(March 2024)
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A defining characteristic of fine art is that insurance is
an imperfect tool to address the property owner's concern. If the property is
destroyed or lost, monetary reimbursement is a less satisfactory result
compared to coverage for routine property.
Example: Georgia’s home was destroyed by wildfires.
Her loss report included a claim for more than a dozen antique portraits from
several artists. However, the records and receipts for all of the paintings
were also destroyed in the fire. The part of her claim for the paintings
(requesting $38,000) was settled for $4,500. Her insurer explained that she
did not have enough documentation to justify a higher payment for the lost
art. |
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Besides the difficulty in documenting property value to
justify a sufficient recovery, money doesn’t result in replacing unique
property. However, the greatest peril that threatens art and cultural objects,
on both a national and international level, is theft. Therefore, fine art
property owners typically have an even greater concern for securing their
assets against loss.
Properly identifying covered property is important in any
insurance program, but it is particularly critical when dealing with fine art
since it:
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Makes it easier to determine a piece's value.
·
Helps to secure the correct coverage.
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Increases the likelihood that the coverage is
priced fairly.
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Improves the chances that stolen art may be recovered.
Since fine arts are very vulnerable to theft, it would make
sense to maximize the chance for recovering stolen fine art by registering the
property. In the early 1990s, the J. Paul Getty Trust (which oversees the Getty
Art Museum) aided both the art and insurance worlds via the monumental project
that resulted in the creation of "Object ID," an international
minimum (or core) standard for identifying art objects.
Since its introduction, the standardization of art
identification and “Object ID” concepts have been adopted by various players in
both the worlds of art and international authorities since improved
identification aids in valuation and security.
Object ID focuses on different elements that assist in creating
documentation that reliably identifies a particular piece. Object ID isn't
complicated or sophisticated. Actually, it's just a collection of practical
considerations with regard to efficiently and effectively assist with providing
accurate object descriptions that include the following:
Element
|
What
to include
|
Materials |
Does the piece consist of glass,
marble, soapstone, iron, copper, etc.? |
Name or Title |
Always include any proper name
that exists for a piece. It does not make a difference whether the name or
title is famous; a title aids identification. |
Art Media |
What sort of art is involved? It may appear obvious, but
it would be helpful to state whether a given piece is pottery, sculpture, painting,
etc. |
Photography |
It is critical to include at least one clear photo of the
item. It is more helpful if the photo(s) document defining marks/features. It
would also be helpful if the photo gave some indication of the property's
size. |
Special Identifiers |
In detail, describe any special markings (which identify
the piece's maker or origin), inscriptions or stampings, even distinctive
marring, stains, etc. |
Dimensions |
All descriptions should include
the object's height, length, width (when applicable), weight, etc. |
Topic of Piece |
Describe what is illustrated, represented, or depicted in
or by the piece (i.e., a picture of a Greek warrior, a young farmer lifting a
hoe, a dancer putting on a costume). |
Miscellaneous Description |
This may consist of information
that isn't mentioned elsewhere. This can be thought of as a
"potpourri" area of information. |
Creator |
Be as specific as possible, full name when possible or
indicative of a given time period. Ex. The material and style indicates it is
from (fill in blank). |
Work Type |
Is the piece cast, or is it carved? Is the design drawn on
top of another surface or etched? |
Origin |
When was the piece created; supply as much info as
possible. |
Security |
Store the documentation in a place that is safe and
accessible. |
A completed Object ID Checklist (or similar documentation)
would allow an insured to register their property with any of a growing number
of sources, such as The Art Loss Register.
Editor’s note:
This information is not an endorsement or promotion of this particular art
registration site. This information is provided for the purpose of
illustration. Contact information, fees and other details are subject to change.
Sites such as the Art Loss Register or the National Fine
Arts Registry provide an independent source for documenting fine art ownership.
Such sites are often queried by investigators as well as fine art dealers,
auction houses, museums, exhibitors, and collectors (individual, government and
corporate) to check property offered for sale, as well as for searching for
stolen property.
Such forms typically include the following:
·
Title
·
Artist's name
·
Medium/Media
·
Dimensions
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Purchase date
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Purchase price
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Current value (if purchase date is remote)
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Seller's information (included location of sale)
·
Fine art description
·
Photo (attach file or a current link)
·
Supporting documents
·
Provenance (refers to information on ownership
history)
Registering art works offers the benefits of providing a
safe, additional source of ownership documentation. It also acts as a tool to
document the work's provenance (ownership history) which adds significantly to
a given piece’s value. Naturally, it acts as a source for filing and documenting
a loss of the registered property, especially if it is accompanied by sources
such as an online appraisal, photos, and other, similar information.
Registering art requires an insured to pay an additional
expense. This cost, which varies by the provider as well as by the level of
service selected, has to be balanced by the referenced benefits. This expense is
not covered by insurance.