JAS Article310 - Judaica in Context

Transcription

JOURNAL OF
ADVANCED
APPRAISAL STUDIES
2010
Edited by Todd W. Sigety
A Time to Value and a Time to Creatively Value Appraising Church and Synagogue Collections
by Elizabeth Kessin Berman, AAA, ANA
The next time you find your mind wandering while attending worship services at your local church or synagogue, you might want to cast a
critical eye around the walls of the sanctuary. Even in the United States
there will most likely be important ritual or decorative objects with significant age and value. Appraising property belonging to houses of worship,
however, can present some interesting challenges. Finding value is not often
as straight forward as one might suspect. Standard formulas for valuation
may not be appropriate and there may be a host of other factors an appraiser ought to consider that are particular to houses of worship.
Several years ago, in 2003, the First Church of Deerfield in western
Massachusetts (Figure 1) decided to sell twelve pieces of communion silver
from its important 18th Century silver collection (Figure 2).1 Historic Deer-
Figure 1, First Church of Deerfield, Massachusetts
field, a living history park, was delighted to learn of the sale and, being eager
to keep the pieces within Deerfield, bought the collection before they were
offered at a public sale. Historic Deerfield’s interest in preventing the items
from filtering into the market place is admirable, but the behind-the-closeddoor-sale obscured the true fair market value of the pieces. A similar case
Figure 2, Twelve Pieces of Communion Silver from the First Church of Deerfield Massachusetts by Eight Boston and Philadelphia makers, c. 1720-1829 purchased by Historic
Deerfield, Inc. in 1997.
occurred in England in 2001. Trinity Church, located in one of the poorest
neighborhoods of Great Britain, entered into the sale of its eighteen-piece
17th Century silver collection with the National Museum of Scotland in
Edinburgh. The leaders of the church reasoned that their current community projects and the up-keep of the historic church itself required translating their historical objects into cash. Unlike in the Deerfield case, the sale
price was reported to the public as being !200,000.2 In both of these cases,
a value was arranged by mutually agreeing parties. We may assume that
donors were found for the items and a price was agreed upon well before
the sale.
The two cases above also underscore a subtle trend in 21st Century
houses of worship: the need to consider using artistic assets to fund either
the upkeep of their architecturally significant structures or to fund socially
their relevant projects. In Massachusetts, there have been, in fact, several
other cases involving Colonial-era churches with important links to local and
national history. Fortunately, at least for the appraiser, some of these cases
were sales at public auction. In 2001, faced with dwindling membership and
the need to make repairs to its historic building, the United First Parish
Church in Quincy decided to sell its Colonial silver. This was no ordinary
18th Century New England church. Founded in 1639, it is also known as the
“Church of Presidents,” being the home church of Presidents John Adams
and his son John Quincy Adams. The church grounds also serve as their
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Elizabeth Kessin Berman
final burial place. Eleven pieces were sold at Sotheby’s in 2001.3 The presale
estimate was between $900,000 to $1,300,000, but pieces sold for over three
million dollars (Figure 3). The sale, however, was publically criticized by
persons who argued that the silver was part of the historic identity of the
church and therefore the silver should not be separated from it. On the side
Figure 3. The William Needham Cup, circa 1660 by John Hull and Robert Sanderson sold
at Sotheby's New York January 19, 2001 for $610,710 (Estimate $200,000- $300,000).
supporting the sale, the sentiment was: that the pieces were not used in
many years and what is more, the church could not afford the insurance
premiums for the pieces. The pastor at the time of the sale defended the
decision to part with the silver: “We view this sale as an opportunity to transform a
static asset into a living resource. It will enable us to preserve this great building as the
national treasure it is and to further the active mission of the church in serving the
community and furthering our advocacy for social justice.”4
Similar controversy, however, was not in evidence when several
years later the First Church in Salem made the same decision to sell its
Colonial silver. Wanting to fund renovations to update its historic building
for the handicapped, the church decided to supplement its renovations with
the sale of fourteen 18th Century silver tankards, flagons, and beakers. As it
turns out, the sale of these items was but a small percentage of its seventypiece historic collection. The actual sale went forward after a congregational
vote, for, as the pastor confidently explained “… (The sale) will give the church
the opportunity to meet the needs of a growing Twenty-First Century religious community.
Our sense of what is precious has changed. Our community mission remains.”5
A Time to Value and a Time to Creatively Value: Appraising Church and
Synagogue Collections
55
The Salem silver was offered at Christie’s New York in its Americana sale January 18, 2007. The audience included dealers and private
collectors, but there were several buyers representing public institutions. The
Peabody Essex Museum in Salem purchased a baluster-shaped flagon, dated
1789, by Salem silversmith John Andrew for $102,000 (estimate: $80,000$120,000 with buyer’s premium). And another piece in the sale was purchased on behalf of the Historical Society of Old Newbury (also in Massachusetts) for $6,600.6 A Benjamin Pickman silver tankard sold for $96,000
and another tankard, entitled the “Edward Holyoke Silver Tankard,”
realized $28,800.7
There is one case that has publically recorded the involvement of an
appraiser. In 2009, the First Parish Unitarian Church in Cohasset, again in
Massachusetts, consulted an appraiser before deciding to sell several items,
including two pairs of inscribed 18th Century beakers and another pair of
19th Century silver beakers, as well as a carved William and Mary maple
armchair that had been used in the church since the 1720s (Figure 4).8 In
Figure 4. William and Mary Carved Chair from the First Parish Church in Cohasset,
Massachusetts sold at Sotheby's New York January 24, 2008 for $56, 250 (Estimate
&50,000- $100,000).
Sotheby’s highly touted sale of important Americana in New York, January
23, 2009, the catalogue not only lists the objects’ provenance, but also their
exhibition history (they were exhibited at the Museum of Fine Arts Boston
1911 exhibition entitled “American Church Silver of the Seventeenth and
Eighteenth Centuries”). The auction catalogue notes also provide three
bibliographic references in addition to an expanded discussion on the maker
of the beakers and the commissioners (who happened to be individuals who
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played important roles in the history of Massachusetts). Pre-sale estimates
were $70,000 to $100,000 and each pair of beakers sold for $80,500 (with
buyer’s premium).9
The other pair of beakers carried ample historical
provenance and information, but the connections did not impress buyers
(Figure 5). These beakers were dated 1824 and they were donated, according
to the inscription …. To the Church of Christ in Cohasset –This Cup is the Gift of
Suzanna Lewis, it being the proceeds of a Gold Medal, from the King of Denmark to her
late husband Capt. John Lewis.” The inscription references both Captain Lewis
and his rescue of Danish sailors who floundered of the coast of Cohasset.
These were estimated at $8,000 to $12,000 and sold for $8,750 (with buyer’s
premium).10 Once again the church officials defended their interest in
Figure 5. Pair of inscribed beakers from the First Parish Church in Cohasset, Massachusetts, 1824, sold at Sotheby's New York January 24, 2008 for $8,750 (Estimate $8,000$12,000).
selling, stating that these pieces were used only once in fifty years and the
objects were hardly ever out of the safe deposit box.11 The William and
Mary armchair, sold for $56,250.12
In the cases described above, there appears to be an important formula for establishing value in addition to the basic components of condition, rarity, quality, maker, and historical provenance. Over and above the
strength of provenance, there is to be factored into the value (or the interpretation of recent sales results) whether or not the offered price or the
hammer price reflects the notion that the objects are being sold in order to
fulfill the mission of the church or to relieve the operating costs of the
institution.
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Figure 6, A Silver Punch Bowl Myer Myers, 1765, Sold at Sotheby's NewYork, January 18,
2003 for $131,200 (Estimate $50,000-$70,000).
In turning to precious objects in Jewish synagogues, there are some
similar examples to consider. There are a few American synagogues that
have silver from the Colonial period and one extremely esteemed Jewish
silver smith named Myer Myers (1723-1795). Myers was a New York
silversmith and the son of Jewish émigrés from England. His secular and
religious objects are highly sought and are considered rare and extraordinary
fine. A silver punch bowl by Myer Myers fetched $131,000 at a Sotheby’s
America Sale in 2003 (Figure 6) and a teapot by him went for $120,000.13 A
recent posting in the November Maine Antiques Digest touted that if a silver
soup tureen which was currently being offered were perfect it would sell for
3.5 million dollars. But the asking price was $1.25 million.14 Additionally,
secular objects such as bowls, teapots, or other domestic items with inscriptions of prominent Jewish patrons will also enhance the value of a Myers
object. None of his works auctioned in recent years have come from
synagogues, to my knowledge, although three synagogues established in the
Colonial period in Newport, Rhode Island (Figure 7), Philadelphia, and New
York City are known to proudly retain in their collections works by him.15
Two churches in New York City loaned objects to the comprehensive
exhibition of Myer’s work held at Yale University in 2001.16
But apart from the ritual silver made by Myer Myers, most articles
found in Jewish synagogues are classed as “Judaica” and finding value for
“Judaica” can be can be riddled with challenges. This appears to be the right
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time to offer a definition of what is actually meant by the term “Judaica”
and to define the body of materials that Judaica appraisers and collectors
ponder.
Figure 7. A pair of silver and brass Torah Finials by Myer Myers (1723-1795), mid 18th
Century from the Touro Synagogue Congregation Jeshuat Israel, Newport, Rhode Island
When a book dealer speaks of Judaica he or she is thinking principally of written materials. A Judaica library is a library that contains writings
in Hebrew, Yiddish, or other languages and other writings by, about, or
printed by the Jewish people. However, a Sotheby’s “Judaica” sale may be
principally manuscripts and books, but tucked into the sale are objects, art
Figure 8. "Judaica" as pictured on Auction Catalogues from Sotheby's, Skinners, and
Kestenbaum's
works, and graphics which are also classed as “Judaica.” These will include a
wide variety of materials, including ritual or ceremonial objects, decorative
objects, graphics, textiles, genre art, art, sculpture, objects from the 20th
Century Israeli decorative arts movement. Lesser Judaica auctions will
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include “Holy Land” objects, souvenirs and even some antiquities from the
archaeological periods that reflect the Biblical period (Figure 8). Further call
out is necessary:
Figure 9. A Torah Scroll covered in an embroidered cover and several Topah finials set
inside a Torah ark
Judaica objects are roughly divided in to various categories, but the
two major divisions are ritual and domestic objects. Ritual objects or, in
other words, objects used to enhance or support Jewish worship, include
silver objects adorning the Torah Scrolls (the parchment scrolls on which
the first five books of the Hebrew Bible are written); textiles to cover the
Torah scrolls, and the synagogue ark in which the Torah scrolls are housed
(Figure 9). Ritual objects also encompass eternal lights, wine goblets, spice
boxes, memorial lamps, Hanukah lamps, and Torah pointers, as well as
synagogue decorations, decorative calendars, and decorative wall plaques
that may have psalms or blessings. These plaques often are used to indicate
the direction “east,” toward Jerusalem (Figure 10). All of these objects have
names in English, although sometimes the familiar Hebrew or Yiddish name
might be used in a sale or in a gallery. The Jewish Museum, New York has a
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very useful website that offers a glossary of common Hebrew and Yiddish
terms and also has an on-line gallery that can help identify Judaica objects
(www.thejewishmuseum.org/glossary).
Figure 10. A 19th Century Paper Cut Mizrach or Eastern Wall plaque from the Israel
Museum, Jerusalem.
Domestic objects comprise any object used to celebrate the many
different Jewish holidays during the calendar year and all of the life cycles
from birth to death in a home context. There are many items used to
celebrate the Sabbath in a home: Sabbath candlesticks, Sabbath bread trays,
Sabbath lamps, blessing cups. There are also many objects used to celebrate
various holidays: inscribed plates showing holiday ceremonies, spice boxes,
Hanukkah lamps, Passover plates, and bread covers, not to mention wall
plaques, paper-cut decorations, calendars and micrographic representations
of the Hebrew writings and many more. All of these objects are likely to be
found in a synagogue even though they are domestic in nature. In the
synagogue context they are bound to have some communal use or educational purpose.
Also included under the umbrella of ritual or domestic Judaica are
genre paintings and tapestries of Rabbis or domestic scenes. The art of
Jewish artists, whether an artist creating Jewish subject matter or an artist
who happens to be Jewish, is sometimes also included under the umbrella
of Judaica. The art of Marc Chagall is a good example of an artist whose
work frequently appears in “Judaica” collections. Judaica also embraces the
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field of decorative arts, fine arts, ethnographic artifacts, and travel souvenirs,
including jewelry, amulets, and small kitchy or common objects (some call
these tchuchkes in Yiddish). There are many, many more categories and the
list seems ever to expand. All of these objects are likely to turn up in a
synagogue too.
Once an appraiser identifies what the object is, then an appraiser
must ask a host of significant questions in order to fully establish the identity
of the object: where is this Judaica object from? What does the inscription
say? When was it made? By whom? And what is its purpose? Many of the
clues to establishing the date, origin, and identity of an object can be found
by interpreting the inscriptions on the object, as many Judaic objects are
inscribed with donor inscriptions and corresponding dates. In addition to
donor inscriptions, Judaic silver will often have silver marks that greatly aid
identification and dating. However, in the absence of inscriptions, the
Judaica appraiser has to discern local, regional, or national styles in order to
settle on a geographic source and date of an object. Judaica objects may
originate in North Africa, the Middle East, or the United States. Or they
Figure 11 Two Hanukkah Lamps, on the left, Eastern European 19th Century example; on
the right an example from 18th or 19th Century Italy, both from the Jewish Museum, New
York
may be from Central, Northern, or Eastern Europe. Within these regions
there are wide variations of styles. Judaica makers invariably borrowed from
their local styles and therefore, in settling on a geographic source of a Judaic
object, one must look at the object and determine the general character of
its stylistic, decorative, and technical elements. It is important to note that
Judaica objects were often made by non-Jewish craftspeople, since Jews for
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many centuries, especially in Europe, were not allowed membership in craft
guilds. Thus a 19th Century Italian Hanukkah lamp might very well have
features that resemble decorations employed on an Italian lamp stand.
Regarding value, a Judaica object from England and Italy will be appraised
more highly than one from Eastern or Central Europe, because objects from
the former are, for the most part, more highly crafted and rarer (Figure 11).
There are regional differences that are to be factored into the valuation of
Judaica pieces.
In returning to the discussion on appraising contents of houses of
worship, it is certain that all synagogues will have a large assortment of ritual
“Judaica” objects. Most are made recently, but quite often, synagogues with
longer histories may have amassed important silver ritual items. In synagogues with larger congregations one may encounter display cases—minimuseums-- in which they exhibit historical Judaica. Judaica in this context is
Figure 12. A Menorah from the Barcelona Synagogue.
regarded as the historically important and fragile objects that are separated
from those which are in active ritual use. Objects in the cases may have been
collected by congregants and donated or loaned for display or they may be
objects that were part of the longer history of the congregation. These socalled historic collections are often used mostly as teaching collections—
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opportunities to discuss ritual, geographic distribution, and other social,
ethnographic, or historical concerns.
Of the Judaica objects listed above, all can be acquired in galleries,
shops, public auctions, or private galleries. Judaica collecting has steadily
risen during the past years and the rise of internet auctions has further
enabled the rise of a very brisk Judaica market. But what of the items in a
synagogue that are not frequently sold at auction or at arms-length sales?
For instance, let us take a hypothetical example of a large, eight foot bronze,
electrified monumental and ornamental Menorah, the seven branch candle
stand which is a symbol of the Jewish faith. Many synagogues of the 19th
century and 20th centuries had specially commissioned candle stands—they
are large, often brass, and they decorate the synagogue stage (for example
Figure 12). If an 1890s synagogue Menorah needed to be replaced, finding
an exact “comp” would be quite difficult. Searching all sites where Judaica is
auctioned would probably yield few, if any results and one would not expect
to find such an example in a retail setting—a gallery or antiques shop
Figure 13. The bronze gates of the synagogue at the Kennedy International Airport, in New
York, 1968 made by noted contemporary Judaica Artist Ludwig Wolpert.
because they are in fact, sacred objects. In Judaism, there are strict conditions for the disposal of ritual objects, if they are taken out of use. In order
to replace this item, one would have to commission a new one, or find a
similar one not in use (and one, for that matter, that someone was willing to
sell). In finding an insurance replacement value, I would have to look for
comparisons among Victorian or Art Nouveau standing lamps, although the
comparisons are not exactly similar.
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The same is true for finding fair market values for synagogue interiors such as Torah arks, and other architectural details that are specific to
synagogue buildings. There are few recorded sales of synagogue interior
elements (or, in fact, sales of other interior elements of other houses of
Figure 14. A pair of contemporary Rimmonim, Torah Finials, by Ludwig Wolpert made in
the 1960s. from the Jewish Museum, New York -- examples of important contemporary
Judaica
worship). Synagogues in transition may wish to sell off their interior elements to museums or cultural institutions and require valuation for these
transactions. Architectural elements are also highly collectible for private art
collections and they require that a price be fixed upon the piece. In establishing fair market value for large scale components in religious institutions
the appraiser must by necessity account for the historical importance of the
piece, its artistic merit, and its condition. However, comparisons to appropriate architectural or large scale furniture items with the same degree of
decoration, quality and finish from the secular realm sold in the current
market place will be the only true sources for comparative value.
In the case of determining replacement value for objects which are
one-of-a kind, I recently encountered an interesting case. A synagogue built
in the 1960s commissioned a well-known silversmith to design its sanctuary
ark, its curtain, and 13 hand-made and engraved silver ornaments for the
Torah scrolls. Although still living, the silversmith was quite elderly and he
had long since given up his workshop. He, himself could not be involved in
the recommisioning of the objects if they were to be lost. I first reasoned
that if the synagogue were to pay a contemporary silversmith to reproduce
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the exact designs, then determining the costs of paying the silversmith at
current rates, the cost of silver, and the administration of the project would
give an adequate replacement value. I contacted several silversmiths who
were technically able (and willing) to reproduce exactly what would have
been lost. The original silversmith was actually very well-known; and his
Figure 15. A Silver Havdalah set, used in the ceremony to mark the end of the Sabbath by
Ludwig Wolpert, 1960s, from Jewish Museum, New York - an example of important
contemporary Judaica.
work was already being “reproduced.” But, I reasoned, would the synagogue
be compensated fairly if they were to have, in the end, reproductions of the
lost items? Would the congregation be adequately insured for replacement
costs if the objects they lost were to be replaced by a series of “copies?” I
finally concluded that, no, the synagogue would not be fairly compensated
with reproductions copied by another artist. The synagogue would be
replacing its artworks with copies; there would be no control over the
quality and aesthetic state of the copy. The synagogue, in order to be fully
compensated for their lost, should not get reproductions even though they
may be faithfully reproduced by a lesser artist. They were entitled to replace
their commissioned art works by another artist of equal stature to the
original artist. The synagogue was relieved to know that if they were unfortunately to lose their collection, they could seek to replace it with the same
method they used before: hiring a well-known artist to design and execute
one cohesive group of objects. See Figures 13-15, for examples of the
artwork of renown silver smith Ludwig Wolpert (German/Israeli) who died
in 1981. His work includes magnificent architectural designs which cannot
be easily replaced.
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Beyond the obvious treasures housed in the sanctuary, the place I
find most intriguing is located outside the sanctuary. I would say that every
church’s or synagogue’s administrative files can yield extraordinary ephemera such as advertising graphics; documents of interest to local historians;
photographs, scrap books; medals and so on. While these kinds of materials
may just take up space in a busy institution, these materials are used by
museums, historical societies and other cultural organizations for educational purposes or to enhance their collections and exhibitions.
There are other areas in houses of worship that always calls to me. A
neglected closet or a dusty, abandoned attic can yield treasures. Recently I
was asked to help a synagogue involved in a major renovation project. They
had to move many objects out during construction, and in the process, they
had to empty out all of their closets, their basement, and their entire attic!
During the process, every closet revealed some treasure or another. The attic
also contained works of art that congregants had either donated or abandoned over the years. In this case, I aided the congregation in identifying
the pieces they might want to hang in the newly restored building. The
congregation also decided to organize a fund raiser to sell off the unwanted
art. I have also assisted at “rummage sales.” I was able to advise the organizing committees that certain art might be better off sold at their local auction
house for many times the table price.
There is a time for everything. So next time your mind wanders during a service, think about the valuation challenges that might exist within
these walls and the opportunities that appraisers have to apply their knowledge and expertise. European houses of worship abound with important art
treasures and objects made in the continent may have had their origins in
houses of worship. Nevertheless, there is still art with significant value
abundant in houses of worship in the United States and these treasurers
deserve the appraiser’s attention.
Elizabeth Kessin Berman is a Certified Judaica Appraisers with the
Appraisers Association of American and an Accredited Appraiser with the
Appraisers National Association.
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Elizabeth is originally from the Boston area. But she has wandered
the world for art's sake. Trained as an archaeologist and art historian,
Elizabeth spent most of her career as a Museum Curator. In 1983, Elizabeth
turned her attention to the then emerging world of Jewish museums. From
her residence in Washington D.C, she played an important role in the
development of Jewish museum collections. Elizabeth currently operates
two appraisal companies, one Judaica In Context, devoted to expert appraisals of Judaica objects, Jewish art and Jewish historical documents. The other
is Collections In Context, a company devoted appraisals and curatorial
services related to modern and contemporary art and general estate appraisals.
You can contact Elizabeth at www.judaicaincontext.com or
www.collectionsincontext.com.
1
Donald R. Friary, Silver from the First Church of Deerfield, Massachusetts in Magazine Antiques,
September, 2003 (Internet edition).
2
Fred Bridgland and Mark Rowe, “Church Sells its Silver to Feed Poor,” in The Independent,
UK (Internet edition), January 7. 2001.
3 Charles A. Radin, quoted in “A Salem Church Sets Storied Silver Work on Auction
Block,” in The Boston Globe (Internet edition) December 19, 2006
4 Sotheby’s Preview to 17th and 18th Century American Silver from the Church of the
Presidents, Quincy, Mass, January 19, 2001 (on-line catalog).
5 Laura Beach, “Early American Silver Reaps a Windfall at Christie’s,” in Antiques and the
Arts Online, February 6, 2007.
6 Ibid.
7
Christies, Sale 1839, Early American Silver…January 18, 2007, New York, Rockefeller Plaza,
Lots 58 and 59.
8 Lane Lambert, “Forgotten Communion beakers could raise $300,000 for First Parish in
Cohasset,” in The Patriot Ledger, January 13, 2009 (Internet edition).
9 Sotheby’s “Important Americana Sale,” (Sale: N08512, New York) January 23, 2009, Lots
141 and 142.
10 Ibid., Lot 145.
11 Lane Lambert, “Forgotten Communion beakers could raise $300,000 for First Parish in
Cohasset,” in The Patriot Ledger, January 13, 2009 (Internet edition version).
12 Ibid. Lot 160.
13 For a detail study of Myer Myers, see David L. Barquist, Myer Myers. Jewish Silversmith in
Colonial New York. New Haven and London: Yale University Press 2001.
14 Maine Antique Digest, November 2009, page 5-D
15 See Jeanette E. Rosenbaum, Myer Myers, Goldsmith 1723-1795. Philadelphia: Jewish
Publication Society, 1954., page 17.
16 Barquist, page xiv.
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JAS Article310 - Judaica in Context

Transcription

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