FOR HIRE: Fine Art Appraiser

Former Sotheby's paintings appraiser Nan Chisholm evaluates her work

  • By Cate Lineberry
  • Smithsonian.com, July 01, 2007, Subscribe
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At an Antiques Roadshow taping in Milwaukee Wisconsin in 2006 Nan Chisholm appraises a landscape of Glacier Park by the American artist John Fery. The estimated value $15000-$20000. At an "Antiques Roadshow" taping in Milwaukee, Wisconsin, in 2006, Nan Chisholm appraises a landscape of Glacier Park by the American artist, John Fery. The estimated value: $15,000-$20,000.

Jeffrey Dunn for WGBH

 

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    Since Sotheby's founder Samuel Baker sold some 400 books from an estate library in London in 1744, the company has grown into an international auction house—handling some of the most important paintings, manuscripts and books in the world. Nan Chisholm appraised fine art for Sotheby's for more than 20 years, valuing paintings from the old masters to 20th century artists, before leaving to start her own appraisal/broker business four years ago. She can also be seen on the PBS series "Antiques Roadshow" offering her expert opinion on paintings from around the world. Now she tells Smithsonian.com just what her job is worth.

    How did you get into this line of work?

    Between college and graduate school, I had a fellowship at the Whitney Museum [of American Art] and I assumed I would end up working in a museum. Someone at the L.A. County Museum said, "You really need to get your PhD and go pay your dues." I thought, what else can I do? Another friend suggested, "Why don't you go to Sotheby's?" They had an auction house in Los Angeles at that time. I walked in the door and they hired me immediately to work at their exhibitions. So my first job was helping people find the lots they couldn't locate and being in charge of the keys to the locked cabinets.

    What's the training or background required?

    Having an art history background is great, but the artists you study in art history are ones that are well established. The best pieces are in museum collections, and that's certainly not what you're going to see walking into an auction house. The great thing about working at an auction house is it's like getting a degree in and of itself. If you're cataloguing, you're seeing a high volume of property. You get to handle everything, as opposed to looking at slides. You really learn so much every day. You're exposed to new artists, you're figuring out what is desirable for that artist and you're also learning about the fickle tastes that drive the market, as well as dealing with clients.

    Describe your average day as an art appraiser.

    I could get a phone call and someone could say, "Please help me sell this painting," or "I need an appraisal." That's the way it was at Sotheby's and that's what I always loved—the unpredictable day-to-day schedule. Right now, I'm involved with several appraisals so I'm doing a lot of price checking. There's usually a lot of phone and e-mail, and there's also running out to a gallery or going to an auction house exhibition to look at things for a prospective buyer.

    You need to be a little bit of a detective. One thing I learned at Sotheby's is to have a healthy skepticism. If you're looking at a picture or a painting itself, you have to think: Does the signature look right? Does this compare well to things I've seen in the past? And then there's also being a little bit of a diplomat. If you have to give somebody bad news about something that they have always thought was going to be the nest egg for the kids' education, it's good if you can let them down gently.


    Since Sotheby's founder Samuel Baker sold some 400 books from an estate library in London in 1744, the company has grown into an international auction house—handling some of the most important paintings, manuscripts and books in the world. Nan Chisholm appraised fine art for Sotheby's for more than 20 years, valuing paintings from the old masters to 20th century artists, before leaving to start her own appraisal/broker business four years ago. She can also be seen on the PBS series "Antiques Roadshow" offering her expert opinion on paintings from around the world. Now she tells Smithsonian.com just what her job is worth.

    How did you get into this line of work?

    Between college and graduate school, I had a fellowship at the Whitney Museum [of American Art] and I assumed I would end up working in a museum. Someone at the L.A. County Museum said, "You really need to get your PhD and go pay your dues." I thought, what else can I do? Another friend suggested, "Why don't you go to Sotheby's?" They had an auction house in Los Angeles at that time. I walked in the door and they hired me immediately to work at their exhibitions. So my first job was helping people find the lots they couldn't locate and being in charge of the keys to the locked cabinets.

    What's the training or background required?

    Having an art history background is great, but the artists you study in art history are ones that are well established. The best pieces are in museum collections, and that's certainly not what you're going to see walking into an auction house. The great thing about working at an auction house is it's like getting a degree in and of itself. If you're cataloguing, you're seeing a high volume of property. You get to handle everything, as opposed to looking at slides. You really learn so much every day. You're exposed to new artists, you're figuring out what is desirable for that artist and you're also learning about the fickle tastes that drive the market, as well as dealing with clients.

    Describe your average day as an art appraiser.

    I could get a phone call and someone could say, "Please help me sell this painting," or "I need an appraisal." That's the way it was at Sotheby's and that's what I always loved—the unpredictable day-to-day schedule. Right now, I'm involved with several appraisals so I'm doing a lot of price checking. There's usually a lot of phone and e-mail, and there's also running out to a gallery or going to an auction house exhibition to look at things for a prospective buyer.

    You need to be a little bit of a detective. One thing I learned at Sotheby's is to have a healthy skepticism. If you're looking at a picture or a painting itself, you have to think: Does the signature look right? Does this compare well to things I've seen in the past? And then there's also being a little bit of a diplomat. If you have to give somebody bad news about something that they have always thought was going to be the nest egg for the kids' education, it's good if you can let them down gently.

    Describe your day as an appraiser for "Antiques Roadshow."

    We usually get around 6,000 people at each Roadshow, and they each bring two things. So that's approximately 12,000 appraisals. There are maybe 80 appraisers—five are paintings appraisers. We get there at 7 in the morning and sometimes don't leave until 7 at night. Out of all those appraisals all day long, they tape about 50 segments. At the painting table, there are always long lines. My theory is it's because people watch the show and realize that paintings can be among the most expensive items.

    What's the most interesting part of the job?

    It really is meeting people—either seeing what they bring in or else going to their house and seeing the collection they've put together over the years. There are always these great stories. A couple weeks ago, I saw this fantastic painting by this American artist named Bror Julius Olsson Nordfeldt, who is Swedish by birth. I saw [the owner] take it out of the box it was in and thought, Wow! It's from circa 1915 and has great colors. It is an oil on canvas and the subject is two Portuguese fishermen in Provincetown; on the reverse is another painting of some bathers in a landscape. She and her husband had inherited the painting from his father, and it had always been displayed as the nudes in a landscape. They never realized there was a second painting until they took it off the wall. Ironically, the fishermen are actually the more desirable subject. I told her it could sell for around $100,000. She had no idea.

    What has been your most exciting moment on the job?

    It's always very exiting when a painting you discover sells very well. There was a painting by José María Velasco I appraised at a charitable fundraiser that had been purchased around 1930. Velasco is considered a national treasure in Mexico and is coveted by Mexican collectors. When that generation [that bought it] died, the children inherited it. They knew it was worth a certain amount of money, but none of us anticipated the result. With an estimate of $600,000 to $800,000, it made almost $2.5 million and broke the previous record price of $300,000.

    What's the biggest misconception about the work?

    People think it's so glamorous. I can't tell you how many times I've been in dusty old houses—and I have an allergy to dust. I can think of a few appraisals where the conditions have been pretty terrible.

    People also think I can remember everything. They'll say, "How much did it sell for?" We all use Internet sites to look up prices. It's nice to have a general sense, but sometimes people expect your brain to be equivalent to a database. It's flattering, but a bit unrealistic.

    Any advice for people cleaning out their garages or attics?

    I would say, having heard a few horror stories, to always look for a signature on a painting and examine the reverse side. If it's something they're uncomfortable selling, they need to check with someone reliable. If the work is attributed to a major artist, one can always make an appointment with the local art museum curator to verify authenticity. They won't give you a value, but if you found out that something was indeed a Winslow Homer, you could then have the work appraised.

    One time this woman called me from Nebraska and said, "I have a Joshua Reynolds." I told her to send me a photograph and measurements. It wasn't a Reynolds. I'm thinking, how do I get this across to her? I say, "Listen, you don't have a painting by the

    Reynolds but by Joe Blow Reynolds." The next day I get this fax: "I have gone to the library, I have searched on the Internet, and I just want to tell you there is no Joe Blow Reynolds. You don't know anything."

    What are the downsides to your job?

    It's just like anything else, you get overwhelmed. You feel too busy. But when I stop and think, I get to look at art for my job and talk to people about it. I think, what could be better? I'm very happy with what I do.


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    Comments (79)

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    For years I thought a small oil painting on leinwold (13 x 18 in.) which we had in the family was by a Brun. The single name signature was deeply hidden on the lower right. The painting was cleaned and a small tear in it restored by a museum quality restorer, Mr. John Knipe, Los Angeles. When he returned it to me, he said it had been done by a very fine artist. He could not make out the name either. I never could find a very fine artist named Brun who painted in the Barbizon style of the painting (Knipe thought 1873 and another person 1885-87). One day, determined yet again to try to decipher the name, I held it under a very bright Reveal Bulb. Ah - after 40 years. The name is Baum (the letter I thought was an R turned out to be an A with a squared top. I believe it to be by Paul Baum, Germany's noted Neo Impressionist. Baum painted in Barbizon, Impressionist and Neo Impressionist styles. I have some fine pictures of the painting which I could email. Is there a direction you might point me in to get a qualified appraisal as well as learn where the best auction market for Barbizon Paintings might be - here or abroad. I see that Ketterkunst in Germany has sold some of his later paintings. I have not seen any of Baum's earlier Barbizon style for sale. I imagine they are somewhat rare, if available at all, and haven't seen any on auction sites. I think the painting may have been brought to N.Y by Durand-Ruel in the late 1800's or early 1900's as the family purchased some paintings at that time. Paul Baum seems to have been acquainted with several of the illustrious Impressionist Painters in Paris whose paintings were brought to N.Y. by D-R, as well as the art dealer Cassirer. Thank you very much for any clues you might be able to give.

    Sincerely, Linda

    Posted by Linda Malloy on January 20,2012 | 06:01 PM

    I purchased our families homestead and have found many things of interest, however there is an original oil painting signed by "Paul Kajul" and from checking online articles it appears to be called "A Bloom is on the Land" I have read all kinds of varied values with the lowest being $2.87 and the highest being $850.00. Hoping you can resolve the mystery. This is a large painting and who knows the frame may be worth more than the painting.

    Thank you for your time,

    Kindly,

    Margie Harshman

    Posted by Marjorie Harshman on October 18,2011 | 09:43 AM

    Ms. Chrisholm,
    I have an original 18X24" framed oil painting on canvas board. This painting is signed on the lower right corner by AUGUSTUS ROBINSON the works appear to be in the 1800's.
    I purchased this painting from a salvation army store in a chicago northside suburb in 1959.I would like to have this painting appraised & authenticated.I will upload or email this painting to you if need be. Any help you can provide would be appreciated.
    Thank you,
    James

    Posted by James Patterson Sr on October 13,2011 | 04:26 PM

    Ms. Chisholm,
    My wife was helping a frend with a research project on the McCleary family from Boston, Mass. He was given some items 40 years ago that have been a real thrill to research. The estate was from the late Hilda Millet Booth, daughter of JB Millet and his brother was FD Millet the artist who died on the Titanic. We found in the trunk a painting By FD Millet,it appears to be a self portrait, the signature appears correct. We have original photos of Frank and his brother. We know that the Smithsonian has an extensive collection of his work. We can't find any reference to a self portrait mentioned in any of his papers. We want to have it appraised and authenticated, however, knowing what to do next is the dilemma. We sure can use some good advice.

    Posted by James DePina on September 15,2011 | 09:47 PM

    Hello I was wondering what you charge to do an appraisal? based on your fee i have several paintings and watercolors i would love to have you look at. I lived in Italy for eight years and kinda went crazy shopping at what we call thrift stores. i will be looking foward to your response thank you,GE

    Posted by ginaeldridge on June 24,2011 | 05:35 PM

    I found an oil on canvas of "The Pharoah's Horses" I have not been able to find out the painter because I am afraid to take the painting out of the frame for fear of damaging it. There are pictures posted on my facebook page. Could you possibly look at them and give me a little lesson? thank you.

    Posted by Richard on December 30,2010 | 08:40 AM

    i have a print of jophes nash singed in pencile it looks somewhat like this one.http://www.allposters.com/-st/Joseph-Nash-Posters_c33602_.htm there are differances some figures missing and others added could you please let me know what the origanal looks like please.

    Posted by on December 27,2010 | 07:55 PM

    Hello: are you available for hire to evaluate an antique manuscript and engraving collection including "books of hours"etc from the 12th and thirteenth century? And some misc. art inlcuding a orentalism Moor victorian paintedin Wein. how much and how?

    Posted by Deidre Conkling on November 11,2010 | 08:44 PM

    We think you must have made a mistake not recognizing the name stenka razin.We possitively have his signature on the oil painting.It is not a fake. We do however would like to show you the comparrison signature if you will e-mail us you will get one back with the one that is on the painting .my comments about some of stenka razin is on this page. thank you, arline hunter and billie mansfield

    Posted by billiemansfield on November 10,2010 | 10:20 AM

    I have a painting of a Pueblo Village by Beatrice S. Levy.
    It is on an artist board or masonite. Size 10 x 14.
    It is signed by the artist, but no date. I can upload a picture on request.
    Can you tell me any information about the painting and an approx value.

    Posted by Rod Averett on October 23,2010 | 09:18 PM

    My sister has aquired a very old painting . We have akready took enhanced photo,s of the frame which has an old paper tag that has a tiny sketch of a rissian cossack helmet with the face.The painting is a view of two ladies away form a large palace standing there with their long dresses but no faces only the hair.Their is a river beside them.The palace shows the many chimney stacks with the typical russian dome. The signature is stenka razin the russian that was more populr than peter the great and even Napolian.Sorry I get carried away in historical people and things.The frame maker really did well with what they had to work with back then.The T in Stenka has forks stcking upward like a fine quill pen would do. The T is reallyshaped like an L on purpose with four tiny spread out prongs so that it turned into a t .His name stood out perfectly Stenka because we know we have some thing.we reseach for months and we will not get careless with this painting 1600,s to the 1800,s.
    Thank you,Billie Mansfield and Arline Hunter

    Posted by arlinehunter386@gmail.com on October 20,2010 | 07:57 PM

    HELLO, I THINK I HAVE AN UNUASUAL EYE FOR ART, AND I COLLECT DIFFERENT PAINTINGS FOR MYSELF, AND MY CHILDRENS FUTURE-(I dream like "my" father did). I GOT A WATER PAINTING OF A LITTLE GIRL KNEELING AT THE FOOT OF HER FEATHERBED, PRAYING, WITH A KITTEN IN THE MIDDLE OF IT. IT IS ON PARCHMENT PAPER. A PICTURE OF WHO I THINK IS "JESUS" ON THE WALL BESIDE IT. THE WALLS SEEM TO BE STUCCO, AND THE FLOOR IS WOODEN. THERE IS A WINDOW THAT HAS CRISS-CROSSED FRAMEWORK ON IT. ON THE BACK OF THE PICTURE FRAME THERE IS A LABEL, AND THE ARTISTS NAME HAS BEEN WORN OFF, BUT THE TITLE OF THE PAINTING IS "EVENING PRAYER". ANY IDEA OF WHAT, WHO, OR WHERE THIS TERRIFIC PAINTING IS ABOUT? THANKS

    Posted by GARY BROSEMAN on October 18,2010 | 09:59 PM

    I have a painting that has like a black fleece like material over the canvas frame the painting is of a landscape with a waterfall that goes into a river theres mountains also but i believe the size is about 24x48it has Hecho en Mexico on the back of the canvas and i believe the artists name is Chery Moran but Im not for sure the first name definitly starts with CH and ends in Y and the last name starts with an M also there is a wooden frame around the canvas could you tell me anything about this painting

    Posted by Jenifer on October 14,2010 | 08:53 PM

    Ms. Chrisholm,
    I have a large, older oil painting portrait that is unsigned. Very well done and shows obvious age. (Crazing; extreme darkening of canvas back; very old stretcher/frame). We've contemplated that the portrait could be Marie Antoinette. I would so appreciate help in identifying period or subject. (Photos are available). The back of the stretcher and frame have 'Made in France' burned into the wood. Although the painting seems far older... does the presence of this mark place the painting at a later date? Or is it possibly just an export stamp from when it left France and not relevant to the age of the painting itself? peace & thanks, Sage

    Posted by Sage on October 3,2010 | 08:16 AM

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