The Art of the Portrait Miniature

Snapshots of loved ones are some of our most prized possessions. They are a visual record of someone dearly cared about and serve to sharpen or even correct our memory. Photography’s rise in the 19th century instantly recognized a market for portraits to be distributed to family and friends. Initially an expensive and time consuming endeavor, a trip to the local photographer eventually became an affordable and inexpendable ritual worked into the Sunday afternoon schedules of almost every family in the United States and Europe. In an age of digital photography the importance of such individual images has largely been lost. Digital cameras, capable of holding hundreds of pictures that are instantly displayed, have diminished our connection with people of the past century that only had a handful of pictures covering their entire life.

The interesting origin of portable likenesses stretches back hundreds of years to miniature portraits and their origin in the illuminated manuscript. Initially contrived of in the beginning of the 16th century, miniature painters usually painted in watercolor and gouache, first on vellum (parchment made of animal hide) and eventually on ivory. These skilled painters were only allowed a few square inches of space to work with but managed to capture surprisingly life-like images of their subjects. Miniature work was not limited to portraits and also was comprised of landscapes, mythological images and historical scenes. The personal portrait is by far the most interesting form, however, because it offers an intimate glimpse of the sitter. More relaxed than a formal portrait, these small images were commissioned by wealthy citizens with the intention of leaving a portrait for someone close.

France is said to be the birthplace of this unique art form, but the production of such a small-scale portrait did not stay a secret for long. 17th century England fostered a long line of miniature painters in dialogue with one another, a characteristic unusual for such a genre. Continental Europe worked to refine such portrait miniatures, and it wasn’t unusual for a German artist to study portrait miniatures abroad before going home and creating them himself. Eventually the practice was exported to colonial America and became popular with the wealthy merchant class of the east coast. Only with the rise of photography and the carte-de-visite in the 1850s did such a useful and important form of art die out.

These items are understandably collectible today because of their craftsmanship, uniqueness and background. MIR Appraisal Services has a couple of these portable portraits in its collection, both French from the beginning to middle of the 19th century. One depicts an elaborately dressed woman with an imperial hairdo while the other portrays a staunch, sober man with a dark jacket and grey hair, both on ivory. They are only a few inches in diameter and their exact identity is unknown. They are remarkable examples of the great talent these artists possessed and an interesting piece of pictorial history.

Portrait miniatures allow us a glimpse into a class and time period that otherwise may not have a human face at all. The subjects of such images were of a higher social status than most but most were never to be the subject of a large-scale oil painting. Many likenesses of some of the most famous people in history are based on sheer conjecture, but the miniature portrait can occasionally assign a face to a name. At the very least, they allow us an opportunity to view the various styles of an era and nation, adding to the authenticity of our historical imagination.

MIR Appraisal Services, Inc.

307 N. Michigan Avenue, Suite 308

Chicago, IL 60601

(312) 814-8510

Works cited:

Smeyers, M. and Graham Reynolds. “Miniature,” in Oxford Art Online.

http://www.oxfordartonline.com.flagship.luc.edu/subscriber/article/grove/art/T058387#T058390

Pocket Watches: Historical Overview & Collectibility

Pocket watches although not inherently common in everyday utility are still a timeless token of the days of old and can make a great valuable collectible item.

The first transportable watches or pocket watches came about in the 16th century. Prior to this, clocks in general were only exhibited on clock towers in town halls or monasteries. By the 16th century, transportable watches could be worn around the neck or carried in one’s pocket, and new technological mechanisms such as the minute hand were introduced to bring about more precision and accuracy.

By the 17th century, the design of the pocket watch became more rounded, and clock manufacturers began to focus not only on the craftsmanship of the watch but the design of the case, tying art into functionality.

The evolution continues into the 18th century. Artistic designs became more intricate and the addition of jewels increased the price and value of a single pocket watch. Maintenance of the pocket watch included the use of oil to lubricate the clock gears, creating easier movement in the clock’s hands with less noise associated with squeaky gears. The second hand was also added, increasing the accuracy of time telling.

The heyday of the pocket watch peaked during the 19th century. The quality of the pocket watch was far superior then ever before, and several prominent clock manufacturers had established names for themselves during this era. The popularity of the railroads in the mid-late 19th century, initiated the widespread functionality of the pocket watch. Train conductors relied on time accuracy, and pocket watches served as tools to keep trains running on schedule as well as avoid conflict with passing train lines.

The pocket watch slowly got replace by the wristwatch after World War I. To this day, the pocket watch serves as a testament to the past as well as a status symbol. The following are examples of 19th century pocket watches:

American Waltham Watch Company:
The Waltham Improvement Company founded in 1859 in Waltham, Massachusetts renamed the company in 1885 to the American Waltham Watch Company. For some 32 years the company made some of the finest pocket watches in the world. In 1907 the name changed again to the Waltham Watch Company, and in 1957, production in the United States ended and the company moved production to Switzerland, changing the name to Waltham International SA. All Waltham business in the United States today is under MZ Berger and Company.

Elgin National Watch Company:
The Elgin National Watch Company, otherwise known as the Elgin Watch Company, was founded in August 1864 in Elgin, Illinois (30 miles north of Chicago) as the National Watch Company. Once they received investments from former Chicago Mayor, Benjamin Wright Raymond as well as a number of affluent investors, the company formed and consisted of a number of former associates of the American Waltham Watch Company and Chicago watchmaker, J.C. Adams.

In World War II, the company worked in the defense industry, producing bombsights, and other precision instruments. The factory in Elgin, IL remained open until 1964, after producing about half of the number of pocket watches in the United States throughout the company’s duration in Elgin, Illinois.

By the late 1960s, the company hand relocated to South Carolina and was renamed Elgin, South Carolina. Later, the rights to the name "Elgin" were sold to MZ Berger, and Elgin-branded watches produced after 1964 have no other connection to Elgin or the Elgin Watch Company.

Identifying Your Own Pocket Watch or Prospective Acquisition:

Determining Manufacturer – The manufacturer or company name can be identified on the watch’s face or dial. If it is not shown on the face or dial, the information could be found on the back plate.
Determining Age – The best indicator for the age of the watch is to locate the serial number which is usually inscribed on the back plate. Once you have obtained the serial number, you will be able to refer to reference books or sites with the appropriate production table listing the manufacturers as well as the years certain serial numbers were produced.

Works Cited:

Shugart, Cooksey and Richard E. Gilbert. Complete Price Guide to Watches, No. 14. Cleveland, TN: Cooksey Shugart Publications, 1994.

Wikipedia. Pocket Watches. .

~MIR Appraisal Services, Inc.

Erte: Fashion, Modernism, and Fine Art

Personal property appraisers often work with several categories of objects, from sports memorabilia to fine art objects. However, sometimes appraisers come across objects that transcend a single category. These types of objects are often highly interesting and can be highly valuable because they are collectible for so many reasons. A great example is the work of Romain de Tirtoff, better known by his pseudonym Erte.

Erte, known as a graphic artist and dress designer, was born in St. Petersburg, Russia in 1892, but moved to Paris, France between 1910 and 1912 to explore a career in fashion. He had his artistic breakthrough as a dress designer for the couture house of Paul Poiret. Being a dress designer Erte made fashion sketches for his work. Eventually these creations would take on a life of their own, so that Erte was making prints that portrayed whole scenes in which a fully realized figure would be shown wearing Erte designs within a stylized setting. Erte was able to use his talent as a graphic artist to create works that not only led to fashion designs but were also art objects in there own right.

Erte’s work is, therefore, highly collectible for numerous reasons. They are collectible as fashion items because they show the development of Erte’s designs. For example, some of his early drawings eventually led to clothes that would have been produced by one of the great fashion houses of the early 20th century. His drawings, paintings, and prints are also historical documents because they are linked to the modernist age, and are a prime example of how society was changing, even in terms of dress. This is due to Erte’s connection to Paul Poiret, who is known for liberating women from the restraining corset; and instead designing items that were loose fitting, allowing for greater female mobility. Upon examining Erte’s drawing, shown to the left, you can see this approach to dress. We see a woman, in loose fitting pants, moving in a fluid manner. It demonstrates a style of dress, which allows an active movement. Finally, these drawings are interesting fine art objects. Regardless of the fashion or cultural connection they can stand alone as visually appealing. Each exhibits fluid movement with lines that curve in combination with long strait lines; used in conjunction with vibrant colors and stylized, clearly outlined, shapes.

The work of Erte is very interesting to appraisers because it is collectible on so many levels. It has appeal to fashion enthusiasts, those interested in modernism, and collectors of fine art.

References:

Troy, Nancy J. Couture Culture: A Study in Modern Art and Fashion. Cambridge: The MIT Press, 2003.

Erte [Romain de Tirtoff]. My Life / My Art: An Autobiography. New York: E. P. Dutton, 1989.

Black Lights: Fine Art, Antiques & Collectibles

As a collector, it is important to fully understand the quality and condition of your objet d’art prior to making a purchase. Both quality and condition directly contribute to value, and a black light is a great tool to use on fine art, antiques, collectibles and other objects of curiosity. Overall, contemporary paints and repairs become evident under black light, and it is a fairly simple method to put into practice, requiring only a black light (either big or small) and a dark room. Note that the use of the black light should also be fortified with additional research, and in many cases, a professional should be consulted. Be careful not to over expose your fine art and collectibles to ultraviolet light.

Paintings:
A black light can be used to inspect paintings for touch-ups and repairs. Tiny cracks in oil paintings will also show under ultraviolet light, and illegible signatures can often be deciphered.

Glass:
The uranium oxide in collectible Depression and Vaseline glass will glow under a black light. American colorless pressed glass made before 1930 is said to fluoresce with a yellow tint, where as reproductions in most cases will not. It has been said by various professionals that American brilliant cut glass also casts a yellow hue under ultraviolet light (see image). Others say it glows in a pale violet or blue hue. Because of the difference in opinions, it is important to follow up with additional research to ensure authenticity.

Documents & Manuscripts:
Chemical bleaches and dyes used in modern documents and manuscripts will also glow under the black light.

Antique Toys:
Cast iron was used to make many early 20th century toys. In order to determine if the toy is a modern replica or not, use a black light to check and see if the paint glows. If it does, then the toy is a modern replica.

MIR Appraisal Services, Inc.