An Original Painting By Paul Martino

Finding or inheriting an original painting signed “Paul Martino” can spark equal parts excitement and uncertainty. Is it truly original? Which Paul Martino is it? What is the market value? This guide walks appraisal-minded readers through a methodical approach to identification, authentication, condition assessment, and valuation—so you can make informed decisions about care, insurance, or sale.

Clarifying Which “Paul Martino” You Have

The first challenge is attribution. “Paul Martino” is a name that could belong to multiple artists (and non-artists), and regional or hobbyist painters often share names with career professionals. Before jumping to value, build a concise working profile of the artist behind your painting.

Start with evidence on and around the artwork:

• Medium and support: oil on canvas, acrylic on panel, watercolor on paper, etc.
• Subject and style: landscape, abstract, figure study; realism vs expressionism; color palette; brushwork.
• Date and place: is anything dated or inscribed with a location? An inscription like “Taos 1981” narrows context considerably.
• Signature habits: does the artist sign “Paul Martino,” “P. Martino,” or simply “Martino”? Is it block letters, cursive, or a stylized monogram?
• Labels and stamps: gallery labels, exhibition stickers, custom framer labels, inventory numbers, or collection stamps on the verso (back).
• Ownership history: notes from previous owners, a bill of sale, or a gallery business card stapled to the frame dust cover.

Use these clues to triangulate:

• Timeframe: materials can signal period (e.g., titanium white became common after the early 20th century; staples on canvases are more typical post-1960).
• Geography: a regional gallery label or framer’s mark tightens the circle of plausible artists.
• Career evidence: recurring gallery names, exhibition titles, or an estate label suggest a professional practice rather than a one-off hobbyist.

If multiple artists share the name, the presence of corroborating documentation—gallery invoices, exhibition lists, a consistent body of work—often makes the difference between a confirmed career artist and a decorative attribution.

Signature, Inscriptions, and Handwriting Clues

Signatures help, but they’re not conclusive on their own. Treat them as one data point among many.

What to examine:

• Placement: lower right or lower left is common. Mid-composition signatures can indicate later additions.
• Form and consistency: compare letterforms, slant, pressure, and spacing to other verified examples if you can locate them. Watch for telltale differences in the “P” loop or the terminal flourish on the “o.”
• Name format: “Paul Martino,” “P. Martino,” initials, or a stylized “Martino” each may correspond to different periods.
• Medium and integration: a signature sunk into the same paint layer is more convincing than a floating, glossy autograph that sits on aged varnish.
• Dates and inscriptions: numerals style (e.g., open vs closed “4”), month/day/year ordering, and location notes can be distinctive to an artist.

Inspect the verso carefully:

• Pencil or ink inscriptions may include title, medium, dimensions, and inventory numbers.
• Gallery or exhibition labels with phone numbers, street addresses, or show dates help anchor the timeframe and artist identity.
• Stamps from a studio estate or a publisher (if it’s a print) can be revealing.

Importantly, deliberate forgeries are less common for lesser-known names, but “wishful attributions” are rampant. A strong signature paired with weak stylistic fit, mismatched materials, or dubious labels is a red flag.

Materials, Technique, and Stylistic Analysis

Materials should align with the supposed date and the artist’s known practice. Inconsistencies can derail an attribution, while concordant evidence builds confidence.

Support and ground:

• Canvas: pre-stretched, hand-stretched, or relined? Tacking edge wear, oxidized ground, and stretcher bar marks can indicate age.
• Panel: hardwood, plywood, or Masonite/tempered hardboard? Hardboard is common mid-20th century onward.
• Paper: watercolor, drawing, or printmaking papers have distinct textures and watermarks worth checking under transmitted light.

Paint and media:

• Oil vs acrylic: acrylics gained traction in studios in the 1950s onward. Craquelure patterns differ from oil.
• Pigments: titanium white (20th century), phthalocyanine blues/greens (20th century), and certain fluorescents or interference pigments suggest modern dates.
• Technique: palette knife impasto, scumbling, glazing, underdrawing, or sgraffito often remain consistent within an artist’s body of work.
• Edges and layering: examine margins for paint overlap consistent with on-stretcher painting; a perfectly clean edge might imply a later signature or a print.

Light-based examination:

• Raking light: reveals impasto, pentimenti (changes during painting), and canvas deformations.
• UV fluorescence: can show varnish, inpainting, and areas of retouch. Patchy fluorescence in old varnish is normal; jet-black islands may be overpaint.
• Magnification: look for pigment particles and brushhair marks; to rule out mechanical patterns from reproduction.

Practical dating clues:

• Staples vs tacks: staples are common on factory-stretched canvases post-1960.
• Synthetic canvas and commercial priming: often late 20th century onward.
• Frame construction: miters, gesso composition, and hang hardware can hint at age (but frames are often replaced).

Provenance and Documentation: Building a Paper Trail

Provenance—documented ownership and exhibition history—adds credibility, aids insurance, and can affect value.

High-confidence documents:

• Gallery invoices or consignment agreements naming the artist and the painting.
• Exhibition catalogues or checklists matching title, dimensions, and medium.
• Appraisal reports referencing specific identifiers (signature placement, verso labels).
• Estate or foundation certificates tied to a known executor or authenticator, with contact details and dates.

Lower-confidence or red-flag items:

• Generic “Certificates of Authenticity” with no issuer credentials or artwork-specific details.
• Mismatched labels (e.g., a modern framer label on a purportedly early work without signs of reframing).
• Vague family lore without corroboration.

Organize your dossier:

• Photograph recto, verso, details of the signature, labels, and frame joinery.
• Record precise dimensions (sight size and framed size).
• Note any conservation treatments and who performed them.

Market Value: How to Establish a Realistic Price

Value flows from identity, quality, condition, and demand. For an original painting by Paul Martino, the range depends on whether the artist can be tied to a recognized market and exhibition record.

Build comparables:

• Apples-to-apples: match medium (oil vs acrylic vs watercolor), support, size, subject matter, and date range.
• Quality tier: a strong, resolved composition generally outperforms sketches, studies, or late repetitive works.
• Provenance and exhibition: documented works often command premiums.
• Condition: structural issues, overcleaning, or heavy overpainting reduce marketability and price.

Use market data wisely:

• Auction results show actual selling prices (hammer) and may be more transparent than gallery asking prices. Adjust for buyer’s premium and seller’s commission when estimating net proceeds.
• Note unsold lots. A string of buy-ins around certain estimates indicates resistance at those levels.
• Track currency, sale date, and location; regional demand can materially affect outcomes.

Pricing strategy:

• Build a bracket using three to five close comparables: low, mid, and high reference points.
• If the artist’s identity remains uncertain or local, lean toward the decorative market. Decorative oil paintings of competent quality often transact in the low to mid hundreds, with outliers in the low thousands depending on scale and appeal.
• If you can confirm a recognized career artist with a consistent auction history and gallery representation, values can rise accordingly. Let the data—not wishful thinking—set expectations.

Timing and selling venues:

• Regional auctions can outperform online venues for regionally collected artists; conversely, modern/abstract works might do well on broader digital platforms.
• Seasonality matters: major auction calendars can concentrate buyer attention.

Condition, Conservation, and Framing Impact

Condition is not just cosmetic—it’s value-critical.

Common issues:

• Paint instability: cupping, flaking, tenting; active loss requires immediate stabilization.
• Tears and punctures: reduced value even if repaired; transparency about repairs is essential.
• Surface contamination: nicotine, soot, or grime dulls vibrancy.
• Varnish problems: yellowed or uneven varnish; blanching (whitish haze).
• Overpainting: extensive restorations can suppress original brushwork.

Conservation approach:

• Obtain a written condition report noting structural and surface conditions and recommended treatments.
• Avoid DIY cleaning; solvents and moisture can irreversibly damage paint layers.
• Typical professional treatments: surface cleaning, varnish removal and revarnish, consolidation of flaking, lining or tear mending. Weigh treatment cost against projected value and your goals.

Framing considerations:

• A period-appropriate frame can enhance presentation and value; some frames themselves are collectible.
• Don’t date a painting by the frame alone; frames are frequently replaced.
• Use archival materials: acid-free backings, proper spacers for works on paper, and UV-filter glazing for sensitive media.

Selling and Insurance Considerations

If you decide to sell:

• Choose the right venue: regional auction house, specialist gallery, or vetted online platform. Match the venue’s buyer base to the work’s character.
• Negotiate terms: consignment commission, photography fees, reserve price, and duration.
• Provide documentation: provenance, condition report, and high-quality images to support marketing.

If you keep the painting:

• Appraise for the correct purpose: insurance (replacement value), estate (fair market value), donation (qualified appraisal with proper forms), or equitable distribution. Each requires a different standard and number.
• Insure properly: schedule the item on your policy with photos, dimensions, and any appraisal documentation. Update values periodically if the market changes or after major conservation.

Quick Appraisal Checklist for a Painting Signed “Paul Martino”

• Confirm medium and support; note dimensions exactly.
• Photograph recto, verso, signature, labels, and frame joinery.
• Document the signature style and any dates/inscriptions.
• List all provenance: owners, galleries, exhibitions, invoices.
• Assess condition or obtain a conservator’s report.
• Research artist identity using labels, locations, and period clues.
• Build 3–5 close market comparables by medium, size, subject, and date.
• Adjust comps for condition, provenance, and selling venue.
• Decide on goal: keep and insure, conserve, or consign for sale.
• If selling, select venue, negotiate commission/reserve, and prepare a concise dossier.

FAQ

Q: How do I tell if my Paul Martino is an original painting or a print? A: Check under magnification. Paintings show varied brushstrokes, impasto, and irregular texture. Prints may reveal dot or rosette patterns (offset) or uniform pigment distribution (giclée). Look at edges and margins for plate marks (intaglio) or deckled edges (handmade paper). A glossy, even surface sitting atop craquelured varnish can indicate a later signature on a reproduction.

Q: The signature matches “Paul Martino.” Is that enough to authenticate? A: No. A signature is supportive evidence, not a conclusion. Corroborate with stylistic fit, materials consistent with the claimed date, and provenance (gallery invoices, exhibition history). Discrepancies in materials or weak stylistic alignment outweigh a matching signature.

Q: What if multiple artists share the name Paul Martino? A: Use contextual clues—medium, subject, period, region, and gallery labels—to narrow to a specific individual. Build an artist profile from the evidence on your work, then see whether that profile aligns with documented careers. If the trail remains ambiguous, value it conservatively as a decorative work or pursue a professional appraisal.

Q: Should I restore the painting before selling? A: Only if the expected value gain exceeds treatment cost and risk. Obtain a conservator’s estimate and an appraiser’s opinion on “as-is” versus “post-treatment” value. Minor, professional cleaning that improves legibility can help; major structural work can be costly and may not be recouped in sale proceeds.

Q: How do I set a reserve price? A: Use the low end of your tightest comparables after adjusting for condition and fees. A reserve protects you from underselling but set it realistically to avoid a buy-in. Your chosen venue can advise on buyer behavior at different thresholds.

By following a disciplined process—confirming which Paul Martino you have, examining signatures and materials, assembling provenance, and grounding expectations in market data—you’ll be well positioned to authenticate, appraise, and responsibly value an original painting by Paul Martino.