How do I tell an original painting from a print or reproduction?
Examine the surface under raking light (light from a low angle). Original oil paintings show impasto (raised paint texture), visible brushstrokes, and paint accumulation along edges. Canvas weave is visible through thin areas. Prints show a smooth, uniform surface and, under magnification, reveal a dot pattern (CMYK printing dots in modern reproductions, mezzotint or engraving lines in older prints). Giclee prints on canvas can deceive at first glance but lack the three-dimensional paint surface of originals. The back of the canvas reveals stretcher bars (originals) versus mounting board (prints). UV light can reveal varnish layers and repairs on originals. If uncertain, a qualified appraiser can determine the medium definitively.
What is the best way to clean an old oil painting?
Do not attempt to clean a valuable oil painting yourself. Professional conservation by an AIC (American Institute for Conservation) accredited conservator costs 500 to 5,000 dollars depending on size and condition but preserves value. Amateur cleaning with household products destroys paintings regularly: water can dissolve water-soluble pigments, soap leaves residues that attract dirt, and solvents can dissolve original paint layers. Surface dust can be gently removed with a soft, clean, dry brush (never a damp cloth). Smoke damage, yellowed varnish, and grime require professional solvent cleaning with careful testing of each paint layer. A conservator will document the painting's condition before and after treatment.
Are unsigned paintings worth buying?
Unsigned paintings can represent excellent value. Many artists of the 18th and 19th centuries did not consistently sign their work. Attribution to a 'school' or 'circle' of a named artist still carries value: 'Circle of John Constable' indicates a contemporary working in the master's direct environment. The painting's quality, subject matter, and decorative appeal drive value independently of signature. At auction, unsigned paintings of genuine quality routinely sell for one-tenth to one-twentieth the price of signed equivalent works, making them accessible to collectors who value artistic merit over market cachet. For investment purposes, unsigned works rarely appreciate significantly, but for personal enjoyment and interior decoration, they offer unmatched value.
What are the most forged artists in the painting market?
The most frequently forged painters include Corot (whose works were notorious for forgery even during his lifetime; there's a famous joke that of the 3,000 paintings Corot made, 10,000 are in America), Dali (whose authorized print editions were complicated by blank pre-signed sheets), and various Impressionists. Modern forgery scandals include Wolfgang Beltracchi, who created convincing fakes attributed to Max Ernst, Fernand Léger, and others, selling over 30 million euros worth before his 2010 arrest. John Drewe created false provenance documents to support forgeries by John Myatt. The best protection is purchasing from established dealers or auction houses who guarantee authenticity and can provide comprehensive provenance documentation.
How does the gallery system affect painting prices?
Primary market galleries (representing living artists) typically mark up prices 100 percent from the artist's share. A painting priced at 10,000 dollars at a gallery nets the artist approximately 5,000 dollars. Gallery representation adds legitimacy and market support: galleries invest in exhibitions, catalogs, and museum placements that build long-term value. Secondary market pricing (resale) is driven by auction records, which are public. The gallery system creates price tiers: emerging artists (1,000 to 10,000 dollars), mid-career (10,000 to 100,000 dollars), and established (100,000 dollars and up). Artists who bypass galleries through direct sales or online platforms may offer lower prices initially but lack the market infrastructure that supports long-term value.
What size paintings are easiest to sell?
The art market has a strong preference for what dealers call 'apartment-sized' works: roughly 60 x 80 centimeters to 100 x 120 centimeters (24 x 32 inches to 40 x 48 inches). This range fits over sofas and above mantels in standard homes. Very small paintings (under 30 x 30 centimeters) sell well if by known artists but lack visual impact for unknown artists. Very large paintings (over 150 x 200 centimeters) are difficult to sell because they require large wall spaces that most homes and offices lack. At auction, oversized paintings by the same artist typically sell for less per square centimeter than optimal-sized works. Museum-scale paintings primarily appeal to institutional buyers, limiting the resale market significantly.
