both are available, the original work should display this quality to a much greater degree (see 2.2.1).
In the case of original works, a portrait painted from life is preferred to one painted from a photograph, as being more likely to provide the added dimension of character insight. The relationship of the artist to the sitter may also be of relevance here.
From a really young age, we learn to read faces. They have a language and can articulate themselves with nuance in a way that nothing else in the world around us can quite reach. The way an artist paints a face is highly distinctive, and portraiture tells you far more about the artist than it does about the subject. Get to know the vernacular of one artist’s face compared to another, and you can use that knowledge to hunt down other examples.
Non-representational works of subjects are not collected as generally these do not convey documentary information about the subject’s appearance.
Cartoons that offer insights to personality and character will be considered for acquisition.
As far as I can see the value that can be placed on portraits because of their status as historical documents is the sort of future proof intrinsic value that will always remain with the portrait and cannot be disassociated from the portrait. It is this sort of intrinsic value that makes the portrait a good candidate for use as currency – a concept that I will continue to explore.
To be continued……………….
**Nicholas Forrest is an art market analyst, art critic and journalist based in Sydney, Australia. He is the founder of http://www.artmarketblog.com, writes the art column for the magazine Antiques and Collectibles for Pleasure and Profit and contributes to many other publications