A Large Artwork By Richard Kessler American 20thc Ii

Collectors and appraisers occasionally encounter works cataloged as “Richard Kessler, American, 20thc, II.” The phrasing can be confusing—does “II” denote a series, a second version, or simply a cataloger’s internal number? With a large artwork, the stakes rise because size affects value, storage, framing, and transport. This guide walks you through interpreting the title, identifying the work, establishing provenance, assessing condition, and positioning the piece in today’s market.

What “American 20thc II” Usually Means

• American, 20thc: This is a standard auction shorthand indicating an artist active in the United States during the 20th century. It does not, by itself, guarantee a verified birth/death date or an established biography—only a geographic and temporal attribution.

• “II” (Roman numeral two): In practice, “II” might refer to:

  • A second version or variant of a composition by the same artist.
  • Plate II or Panel II within a series, diptych, or portfolio.
  • A cataloging label used by an auction house to differentiate multiple lots by the same artist.
  • The second work in a titled theme (e.g., “Harbor Scene II”).

To decode this in your piece, inspect both the front and back:

• Front: Look for “II” after the title in paint or pencil.
• Verso: Check stretcher bars, backing boards, or margins for inscriptions like “No. 2,” “II,” “Plate II,” or a printer’s/portfolio notation.

If “II” only appears in a past catalog description and not on the object, it may have been an internal lot or set marker, not part of the original title.

Identifying the Work: Medium, Size, and Signature

Before valuation, establish exactly what you have. A large artwork’s medium and execution method can shift value by multiples.

1. Determine the medium

• Painting: Oil vs. acrylic. Oil often shows more pronounced brush texture and slower-drying layering; acrylic can have a plastic-like sheen and smoother surfaces. Use raking light to see brushwork, impasto, and any pentimenti.
• Works on paper: Watercolor, gouache, charcoal, pastel, or mixed media. Look for deckled edges, watercolor pooling, and paper type (wove vs. laid).
• Printmaking: Offset lithography, stone lithography, screenprint, etching, or giclée. Magnification helps: a rosette dot pattern suggests offset reproduction; even sprayed dots can suggest an inkjet print; plate marks and embossment can indicate original intaglio processes. Edition numbers like “12/75” signal a limited edition print rather than a unique painting.

2. Confirm size

• Take measurements in centimeters or inches, height x width (and depth for sculpture), image size vs. sheet size for works on paper.
• “Large” usually means over 24 x 36 inches for wall art, though markets vary. The larger the work, the more consequential framing and shipping become, which can influence prices in both directions (large can be commanding but costlier to handle).

3. Read the signature

• Signatures may appear lower right, lower left, or verso. With a name like “Kessler”—a relatively common surname—variations are expected: block capitals, cursive, monogram with “R K,” or initials plus year.
• Use a loupe. A signature integrated into pigment suggests original signing; a signature in pencil on a print margin can be standard for prints; a plate-printed signature (part of the image) is typically not a hand signature.
• Record exact form: “R. Kessler ’72” or “Richard Kessler II.” Photograph it clearly, including any date, place, or dedication.

4. Note inscriptions and labels

• Gallery labels, framer stickers, shipping tags, and exhibition tickets can provide essential provenance breadcrumbs. Transcribe all labels verbatim, with photos.

5. Identify supports and grounds

• Canvas type (linen vs. cotton), stretcher construction, staples vs. tacks, and ground (gesso) coloration can inform period and quality.
• For works on paper, note watermarks, paper weight, and any hinge, mat, or backboard details. Older acidic mats leave brown halos (mat burn).

Provenance and Documentation That Matter

For artists with common names, establishing chain of ownership and context is vital.

• Ownership timeline: Assemble a chronological list—artist studio (if known), first collector, subsequent owners, gallery sales, and auction appearances. Even partial chains help.
• Exhibitions: Evidence of inclusion in a gallery show or regional museum exhibition improves standing. Keep catalogs, invitations, or press clippings if available.
• Gallery/dealer ties: Identify any galleries that represented an artist named Richard Kessler. Dealer invoices, consignment notes, or correspondence substantiate authenticity and market positioning.
• Artist correspondence: Letters, signed photographs, or studio notes strengthen attribution, especially with a common surname.
• Prior appraisals: Distinguish between insurance replacement value and fair market value. Keep copies with dates and scope.
• Digital records: Save scans of labels, recto/verso, raking light images, and detail shots of signature and facture. Consistent file naming helps future appraisers.

If there is ambiguity about which “Richard Kessler” made the work, note all distinguishing elements: stylistic traits (palette, subject matter, brushwork), geographic cues (city skylines, regional landscapes), and any date ranges inferred from materials (e.g., acrylics common post-1950s, certain stretcher types in specific decades).

Market Landscape and Valuation Approach

Because “Richard Kessler” is not a singular, universally recognized name in the canon, values can vary widely depending on confirmation of identity, quality, and medium.

1. Build comparables (comps)

• Focus first on like-for-like: same medium, similar size, comparable subject, and ideally within ±10 years of execution date.
• Prioritize documented sales with clear images and condition notes. Distinguish between retail gallery prices and auction hammer prices (and add buyer’s premium when comparing to retail).
• If “II” indicates part of a series, look for other numbered works from the same suite—collectors often value completeness and thematic cohesion.

2. Adjust for size and condition

• Larger works can command a premium, but only when condition and composition warrant. Very large pieces can narrow the buyer pool due to space constraints and higher shipping costs.
• Deduct or adjust for conservation needs: tear repairs, inpainting, foxing, stains, or revarnishing.

3. Consider medium hierarchy

• Unique oil paintings often sit highest, followed by acrylics and mixed media works. Works on paper can be strong but generally trail oils in valuation unless they are exceptional. Reproductive prints or open editions typically rank lower than original prints (etchings, lithographs, screenprints) with signed, numbered editions.

4. Identify audience and channel

• If the artist identity is firmly established with a track record, mid-tier regional auctions and specialized dealers may be appropriate.
• If attribution is uncertain but quality is evident, a vetted gallery or an appraisal-led approach with scholarly input can be prudent before marketing.

5. Expect variability

• For mid-20th-century American artists without a major national following, auction results commonly range from the low hundreds to low thousands for large pieces, with outliers higher for particularly strong works. Treat any estimate as conditional on verification, comparables, and condition.

Condition and Conservation Notes for Large Works

Condition can be the biggest driver of price movement. Large formats magnify issues and conservation costs.

• Paintings on canvas

  • Structural: Look for warping, stretcher bar impressions, slack canvas, or prior relining. Edge wear under frame rebates is common.
  • Surface: Craquelure is not necessarily a defect unless lifting; check for flaking under magnification. Yellowed varnish can mask colors; ultraviolet light can reveal overpaint and prior restorations.
  • Environmental: Smoke residue and grime often accumulate on larger surfaces; professional cleaning may be warranted.

• Works on paper

  • Paper health: Foxing (brown spots), mat burn, cockling, or acid migration are value-impacting. Measure pH risk from old backings; replace with archival, acid-free materials.
  • Light exposure: Fading in dyes and certain pigments can be substantial. Compare protected margins to visible areas for differential fading.

• Prints

  • Edition integrity: Confirm numbering and signature match known practices. Beware trimmed margins or missing chop marks that can reduce value.
  • Registration and inks: Misregistration or scuffing can occur on large prints; document carefully.

• Framing

  • For large works, use rigid, properly sized strainers or stretcher keys and archival spacers. UV-filter glazing helps on works on paper; avoid glass over very large works due to break risk—acrylic glazing is lighter and safer.

Document condition with a formal condition report including overview, detailed faults, and high-resolution images under normal, raking, and UV light when possible.

Presenting, Shipping, and Insurance Considerations

• Photography: Use diffuse, even lighting. For glossy varnishes, polarizing filters reduce glare. Include a ruler or color bar in detail shots for scale and accuracy.
• Shipping: Crate large works with corner protection and rigid backing. For glazed works, tape a glass safety grid. Consider climate control in transit for sensitive media.
• Storage: Store vertically on padded feet, not directly on concrete. Maintain stable relative humidity (around 45–55%) and moderate temperature.
• Insurance: Insure for the appropriate purpose—replacement value for homeowners policies, fair market value for estate or donation contexts. Update valuations at intervals, especially after conservation or new market data.

Practical Checklist: A Large Artwork by Richard Kessler, American 20thc II

• Verify the medium and support; record exact measurements.
• Locate and photograph the signature, date, and any “II” marks front and verso.
• Transcribe all labels and inscriptions; keep image files with clear filenames.
• Conduct a condition survey; note structural and surface issues; get conservation quotes if needed.
• Build 5–10 direct comparables: same medium, size, subject, and period.
• Clarify the “II”: series, version, plate, or catalog marker.
• Assemble provenance: bills of sale, gallery records, prior appraisals, exhibition mentions.
• Decide venue strategy based on attribution certainty and comps.
• Prepare archival framing or safe packing before any showings or shipment.
• Choose valuation type (FMV vs. replacement) and document your conclusion with supporting comps.

Frequently Asked Questions

Q: Is “II” part of Richard Kessler’s signature or just a catalog note? A: It depends. If “II” appears on the artwork or verso, it likely denotes a second version or part of a series. If only present in a past catalog listing, it may be an internal lot identifier. Always check the object itself first.

Q: How can I be sure the work is by the right Richard Kessler? A: Correlate the signature style, subject matter, and materials with documented examples. Strengthen attribution with provenance such as gallery labels, invoices, or exhibition records. When in doubt, seek a qualified appraiser who can compare signatures and stylistic traits across known bodies of work.

Q: Does size always increase value? A: Not always. Larger works can be more visually commanding but cost more to frame and ship, narrowing the buyer pool. The impact of size is positive only when quality, composition, and condition align with collector demand.

Q: What if my piece is a print rather than a painting? A: Original, hand-signed, limited edition prints can be desirable, but open-edition or reproductive prints typically carry lower values. Confirm the edition number, printing method, and presence of a hand signature to understand where it sits on the value spectrum.

Q: Should I clean or reframe before selling? A: Minor, reversible improvements (archival mats, dust removal) can help presentation. For cleaning or conservation, get a professional assessment first; you want to avoid irreversible changes that could reduce value. Keep before/after documentation for buyers.

By carefully parsing the “American 20thc II” notation, documenting the object thoroughly, and aligning comps with medium, size, and condition, you can confidently position a large artwork attributed to Richard Kessler in the market. Whether your goal is an insurance appraisal, estate settlement, or sale, disciplined research and clear documentation will yield the most credible result.