Original Painting By Listed Artist Mc Allister American 20thcentury

Collectors and appraisers often encounter works described as “Original Painting by Listed Artist Mc Allister, American, 20th century.” This is a compact description loaded with information—and pitfalls. If you’re trying to understand what you have, establish authenticity, or estimate value, this guide distills the process into clear steps with the nuances that matter in the marketplace.

What “listed artist” means—and why it matters

“Listed artist” indicates that the artist’s name appears in recognized reference sources or has verifiable records in the art market—catalogues raisonnés, standard biographical dictionaries of artists, institutional files, or traceable auction and gallery sales.

• Practical meaning: Listed status signals that the artist has a documented footprint beyond purely decorative art. It does not, by itself, guarantee high value.
• Where “listed” comes from: Standard references include biographical dictionaries of American artists, dealer and museum files, and auction record databases. The exact source should be named, not implied.
• Impact on value: Listed artists generally have more predictable comparables (comps), deeper provenance trails, and clearer attribution criteria, all of which support appraisal confidence and liquidity. The market still hinges on quality, subject, size, medium, date, and condition.

Tip: When you see “listed” in a description, ask, “Listed where?” Insist on the exact bibliography or sales records supporting that claim.

Disambiguating “Mc Allister” vs “McAllister” vs “MacAllister”

The surname Mc Allister appears in records with multiple spellings and spacing. For 20th-century American painters, you may encounter:

• Mc Allister (with a space)
• McAllister (no space)
• MacAllister or Mac Alister (variant Gaelic forms)
• McAlister (single “l”)

Why it matters:

• Cataloging consistency: Auction, gallery, and library systems treat these as separate search keys. A misspelling can hide relevant comps or biographical entries.
• Signature comparison: Artists may sign with a compact “McAllister,” a spaced “Mc Allister,” or an initial plus surname (e.g., “J. McAllister”). Compare exact letter forms, ligatures, and the “Mc” treatment under magnification.
• Geographic overlap: There are American, Canadian, and Irish/British artists with these surnames. “American, 20th century” should be supported by materials, provenance, and exhibition or dealer labels.

Best practice: Record every variant observed on the artwork, verso labels, and provenance documents, then cross-reference each variant when searching.

Dating and authenticating a 20th-century American painting

Without assuming a particular “Mc Allister,” use the physical evidence to place the work credibly within the 20th century and in the American context.

Key dating indicators:

• Support
  • Canvas: Hand-stretched, tacked canvases dominate early 20th century; staples appear more frequently post-1950s. American manufacturers such as Fredrix and Grumbacher sometimes stamp the verso or the stretcher.
  • Panel: Masonite (hardboard) in use from the 1920s onward; Upson board and illustration board common mid-century; plywood peeks from edge veneers; artist boards often carry shop labels.
• Ground and medium
  • Oil was standard throughout; acrylic becomes common post-1955.
  • Gesso/prep layer: Smooth, commercial primings are typical mid- to late-century; hand-primed canvases show brush-laid grounds and irregular lap-overs.
• Construction details
  • Stretcher bars: Keyed, beveled stretchers with mitered joints are consistent with quality 20th-century practice; factory stretchers sometimes carry size stamps.
  • Tacking margins: Presence and aging of margins can corroborate originality and date.
• Hardware and frames
  • Screws, hangers, and nails oxidize differently by era; machine-made Phillips-head screws become standard after the 1930s.
  • Period frames (California plein-air profiles, 1930s-40s Arts & Crafts, 1950s-60s modernist) can support a date, though frames are often replaced.

American indicators:

• Labels from U.S. art-supply retailers, framers, artist clubs, juried exhibitions, or regional societies strengthen American attribution.
• Provenance tied to U.S. collectors, galleries, or estates is persuasive when documented.

Analytical aids:

• UV light: Reveals overpaint, modern retouches, and varnish fluorescence patterns.
• Microscopy: Bristle marks, craquelure morphology, and pigment granulation help assess age and authenticity.
• Pigment tests: Presence of modern pigments (e.g., phthalos, titanium white dominance) may indicate a post-1930s to post-1950s date.

Caution: Avoid assuming that a period frame or old backing equals age of the painting; components are frequently swapped.

Signature, inscriptions, and labels: what to look for

Signatures are evidence, not guarantees. Evaluate them holistically:

• Placement and medium
  • Most 20th-century American signatures sit lower right or lower left, executed in paint consistent with the work’s palette. Pencil or ink signatures on paper or board are common for watercolors and gouaches.
• Letterform consistency
  • Compare “M,” “c,” the spacing in “Mc,” and the double “l” of “Allister.” Look for hesitation marks, corrections, or a different hand relative to the painting.
• Inscriptions
  • Titles, dates, and inventory codes on the verso are valuable. Note all numbers and abbreviations. A written date near the signature reduces the dating range but still requires corroboration.
• Labels
  • Gallery, exhibition, or framer labels can be decisive. Photograph labels before cleaning; transcribe them completely, including partial addresses and phone number formats (which can be time-stamped by area code history).

Red flags:

• A signature floating atop craquelure or varnish without integrated aging.
• Inconsistent paint chemistry between signature and body of work (e.g., acrylic signature over oil surface without interlayer adhesion).
• Generic titles like “Landscape” applied on a modern label with an “antique” look.

Condition assessment and conservation considerations

Condition is a major driver of value. For a 20th-century American painting:

Common issues:

• Surface grime and nicotine staining, especially in mid-century household pieces.
• Varnish yellowing or uneven bloom.
• Edge wear, corner abrasions, and stretcher-bar lines.
• Craquelure (age-appropriate in older oils), cupping, or small paint losses.
• Panel warp or delamination on hardboard; foxing and mat burn on works on paper.

Interventions and their impact:

• Cleanings and varnish reductions can markedly improve presentation and value when done by a professional conservator.
• Lining of canvases, if heavy and old, may suppress texture and can be a negative for some buyers; modern conservation-grade linings are less intrusive.
• Retouching is acceptable when documented and skillful; extensive overpaint reduces value.

Indicative costs:

• Basic surface clean: moderate; varnish removal and revarnish: moderate to higher depending on size.
• Structural repairs (tears, consolidation, panel stabilization): higher; factor into net value before sale.

Always document pre- and post-treatment with high-resolution images and a conservator’s report.

Market value and comping framework

Because “listed artist” is a category rather than a value guarantee, approach valuation in layers:

1. Confirm identity

• Ensure the correct Mc Allister is identified. Distinguish from similarly named artists in other countries or eras.

2. Establish comparables

• Seek sales of works by the same artist with similar subject, size, medium, and date. Prioritize results within the last 5–10 years for current market relevance.
• Adjust for size using a square-inch or square-centimeter heuristic as a starting point, then refine for subject appeal (e.g., signature themes, cityscapes, coastal scenes, portraits).

3. Weight the six main value drivers

• Authenticated attribution
• Desirable subject matter
• Medium (oil generally outranks watercolor/gouache for the same artist, though there are exceptions)
• Size (larger often sells stronger up to a point)
• Condition and presentation (including frame quality)
• Provenance and exhibition history

Indicative ranges for many regional, listed 20th-century American painters:

• Decorative or minor works: typically low hundreds.
• Representative oils of good size and subject: low to mid thousands.
• Exceptional examples, exhibition pieces, or historically important works: mid thousands to five figures.

These are broad ranges; verify with artist-specific comps once identity is certain.

Selling contexts:

• Auction: Faster liquidity, transparent price discovery, variable net after commissions.
• Dealer/private sale: Potentially higher asking prices, longer time to sale.
• Online platforms: Wide reach; photography and condition transparency are crucial.

Insurance vs. auction values:

• Insurance (retail replacement) values trend higher, reflecting the cost to replace with a like example from the market.
• Auction estimates are wholesale-oriented and should be evidence-based.

How to catalog your painting (for appraisal, sale, or insurance)

A thorough catalog entry supports both identification and value. Use precise, neutral language:

• Artist: Mc Allister [confirm exact spelling as signed], American (20th century) [add birth/death dates if known].
• Title: As inscribed; if untitled, use a descriptive title in brackets (e.g., [Harbor at Dusk]).
• Date: Dated “19—” on canvas; or circa estimate (e.g., c. 1945) with basis (materials/labels).
• Medium: Oil on canvas; acrylic on Masonite; watercolor on paper, etc.
• Dimensions: Image size and overall size in inches and centimeters; note framed size separately.
• Signature: Signed lower right “Mc Allister”; inscribed verso “Spring Morning.”
• Provenance: From the collection of…, by descent; acquired from [gallery], [city], [year] (documented).
• Exhibitions/Literature: List any known entries.
• Condition: Brief, factual statement with key issues and any conservation.
• Framing: Describe style and whether period-appropriate or modern.
• Notes: Manufacturer stamps, stretcher marks, label transcriptions.

Photographs:

• Front, back, signature close-up, labels, and condition details under raking light; UV images if relevant.

Practical checklist for owners

• Verify spelling variants: Mc Allister, McAllister, MacAllister, McAlister; search all.
• Photograph everything: front, back, signature, labels, frame, and problem areas.
• Record dimensions accurately: image and frame, in both inches and centimeters.
• Inspect under UV: note areas of fluorescence, retouch, or overpaint.
• Examine the support: canvas vs. panel; look for manufacturer stamps or shop labels.
• Assess condition: list issues neutrally; do not attempt cleaning without advice.
• Gather provenance: bills of sale, exhibition catalogs, correspondence, estate records.
• Identify subject and location: harbors, city names, landmarks can drive demand.
• Build comps: same artist, similar medium/size/subject, recent sales.
• Decide venue: auction vs. dealer vs. private sale; factor fees and timing.
• For insurance: request a replacement-value appraisal; for sale: auction estimates.
• Keep a file: images, notes, treatment reports, and bibliographic citations.

Common pitfalls and how to avoid them

• Accepting “listed” without a source: Always ask for the specific reference or sales records.
• Overweighting signature: Combine signature analysis with material evidence and provenance.
• Ignoring condition economics: A discounted purchase may require costly conservation; calculate net value.
• Mixing identities: Don’t merge auction records from different “Mc Allister/McAllister” artists or nationalities.
• Cleaning at home: Household cleaners and over-wetting can permanently damage paint films and papers.

FAQ

Q: How do I confirm that “Mc Allister” is actually a listed American 20th-century artist? A: Corroborate the signed name with standard artist directories, museum/dealer files, and verifiable auction records. Match spelling variants, biographical details, and stylistic traits. Cite the exact sources in your file.

Q: Does restoration hurt the value? A: Professional, well-documented conservation that improves stability and presentation typically supports value. Extensive overpaint, heavy linings, or poor retouching can suppress value. Always disclose treatments.

Q: Should I remove yellowed varnish myself? A: No. Varnish chemistry varies, and improper solvents can solubilize paint. Have a conservator test and propose a reversible treatment plan.

Q: Is the frame important to value? A: Yes. Period-appropriate frames enhance presentation and can add value, especially for mid-century works with distinctive regional frames. Replacement frames should be neutral, well-fitted, and not glued to the artwork.

Q: Why do auction prices differ from insurance appraisals? A: Auction reflects wholesale, competitive bidding on a given day; insurance reflects the cost to replace with a comparable example in the retail market, including time and sourcing.

By approaching your “Original Painting by Listed Artist Mc Allister, American, 20thcentury” with disciplined documentation, careful material analysis, and evidence-based comping, you’ll be positioned to authenticate confidently and value realistically—whether your goal is appraisal, sale, or collection stewardship.