Wendy Schaefer Miles Kevin Miles 20th Century The Light Of Spring

Collectors and appraisers frequently encounter works by the collaborative duo Wendy Schaefer and Kevin Miles—often signed simply “Schaefer/Miles.” Their luminous landscapes and florals are a staple of late-20th- and early-21st-century American contemporary art markets, especially in settings where limited editions are sold alongside original paintings. “The Light of Spring” is one of those titles that recurs across multiple mediums and formats, which makes accurate identification and valuation essential. This guide focuses on how to recognize, authenticate, describe, and appraise “The Light of Spring,” with practical pointers specific to Schaefer/Miles’ market.

Who are Wendy Schaefer and Kevin Miles? Understanding the artists and the brand

• Partnership: Wendy Schaefer and Kevin Miles work collaboratively and typically sign as “Schaefer/Miles.” The slash is significant—it’s a hallmark of the brand and is commonly seen in both originals and editions.
• Style: Impressionistic, light-filled vistas, riverbanks, flowering trees, and seasonal transitions are common themes. Palette highlights include high-key spring tones, luminous skies, and reflective water.
• Era and market context: The duo gained broad distribution in the late 20th century, continuing into the 21st. Their works are encountered in galleries, at benefit auctions, on cruise-ship circuits, and on the secondary market through dealers and online auctions.
• Formats: Buyers will encounter:
  • Original paintings (typically oil or acrylic on canvas or panel).
  • Limited edition giclées on canvas (some hand-embellished).
  • Limited edition prints on paper (offset lithograph or serigraph less common than giclée, but they exist).
  • Artist’s proofs (AP), printer’s proofs (PP), hors commerce (HC), and exhibition proofs (EP) as subsets of the main edition.

For appraisal purposes, the brand recognition, collaborative signature, and broad distribution create a robust comparables pool—but also demand precision in describing medium and edition type.

“The Light of Spring”: Title, versions, and how to tell what you have

“The Light of Spring” is a title that may exist as:

• An original painting (one of a kind).
• A limited edition giclée on canvas, with or without hand-embellishment.
• A limited edition print on paper (less frequently seen, but possible).

Because titles can be reused for different editions and sizes, you must identify medium and edition characteristics rather than rely solely on the title.

Key differentiators:

1. Support (what the art is on)

• Canvas originals: Stretched canvas with evident impasto where paint builds above the weave. Under raking light, brushstrokes show complex ridges and directionality that continue over adjacent color fields.
• Giclée on canvas: Microscopic dot or micro-spray patterns visible under a loupe, with surface sheen more uniform. Hand-embellished giclées may have selective raised mediums (gel or paint) that sit atop a printed image. Under magnification, you’ll see printed dots beneath added texture.
• Paper prints: Typically a smoother feel, often with margins containing hand-signature and edition number in graphite. May show a blind stamp of the publisher or gallery.

2. Image edges and margins

• Originals on canvas: Image extends around canvas edges only if painted as gallery-wrap. Rear stretcher bars present; no printed margins.
• Canvas giclées: Often gallery-wrapped with printed or mirrored edges; some have stapled backs with edition stickers/labels.
• Paper editions: Deckled or cut edges; margin inscriptions; sometimes a publisher’s embossed stamp.

3. Signatures and inscriptions

• Collaborative signature “Schaefer/Miles” is usually present at the lower right image area on originals and canvas giclées (paint or printed signature). Paper editions often have hand-signature in graphite on the margin.
• Titles may appear on the reverse of canvases in paint or marker. Paper editions sometimes carry the title in the lower margin near the numbering.

4. Numbering and edition information

• Limited editions show a fraction like 45/195 (number/edition size) on the margin (paper) or occasionally on the verso label (canvas). AP, PP, HC designations indicate small subsets outside the numbered edition.
• Originals are not editioned; they may show a catalog or inventory number on the reverse but no fraction.

5. Surface and varnish

• Original oils/acrylics: Varnish can exhibit uneven gloss, faint brush marks, or pooling in textured recesses. Color layers may fluoresce differently under UV light.
• Giclées: Clear, even spray varnish is common. Hand-embellished versions show glossy raised areas that don’t align with every underlying printed stroke.

Signatures, labels, and documentation to expect

• Signature: “Schaefer/Miles,” often in a legible script. On originals, it should be in the paint layer and demonstrate integration into the composition. On prints, it may be printed or hand-applied depending on the medium.
• Edition number: For canvas giclées, it might appear on a rear label with barcode or series details; for paper prints, in pencil at lower left; for AP/PP/HC, look for the designation instead of a standard fraction.
• Certificates of authenticity (COA): Retail purchases often include a COA from the selling gallery or publisher. Ensure the COA references the exact title, medium, size, and edition, and that the language matches what you see on the work. Serial numbers or registration stickers on the verso are common for limited editions.
• Labels and inscriptions: Check the stretcher, backing board, and frame paper for:
  • Gallery labels with title, artist name(s), medium, size, SKU/stock numbers.
  • Handwritten titles or initials matching the artist’s habit.
  • Any conservation stickers indicating prior treatment.

Red flags:

• Misspelled signatures (e.g., “Schaeffer/Miles” or missing slash) on a piece claiming to be an original.
• A “hand-signed” claim for a canvas giclée where the signature is plainly printed into the image and no hand-signature is present elsewhere or on the verso.
• COAs that lack specifics or conflict with physical evidence (e.g., paper COA for a canvas work, wrong dimensions, or a different title).

Condition factors that materially impact value

Canvas (originals and canvas giclées)

• Varnish bloom or fogging: Appears as a milky haze; reduces value until professionally corrected.
• Abrasion on raised embellishments: Hand-embellished giclées lose sheen and texture where rubbed; noticeable under raking light.
• Cracks and cupping: More significant on thickly painted originals; temperature swings and low humidity are common causes.
• Stretcher stress: Corner bulges, slack canvas, or wedge loss can deform the image plane.

Paper editions

• Light exposure: Fading and paper yellowing; check margins hidden by matting for color shift.
• Handling dents: Creases, corner bumps, or printer’s creases; may be minimized by a paper conservator but usually affects grade.
• Mat burn and acidic backing: Brown lines along window edges; deacidification and re-matting needed.

Framing and presentation

• Non-glare vs standard glazing: Non-glare acrylic can diffuse color; UV-protective glazing is preferred for paper works.
• Frame condition: Chipped mouldings and scuffed liners reduce retail readiness, though easily remedied.

Condition should be documented with specific, objective terms: size and location of defects, visibility under normal light, and effect on image.

Market and valuation: Originals vs editions

As with many collaborative contemporary artists with broad distribution, price levels depend primarily on medium, size, edition structure, and venue.

General tendencies you are likely to observe:

• Original paintings (oil/acrylic on canvas/panel):
  • Highest demand and scarcity. Larger, more complex landscapes with strong spring light and water features are most desirable.
  • Retail gallery prices exceed secondary-market results; auction realizations typically fall below primary retail.
• Hand-embellished giclées on canvas:
  • Mid-tier values. Embellishment quality and visibility matter. Smaller editions (e.g., under 150) generally command higher prices than open or large editions.
• Paper editions (lithograph/serigraph/giclée on paper):
  • Lower tier, with value driven by condition, full margins, and complete provenance.

Edition nuances:

• AP/PP/HC subsets can carry modest premiums (often 10–25%) over the standard numbered edition if demand is strong and supply is tight.
• Titles with strong seasonal appeal like “The Light of Spring” tend to perform slightly better than generic landscapes from the same period.

Size matters:

• Larger formats (e.g., canvases over 24 x 36 inches) generally sell at a significant premium relative to smaller works, sometimes double or more when condition and edition are equivalent.

Venue effect:

• Cruise-ship and high-amenity retail venues often show high MSRP; these figures shouldn’t be used directly for fair market value. For appraisal, rely on verifiable secondary-market comparables with the same medium, edition, and size, adjusted for condition and framing.

Market caveats:

• Avoid extrapolating from a different edition type (e.g., using a paper print comp to price a canvas giclée). Cross-typing comparisons are a common source of overvaluation.
• Consider time-on-market. Pieces that sit unsold at a stated ask for months may indicate an inflated ask rather than true market level.

Authentication and due diligence: A step-by-step approach

1. Confirm the artists and collaboration

• The signature “Schaefer/Miles” should be consistent with known examples. Look for the slash and similar letterforms across the duo’s body of work.

2. Identify medium conclusively

• Use a 10x loupe and raking light. Determine whether texture is in the print layer (embellishment) or integral to a painted layer (original).
• For paper works, check the margins for plate marks (serigraph/stencil may have edge telltales), and for giclée you’ll see micro-spray dots.

3. Record precise measurements

• Report image size and overall size. For canvas, measure sight size and stretcher size. For paper, record image and full sheet dimensions.

4. Document edition information

• Note the full edition fraction, any AP/PP/HC designation, and the presence of a publisher or gallery blind stamp. Photograph verso labels and serials.

5. Assemble provenance

• Original gallery invoice, COA, shipping documents, and correspondence. Cross-check title, medium, and size across all documents.

6. Evaluate condition with conservation awareness

• Note prior restorations; use UV light to detect retouch on originals. For paper, test hinge removability visually (do not attempt removal).

7. Build a comp set

• Use like-for-like comparables from the same medium, edition size, and approximate dimensions. Adjust for condition, frame, and date of sale.

Writing it up: How to present “The Light of Spring” in an appraisal report

• Title and artist attribution: “Schaefer/Miles (Wendy Schaefer and Kevin Miles), The Light of Spring.”
• Medium: Specify precisely (e.g., “Original oil on canvas” or “Hand-embellished giclée on canvas” or “Giclée on paper”).
• Dimensions: Provide image and overall/sheet/stretcher sizes in centimeters and inches.
• Signature and inscriptions: Location, style, and any verso notes or labels.
• Edition and publisher: Fraction or proof designation; any gallery/publisher identification from labels or blind stamps.
• Condition: Objective, structured notes broken into support, surface, and frame.
• Provenance: List documents and ownership chain in chronological order.
• Valuation approach: Comparable sales summary with adjustments and an explanation for any outliers; specify effective date and value definition (FMV, retail replacement, etc.).

Quick inspection checklist for “The Light of Spring”

• Confirm the “Schaefer/Miles” signature and look for the slash.
• Determine medium:
  • Original paint with integral brushwork, or
  • Giclée on canvas with visible dot pattern and possible hand-embellishment, or
  • Paper print with graphite signature/numbering in the margin.
• Locate edition info: Fraction or AP/PP/HC designation; note any verso labels or serials.
• Measure and record: Image and overall/sheet/stretcher dimensions.
• Photograph: Front, signature, edition number, verso labels, and any condition issues.
• Check condition: Varnish uniformity, abrasions, tears/creases, fading, backing materials.
• Compile documents: COA, invoice, shipping papers; verify consistency with the object.
• Build like-for-like comps: Same medium, edition size, and similar dimensions.

FAQ

Q: Is “Schaefer/Miles” one artist or two? A: Two. Wendy Schaefer and Kevin Miles collaborate and sign jointly as “Schaefer/Miles.” The slash between names is typical and is a useful authenticity cue.

Q: What is a hand-embellished giclée, and how does it affect value? A: It’s a fine-art inkjet print on canvas that the artists enhance with gels or paint to add texture and highlights. It usually carries a premium over a non-embellished giclée but remains a limited edition, not an original painting.

Q: Where should I expect to find the edition number on canvas works? A: Often on a verso label or inscription rather than on the image front. Paper editions typically show the number in pencil on the lower margin.

Q: Do AP or PP designations make a big difference in price? A: They can add a modest premium, but condition, size, and subject usually have a larger impact on value than proof status alone.

Q: Can I re-varnish an original to make it look newer? A: Re-varnishing should be done by a qualified conservator. Amateur varnish applications can trap grime, create bloom, or alter color balance, reducing value.

By focusing on medium identification, edition specifics, and dependable comparables, you can appraise “The Light of Spring” with confidence and provide clear, defensible documentation for collectors and insurers alike.