Onno Hooymeijer B 1958 Original Painting

Collectors and appraisers occasionally encounter works signed “Onno Hooymeijer” accompanied by the notation “b. 1958.” Whether you own an original or are considering a purchase, the key questions are consistent: Who is the artist, is the work authentic, what is its condition, and how do you value it in today’s market? This guide offers a structured, practical approach tailored to a painting bearing the attribution “Onno Hooymeijer, b. 1958,” with an emphasis on research, verification, and valuation.

Note on accuracy: If documentary sources on this artist are limited or inconsistent, approach with care. Treat the work as “attributed to” until the evidence supports a firm conclusion.

What “B 1958” Means and How to Read the Inscription

• “b. 1958” almost always stands for “born 1958.” It is commonly used in dealer labels, catalogue entries, or inscriptions to differentiate artists with similar names and to clarify chronology.
• This notation might appear:
  • On the verso (back) of the canvas or frame as a handwritten note.
  • On a gallery, auction, or framer’s label.
  • In a listing or appraisal rather than on the painting itself.
• It is not necessarily part of the artist’s signature. Many artists sign with a name or monogram only; dates and biographical notes are often added later by dealers or cataloguers.

Tips for reading the surface and reverse:

• Front (recto): Look for the signature location (lower right/left, within the image, or along an edge) and any painted date.
• Back (verso): Seek pencil/ink inscriptions, inventory numbers, stretcher bar stamps, gallery stickers, and framer’s notes. Photograph everything in good light.

Establishing the Artist’s Identity and Oeuvre

Before you authenticate the painting, confirm you have the right artist.

Name variants to consider:

• Dutch surnames with “ij” often appear in alternate spellings. Possible variants include:
  • Hooymeijer
  • Hooijmeijer
  • Hooimeijer
  • Hooymijer
• First-name variations: Onno is consistent, but check for initials (e.g., “O. Hooymeijer”) or monograms.

Research steps:

1. Compile references:

   • Gather the full inscription as written, including diacritics and punctuation.
   • Record any titles, dates, dimensions, and medium from labels or notes.
   • Photograph both recto and verso, signature close-ups, and frame details.

2. Perform identity checks:

   • Search multiple spellings across artist indices, auction archives, and exhibition catalogues.
   • Look for a concise biography confirming a birth year of 1958 and a practice in painting.
   • Distinguish between artists with the same surname but different first names or mediums (e.g., photography vs. fine art painting).

3. Build an oeuvre sample:

   • Assemble known works attributed to the identified artist: note recurring themes, palettes, formats, or techniques.
   • Observe whether works are predominantly oil, acrylic, or mixed media, and common sizes.

4. Confirm consistency:

   • Compare your painting’s subject matter, medium, and date range with the verified oeuvre.
   • If your piece diverges sharply from established patterns, treat the attribution cautiously and seek expert review.

Documentation to prioritize:

• Gallery or dealer invoices.
• Exhibition checklists or catalogues listing the painting.
• Prior appraisals on letterhead with credentials.
• Original purchase receipts and correspondence.

Authenticating Materials, Technique, and Signature

A stepwise method will help you determine whether the work is an original painting and whether the signature is plausible.

Differentiating original vs. reproduction:

• Under magnification (10x loupe), originals show irregular brushwork, layered strokes, and changes in direction; reproductions often reveal dot patterns (offset litho) or uniform ink droplets (giclée).
• Raking light (light from a shallow angle) accentuates impasto and brush ridges; printed textures can be flat or mechanically uniform.
• Canvas prints may carry a simulated varnish; true varnish often pools subtly in interstices and along brush ridges.

Materials and support:

• Late 20th-century paintings commonly appear on:
  • Stretched canvas (linen or cotton), canvas board, or prepared panel.
  • Prepared grounds: acrylic gesso is common; oil priming is less common post-1970s but not rare.
• Examine the back:
  • Staples vs. tacks: Staples are common after the mid-20th century.
  • Stretcher type: Keyed stretchers (with wedges) suggest traditional practices; fixed stretchers appear on commercial canvases.
  • Labels and stamps can indicate galleries or frame shops and approximate date of framing.

Paint and surface:

• Acrylics dry to a flexible film and may show fewer age cracks than oils; they sometimes exhibit slight tackiness or dust embedding.
• Oils may show craquelure, drying cracks, or surface bloom (a whitish haze) under certain conditions.
• UV light can help detect later retouching (fluorescence), varnish layers, and repairs.

Signature analysis:

• Location: Most signatures sit lower right or left; artists are consistent but not rigid.
• Medium: Painted signatures should integrate with the surface; ink signatures on varnish can be legitimate but require context.
• Form: Compare letterforms, slant, pressure, and unique flourishes against known examples. Look for hesitations or tremors that suggest a later addition.

When to escalate:

• If the signature style is inconsistent with confirmed examples, or if materials do not align with the purported date, consult a qualified conservator or specialist for technical analysis (pigment identification, binder tests) and an informed opinion.

Building a Market-Value Picture: Comparables and Context

A sensible valuation uses data, not wishful thinking. Even if the name is thinly documented, you can assemble indicators.

Define the purpose:

• Insurance/retail replacement value: Cost to replace with a similar work at retail; typically the highest value category.
• Fair market value: Price between willing buyer and seller in an open market; often based on auction comparables.
• Orderly or forced liquidation: Lower ranges for rapid sales.

Gather comparables:

• Search auction records for the exact name and spelling variants. Note unsold lots as well as sold prices—buy-ins signal demand levels.
• If direct comparables are scarce, broaden to:
  • Works by the same artist in nearby mediums or subjects.
  • Artists of similar profile (regional, contemporary, similar themes, similar sizes) in the same period.
• Record the context for each comp:
  • Date sold, venue, currency, buyer’s premium inclusion, condition notes, and whether framed.

Adjust comparables:

• Medium: Oils often command more than acrylics; unique mixed-media assemblages can skew higher.
• Size: Normalize price per square inch/centimeter for perspective, but do not rely on it alone.
• Subject and desirability: Signature subjects or series tend to sell stronger.
• Condition: Structural issues (tears, flaking) reduce value more than minor surface grime.
• Provenance: Works with documented exhibition history or reputable gallery provenance may carry premiums.

Market thickness and volatility:

• For artists with limited sales history, the market can be thin and volatile. A small number of sales can heavily influence perceived value. Use wider ranges and present assumptions clearly in written appraisals.

Condition and Conservation Considerations for Late 20th-Century Paintings

Condition directly impacts both authenticity assessments and value.

Common issues in post-1970s works:

• Acrylic paint films: Soft surface accumulation of dust and grime; sensitivity to solvents; occasional adhesion problems on slick grounds.
• Oil paintings: Drying cracks around thick impasto; slight cupping; brittle varnish discoloration in nicotine or sun-exposed environments.
• Supports: Corner compression, loose keys, and slack canvas tension; canvas-board warping; panel edge dings.
• Framing: Contact with acidic mats or foam core causing staining on paper elements; glass contact if the work on paper was improperly framed.

Best practices:

• Avoid household cleaners. Dry, soft-bristle brushing and low-suction HEPA vacuuming with a micro-tool and screen are safer for dust removal on robust surfaces.
• Do not attempt solvent cleaning or varnish removal without a conservator’s guidance.
• Stabilize the environment: 40–55% relative humidity, moderate temperatures, and avoidance of direct sunlight.
• Reversible framing: Use archival backings, spacers, and UV-filter glazing on works on paper; ensure the painting can “breathe” if framed under glass.

When to conserve:

• Act promptly on flaking paint, active mold, water damage, or structural distortions. Early intervention can prevent permanent loss.
• Keep all conservation reports and treatment photos; they contribute to a complete object history and can reassure future buyers.

Cataloging and Presenting Your Work for Appraisal

Clear, standardized documentation supports both authentication and valuation.

Use a consistent cataloging format:

• Artist: Onno Hooymeijer (b. 1958) — or “Attributed to” if not confirmed.
• Title: If untitled, state “Untitled,” with subject in parentheses, e.g., Untitled (harbor scene).
• Date: Painted date if inscribed; otherwise, circa estimate with basis noted (e.g., “circa 1990s, based on materials and labels”).
• Medium: Oil on canvas; acrylic on canvas; mixed media on panel; etc.
• Dimensions: Height x width x depth (unframed and framed). State units and whether including the frame.
• Signature: Location, form, and exact transcription (e.g., “signed lower right: Onno Hooymeijer”).
• Inscriptions/labels: Full text of verso notes and labels; photographs of each.
• Provenance: Chain of ownership from first known owner to present; include dates where possible.
• Literature/Exhibitions: Any publications or shows documenting the work.
• Condition: Objective notes on structural and surface condition; highlight restorations.
• Appraised value: State the value category (FMV, insurance) and the date, with comp summaries.

Communicate the uncertainties:

• Note where identification relies on stylistic comparison or incomplete records.
• Indicate assumptions used in valuation (e.g., “pricing benchmarked against three auction results from 2014–2022 for works of similar size and medium”).

Concise Practical Checklist

• Photograph recto, verso, signature, labels, and frame details in daylight-quality light.
• Transcribe all inscriptions, including “b. 1958,” exactly as written.
• Research multiple spellings: Hooymeijer/Hooijmeijer/Hooimeijer/Hooymijer.
• Confirm the artist’s birth year and medium through at least two independent sources.
• Verify originality: loupe inspection, raking light, and UV examination.
• Document materials: support type, ground, paint medium, varnish presence.
• Assemble 3–8 relevant market comparables and adjust for size, medium, date, and condition.
• Record provenance and retain receipts, emails, and conservation reports.
• Stabilize condition; defer cleaning to a conservator if in doubt.
• Prepare a standardized catalog entry and state the intended valuation purpose.

Frequently Asked Questions

Q: The signature reads “O. Hooymeijer.” Is that enough to confirm authorship? A: Not by itself. Compare the letterforms to verified examples, assess whether the materials and subject align with the artist’s known oeuvre, and corroborate with provenance or gallery labels. If discrepancies persist, describe the work as “attributed to” pending further evidence.

Q: Where would “b. 1958” typically appear if it’s not part of the signature? A: Often on dealer or auction labels attached to the stretcher, frame back, or dust cover. It can also appear in catalogue entries. It’s a biographical note, not an artistic element.

Q: How can I quickly tell if it’s a giclée print rather than a painting? A: Under a loupe, giclée prints show a uniform dot or droplet pattern without raised brushwork. In raking light, an original painting shows varied topography from brush and knife strokes; a print is comparatively flat unless the texture is artificially applied.

Q: Should I reframe before appraisal? A: If the current frame is unstable or damaging (acidic backings, loose joints), stabilize it. However, keep original frames when they appear contemporary to the work or bear period labels, as they can add context and value. Document the original before any changes.

Q: What value should I request: insurance or fair market? A: Choose based on your need. For collection management or donation, fair market value is standard. For insurance scheduling, request a retail replacement value. They serve different purposes and can differ significantly.

By proceeding methodically—verifying the artist’s identity, confirming originality through technical observation, documenting condition and provenance, and building a defensible set of market comparables—you’ll be well-positioned to appraise a painting attributed to Onno Hooymeijer (b. 1958) with clarity and confidence.