H. C. Westermann

c. 1946 H. C. Westermann (top) and acrobatic partner on deck of the U.S.S. Enterprise.

When thinking about the art scene of the late 1950s and ‘60s, most Americans think of the Pop Art movement and artists like Andy Warhol and Roy Lichtenstein in New York. However, in Chicago, H. C. Westermann was creating intricate pieces of art that played on themes of war, death, love and the mementos of a life. They were very hands-on personal pieces, different from the advertising influenced art of the masses that was the Pop Art movement.

Westermann was born Horace Clifford Westermann in Los Angeles, CA in 1922. At a young age, he submitted drawings to Disney Studios and was offered a job, which was later revoked when his young age was revealed. He also took an early interest in acrobatics, which continued into his adult life, resulting in a fellow artist commenting, “At times it seemed that I got to see the soles of his shoes as much as I did his face.” He joined the marines during World War II, and later re-joined during the Korean War, where he observed several kamikaze attacks, resulting in numerous deaths. Between the wars, and after, Westermann attended the Art Institute of Chicago, and stayed in Chicago to complete his education.

H. C. Westermann in Chicago, c. 1950s

Westermann was highly influenced by his time in the Marines and all that he witnessed. For example, the sculpture shown below has the appearance of an old sailor’s treasure trove, with its finely carved wooden lock and chain and the wooden rope clutched by the upright fist. Furthermore, every item contained within the chest speaks of an adventure or loss in some unknown person’s life, now tucked away in a static almost melancholy manner.

Korea, Mixed Media Sculpture, c. 1965 (The Smart Museum of Art)

Likewise, another sculpture, shown below, shows a military perspective of the world. A carefully balanced globe is topped by a silhouetted cut-out of Dick Tracy, while aggressive implements of war emerge from the surface of the globe. The orb also feels tethered by an intricate chain and pulley system, weighted by a mini skyscraper.

The Unaccountable, Mixed media Sculpture, c. 1959

Both items described above have a unique hand crafted quality, which makes them feel like personal artifacts. They are in distinct contrast to the Pop Art creations of Warhol and Lichtenstein. This is not to say that one form of expression is more important then the other, but rather it is an example of how differently artists can interpret the world around them, even within the same time period. To learn more about the significance of your items, please call or email MIR Appraisal Services, Inc.

Researched and written by Anja Keppeler

MIR Appraisal Services, Inc.
Principal Appraiser: Farhad Radfar, ISA AM
307 N. Michigan Avenue, Suite 308
Chicago, IL 60601
(312) 814-8510

MIR Appraisal Services, Inc., is located just steps from the Art Institute of Chicago and the Chicago Cultural Center; please do give us a ring to set up an appointment for a verbal evaluation of your most prized works of art.

Bibliography
http://www.mcachicago.org/westermanncurriculum/frames/frm_home.html
http://www.tfaoi.com/aa/3aa/3aa333.htm
http://www.lib.uchicago.edu/cgi-bin/efts/smart/display.image.pl?accession=2002.122
http://www.cowanauctions.com/past_sales_view_item.asp?ItemId=74633

The Art of Collecting Prints

Collecting prints is an affordable way to purchase great pieces of art from major artists. However, prints are also an area of art collecting where most individuals get into trouble. This is due to the fact that there are so many fake prints on the market; prints are also being sold as original states when they are actually more recent printings. So how is a print collector supposed to filter through all the fake prints and different print states that are on the market, and why is this important?

The first thing to understand is what a print state is. An artist will create an image, and then the artist, or a craftsman, will make a plate based on that image. This plate will then be used to create a print through one of the various printing processes. The original plate can then be used over and over again to create more prints. In some instances prints made from the same plate are created centuries apart. The plate for Rembrandt’s The Hundred Guilder Print was originally created in the 1640s, and the initial prints made from this plate are considered first state prints. After some time, some additional shading was added to the plate, and a new series of prints were pulled; these are considered second state prints.

Portion of an original woodcut by Dürer plate

An early print pulled from the Dürer plate (Ivins, 10-11)

This is an important factor to consider when collecting prints, because the quality of a print, and thereby its value, will vary from state to state. The quality can vary due to several factors. For example, use and time may wear down the lines of a plate, causing print lines to appear murkier; also, a second party might rework an original plate a century after it was made, giving it a slightly “off” appearance. Practically all prints pulled from an original plate have some value, but that value will vary depending on the quality of the state. It is a factor print collectors should consider when purchasing or having their prints appraised. You would not want to pay for a second state Hundred Guilder Print and, in actuality, buy a 19th century print.

Print A was pulled from the original plate in the 16th Century.
Print B was pulled from the same plate in the 19th Century (Ivins, 20)

The good news for those who unknowingly pay too much for a later printing is that at least they still have purchased an original print. Collectors can really get into trouble when they unknowingly purchase a fake print. In the 20th century, printing techniques became more advanced, and in many instances less labor intensive. The result was that artists such as Salvador Dali, Pablo Picasso, Marc Chagall and Joan Miro experimented with various forms of print making and were very prolific. Due to the fact that they were so prolific and their prints were fetching such high values, several forgers emerged who were able to create numerous fake prints that simply slid into the mix among the vast number of originals. These fake prints often feature forged markings and signatures, and can have a somewhat lackluster appearance.

Original print by Salvador Dali

Original print by Marc Chagall

Although there are numerous factors to think about in regards to collecting prints, an experienced appraisal office with a team of researchers and experts, such as MIR Appraisal Services, Inc., can help. Our certified appraisers can determine the authenticity of the prints you currently own, and serve as consultants when you purchase new prints. As stated before, collecting prints is a great way to own several pieces by major artists, but if you are worried you are not getting what you paid for, you may want to seek the advice of a certified appraiser.

Researched and written by Anja Keppeler
MIR Appraisal Services, Inc.
Principal Appraiser: Farhad Radfar, ISA AM
307 N. Michigan Avenue, Suite 308
Chicago, IL 60601
(312) 814-8510

MIR Appraisal Services is located just steps from the Art Institute of Chicago and the Chicago Cultural Center; please do give us a ring to set up an appointment for a verbal evaluation of your most prized works of art.

Bibliography
Ivins Jr., William M. How Prints Look. Boston: Beacon Press, 1987.
Longstreet, Stephen. A Treasury of the World’s Great Prints. New York: Simon and Schuster, 1961.
White, Christopher. Rembrandt As An Etcher: A Study of the Artist at Work. London: A. Zwemmer Ltd, 1969.

MEISSEN PORCELAIN: History meets quality

Meissen Tea Service, Available at: http://www.chicagoartappraisers.com/invmeissen9.html

Any individual or collector who takes an interest in porcelain knows the name Meissen well. But why are items made by the Meissen Porcelain Manufactory so well-known and valuable? It is because Meissen has continually produced high-quality hand-crafted work since its founding as the first hard-paste porcelain manufactory in Europe.

Meissen porcelain is made in Meissen, Germany, just outside Dresden. The manufactory was founded by the Prince-Elector of Saxony, Friedrich August I in 1710. However, the foundations of the manufactory began much earlier, when the Prince-Elector of Saxony took a young alchemist, Johann Friedrich Böttger, under his protection. Böttger was meant to chemically produce gold for the prince, but instead, in 1708, he discovered the secret to making porcelain, and the first hard-paste European porcelain manufactory soon followed.

Meissen Hunting Cup, by Johann Joachim Kändler, circa 1741(Metropolitan Museum of Art)

Once the manufactory was established, it began producing hand-made porcelain pieces, which continued to develop in quality and detail. The pieces created under model master Johann Joachim Kändler, who joined the company in 1731, are particularly exemplary. A prime example of Meissen quality and importance is the porcelain hunting goblet produced in 1739 for the Prince-Elector of Cologne, Clemens August. The piece is highly detailed and was created using several individually molded pieces (see image below). The original that belonged to Clemens August has long been lost, but three other goblets pulled from the molds at the same time (backups in case the original cracked in the kiln) were uncovered in the 20^th Century. These goblets fetched high prices when sold, and are now all in museums and prominent collections.

Plaster molds and assembly for a 20^th century remolding of the Clemens August Hunting Goblet (Röntgen, pg. 8)

Meissen pieces have such a strong reputation because of their historical significance and quality. Due to this, they have long been fodder for imitators and forgers. Furthermore, there are often official Meissen pulls from old molds causing confusion in regards to the age of particular pieces. So, how do you, as a new collector of Meissen, determine the authenticity, value and age of your porcelain items. The easiest way would be to look for a mark and compare it to official Meissen marks from all periods. However, sometimes items go unmarked, or the fake mark is so good that it passes as valid by the untrained eye. This is why taking your items to a professional appraiser will prove invaluable. We, at MIR Appraisal Services, Inc., will examine your porcelain and help you determine the value, age and authenticity of your items. Please feel free to call or email us with any questions, or stop by our office to meet our staff in person.

Researched and written by Anja Keppeler

MIR Appraisal Services, Inc.

Principal Appraiser: Farhad Radfar, ISA AM

307 N. Michigan Avenue, Suite 308

Chicago, IL 60601

(312) 814-8510

MIR Appraisal Services is located just steps from the Art Institute of Chicago and the Chicago Cultural Center; please do give us a ring to set up an appointment for a verbal evaluation of your most prized works of art.

Bibliography

http://www.metmuseum.org/works_of_art/collection_database/european_sculpture_and_decorative_arts/cup_hunting_with_cover_meissen_manufactory/objectview.aspx?page=62&sort=2&sortdir=desc&keyword=&fp=61&dd1=12&dd2=0&vw=1&collID=12&OID=120021909&vT=1&hi=0&ov=0

Röntgen, Robert E. 1984. The Book of Meissen. Exton, Pennsylvania: Schiffer Publishing Limited.