Severely damaged property that can be repaired or restored in some manner is
quite common for most adjusters. Resolution of the claim issue is often reasoned
out or adjusted: basically an objective viewpoint or plain common sense. More
frequently, adjusters hear the claim comment "Itís not the same".
Subjective viewpoints are often the most difficult to handle. It is important to
what is not the same. Establish the criteria first. Loss in value can be approached
by analyzing how the damage and subsequent restoration effected the piece.
Does the piece function as efficiently as before? Has it's useful life
Example: Cabinet door no longer closes properly.
Have or will repairs or restoration strengthen or replaced a structural
Example: Broken (severed) table leg.
Has something happened to the piece, after repairs, restoration or
that permanently alters itís appearance.
Example: Pristine table surface now has a deep scratch.
INTENT OF ARTIST
Most often associated with fine art, did the treatment add pigment that wasnít
there before or replace something that was missing. Did the shape change?
Example: In-painting to compensate for lost pigment on painting. Reducing a
chipped area of crystal.
Mary J. Moran of Patrick B. King & Assoc., Ltd. states "beginning
with the premise that a piece was in pristine or near perfect condition before a
loss is not always a practical approach." In the categories of antiques,
fine and decorative arts it is important to establish the pre-loss condition,
according to Ms. Moran. Very often with pieces of age, various repairs or
restorations were made over the life of the piece. While these repairs are
integral to the history of the pieces, sometimes the extent of prior treatment
created a condition that other minor repairs do not exacerbate. For example, new
minor abrasions or scratches on a desk surface characterized by numerous
pre-existing ink stains and deep scratches can have little impact on the over
all value of the desk.
A qualified professional appraiser experienced in analyzing condition, extent
of damage and value will be your most informed source. The amount or degree of loss can only be established by comparing the
pre-incident condition to the existence or degree of diminished function,
altered structure, appearance or intent of the artist.
Ms. Moran cautions that proper professional cleaning, very often does not
diminish value, even though there might be a color change. Very often a
textile was soiled or faded from prolonged exposure to UV light prior to an
Surface soot confined to the varnish layer of a painting is a common occurrence
that frequently causes conflict between owner and adjuster. The varnish layer of
an oil painting acts as a protective coating for the pigments underneath, much
like glazing over art on paper. Unlike the newer varnishes available today,
older varnish formulas yellowed with age. The owner is often "used" to
the yellowed appearance. When the soot and varnish are removed and the varnish
replace, the owner does not recognize the original intent of the artist
concealed for years beneath a layer of naturally yellowed varnish. This fact is
most evident in the restoration of Michelangelo's frescoes in the Sistine
Chapel. The firm of Patrick B. King and Associates, Ltd. offers over 25
years of experience in valuation specializing in loss analysis.
This firm offers "one stop shopping". King & Assoc. will
identify pre-existing condition, scope of damage, treatment recommendations,
value as necessary and although not conservators, works closely with qualified
professionals to ensure that treatment is executed properly. Once treated, the
finished work can be examined to identify loss in value, if any or toward
degree. Any single service or combination of services is the specialty of the
We have successfully completed insurance diminished value loss of value
dealing with, art value, historical value, use value, research value, age value,
new value, sentimental value, monetary value, associative value, commemorative
value, educational value, and rarity.