Harry Mccormick Born 1942 Original Painting

Collectors prize Harry McCormick’s meticulously rendered interiors—moody bars, hotel lobbies, cafés, and lounges—where glassware gleams, surfaces glow, and figures appear poised in quiet narratives. If you think you’ve found an original painting by Harry McCormick (born 1942), or you’re considering buying or selling one, this guide explains how to identify authentic works, evaluate condition, understand market value, and document provenance like a pro.

While McCormick is widely associated with photorealism and magic realism, his paintings are unmistakably his own: highly controlled compositions, cinematic lighting, and a refined sense of stillness. Because his work is desirable and has been reproduced in various formats, due diligence is essential. Below you’ll find practical criteria and a concise checklist to support a confident appraisal process.

Artist Overview and Visual Hallmarks

• Subject matter: McCormick is best known for bar and restaurant interiors, hotel lobbies, lounges, and occasionally billiard rooms. Expect polished wood, chrome, glass, mirrors, upholstered chairs, table lamps, and architectural details with a rhythmic order. Human figures may be present but often read as part of the composition’s mood rather than as portraits.

• Atmosphere and lighting: The mood is cinematic, often nocturnal or late-afternoon. Lighting is controlled and directional, generating soft reflections across bar tops and glassware. Interiors feel hushed, with a subtle tension between public and private space.

• Surface and technique: Original paintings typically show careful layering in oil with fine, deliberate brushwork. Even when surfaces appear smooth, you should see evidence of hand application under raking light—subtle ridges, transitions, and tonal modulation that reproductions cannot convincingly mimic.

• Color and edges: Expect a restrained palette with warm woods, cool highlights on metals and glass, and sophisticated neutral ranges. Edges are clean but alive, not airbrushed; transitions show painterly intelligence rather than mechanical uniformity.

• Composition: McCormick’s compositions are architecturally sound—perspective lines are crisp, reflections consistent, and object placement precise. He often uses mirrors and reflective materials to stage layered views, which can help in attribution when comparing to known works.

Tip: Search for direct comparisons in catalogs, monographs, or past sale listings you already own. Matching a composition to a documented example substantially strengthens attribution and valuation.

Authenticity: How to Tell an Original from a Reproduction

Because McCormick’s imagery circulates in posters, offset prints, and giclée canvases (sometimes “embellished”), authenticity checks are critical.

• Support and ground:

  • Originals: Most often oil on canvas (or occasionally board). The reverse should reveal stretcher bars or a panel, with tacking edges and a ground layer visible. Look for natural variation in canvas weave; you may see stretcher bar impressions.
  • Reproductions: Giclée on canvas tends to show a uniform dot pattern under magnification and lacks a ground that reacts to light like oil paint does. “Embellished” prints have isolated patches of texture but not an integrated, layered paint film.

• Paint surface:

  • Originals: Under raking light, you’ll see nuanced brushwork and modeled layers. Under magnification, pigments appear irregular and interwoven, not a regular halftone or inkjet grid.
  • Reproductions: Dot matrices or micro-droplet patterns are visible with a loupe. Texture, if present, may sit atop an image rather than build the image itself.

• Signature and inscriptions:

  • Expect a hand-painted signature—often lower right—consistent with the paint film and age of the work. The signature should interact with the surface (e.g., settle into the varnish or weave) rather than float unnaturally.
  • Check the verso for notes, dates, titles, inventory numbers, or gallery labels. A printed signature on a poster or plate-signed serigraph is not the same as a hand-signed oil.

• Materials aging:

  • Originals show age appropriate to their date—varnish toning, subtle craquelure in dark passages, mild edge wear.
  • Reproductions often have uniformly glossy coats and little to no evidence of age, or they show surface wear inconsistent with a traditional oil film.

• Provenance and paper trail:

  • Look for gallery invoices, exhibition labels, old appraisal certificates, or correspondence. A coherent provenance spanning acquisition to present can be as decisive as a visual exam.

• Expert review:

  • When in doubt, seek a qualified appraiser or conservator. A short session under UV light can reveal overpaint, later signatures, or interventions that affect authenticity and value.

Red flags: Canvas prints marketed as “original oils,” certificates from non-existent galleries, unusually low prices for large prime interiors, and signatures that don’t sit naturally in the paint layer.

Condition and Conservation Considerations

McCormick’s interiors include expansive, dark fields (wood, leather, deep-colored walls) punctuated by sharp highlights. These features affect condition and conservation:

• Varnish and toning: Older varnishes can yellow, muting whites and cooling blues. Professional cleaning and re-varnishing can significantly improve clarity and value, but should be done by a conservator.

• Surface abrasion: Dark, glossy passages telegraph scuffs and scratches readily. Look closely at corners, along the lower edge, and near frame lips for rubs and paint loss.

• Craquelure: Fine age-appropriate craquelure can be normal. Beware of active flaking or tenting, which requires stabilization.

• Smoke and environmental exposure: Given the subject matter and typical display locations, some works may have been exposed to smoke or nicotine, leading to grime accumulation. This is often reversible with careful cleaning.

• Stretcher and canvas health: Check for slack canvas, ripples, and stretcher bar marks. Re-stretching and proper humidity control can preserve stability. Avoid aggressive re-lining without expert advice, as it may affect value.

• Retouching and overpaint: Under UV light, inpainting should fluoresce differently than original paint. Over-aggressive restoration can dampen the lively surface and reduce desirability.

Condition grade directly impacts price. A top-tier image with conservation needs may still be attractive but will incur restoration costs and market caution until stabilized.

Market Values and What Drives Price

Prices for Harry McCormick’s original paintings vary with subject, size, date, condition, and provenance. While individual results fluctuate, these general patterns are typical in recent seasons:

• Subject hierarchy:

  • Prime interiors (bar, restaurant, hotel lounge) with glassware, mirrors, and refined lighting draw the strongest interest.
  • Compositions with compelling figures or a clear narrative nuance trend higher than purely architectural or simplified scenes.

• Size and presence:

  • Larger canvases command a premium, particularly when the scale enhances McCormick’s reflective detail. Mid-size works can remain accessible when subject matter is strong.

• Period:

  • Works from peak maturity—when his signature interiors are fully realized—generally outperform early exploratory or late repetitive examples.

• Condition:

  • Clean, stable canvases with original surface integrity sell faster and higher than otherwise comparable works needing restoration.

• Provenance and exhibition history:

  • Works with documented gallery sales, museum loans, or notable private collections carry extra weight. Publication in a monograph or catalog entry helps.

• Market ranges (directional, not guarantees):

  • Small works on paper or minor studies: low to mid four figures.
  • Modest oils with good subjects: mid to high four figures.
  • Strong interiors, mid to large scale: low to mid five figures.
  • Exceptional, large, quintessential interiors with exhibition history: potentially high five figures, with outliers possible.

Always anchor estimates to recent, directly comparable sales by size, subject, and date. Beware of conflating print prices with original oil prices.

Buying, Selling, and Documentation Best Practices

• For buyers:

  • Insist on detailed images (front, back, signature, in-situ corners) and a condition report. If buying remotely, request a short UV-light video.
  • Verify provenance from the point of creation or earliest known sale forward. Ask for receipts, labels, and any correspondence.
  • Compare the composition to documented works. If the image is widely reproduced, authenticate the medium, paint film, and support carefully.

• For sellers:

  • Commission a current appraisal if you lack comps, especially for insurance or estate purposes.
  • Address minor conservation needs that materially improve presentation (cleaning, revarnish) before sale, but only under professional guidance.
  • Provide complete documentation and high-resolution photos, including the verso and frame. Transparent disclosures earn trust and better bids.

• Venues:

  • Auction: Best for strong, market-fresh interiors with competitive interest; expect fees and scheduling lead times.
  • Dealer/private sale: Offers discretion and curated placement; may achieve stronger prices for the right client base.
  • Online platforms: Widen reach for mid-range works; invest in superior photography and documentation.

• Insurance:

  • After purchase or fresh appraisal, set an insurance value that reflects replacement cost, not just recent hammer prices.

Quick Checklist for a Harry McCormick Original

• Subject: Refined interior (bar/restaurant/hotel) with controlled lighting and reflective surfaces.
• Medium: Oil on canvas/board with layered paint film; no dot matrix under magnification.
• Signature: Hand-applied, in harmony with the paint layer; check date and any verso notes.
• Surface: Nuanced brushwork visible under raking light; not a uniformly printed sheen.
• Condition: Assess varnish toning, scuffs in dark areas, craquelure, and any overpaint under UV.
• Support: Authentic stretcher/panel; look for tacking edges, stretcher impressions, and age-appropriate wear.
• Provenance: Coherent paper trail—gallery labels, invoices, appraisals, correspondence.
• Comparables: Match subject, size, and period to recent market results to frame value.
• Expertise: When uncertain, consult a qualified appraiser or conservator for authentication and condition.
• Documentation: Archive high-resolution images, condition notes, and all provenance for future sales and insurance.

FAQ

Q: How can I quickly tell if a McCormick is a print or an original? A: Use a 10x loupe. If you see a uniform dot or droplet pattern across tones, it’s likely a print. Originals show irregular pigment particles and layered brushwork. Check the reverse for stretcher bars and ground; prints on canvas often lack these characteristics.

Q: Do limited-edition prints have significant value? A: Limited editions can have modest collector interest, particularly if signed and well-framed, but they are typically a fraction of the price of an original oil. Don’t confuse “embellished giclée” with a hand-painted original.

Q: What affects price the most for a McCormick painting? A: Subject quality (prime interiors with reflective details), size, condition, and provenance. A large, well-preserved bar interior with strong documentation is the sweet spot.

Q: Should I clean or restore the painting before selling? A: Only after consulting a conservator. Professional cleaning can greatly improve appearance and sale price, but inappropriate restoration or overcleaning can harm value.

Q: Is a certificate of authenticity necessary? A: Helpful but not mandatory. A solid provenance (gallery invoices, labels, exhibition records) plus expert appraisal and technical examination carries more weight than a generic certificate.

This article is informational and not a substitute for a formal appraisal. For significant transactions, engage a qualified appraiser and conservator to authenticate and assess condition.