An Original Painting By Susan Mara
Evaluating an original painting by Susan Mara calls for a balance of connoisseurship, forensics, and market sense. Whether you just acquired a canvas or you are preparing an insurance schedule, the steps below will help you confirm authorship, distinguish originals from reproductions, document provenance, and estimate value with confidence—without inadvertently harming the work or overlooking crucial evidence.
Verify the artist: which “Susan Mara” do you have?
Artist-name ambiguity is common. Before you appraise anything, confirm you have identified the correct Susan Mara.
- Start with the inscription. Does the signature read “Susan Mara,” “S. Mara,” a monogram “SM,” or a stylized form? Note the hand, pressure, and instrument (paint, graphite, ink).
- Compare the style, subject matter, and medium. Painters with the same name can work in wildly different idioms. Landscapes, abstracts, figurative pieces, and mixed-media works may point to different careers.
- Gather contextual clues. Labels, invoices, or cards on the back often include gallery names, addresses, phone numbers, or exhibition titles that fix the artist to a particular region and timeframe.
- Check dates. A dated piece instantly narrows down period and possible exhibitions.
- Confirm with independent sources. Auction catalogs, exhibition materials, artist statements, and gallery price lists—if you have them—anchor the identity. If the artist is living or represented by a gallery, the studio or representative may be able to confirm authorship when provided with clear images and dimensions.
The goal is to triangulate identity using handwriting, style, and provenance rather than relying on a single factor like a label that could be misapplied.
Original vs. reproduction: a step-by-step examination
Because many contemporary-looking works are actually high-quality prints (including canvas transfers), spend time separating true originals from reproductions. Work methodically from the surface to the edges and back.
- Surface texture and paint behavior
- Originals: Expect variation in gloss, visible brushwork or knife marks, ridges (impasto), and occasional pentimenti (subtle corrections) when viewed raking across the surface. Under magnification, you’ll see irregular pigment particles and overlapping strokes.
- Reproductions: Giclée prints on canvas often display a uniform sheen and repeated dot or spray patterns. Some have a printed “impasto” texture or a clear-coat that reflects evenly across the entire image, unlike the patchy luster of layered paint. Under magnification, you may detect a rosette or micro-dot matrix rather than pigment particles.
- Underdrawing and layering
- Originals: Graphite or charcoal underdrawing can peek through thin passages; edges where one color overlaps another exhibit three-dimensional buildup.
- Reproductions: Edges are flat. Lines typically lack the fuzz or pressure variations of hand-drawn marks.
- Edges and margins
- Originals: Look for paint that wraps around the stretcher edge or evidence of tacking margins with stray drips and color tests. On works on panel, check for scribe lines, primer (gesso) at the edges, and incidental fingermarks.
- Reproductions: Many canvas prints are machine-stretched with mirrored or solid-color wrapped edges and no true build-up at the perimeter.
- Signature characteristics
- Originals: Signature added after the painting layers dried often sits on top, sometimes sunk slightly if oil-bound. Strokes should break over textured impasto.
- Reproductions: Signatures integrated into the image layer look flat and continuous with the print. Some prints are hand-signed in pencil on the margin—legitimate for prints but not proof of an original painting.
- Verso evidence
- Originals: Expect artist’s notes, studio inventory numbers, title notations, or old frame shop labels. Stretcher bars may carry wedge “keys,” custom maker’s stamps, or handwritten dates.
- Reproductions: Commercial barcodes, SKU stickers, publisher labels, edition numbers (e.g., 47/250), and standardized gallery wrap hardware are common.
- Ultraviolet (UV) examination (if available)
- Originals: Natural resin varnishes may fluoresce; retouching can appear as darker or differently glowing patches. Varying fluorescence patterns indicate layered materials.
- Reproductions: Uniform fluorescence across the entire surface suggests a sprayed protective coat typical of giclée prints.
If doubt remains, consult a conservator or appraiser for microscopic or cross-light examination. Document your observations with photographs.
Provenance and object clues: signatures, supports, and labels
Even for contemporary works, provenance can be decisive. A thin but lucid chain of ownership often matters as much as condition when you’re assessing value.
Signature and inscription study
- Record the exact placement, color, and medium of the signature. Note inscriptions like “To [Name],” which indicate a gift and can help locate original owners.
- Compare any dates on the front and back. Discrepancies aren’t necessarily red flags but demand explanation.
Support and ground
- Canvas: Observe the weave (plain vs. twill), tacking method (tacks vs. staples), and stretcher type (butt-jointed vs. keyed). Heavier canvases and keyed stretchers are typical of studio works; lightweight pre-stretched canvases are common for both originals and prints, so interpret in context.
- Panel: Identify wood vs. composite (MDF/hardboard). Look for sealed edges, back-priming, and maker’s marks.
- Paper: For watercolors or gouache, check for deckled edges, watermarks, and evidence of cockling consistent with wet media.
Labels, stamps, and numbers
- Gallery or exhibition labels can be gold. Photograph them, transcribe completely, and keep the frame if it has history. A frame shop label provides time/place context.
- Inventory numbers (painted or pencil) suggest organized studio or gallery systems. Consistency across multiple works builds confidence.
Documentation hierarchy
- Primary evidence: invoices, consignment agreements, exhibition catalogs, and letters from the artist or gallery.
- Secondary evidence: photos of the work hanging in a dated context; insurance schedules; appraisals.
- Certificates of authenticity (COAs): Useful but not definitive unless issued by the artist, studio, or a recognized representative. Beware generic or manufacturer COAs for prints marketed as “originals.”
Keep all materials with the work and reference them in any appraisal description.
Value and market: what drives price for Susan Mara works?
Assuming authorship and originality are secure, value depends on a coherent set of comparables and condition. Anchor your pricing to works that match on the factors below.
- Medium and technique
- Oil and acrylic paintings generally command more than works on paper for the same artist and period. Mixed media with collage or texture can outperform flat works if in good condition.
- Size and format
- Larger works typically bring higher prices, but proportionality matters; extreme sizes can shrink the buyer pool. Diptychs/triptychs require special handling and may sell differently.
- Subject and period
- Signature subjects or series—motifs the artist is known for—often outpace outliers. Early, formative works may be less commercial than mature-period pieces unless they prefigure a major shift.
- Condition and stability
- Structural issues (tears, delamination, water damage) reduce value sharply. Minor, stable craquelure or light surface grime is more forgiving. For contemporary surfaces, abrasion to matte passages or scuffs in dark fields can be costly to remedy.
- Provenance and exhibition history
- Works with gallery labels, published images, or exhibition history benefit from market confidence. A clean, traceable chain from artist to current owner is ideal.
- Venue and channel
- Gallery retail prices differ from auction hammer prices and online private sales. For insurance, you’ll use retail replacement; for resale, fair market value (FMV) or expected net is more realistic.
- Signature and documentation
- Signed, dated paintings with clear titles and sizes outperform unsigned works, all else equal. Proper documentation reduces buyer risk and can add materially to price.
When building comparables, scrutinize:
- Same artist identity (to avoid conflating multiple “Susan Maras”)
- Closest medium and technique
- Similar dimensions
- Related subject/series
- Date within a tight window (±5 years when possible)
- Same or similar venue tier (regional auction vs. national; primary gallery vs. secondary market)
- Condition disclosures
Create a matrix of 5–12 relevant comps and normalize for fees and currency. Note any outliers and justify inclusions or exclusions.
If you plan to insure or donate the painting, engage a credentialed appraiser familiar with IRS and USPAP standards. Ask whether your report will be USPAP-compliant and appropriate for its intended use (insurance, estate, donation, equitable distribution, resale).
Practical checklist
Use this quick, sequential walkthrough before commissioning a formal appraisal:
Identify the artist
- Record the exact signature and any dates/inscriptions.
- Cross-check style, medium, and subject with known examples tied to a specific Susan Mara.
Confirm originality
- Inspect surface with raking light and 10x magnification.
- Look for halftone dots or uniform texture indicative of giclée.
- Check edges for wrapped paint and variable build-up; examine the verso for edition numbers or publisher labels.
Document the object
- Photograph front, back, edges, signature, and labels.
- Measure sight size and overall size (and each panel if multipart).
- Note support (canvas/panel/paper) and any varnish or coating.
Assemble provenance
- Gather invoices, emails, exhibition materials, and prior appraisals.
- Keep original frame and any labels intact.
Assess condition (no interventions yet)
- Note craquelure, abrasions, lifting paint, stains, or warping.
- Avoid cleaning; request a conservator’s opinion if needed.
Research comparables
- Find 5–12 sales of Susan Mara works that closely match medium, size, period, and subject.
- Adjust for venue, condition, and fees to derive a value range.
Decide on next steps
- For insurance: seek a USPAP-compliant appraisal using retail replacement value.
- For resale: consult venues aligned with the artist’s market (regional auctions or the artist’s gallery, if applicable).
- For conservation: obtain a written treatment estimate and weigh cost vs. potential value impact.
FAQ
Q: How can I tell if my Susan Mara painting is an original or a giclée on canvas? A: Use magnification and raking light. Originals display irregular brushwork, layer transitions, and variable gloss. Giclées reveal consistent micro-dot patterns and uniform sheen; signatures are often part of the print layer or accompanied by edition numbers on the verso. UV light can also show uniform fluorescence from sprayed coatings used on prints.
Q: Should I clean or revarnish the painting before appraisal? A: No. Surface cleaning and new varnish can permanently alter appearance and complicate appraisal. Document current condition, then consult a conservator for a reversible, minimal treatment plan if cleaning is justified. Appraisers value transparency over quick cosmetic fixes.
Q: What paperwork matters most for value? A: Primary documents—gallery invoices, emails confirming the sale from the artist or representative, exhibition labels, and dated photographs—carry the most weight. A certificate of authenticity is helpful when issued by the artist or recognized agent, but a generic COA without corroborating evidence is not decisive.
Q: How do I price the painting for resale? A: Build a tight set of comparables matching medium, size, subject, and date by the same Susan Mara, adjust for condition and venue, and set a range rather than a single number. Expect different outcomes by channel: retail gallery, private sale, or auction. Condition, documentation, and buyer exposure will move the needle.
Q: Can the frame affect value? A: Yes. Period or artist-selected frames, original gallery labels, and high-quality archival framing add value and context. Do not discard an old frame without documenting it; even if you reframe, keep all labels and hardware with the painting’s file.
A careful, evidence-first approach will protect both the painting and its market potential. With clear identity, proof of originality, a coherent provenance, and well-chosen comparables, you can appraise an original painting by Susan Mara with the same rigor applied to established names—while avoiding the pitfalls that cause uncertainty and price erosion.
