Katherine Bernhardt Pink 2019

Katherine Bernhardt’s exuberant paintings and editions—filled with everyday icons, cartoon characters, and electric color—became staples of contemporary collections in the late 2010s. Among these, pink-ground works from 2019 occupy a sweet spot for collectors: instantly recognizable, visually punchy, and well represented across paintings, works on paper, and editions. This guide breaks down what “Pink 2019” typically refers to, how to identify and authenticate examples, the condition issues you should expect, and how to build comparables for appraisal or insurance.

Why “Pink 2019” Matters in Katherine Bernhardt’s Market

• Signature look, at peak visibility: In 2019 Bernhardt was deep into the vocabulary that made her widely recognizable—bananas, cigarettes, Crocs, tropical fruit, coffee cups, logos, and especially the Pink Panther—often set against hot pink or bubble-gum fields. As a result, 2019 material captures a “classic” era for the artist.

• Broad object types: The year saw large acrylic-and-spray paintings on canvas, lively works on paper, and multiple print projects. That breadth creates a tiered market with accessible entry points and strong comparables.

• Market relevance: Works from 2017–2020 have been frequent fixtures at auctions and fairs. Pink-ground examples from 2019 tend to perform well relative to adjacent years when controlling for scale, subject, condition, and provenance.

• Display impact: Pink backgrounds amplify Bernhardt’s high-contrast motifs. For interior-driven buyers and designers, this year’s palette offers an easy-to-place, high-impact wall presence—an intangible that can translate into demand.

What Exactly Counts as a “Pink 2019” Work?

“Pink 2019” is collector shorthand rather than a fixed catalogue title. It typically refers to works produced in 2019 that feature a dominant pink ground or a pink-forward composition. Within that, you’re likely to encounter:

1. Paintings (originals)

• Medium: Acrylic and spray paint on canvas. Drips, pooling, and loose brushwork are intentional and part of the aesthetic.
• Scale: Frequently large. Common sizes range from roughly 48–84 inches on the short side, with many stretching six to seven feet on the long side. Smaller canvases exist but are less typical.
• Motifs: The Pink Panther appears in many 2019 canvases, often interacting with fruit, plants, sneakers, or other recurring icons. Non-Pink-Panther pink grounds also appear, populated by bananas, cigarettes, watermelons, or abstracted “swatch” or rug-like patterns.
• Signature/markings: Typically signed and dated on the verso (back). Some works include informal notations or titles on verso from the studio or gallery.

2. Works on paper (originals)

• Medium: Acrylic, spray paint, and sometimes marker on paper. Edges may be deckled or trimmed; sheets can be large.
• Visual cues: Similar imagery to canvases but with more visible paper texture and occasional overspray outside the motif boundaries.
• Signature/markings: Usually signed and dated recto (front) or verso in pencil or marker.

3. Editions (prints)

• Processes: Screenprint or lithograph are common. Editions from this period may use striking pink inks and iconic motifs such as the Pink Panther, fruit, or Crocs.
• Edition size: Variable, often modest (e.g., dozens to low hundreds). Look for edition number (lower left), signature and date (lower right), and publisher’s blindstamp/mark.
• Paper and inks: Heavy fine-art paper; bright, saturated inks. Some use fluorescent pigments, which have specific light-sensitivity concerns.

Note on titles: Many works carry descriptive titles, but the market often references them by motif and color (“Pink Panther on Pink,” “Bananas on Pink,” etc.) plus the year. Always defer to the title on gallery invoices or the artist’s studio documentation when available.

Authentication, Signatures, and Provenance

• Signature norms:

  • Paintings: Signed “Katherine Bernhardt” (or a consistent variant) and dated on verso. A full written-out signature is common; the date is usually four digits (e.g., 2019).
  • Works on paper: Pencil or marker signature, with the year. Some sheets include studio notation.
  • Prints: Pencil signature lower right, edition fraction lower left, year indicated. A publisher’s blindstamp or chop is typical.

• Provenance that carries weight:

  • First sale through established contemporary galleries. Invoices or email confirmations from these vendors are strong provenance anchors.
  • Subsequent resales via reputable dealers or major auction houses with lot essays and condition reports.
  • Exhibition history (even group shows) in 2018–2020 can add documented visibility; check checklists, labels, or press materials retained by prior owners.

• Paper trail to gather:

  • Original invoice, bill of sale, or gallery email confirmation.
  • Condition report and images at time of purchase.
  • Any certificate of authenticity (especially for prints, issued by the publisher).
  • Crate labels, exhibition labels, or consignor paperwork that tie the work to specific dates or venues.

• Red flags:

  • Mismatched signatures or orthography inconsistencies without corroborating paperwork.
  • Prints lacking edition numbers, or with edition numbers inconsistent with known practices (e.g., hand-numbered but no printer’s chop).
  • Canvases with anomalous supports or materials that feel out of step with documented examples from the period.

When in doubt, consult the originating gallery or a specialist conservator to examine materials. While there isn’t a public catalogue raisonné, the combination of technical inspection, signature analysis, provenance, and stylistic comparison typically suffices to establish confidence.

Condition and Conservation Red Flags

Bernhardt’s surfaces look casual but are material-specific. During appraisal, scrutinize:

• Spray paint fragility: Sprayed passages can be more vulnerable to scuffing and abrasion. Look at high points of any paint ridges and along the edges where handling occurs.

• Fluorescent and saturated pinks: Fluorescent pigments are especially light-sensitive and can fade or shift with UV exposure. Compare protected areas (under overlaps/frames) to exposed fields to detect color change.

• Drips and pooling: These are characteristic and not “condition issues” per se. However, examine for traction cracking in thicker pools or halos where binding medium has migrated.

• Canvas tension and corner wear: Large canvases can relax over time. Check for slackness, corner compression, or rubbing from prior framing.

• Works on paper: Watch for cockling (waviness), handling creases, framer’s tape residues, and overspray fragility at the edges. Acidic mats can cause discoloration; look for burn lines.

• Prints: Inspect for ink scuffing, offsetting when stacked, and paper dimpling from signing. Ensure the margins haven’t been trimmed (measure against known sheet sizes when possible).

Storage and care basics:

• Keep out of direct sunlight; use UV-filtering glazing for works on paper and prints.
• For canvases, wrap with breathable materials (Tyvek or similar) rather than plastic. Use corner protectors; avoid pressure on textured areas.
• Maintain stable humidity and temperature. Rapid swings stress layered paint films.
• Cleaning should be limited to dusting with a soft brush. Never use solvents or water; consult a professional conservator for surface grime or scuffs.

Pricing Logic and Comparable Strategies

Because “Pink 2019” spans multiple media and scales, appraisals should start by properly slotting the work, then selecting comparables by a tight hierarchy:

1. Match medium and year first:

• Paintings on canvas (2019) compared to other 2019 canvases; only widen to 2018–2020 if needed.
• Works on paper compared to similarly sized, similarly executed sheets from 2018–2020.
• Editions compared within the same technique (screenprint with screenprint), factoring edition size and paper.

2. Control for scale:

• Bernhardt’s market is scale sensitive. A jump from 48 inches to 72+ inches on the long side can materially affect price. Always list dimensions prominently and compare like with like.

3. Iconography matters:

• Pink Panther subjects often command robust demand due to recognizability. Second-tier icons (bananas, cigarettes, Crocs, watermelons) are still desirable; compare within the same motif tier where possible.
• All-pink grounds with dense, repeated motifs tend to perform better than sparser compositions, if scale and condition are equal.

4. Provenance and exhibition:

• Works with primary-market invoices from established galleries and documented exhibition history can justify a premium within a tight comp set.

5. Edition factors:

• Smaller edition sizes, hand-finishing, or special papers can lift value.
• Condition is pivotal for prints; pristine margins and original publisher documentation support stronger outcomes.

6. Market cadence:

• Demand for Bernhardt surged in the late 2010s and early 2020s, then grew more selective. Expect tighter spreads, with best-of-type examples achieving the strongest results. Appraisals should cite at least three comparables within the past 24–36 months, adjusting for condition, scale, and iconography.

Avoid overstating precision. For insurance, consider replacement cost at current retail for similar available works. For fair market value, rely on recent public and private transactions of close comparables, documented in your work file.

Selling and Insurance Considerations

• Liquidity path: For paintings, the most efficient path is often through galleries that regularly place Bernhardt works with clients; major regional auctions are a secondary route. For editions, auction platforms and print dealers can be effective.

• Pre-sale refresh: Minor conservation (e.g., rehousing works on paper in archival mats, re-stretching a slightly slack canvas) can improve presentation and salability when done by professionals.

• Photography: Color-accurate images are essential, especially with pink grounds which digital cameras can misinterpret. Include raking light images to show surface integrity honestly.

• Insurance: For wall-dominant canvases, verify that hanging systems are appropriate for weight and wall type. Document changes in condition annually with photographs; update scheduled values as comparables shift.

Practical Checklist: Katherine Bernhardt “Pink 2019”

• Identify the object

  • Medium: canvas, paper, or print?
  • Year: clearly dated 2019 on verso/recto?
  • Motif: Pink Panther vs. fruit/objects; density of imagery.

• Verify authorship and editioning

  • Signature matches known examples.
  • For prints: edition fraction, date, and publisher’s chop present.
  • Keep and copy all invoices, labels, COAs.

• Record dimensions carefully

  • Height x width (and depth if framed). Note whether measurements are image or sheet.

• Assess condition

  • UV exposure, color shifts in pink passages.
  • Scuffs on spray paint; traction cracking in thick pools.
  • Works on paper: cockling, mat burn, tape residues.

• Build comparables

  • Same medium, year, scale, and motif tier.
  • Similar provenance quality and condition.
  • At least three data points within 24–36 months.

• Protect and present

  • Use UV-filter glazing for paper; breathable wrapping for canvas.
  • Avoid direct sunlight; maintain stable climate.
  • Professional handling for any cleaning or framing.

FAQ

Q: Is “Katherine Bernhardt Pink 2019” an official title? A: Typically no. It’s shorthand collectors use for 2019 works with dominant pink grounds (often including the Pink Panther). Always defer to the title and details on the gallery invoice or studio documentation when available.

Q: How can I tell if my 2019 work is a painting, a work on paper, or a print? A: Examine the surface and edges. Canvas will show weave and stretcher impressions; works on paper will have visible sheet edges and may show cockling; prints show uniform ink layers and edition numbers with a publisher’s chop. Magnification helps differentiate layered paint from printed ink.

Q: Do pink pigments from this period fade? A: Bright and fluorescent pinks are more light-sensitive than many standard pigments. Prolonged UV exposure can cause fading or shifts. Display out of direct sunlight and consider UV filtration; compare protected vs. exposed areas to detect change.

Q: What affects value the most within 2019 works? A: Medium and scale first, then motif (Pink Panther often leading), condition, and provenance. Within editions, edition size and publisher also influence value.

Q: Should I reframe or re-stretch before selling? A: Minor, professional improvements that enhance presentation—archival mats for works on paper, addressing slack canvas—can help. Avoid aggressive cleaning or DIY fixes; consult a conservator and document any interventions for buyers and insurers.

With thoughtful identification, careful condition review, and disciplined comparables, collectors and appraisers can navigate Katherine Bernhardt’s 2019 pink works with confidence—whether the goal is valuation, insurance scheduling, or an informed acquisition.