all of this information? I've worn the necklace at several other SNAG conferences and no one said anything before. Marjorie glowed with enthusiasm as she recounted her experience.  She said, "I made trips to the UK and Holland, etc. during the 1980's and spent at least two sabbaticals and a summer in London so I was meeting a lot of people AND buying a few pieces.  I enrolled at the Sir John Cass Faculty of Art, Architecture and Design and later was artist-in-residence there as well as at Middlesex University and both schools provided the opportunity to meet more artists.  I love that time period when the “New Jewelry” was happening and feel that I am fairly knowledgeable about it --- having lived it and having been a part of it." 

This has been an exciting discovery. I've been bursting to share this jewelry tale. To think that I own a necklace and earrings by Caroline Broadhead is just wonderful. I have always loved wearing this jewelry, but now appreciate it with more insight and knowledge. 

Lessons learned for everyone:

  • Put your maker mark on all your work, some how, some way, so that your jewelry can tell a story even if you aren't there.
  • Be on the look out for fabulous necklaces by your jewelry hero. Some day you may find an example at a flea market on the ground (like this story about a Calder necklace) or at a consignment shop.
  • Trust your instincts and buy fabulous jewelry for $15, $50, or if you can afford it, $5,000. Don't wait. Your eye for jewelry may be a discovery.  
  • Wear your jewelry.
  • Be knowledgeable about your fields of interest. 
  • Conferences can offer wonderful surprises (keep this in mind when wondering if it is worth going).
  • Speak with your own voice with everything you make.  

This post was updated on December 10th, 2021

Sculpture-to-Wear-Marjorie-SchickSculpture to Wear: The Jewelry of Marjorie Schick

This is a fabulous book about jewelry as sculpture you won't see any where else. Beautiful photos, and a complete Oeuvre Catalog clearly demonstrates the vision of this unique maker Marjorie Schick. Essay by Tacey Rosolowski.

If you love color or jewelry then this book is a must! Ask your library to add it to their collection. Marjorie does not have a website and only a fraction of her work is on the web. 


Learn to keep Inventory Records: Documentation and Provenance of your work.

InventoryRecordFORM
MORE POSTS about Inventory Records: Documentation and Provenance can be found here.

TAKE A MOMENT to study the jewelry and installations of Caroline Broadhead.

Caroline-Broadhead-Jewelry-In-StudioCaroline-Broadhead-Portfolio-Collection


Without Photos, Does My Art Even Exist?

Recently I unpacked an old piece of work knowing it had never been photographed.  Beautiful work that I loved -- and had shown in my own living room.  But the work was never photographed ... and usually sat in it's box in a closet.  

To my dismay and a wrenching insight, I realized that without photos, how would a collector, gallery, or exhibition ever know of their existence.  In effect, outside my own memory, the work did not exist.  

Godiva-no-image

If an artwork isn't photographed nor documented, and no one sees it, does it exist in the age of information?  

With no photos the work can't be shown on my website. I can't sell the work or tempt a collector without photos.

Without photos, if damaged, I can't even make an insurance claim.  I am usually so cautious that even if work is being photographed for an exhibition, I have photos taken before it is shipped.

Godiva-upside-Down-oVER

It turns my world upside down to think that for 11 years, these chocolate cups just sat in a box.

Chocolate Godiva Cups from recycled tin cans in blue and gold by Harriete Estel Berman

Then one step further.  Professional quality photographs are necessary, if you want the photos to represent the quality of your work. 

Whitman's Chocolate Cup constructed from recycled tin cans in light powder blue, and gold by Harriete Estel Berman

If you have not documented the work with your Inventory Record,
then it is not part of your oeuvre. Yet, we want to be remembered for our work! 

Documentation is everything in the age of information.

Chocolate Cups—Whitman’s & Godiva © 2003 Harriete Estel Berman
Two chocolate cups constructed using recycled tin cans from chocolate candy products. The cups are filled with luscious "hot chocolate" made from polyester resin. Additional materials include:  10k gold and aluminum rivets, brass and stainless steel screws.

Whitman’s Chocolate Cup: 6” height x 4.5” diameter base x 4.75” width at top
Godiva Chocolate Cup: 6” height x 5 5/8” diameter base x 3.75” width at top

Retail Price for each cup: $985
Photo Credit: Philip Cohen 2015

 

RESOURCES from the Professional Guidelines

Guide to Quality Photographic Images

Inventory Record: Documentation and Provenance  

Working with Digital Images Effectively


Appraisers Approach to Appraising Value

Worry About Worry Beads Coming Undone by Harriete Estel BermanNot too long ago I received an email from an art appraiser of "modern and contemporary design." The appraiser was contacting me to discuss the value of an artwork that I made in 1997, which sold shortly after. Now the collector is donating the work to a major museum!

Donation of my artwork by a private collector to a museum collection is an amazing opportunity. It aligns with my professional goals, i.e. one way for my work to enter a major museum.

1 Worry Bead by Harriete Estel Berman from recyled tin cans 72But the appraisal presents a challenging situation - how to establish "current value" for my work? This is especially difficult when the artwork is one-of-a-kind. There is nothing within my oeuvre that is like it. Since I don't have a gallery representing my work, the appraiser contacted me directly. I was kind of intimidated.  Was I just supposed to grab a number out of the air?

This topic and related issues will be part of the upcoming Professional Development Seminar in 2014.  In the meantime,  I'd like to share the experience so that others can learn and perhaps raise good questions. Stay tuned for more information.

The appraisers letter is copied below. I will be as transparent as possible, but discretion shall prevail as well (names and dollars have been removed) .

THE BEGINNING  - AN EMAIL.

"Dear Ms. Berman,
 
I am a New York-based design and decorative arts appraiser and I'm currently appraising a piece of your work, Worry About Worry Beads Coming Undone (1997), for museum donation.
 
Given that you often sell directly to clients, I hoped you might be willing to provide your thoughts as to the current market value of the piece. It would be especially helpful if there are recent comparable sales, although I recognize this might be difficult. I have attached images of the necklace for your review.

The details are as follows:
Harriete Estel Berman (USA)
Worry About Worry Beads Coming Undone, Necklace, 1997
Printed tin, stainless steel
Bead Diameter: 3”; Cable coil length: 48”
3 ½” x 19 ½” x 17 ¼”
Thank you for your willingness to assist with this. I look forward to hearing back at your convenience.
 
Best regards,
(the appraisers name here)"
Worrying Upon Worry Coming Undone Worry Beads in a box from the collector waiting to be appraised. Worrying Upon Worry Beads Coming Undone by Harriete Estel Berman donated to a museum collection waiting appraisel
 

 

ASK-red-yellowI was certainly flattered but her request opened some important issues.  Consequently, my return email asked if we could have a phone conversation.  For a variety of reasons, I needed to learn more about where she was coming from as an appraiser. An email could not possibly cover the complexity of an appropriate answer. It would be quite informative to learn how she usually determined the value of an artwork as an appraiser. What information should be considered? How could a single number reflect past events and present environment.  Such a complex situation! This will be the topic of the next post.

There was also the super amazing serendipity of the request since the theme of the upcoming Professional Development Seminar in 2014 had recently been chosen as "Collectors, Collections and YOU." This PDS will cover the topic of establishing value for your artwork, the secondary market, and getting your work into museum collections.

In my opening conversation with the appraiser I asked if it would be OK to share our discussion about the relevant issues of appraisal valuation on ASK Harriete.  She agreed if discretion could be observed.
ASK-Harriete-Red-Yellow-Cut-out

So I will reveal as much as I can in a series of posts.

 


Values With and Without a Maker's Mark

Is this jewelry worth $5,000?
                                  $15,000?
                             or $50,000?

FabergeTwoEarrings

It depends.   At least that is the opinion of the jewelry appraiser on Antiques Road.

Originally these were cuff links.  The current owners story was that they were Fabergé given as a gift from the Czar Nicholas II. Subsequently they were converted to earrings, and the original maker mark was removed along with the cuff link fixture on the back. 

As earrings they are worth an estimated $5,000 to $7,000.

The appraiser continues: "If they were converted back to cuff links, it wouldn't be original condition, of course, as cuff links...but they would be closer to their original condition. They would probably be worth $12,000 to $15,000."

If the inventory number on the back of the jewelry is confirmed to be a pair of Faberge cufflinks owned by Czar Nicholas II, "as Fabergé cuff links-- even converted-- in a retail setting, they would probably be sold for $40,000 to $50,000."

The significant issues here are condition, maker's mark of Fabergé, and provenance.

Condition counts. Converting the cuff links to earrings affects the condition; usually to the negative.  The general rule is that a preference for original condition brings top dollar.

The maker's mark confirms that these are genuine Fabergé, not simply in the style of Fabergé or another Russian jewelry maker.

Provenance is the documented history. While the participant on Antiques Roadshow had a great story, she had nothing in writing. This is why the appraiser says, "Czar Nicholas II kept a little book of his own collection of cuff links, and we could compare it to that to see if anything like that [inventory number on the back] appears [in the records of Fabergé or the Czar's records].

While few of us are as famous as Faberge (at least not yet), we can keep great inventory records to document our work for history.

The Professional Guidelines has a document, Inventory Records: Documentation and Provenance that you can use as a model for your records. The sample Inventory Record Form can be downloaded and printed for your convenience. Use this form to document important information about your work. It is available as a PDF suitable for printing or Excel.

Even if you do production, keep records for each style and the number produced.

Always mark your work. These two steps may affect the value of your work now or in the future.


Identity of the Maker Establishes Value - from $15 to $300,000

Is your maker mark on your work?

The identity of the maker can raise the price from $15. to $267,750.

In this amazing story a "rare piece of jewelry plucked from a flea market" was auctioned at Christie's for an estimated $200,000- $300,000.
Calder Necklace spiralWhat are the issues here?

First, the person who found it at the flea market had to appreciate it's dynamic, perhaps even commanding  appearance in the context of a flea market... the "guy had it in a box on the ground,”

Next: she sees the Calder jewelry exhibition at the Philadelphia Art Museum and becomes informed, a great reason to study and learn about the decorative arts.

But the most significant issue, the one that changes a $15 necklace found at a flea market into a mind blowing value, is that it had to be authenticated by the Calder Foundation in New York. "Part of the mission of the Calder Foundation is to protect the Artist’s legacy. Many existing works are often misattributed to Alexander Calder." (Examples of Calder Jewelry can be found here.)

The foundation discovered that the necklace was indeed an authentic Calder originally exhibited at the Museum of Modern Art in 1943.

More recently, Christies' auctioned the necklace on September 26, 2013.  The price realized for the Calder Necklace = $267,750

Issues to consider:

  • Maker marks or signature for your art or craft
  • Importance of provenance
  • Materials do not equal value
  • Impact of auction house on price

We can learn a lot from this example.
AND I have more to come in future posts.

ADDTIONAL COMMENTS & RESOURCES

Slide show of jewelry by Calder on The New York Times Website.

Information about the Calder Jewelry exhibition at the Philadelphia Art Museum. (I saw the show at the Philadelphia Art Museum in 2008. It was small but amazing.)

Fabulous images of Calder's stabiles and mobiles along with other work can be found on ARTSY. There is also an interview with his grand-son.

Here is a link to another maker mark example. In this segment from Antiques Roadshow,  there was a deliberate effort to fake the maker's mark.  You can watch the video segment here.