Emerald Art Services' Blog

Print Terminology & “stuff on the bottom”!

emeraldartservices — Wed, 04 Jan 2012 21:12:33 +0000

The numbers on the bottom of a lithograph or other graphic usually appear as a fraction, with the denominator giving the edition size and the numerator giving the number of each satisfactory print in the edition. For example, 17/248 means that the artist has qualified this is image as the 17^th satisfactory image, out of a total edition of 248 images. Because editions are generally printed all at the same time, it is virtually impossible for the numerator to reflect the actual printing sequence. When an artist signs and numbers a limited edition work, this is affirming to the buyer that there can be no more copies than the denominator indicates. As an edition sells out, the price of the work usually increases.

Artist’s Proof: An artist’s proof is the first trial image made by an artist. With each proof, the artist can make changes and make other proofs, until they are satisfied with the results. Then the edition is printed. Instead of numbers on the bottoms of these images, the artist will write the words “artist’s proof ” or AP.

Epreuve D’ Artiste: This is another designation for artist’s proof, abbreviated as EA.

Bon A Tirer: This is French for “Good Pull”. This is the designation given to the print by which the rest of the edition is evaluated. It a print does not match the BAT , it is destroyed. Only those prints that are high enough quality are made part of the edition. The BAT is not part of the numbered edition and typically belongs to the printer rather than the artist. These are usually marked BAT.

Hors de Commerce: This is another French term meaning “Not for Trade” or “Outside of Commerce”. Traditionally these prints were pulled with the regular edition but marked by the artist for business use only. These graphics were used for entering shows, exhibits, samples, etc. Today, however, since people began to acquire and collect them, these graphics now generally find their way to the market place through regular channels and are sold. Prints are marked as: HC 1/10.

cael. or caelavit: Meaning “engraved”. Used until the end of the 1600′s

del., delt. or delin: Short for Delineavit. Artist that “Drew” the image on the printing surface.

eng. or engd.: Short for Engraved. Artist that engraved the image.

exe. or exct.: Short for Excudit or “Struck By”. Can mean either the printer or publisher

pinx. or pinxt.: Short for Painted. Proceeds the artists name for whom created the original painting the print reproduces.

If there are two names on the bottom of the print, one on the left and one on the right, the name on the left is considered the original artist and the name on the right is the artist that created the image for the print.

Walkfit Update

emeraldartservices — Tue, 27 Dec 2011 14:39:17 +0000

After receiving add-ons not ordered, I did receive a full refund + return shipping. In addition…the inserts WORK!

Art on Royal (Caribbean)

emeraldartservices — Sat, 24 Dec 2011 19:41:42 +0000

Royal Caribbean is putting the spotlight on some of the world’s finest art. Art on Royal offers you a rich and extraordinary artful experience, complete with tours, seminars, auctions and special events. Get up close with featured art works from artists as well as our Royal Signature Artists – Romero Britto and Thomas Kinkade. The Art on Royal Program is currently available on select ships through Art Actually. Art on Royal will feature artworks from artists who are part of the Royal Caribbean Art Collection.

Set sail and expand your artistic knowledge while onboard Royal Caribbean. With the guidance of our knowledgeable Art on Royal staff, participate in a variety of art-inspired events including the following:

Art Tours Designed to be both educational and fun, our Art Tours will have you walking throughout the ship and uncovering the inspiration behind our $120 million Royal Caribbean Art Collection.

Art Seminars Get the complete story on artists featured in our Royal Caribbean Art Collection. Our Art Seminars, directed by our experienced staff and sometimes a Royal Signature Artist or Royal Icon, takes place several times throughout a voyage and includes participating workshops.

Art Auctions through Art Actually Art aficionados will have the chance to join in an engaging and fun Art Auction, featuring works from Royal Art Icons and Royal Signature Artists.

Artistic Events Don?t miss out on the chance to rub shoulders with our Royal Art Icons, Romero Britto and Thomas Kinkade. Our special Artistic Events feature seminars, guided art tours and signed artworks.

Art Actually to take over Royal Caribbean Art Auctions from Park West

emeraldartservices — Sat, 24 Dec 2011 19:26:06 +0000

In May of 2010, Royal Caribbean dropped Park West, the company that handles art auctions on most cruise ships ending their cruise line art program. Now, Royal Caribbean is relaunching its cruise line art program, capitalizing on their extensive fleetwide art collection Art on Royal.

The new exclusive program is much more comprehensive and expands the breadth of onboard art-inspired events, with tours, seminars and auctions. Art on Royal integrates the entire onboard collection aboard Royal Caribbean’s fleet featuring Royal Art Icons, select artists among the entire Royal Caribbean Art Collection, and works by Royal Caribbean Signature Artists Romero Britto and Thomas Kinkade. This exclusive program, developed in partnership with Art Actually, was first piloted aboard Oasis of the Seas; is also currently aboard Adventure of the Seas and Navigator of the Seas; and will be available on most ships by the end of the year.

Through the unique Art on Royal program, guests have the opportunity to view and purchase a one-of-a-kind piece, as well as enjoy events on select sailings throughout the year. In addition, Art on Royal offers a range of gifts, souvenirs and high-valued originals, including limited-edition signed photography, prints and objects, one-off unique pieces, wall pieces and reliefs, miniatures, and artist commissions.

“Guests have always marveled at our art and many have inquired into how to purchase them” said Bauer. “Art on Royal will offer guests the opportunity to take home a lasting work of art as a memory of their cruise vacation, as well as provide a broad menu of enriching, art-inspired programs, featuring Royal Caribbean Signature Artists and Royal Art Icons pieces. This new art program is part of the Royal Advantage, Royal Caribbean’s commitment to deliver a compelling and most contemporary vacation experience.”

Art on Royal is managed by Art Actually and is inspired by the art that is on permanent display across the Royal Caribbean fleet. This extensive art collection has been compiled over a period of 20 years and contains thousands of unique art works by hundreds of established and emerging artists. The Royal Caribbean Art Collection is one of the largest private collections to be on display in its entirety on a constant basis.

Thank you to:

http://www.gadling.com/2011/07/04/cruise-line-art-program-builds-on-past-looks-to-future/

Certificate of Irish Heritage – UPDATE

emeraldartservices — Sat, 20 Aug 2011 06:20:15 +0000

Update 14 July 2011

The Minister for Foreign Affairs announced that the Certificate of Irish Heritage will be up and running by October.

Precise details are still not available but it would appear that it will be necessary for the applicant to be able to show documentery evidence of their Irish ancestry and connections to Ireland.

There’s a little more information about the announcement on my blog: Irish Genealogy News.

Further details of the Certificate of Irish Heritage will be added as they become available

via: http://www.irish-genealogy-toolkit.com/certificate-of-irish-heritage.html

The Meaning of “O’Donnell Abú”

emeraldartservices — Sun, 31 Jul 2011 12:24:30 +0000

The Meaning of “O’Donnell Abú”

By: J. Michael Finn, State Historian

One of Ireland’s most historically significant songs is “O’Donnell Abú.” Unfortunately, for both singers and listeners, it is one of the most obscure in meaning. It was originally known as “Clan Connell’s War Song” when it was written in 1843 by Michael Joseph McCann. It was first published in the nationalist newspaper The Nation. The song deals with the struggle of Red Hugh O’Donnell and Hugh O’Neill against the forces of Queen Elizabeth I, who sought to destroy the influence of the Irish earls. “O’Donnell Abú” means “O’Donnell Forward” and was the war cry of Hugh O’Donnell’s clan. The struggle began in February 1595 and would continue until the spring of 1597. Red Hugh O’Donnell united his forces with those of Hugh O’Neill and prepared to fight the English for the first time on an all-Ireland national level. The song begins with a call-to-arms for the O’Donnell clan. Proudly the note of the trumpet is sounding Loudly the war cries arise on the gale, Swiftly the steed by Lough Swilly is bounding To join the thick squadrons on Samier’s Green Vale. On, every Mountaineer, strangers to flight and fear; Rush to the standard of dauntless Red Hugh. Bonnaught and Gallowglass, throng from each mountain pass; On for old Erin, O’Donnell Abú! O’Donnell’s lieutenants are sounding the trumpets to call upon all of his troops, advising them that a united force is gathering near Lough Swilly. They should assemble on “Samier’s Green Vale.” Samier is Irish for Morning Star and is the ancient name of the River Erne that flows through the counties of Fermanagh and Donegal. Those living in the mountains are urged onward and any strangers (the English) in the area are encouraged to flee and be afraid as the forces gather under Red Hugh’s banner. Bonnaughts were Irish mercenary soldiers and the Gallowglass were Scottish mercenary soldiers. Both were in the employ of O’Donnell and were used to guard the mountain passes. They are being urged to leave the passes and advance to join O’Donnell’s force. Princely O’Neill to our aid is advancing With many a chieftain and warrior clan. A thousand proud steeds in his vanguard are prancing, ‘Neath the Borderers brave from the banks of the Bann. Many a heart shall quail under its coat of mail; Deeply the merciless foeman will rue, When on his ear shall ring, borne on the breeze’s wing, Tyrconnell’s dread war cry, O’Donnell Abú! 1 Hugh O’Neill, the Earl of Tyrone, is advancing with his clansmen to join forces with O’Donnell. He is following the course of the River Bann that runs through Antrim, Derry and Armagh – which the O’Donnell clan knew in their day to be O’Neill land. The English, who wore coats of chain mail, will be afraid and they will deeply rue hearing the war cry of the O’Donnell’s. Tyrconnell was the original name of County Donegal, the homeland of the O’Donnell Clan. Wildly o’re Desmond, the war-wolf is howling, Fearless the eagle sweeps over the plain, The fox in the streets of the city are prowling, All who would scare them are banished or slain. Grasp, every stalwart hand, hackbut and battlebrand, Pay them all back the deep debt long due. Norreys and Clifford well, can of Tyrconnell tell, Onward to glory, O’Donnell Abú! This verse recalls the terrific slaughter of men, women and children carried out by Queen Elizabeth’s soldiers across the length and breadth of Munster, where the venerated Desmonds once held power. The O’Donnell lieutenants are reminding them that the slaughter in Munster was so complete that the eagle and fox were boldly prowling the plains and the streets of the city because no one was there to scare them away. The song calls upon all “stalwart hands” to grasp the hackbut (a type of musket) and battlebrand (an Irish sword) to pay the English back for the numerous atrocities they had committed in Desmond territory. Queen Elizabeth, anticipating a tough war in Ireland appointed Sir John Norreys to the post of commander-in-chief of all her troops in Ireland. O’Donnell and O’Neill won most of their battles against Norreys and his experienced troops. Another of Elizabeth’s commanders, Sir Conyers Clifford, was in charge of Connaught Province. O’Neill and his clansmen soundly defeated Clifford. Clifford was later killed by O’Donnell at the Battle of the Curlew Mountains in County Sligo. Both Norreys and Clifford could very well tell of the bravery of the Irish soldiers and O’Donnell urges his men to go forward with further victories over the English. Sacred the cause that clan Connell’s defending, The altars we kneel at, the homes of our sires, Ruthless the ruin the foe is extending Midnight is red with the plunderer’s fires. On, with O’Donnell then, fight the old fight again, Sons of Tyrconnell, all valiant and true. Make the false Saxon feel Erin’s avenging steel, Strike for your country, O’Donnell Abú! O’Donnell’s lieutenants are reminding all of the clans that their cause is a sacred one and the safety and security of their homes and religion is at stake. The Saxon enemy will be ruthless, as he was when Munster was burned. But, now is the time to “fight the old fight again.” It is time to set aside their clan loyalties and strike as a unit for the country of Ireland. 2 O’Donnell and O’Neill ultimately lost their fight with the English. Red Hugh O’Donnell went to Spain in 1602 to seek Spanish help, but died there under mysterious circumstances. Hugh O’Neill and the other Irish Earls were forced to flee the country in 1607 in what was called “The Flight of the Earls.” This flight brought an end to Gaelic Ireland, confiscation of the clan lands in the north of Ireland and ushered in centuries of English rule. 3

Walk Fit – Bad Businessman

emeraldartservices — Mon, 25 Jul 2011 12:38:24 +0000

I ordered 2 pair of inserts from their web site. I opted out of getting the $1 trial offer cushions. THEY SENT THEM ANYWAY. I not only had to call to tell them not to bill me the balance FOR THE ITEMS I DIDN’T EVEN ORDER, but I have to pay return shipping to send the cushions back.
What a terrible way to do business!!

http://www.walkfitplatinum.com/

Fine Art, Wine & Collectible Appraisals

emeraldartservices — Thu, 30 Jun 2011 15:32:28 +0000

Emerald Art Services

Emerald Art Services provides ISA and USPAP compliant personal property appraisals for Estate Planning, Obtaining Insurance, Charitable Donations, Probate, Diminished Value, Liquidation or Divorce.

Specialties include Paintings, Prints, Ceramics, Orientalia, Collectibles, Sacred Artifacts and Wine.

Cris Drugan is an accredited appraiser with the International Society of Appraisers and has been providing appraisal services for 15 years.

Contact Cris at 330-630-5645 or see our web site at www.emeraldartservices.com OR Cris@emeraldartservices.com

Wine Collection Appraisals

emeraldartservices — Thu, 24 Mar 2011 04:36:58 +0000

Do you have an extensive wine collection?

Have you considered what you would do in the event of a catastrophic loss or other unexpected even

Bottles will break…labels will float off or burn…foils will melt. How will these wines be identified? Your last chance…the cork may have limited information. Don’t count on your insurer to understand your collection the way you do. Some will…Most won’t. Your collection is a living, breathing investment. Inventory is an ongoing process…drink some…buy more… drink some more! As your inventory is a rollercoaster, so is the value. Not only quantity, but also the varietals, origin, age and market tends will effect the value.

Emerald Art Services can provide a detailed inventory, condition report and current market value of your wine collection. This can serve as the documentation of your loss when your insurer requests it. An appraisal also documents your assets should you experience any other sudden occurrence. I am an ISA accredited appraiser with over 20 years of wine retail and collecting experience. Please feel free to contact me to discuss your concerns.

Art Loss – Fraud, Theft or Damage

emeraldartservices — Wed, 09 Mar 2011 18:36:43 +0000

It’s more exciting and newsworthy to talk about theft. The FBI’s art theft program Web site states: “Art and cultural property crime – which includes theft, fraud, looting, and trafficking across state and international lines – is a looming criminal enterprise with estimated losses running as high as $6 billion annually.” It is difficult to calculate a total dollar value because a substantial number of art crimes are not reported. When it comes to actual art thefts, the reality is far less romantic than Hollywood’s version. Thefts more closely resemble shoplifting than a scene from “The Thomas Crown Affair”. “They’re usually inside jobs by staff,” said Donald Soss, vice president for personal insurance on the West Coast at Fireman’s Fund. The employee is working with someone and gives them the alarm codes. It’s not that interesting to discuss a forklift going through a painting or a tracker-trailer overturn on a freeway. In general, more losses to artwork are due to damage rather than theft or fraud.

It is estimated that near $100 million in fine art was destroyed in the terrorist attacks on the World Trade Center on Sept. 11, 2001. According to insurance industry art experts, a majority of the art was underinsured. In addition, to this day, some of the smallest art galleries in New York have more money on their walls than banks do in their cash drawers, yet many still lack adequate security and insurance protection.

When the economy began to decline in late 2007, early 2008, it was expected that insurance fraud would most likely increase. And, as the unemployment rate, the cost of gasoline and the foreclosure rates all increased, an increase in insurance fraud became a certainty. Industry studies estimate the annual cost of insurance fraud is between $85 and $120 billion, and is growing at a rate of 10% per year. The Florida Dept. of Ins. reported an increase of 9.6% in homeowner fraud from 2008 to 2009, while South Carolina reported a 12% increase. While this represents all homeowner fraud, theft and damage to scheduled property can make up a significant portion of the losses.

Take for example sports memorabilia fraud. The problem may account for upwards of $500,000,000 in losses annually. The forgers used fake third-party authenticators in most cases, but in a few situations they sought out inexperienced authenticators who unknowingly approved fraudulent Certificates of authenticity (COA’s). Pricing is also fostering the forgery of what are claimed to be original items. With recent sales of;

a 1948 Carlo Mollino (1905-1973) trestle table auctioned by Christie’s sold for US$3.8 million
items by Jean Prouvé (1901-1984) – a Kangaroo chair sold for US$136,800, a reading table for the Maison de l’Etudiant sold for US$556,800 and a pair of perforated metal doors for the Maison Tropicale reached US$680,000
a Marc Newson Lockheed lounge sold for $200,000
an Eileen Gray (1878-1976) 1923 lacquered console table sold for US$534,000 while a lacquered screen sold for US$374,000
a 1847 Mauritius Blue stamp sold for US$3.8 million in 1993
a $176,000 was realized for a 1905 Steiff teddy bear and $231,000 for an 1875 US tin toy

vendors can falsely assert an item’s authenticity and on occasion provide a phony provenance document or even another signed document. There is a price threshold beneath which there is little concern for provenance or forensic analysis to prove authenticity. For many buyers and insurers the cost of consultation with experts or detailed forensic examinations will often be more than the price of an item. While on the other hand, if the authenticity and accurate value are not verified, collectors and insurer’s can experience huge financial losses.

*One reason for fraud is simply the limits of supply. Demand continues to grow but antiques are a nonrenewable resource. Supposedly around 80% of “ancient” terracotta’s smuggled from Mali since the 1980s have been fakes and some estimates suggest that around 60% of antiquities from China are of contemporary manufacture.

Mechanisms for forgery include -

fake signatures – adding a recognized artist’s signature (often considered to be a valuable indicator of originality) to an unsigned work not executed by that artist or by deleting an existing signature in favor of one from a more recognized artist
completing unfinished works – ‘restoring’ an incomplete work from an earlier period (with the requisite signs of age), particularly in a way that ‘improves’ it
misrepresentation – deliberately selling a retouched work by a master’s protégé (or merely from the corresponding period) as that of the particular master
reproduction – reproducing an original and selling that copy as the original
pastiche – copying details from different work by a particular artist for amalgamation as an unrecorded unique work by that artist
drafts – simulating drafts of a major work, such as an oil painting or sculpture, by concocting sketches of figures.

*the last section on fakes and mechanisms for forgery are from…