34639 2

Every appraiser eventually meets an object that seems to be defined more by its labels than by its looks: a slip of paper glued to the back, a pencil inscription on a stretcher, a stamped number on a base. “34639 2” is a stand‑in for that moment—a code that hints at a history, a sale, a shelf, or an accession. Decoding such identifiers is often the first step toward a defensible appraisal. This article walks through a rigorous, market‑aware approach to turning an orphaned number into knowledge, then into value.

From Code to Context: What “34639 2” Might Tell You

Numbers on objects rarely exist in a vacuum. They are artifacts of prior ownership, management, or sale. Understanding formats and where they appear can fast‑track your research.

• Auction sale and lot numbers: “34639 2” could read as Sale 34639, Lot 2. Large houses often encode sale identifiers on lot stickers; regionals may scribble them in grease pencil on the back of frames or under furniture tops. Cross‑check the style of sticker or label (color blocks, typography, barcode presence) with known house practices. If the number is split over two lines, the bottom line often denotes the lot.

• Dealer stock codes: Dealers use mixed alphanumeric codes to track inventory. A short numeric string followed by a space and another number sometimes denotes category and sequence (e.g., 34639 = paintings, 2 = second item acquired in a batch). Look for accompanying shorthand like “O/C” (oil on canvas) or “w/frame.”

• Museum or institutional accession numbers: These generally follow a structured pattern, often year-first (e.g., 1986.39.2). If you see separators like periods or slashes, or find the number on an archival label, it may be an accession or loan number. Placement is typically discreet: lower stretcher bar, back of sculpture base, underside of furniture.

• Shipper and customs labels: A numeric block on a parcel tag, with carrier logos or routing instructions, indicates logistics, not inventory. Valuable for reconstructing movement between owners or exhibitions.

• Collection marks and blind stamps: On prints, codes may accompany blind stamps or embossed seals. Pair numbers with known workshop or publisher marks to anchor edition information.

Examine the physical evidence carefully:

• Materials of the label (old gummed paper vs. modern pressure-sensitive), aging pattern, and adhesive bleed can narrow date ranges.
• Ink type (fountain pen, ballpoint, felt-tip) can indicate post‑1950 notations.
• Overlap and layering tell you sequence: a number under aged varnish likely predates a later relining or framing.

Photograph all markings recto/verso with a color checker and raking light; include scale. Transcribe verbatim, preserving line breaks, punctuation, and letterforms. Catalog each mark’s location (e.g., “backing board, upper left”).

Provenance, Attribution, and Dating: Building the Object’s Identity

Once you have clues, you can begin building the object’s identity across three intertwined strands: provenance, attribution, and date.

Provenance

• Start with the object: labels, inscriptions, receipts tucked behind backings, shipping tags, and exhibition labels often add owner names, cities, and dates.
• Trace institutional or dealer codes by contacting likely sources. When requesting information, provide photographs of the whole label and the object, measurements, and previous ownership details. Keep outreach professional and specific; many archives respond best to clear, concise queries.
• Reconcile narratives. Owners often conflate family lore with fact. Treat oral histories as leads to documentary evidence. Seek bills of sale, appraisals, catalog entries, exhibition checklists, or conservator reports to corroborate.
• Watch for gaps and red flags: sudden jumps in geography, ownership during sensitive periods (particularly 1933–1945 in Europe), or inconsistent medium/size descriptions across references.

Attribution

• Use connoisseurship and comparative anatomy: compare composition, brushwork, tool marks, construction methods, and idiosyncratic details (e.g., a sculptor’s signature chisel sweep).
• Understand attribution vocabulary: “by” (secure), “attributed to” (probable), “workshop of” (executed under supervision), “circle of” (contemporary follower), “manner of” or “after” (later emulation or copy).
• Engage non‑invasive analytical tools where appropriate:
  • Ultraviolet (UV) fluorescence to detect overpaint and varnish.
  • Infrared reflectography (IRR) for underdrawing in works on panel/canvas.
  • X‑ray fluorescence (XRF) for elemental composition; e.g., titanium white (post‑1916) can contradict a claimed 19th‑century date.
  • Dendrochronology for wooden panels; dates the felling of the tree, establishing a terminus post quem.
  • Fiber analysis and thread count (canvas weave mapping) to compare with known bolt matches.
• Calibrate claims with signatures and stamps. Signatures may be later additions; compare letterforms and pressure patterns. Foundry marks on bronzes indicate casting period and sometimes edition practice.

Dating

• Correlate materials and methods with chronology: machine‑made screws, phillips heads, and plywood cores narrow earliest possible dates on frames and furniture. Pigment timelines, paper watermarks, and printing plates inform prints.
• Consider framing and mounting history. A period frame supports authenticity but is not decisive; mismatch can be informative about marketing or reframing trends.

Document your reasoning. In your report, separate facts from opinions and clearly state levels of certainty. Quote inscriptions exactly, translate only in brackets, and include all tests, who performed them, and when.

Condition and Conservation Impact on Value

Condition affects both market reach and price. A precise condition report protects the client and the appraiser.

Structure your assessment:

• Structure: panel warp, stretcher condition, joint stability, woodworm, delamination, cracked veneers, repair joins, casting flaws, cracks.
• Paint and surface: craquelure type (age vs. drying), cupping, cleavage, lifting, abrasion, overcleaning, overpaint, bloom, blanching, accretions.
• Support: canvas tears, thread breaks, past relinings or patches; for paper, foxing, mat burn, cockling, losses, backing types.
• Metals and ceramics: corrosion type (active vs. passive), patination, glaze crazing, hairlines, firing flaws, repairs and losses.
• Interventions: varnish type (natural vs. synthetic), retouch under UV, fills, inpainting, adhesive residues, replaced hardware.

Assess impact:

• Visibility at conversational distance and under gallery lighting matters. Minor, stable, well‑executed retouching is tolerated; pervasive overpaint or structural distortions depress value more sharply.
• Estimate conservator costs if stabilization or aesthetic treatment is advisable. Obtain ballpark ranges from qualified conservators; note risks and reversibility.
• State whether the condition is stable, unstable, or unknown. Avoid cleaning or testing that may damage surfaces; defer intervention to professionals.

Tie condition to marketability:

• High‑demand artists and forms can absorb moderate condition issues; decorative or commodity segments are more price‑elastic.
• Condition modifiers typically range from −5% to −60% on otherwise good comparables. Document the derivation of your adjustment.

Market Analysis and Valuation: Turning Research into Numbers

An appraisal is an argument supported by market evidence. Do the legwork, then be explicit about scope and assumptions.

Choose the appropriate value definition:

• Fair Market Value (FMV): price between willing buyer and seller, both knowledgeable, no compulsion, typical market (often secondary market, net of normal seller’s commissions).
• Replacement Value (Insurance): cost to replace with like kind and quality at retail within a reasonable time; usually higher than FMV and based on retail comparables.
• Orderly Liquidation or Forced Sale: accelerated timeframe and limited marketing; discounts apply.

Build your comparable set:

• Source comps from the same market tier as your target value definition (auction for FMV, retail/gallery for replacement).
• Prioritize comps by proximity on key variables: artist/maker, period, medium, size, subject, edition, signature, provenance, condition, and date of sale.
• Normalize comp prices:
  • Adjust for buyer’s premium inclusion.
  • Convert currencies to a common base at sale date or report currency; state your method.
  • Size scaling (area or dimension coefficients) is useful for prints and photographs but can mislead for unique works—apply judiciously.
  • Edition size and state for prints; earlier states or rare variants carry premiums.
  • Subject desirability and period: “blue‑chip periods” command significant premiums.

Analyze the market:

• Examine sell‑through rates, buy‑ins, and median-to-high ratios for the category and the artist. A thin market warrants wider estimate bands.
• Note seasonality and regional effects. Some categories perform better in specific geographies; shipping and compliance costs can suppress cross‑border bidding.
• Consider fees and net proceeds if the assignment requires net‑to‑seller outcomes.

Synthesize into an estimate:

• Present a primary conclusion as a range. Support with at least three strong comps and document adjustments line by line.
• For items with uncertain attribution or incomplete provenance, present scenario analyses: e.g., “If by X, range A; if circle of X, range B.”
• State extraordinary assumptions (e.g., “Assumes ‘34639 2’ corresponds to Sale 34639, Lot 2 referenced in the client’s documentation”).

Keep your file:

• Archive comp sheets, images, notes, correspondence, and condition photos. A well‑documented workfile is key to defensibility and future updates.

Quick Appraiser’s Checklist

• Record all numbers, labels, stamps, and inscriptions verbatim; photograph locations with scale.
• Hypothesize what the code denotes (sale/lot, stock, accession) and list likely sources to contact.
• Map provenance from physical evidence outward; corroborate owner narratives with documents.
• Establish attribution language appropriate to evidence; avoid overclaiming.
• Conduct non‑invasive examinations first (raking light, UV, IR if available).
• Note construction and material clues that constrain dates (hardware, pigments, paper, panel species).
• Produce a structured condition report; identify stability and likely conservation needs.
• Select comps matched to your value definition and normalize their prices.
• Adjust comparables transparently for size, condition, edition, subject, and date.
• Choose and justify a valuation range; include scenario analysis if attribution/provenance is uncertain.
• State assumptions, limiting conditions, and intended use of the appraisal.
• Retain a complete workfile with dates, sources, and decisions for later review.

FAQ: Common Questions on Numbers, Methods, and Risks

Q: How can I tell whether “34639 2” is an auction lot number or a dealer stock code? A: Look at context and format. Auction lot numbers usually appear on printed sale labels or adhesive lot stickers with a house name, barcode, or date codes; they may be written in grease pencil on frames during preview. Dealer stock codes are more varied and often appear with shorthand for medium or measurements. Placement helps: auction labels cluster near the center of the verso; dealer codes may be on tags or in pencil on the stretcher. When in doubt, compare the label design to known examples from likely venues or contact the supposed source with photos.

Q: When is scientific testing worth the cost? A: Use testing when the outcome could materially change attribution, date, or value, and when the test is non‑destructive or minimally invasive. XRF is relatively quick for pigment/metals screening; dendrochronology is decisive for panel earliest dates; IRR can reveal underdrawing consistent with a workshop. Align testing selection with the decision tree: if a positive or negative result won’t alter your valuation conclusion, skip it.

Q: How big a condition discount is typical? A: It depends on category and demand. Minor, stable issues might warrant a 5–15% adjustment. Significant structural problems or widespread overpaint can justify 30–60% reductions relative to clean comparables. Express your adjustment with specific references to market behavior (e.g., a similar work with a noticeable tear sold at a known discount) and explain your reasoning.

Q: What if provenance has a gap during a sensitive period? A: Treat gaps transparently. Note the missing years, document your search, and check for risk factors (e.g., geographic movement in Europe 1933–1945). Depending on the category, consult relevant databases and archives. If risk remains unresolved, consider how it affects marketability and include this uncertainty in your estimate or in a scenario analysis.

Q: Should I remove old labels or backing boards to see more information? A: Do not remove or disturb original materials without conservator guidance. Labels, backings, and nails can be evidence. If inspection requires opening, engage a conservator to safely lift backings and document the process. Removing historical elements without documentation can reduce value and compromise provenance.

By treating “34639 2” as a meaningful clue rather than a mystery, you’ll sharpen your process: observe, document, test when warranted, analyze the market, and present a clear, defensible opinion of value. That rigor protects your client—and your reputation—across assignments.