Tools of the trade. Don’t have ‘em? Get ‘em! Item Number: 100011 $0.00

DescriptionTwo weeks ago I wrote of the desirability of collecting fewer pieces of better quality art. This is the first of a two-part series (maybe more if I can figure how to drag it out…) of what constitutes better art, and how a collector can help themselves determine, on their own, what is better quality and what is less important. If you are one of those collectors who thinks ‘quantity’ is better than ‘quality’ (as in collecting every ancient trinket you can get your hands on regardless of how large, how broken and how insignificant), this week’s “blog” may not be for you. But, if you are interested in putting together a really fine collection of ancient art, I encourage you to read on!

Fine art, like beauty, is in the mind of the beholder, but there are some attributes that set really exquisite examples apart from those that are run-of-the-mill. This week I am going to discuss one of those attributes – condition – and how to judge for yourself whether a piece is in perfect condition, or has suffered terribly from the ravages of time.

As a dealer / collector / appraiser, I can tell you horror stories about pieces that have crossed my path that were described as perfect, but, in actuality, were far, far from perfect and in many cases were little more than well-disguised mud. Take for example, a set of 100 Indus Valley bulls - nicely painted buff-colored bulls with red pigmentation (you’ve probably seen the type). These have been all over eBay and in virtually every dealers’ shop for the last 5 years or so. This group was purchased by my good friend Dave, and all represented by a Middle Eastern dealer as “absolutely perfect, my friend, no repainting, no new clay, all wonderful, all in the finest condition…!” And they all looked fabulous - until we decided to give them a bath. Picture a huge herd of 100 bulls stampeding into the sink, the mooing and braying was almost deafening. As soon as they hit the water, the raucous din quickly subsided. Horns began to float by, legs became separated from torso, all indications of their “bullness” disappeared. When the carnage subsided, there were 100 bull torsos, a few with small indications of heads, none with horns still attached, few with more than stubble for legs – and a huge pile of brand new clay clogging up the sink! Dave thought he bought 100 authentic Indus Valley bulls, but not one of these trinkets was more than 50% original. And as much as I hate to admit it, I actually liked the “true bulls” much better than the fake bulls. They still had character, they still had a high degree of artistic presence… and they were all honest!

If you collect ancient art, develop an understanding with your dealer network concerning your needs as it relates to condition first and foremost. I have clients who are way (let me emphasize WAY) over the top when it comes to condition. These collectors will only accept PERFECT. But most of our clients understand ancient art is, well, ancient, and the result of being 2000+ years old is that things happen – and usually things that are not kind. Paint fades, chips happen, breaks occur, bronze oxidizes, glass and wood decay. Yet we can still find extraordinary examples if we look hard, remain focused and demand quality.

And yes, now it’s time for another one of Bob’s “weekly lists!” This week I want to share with you the tools and tricks you should have at the ready if you’re going to collect ancient art, and want to confirm on your own that you’re getting what you pay for:

1. Acetone. Acetone is a fabulous chemical that sniffs out fake paint! The active ingredient in fingernail polish remover (some brands are acetone free – avoid these), acetone/fingernail polish remover is available over the counter for about $2 a bottle. Dip a Q-Tip into acetone, then apply it to the piece in question. This mighty combination will tell you if that perfect Greek vase is really perfect. Old paint will not come off with acetone, new paint will. PLESASE do not destroy that vase – just determine if there are areas in question. Then discuss these with your dealer to determine what he will do for you – and what you need from him. * some pottery types, such as Daunian/Native Italic used a water-based paint that will come off with water. Do not use acetone on this type of surface if you want to keep any of the original decoration! Ask your dealer if the piece you are interested in was decorated prior to being fired, or after. Paint that was fired in a kiln does not come off with acetone.

2. Water. Free in most parts of the world – except California where it cost me $5 per bottle everywhere I went! Take water and sprintz, sprinkle or dribble on your pottery. As with my bulls, I have had some pieces start to decompose right before my eyes. DO this slowly and feel the surface to see if it is getting sticky. Sticky means either glue or new clay. Stop immediately and call your dealer!

3. Magnifying glass. I was just at the Gem and Mineral Show in Tucson, and found a fabulous lighted 45x magnifier. Search on eBay under “LED Mini Adjustable Magnifier.” You can buy one for $1!! Sometimes it is hard to see the forest from the trees with a magnifier. When I look under a glass, I am looking for changes in texture that don’t seem to make sense and at manganese blooms that have no bloom shape. I use the magnifier more to arouse suspicion than to confirm suspicion.

4. X-Ray Machine. $200,000, but a must-have in any arsenal in the restoration-finding business! Don’t have $200,000? Locate your nearest vet - believe it or not, most veterinarians have this strange love of ancient art and just love to allow the use of their X-Ray machines in the pursuit of scientific discovery. I have made a deal with 2 local vets where I pay them for the actual cost of the film - $20 to $25 per sheet – and they will take the shots for free. We have used X-Rays on Greek battle helmets, Egyptian mummified animals, huge west-Mexican ceramics, etc, etc all with really great results. An X-Ray will show you, literally in black and white, what is really going on beneath the surface of your pieces. If you happen to collect west Mexican ceramics, I can’t imagine not needing to see an X-Ray to confirm the condition. We had a client show us a major piece acquired at a major auction house. It was sold as 100% intact. The X-Ray we took showed the piece was recomposed from no less than 75 individual fragments! Client was unhappy, the auction company accepted the piece back, client is now happy again!

5. Portable black-light. $20. This is one of those devices you really have to use in the presence of someone who can show you what to look for – certainly the first time out. You need to be in a totally darkened environment, and when you turn the black-light on, you should be able to see a difference in the “glow” of ancient paint versus new paint – since the composition is completely different. We seldom use a black light since we have other tools at our disposal.

6. Your eyes. Free – usually. Your best tool for picking up on condition is your eyes. Learn to use them to spot things that are unusual, out of place, of a different texture, or simply not to your liking. Remember, you are in the driver’s seat when it relates to what is acceptable and what is not. Yes, there are objects of ancient art that are so rare and so valuable that condition takes a back seat, but for the vast majority of ancient objects, examples exist that are in tremendous condition if you are patient, demanding and are willing to pay a bit more.

Happy collecting!
Bob Dodge