How Important is my advice

I have been in the insurance business for over 35 years. The experience and situations I have encountered are many. When it comes to protecting your Assets, there are many variables which one must consider. Not all policies have the same terms and conditions.

Possible Exclusions are many, Earthquake, Flood, Named storms, Mold, Water, Theft from premises. Terrorism, other than Named locations, while in Transit, etc.

Conditional: vary too. Alarm warranties, Shipping, and packaging, Schedules, Unscheduled, appraisals. Notifications for removal from storage, vaults, when loaned at exhibitions, travel outside the continental USA. reporting form,

Valuations: variables are, Agreed amount, Appraisal value, percentage less sale price, percentage plus consignment, Onus of Proof.

Sub-limits: Bouillon, Jewelry, Electronics

Territory restriction, World wide, continental USA,

Deductibles: $1,000, 2,500, 5,000, 25,000, 100,000

Payment Plans: Direct Bill< Credit Card, Wire transfer, Check and Cash.

Insurance Company: Admitted. Non-admitted, Risk Retention Group, Foreign, AM Best Ratings

The above are just a few items which are negotiated during the process.  I like to speak to all my customers to get a sense of what they situations are and how to protect them from a financial loss.

Not everything is ever covered by a policy, most can be.  I have found many different niches which companies give very good policies, service, and prices.

Work with me and you can feel the importance of working with a human who can relate to your Insurance exposures.

www.artinsurancenow.com

William G. Fleischer, CIC

President,

Bernard Fleischer & Sons, Inc.

http://www.artinsurancenow.com/

Corporate Collections Basics: Step 1

We at Bernard Fleischer & Sons, Inc  /Art Insurance Now, provides corporations and businesses with insurance coverage for their corporate fine art collections. This coverage protects the Art collection from physical loss or damage including breakage, vandalism, theft, and damage or loss while on display or in storage at company locations or warehouse while in transit and while on loan to institution, gallery or exhibition.

Coverage highlights include:

  • Competitive rates
  • Appraisal Option forms
  • Deductible options
  • Placement of insurance with “A” rated admitted carriers
  • Broad blanket coverage policy’s for large fine art collections
  • Certificates of Insurance issued as evidence of coverage
  • Premium payment options at no additional charge

Basic Fine Arts Coverage

Even our most basic coverage provides solid protection. It features:

  • Broad, worldwide protection
  • Scheduled or blanket limits for both owned collections and loaned items
  • Domestic and international transits

Enhanced Fine Arts Coverage

Most of the policies included extra or specific protection. These enhance the basic coverages in many ways like:

  • Registration Papers and Records
  • Special clauses for “Loss Buy Back” and “Pairs and Sets”
  • Furniture and Fixture, integral to the Fine Art display

To obtain a quotation, please provide the following:

Call now: William Fleischer CIC  212 566-1881 ext 111

APPLICATIONS:

Art Dealers
Artist Transit/Exhibition/Studio Insurance New Program
Auctioneers
Conservators/Restorers
Corporate Collections
Personal Collections
Exhibitions
Museum Collections
Business Owners Liability

Travelers Fine art and museums policies

affiliate-travelers-logo-layout

Fine art and museums

Travelers understand the passion that people who manage collections have for their objects. They offer unparalleled coverage and services for our fine art customers, whether it is a cultural institution, a large corporate collection or the dealers and galleries who represent this industry.

As a U.S.-based insurer, their financial strength allows us to offer limits that meet the needs of small institutions and galleries as well as major accounts requirements. Our capabilities extend to managing domestically-based accounts with international exposures. They work with you on many aspects of your account – from the collections to the property that houses the art.

Collections

Broad fine art coverage is available for corporate collections of fine art, or for artwork and collectibles in commercial settings. A wide-ranging spectrum of paintings, sculptures, prints and multiples, and specialized collections of historical, cultural or technological significance can be insured.

  • Coverage is available at a permanent location, in transit or while loaned to others
  • Our agreed value fine art policy addresses the needs for that collection, while also making other important coverages available (e.g., breakage, pairs, and sets coverage, flood, and earthquake)

Museums

Museum coverage is available for a myriad of institutions such as those for art, history, natural history, sports, and science and technology. Large and small venues, educational facilities, regional collections and specialized institutions – such as aviation and automobile museums – are among our policyholders.

  • Integral coverage components include art at scheduled locations, on exhibition, in transit, or on loan to other organizations
  • We provide coverage options for museum-owned property or the property of others for which the policyholder is legally liable

Galleries

The diversity in the gallery community gives us the opportunity to personalize coverage and service offerings.

  • We work with you on your needs for specialized transit, art fairs, and exhibitions
  • We help you manage the risk exposures at your gallery and storage locations

Other associated businesses

We also work with specialized fine art shippers and operations that manage other components of this industry (e.g., art handling, crating, storage).

Services

The Inland Marine Network has developed a circle of risk control consultants, and a claim team and theft investigators who are well-versed in the particulars of valuation and restoration issues that are so important to the overall mission of the fine art community. Risk Control works on management practices and location risk analysis. Our Claim team also has a group who specializes in art so they can fully support this industry. The Specialty Investigations Group helps in theft protection consultations and assists in theft recoveries.

For more information and a fast, free quote visit us at www.ArtInsuranceNow.com

New AXA Jewelry Collection Policy

Specialty Jewelry Collections AXA Art Policy HighlightsAXA Art recently launched a specialty jewelry product for private collectors of classic antique and designer jewelry. The mono-line, broad coverage product is available in the United States for schedules in excess of $500,000 for focused collections ranging from ancient to vintage to contemporary jewelry.Our specialty jewelry product offers affordable, all-risk coverage on a worldwide basis. The policy can be written as a separate policy or added to an existing fine art policy. This new jewelry collection policy is offered in addition to our scheduled jewelry product for values below $500,000.

 

 

Highlights:

  • Target: $500K up to $30MM jewelry collections, higher limits available
  • Minimum: $500K personal jewelry collections
  • Competitive rates for collections kept in the residence, residence safes and bank vaults
  • Worldwide coverage
  • No restrictions for California earthquake or any coastal windstorm locations including Florida
  • No deductible requirements, deductible options available for various rate credits
  • Coverage for loose, cut gems and stones available
  • Valuation Options: Agreed, Current Market Value
  • Scheduled or blanket policies
  • $50,000 blanket coverage included

 

Submission Requirements:

  • Completed AXA Art application
  • Listing of jewelry in collection with values
  • Purchase receipts or appraisals for items valued at $100K or more

Contact:

For more details about AXA Art’s specialty jewelry program,

please contact your William Fleischer

 

APPLICATIONS:

Art Dealers
Artist Transit/Exhibition/Studio Insurance New Program
Auctioneers
Conservators/Restorers
Corporate Collections
Personal Collections
Exhibitions
Museum Collections
Business Owners Liability

 

 

 

Bansky

In Today’s contemporary Art world, values move quickly. The street graffiti Artist has mad strives in the collecting arena. How do you place a value on a building wall? a Mural commissioned on a side of a building to bring attention to a business. A painting on the door of a truck. Public Art the danger of the Vandals.

I was asked to insure a building mural for a business. once it’s painted on the building wall the art becomes part of the building. Graffiti or vandalism is part of standard Business coverages.
In contrast, I was asked to Insure a truck door with Banksy art. This one was easy since it was taken off the truck and transported to the collector.

click here for the private art collectors application

APPLICATIONS:

Art Dealers
Artist Transit/Exhibition/Studio Insurance New Program
Auctioneers
Conservators/Restorers
Corporate Collections
Personal Collections
Exhibitions
Museum Collections
Business Owners Liability

How to insure an Artist Estate?

This week, I insured an individual who was left with over 2 million worth of Art from an artist. There were over 1,000 works on paper, 600+ works on canvas. It is in the process of being cataloged and photographed. There were no appraisals since it’s in the gathering portfolio stage.
The call was triggered because some of the work was going to be exhibited and they wanted to protect the Art.

I recommended using the collector’s application instead of the Dealer application.  The main difference is how the settlement option works.  As a collector, you will be paid for the Art at Fair Market Value and as a dealer, it will be 30% less of the sale price.

Call me 212-566-1881 ext 111

William Fleischer, CIC

 

APPLICATIONS:

Art Dealers
Artist Transit/Exhibition/Studio Insurance New Program
Auctioneers
Conservators/Restorers
Corporate Collections
Personal Collections
Exhibitions
Museum Collections
Business Owners Liability

Collectors Insurance

Bid Bonds

We represent Insurance Companies to make it easy for you to protect the things you collect.

Homeowners insurance alone does not provide enough coverage for your clients’ treasured items. That’s why our collectibles program is the perfect complement to your standard personal lines products. It enables you to protect the full collector value of your collections in the event of a total loss.

Designed specifically for collectors, our all-risk policy not only protects against accidental breakage, hurricane, flood, earthquake, fire, and theft – it also protects the packaging and accessories of collectibles. Plus, our optional Collectors’ Choice coverage provides your clients who are actively growing, displaying, or occasionally using their collection with the added level of protection they need to fully enjoy their hobby.

We offer deductible options (including zero deductible), rate options and discounts, and multiple collections in the household can all be covered by the same policy. Appraisals are not required to obtain this valuable, stand-alone coverage.

We’ll consider all types of collections including*:

Advertising Memorabilia Die Cast Model Cars/Trucks Pottery & Collector Plates
Animation Art Dolls Prints (limited editions)
Automotive Memorabilia Figurines Quilts (antique/collectible)
Books (rare) Guns (pre and post WWII) Radios/Victrolas
Cameras (antique/collectible) Holiday Collectibles Sports Memorabilia
Carousel Animals Jukeboxes/Upright Arcade Games Stamps
Ceramics Military Memorabilia Teddy Bears
Clocks (antique/collectible) Miniatures & Doll Houses Toys & Action Figures
Crystal/Glass Model Trains & Layouts Trading Cards
Comic Books Movie Memorabilia Wine & Accessories
Coins Musical Instruments and much more! 

* Contact us regarding other unique collections at www.ArtInsuranceNow.com, or call 1.800.921.1008

art_signature

 

 

 

Water- A Serious Peril to Works of Art

AXA ART Presents Damages from Hurricane Sandy at its Lounge during 2013 AIPAD Photography Show New York

Serves to reinforce the importance of Disaster Preparedness

NEW YORK – (April 4, 2013) – Next to oxygen, water is the most essential element of human life. However, it is a serious threat to objects of art. according to AXA ART’s Fine Art Expert, Matthew Knight. “Water can be hazardous to works of art in many forms. Whether from excessive humidity, accidental pipe burst (which the insurance industry defines as “falling water”) or from mother nature’s fury in the form of heavy rains or coastal flooding (defined as “rising water”); the presence of water has proven to be very damaging to all artworks, especially photographs”.  Knight goes on to say, however, “The risks can be reduced by carrying out simple precautions and having emergency disaster plans in place.”

Nowhere was water’s damaging effects to works of art more evident than from the unprecedented and costly super-storm, Hurricane Sandy. AXA ART had chosen a casualty of this storm for presentation at its lounge during the 2013 AIPAD Show.  On display were damaged photographs, To Fight with Crossed Arms, 2007, ed 4/5, by prolific Chinese contemporary artist, Ai Weiwei.

Christiane Fischer, President & CEO of AXA Art in the Americas observed, “Sandy was the costliest event for the art insurance industry by far and we are now living in a post-Sandy world. We all will need to adjust our disaster planning strategies to protect important works such as To Fight with Crossed Arms from becoming victims of water damage”.

Over its more than 50 years of operation, AXA ART has seen and settled a variety of natural disaster claims internationally.  The global art insurance specialist advises that while some accidental damages can neither be foreseen nor deterred,  there are practical steps that can be applied to prevent the total destruction of works of art whether on display, in transit or in storage. Key components in the planning strategies of collectors’ and galleries’ should include evacuation and catastrophe preparedness as well as maintaining proper storage for art collections and inventories.  “Ultimately our goal is to support collectors as they seek to safeguard the value and longevity of their collections”, Fischer concluded.

Reference AXA ART’s  Collection Management Series for general information gathered from conservators and worldwide expert partners on caring for collections.  For more detailed information on protecting your possessions, AXA ART’s Claims and Risk Management teams are available resources: http://www.axa-art-usa.com/artprotect/caring-for-collections/prevention.html 

 

The AIPAD Photography Show ran, April 4 – 7, 2013 at the Park Avenue Amory, 643 Park Avenue, New York City.

Note to Editor:
To Fight with Crossed Arms, depicts Ai Weiwei’s allegorical self-portraits as curator, artist, architect, and critic. The title, derived from a Marcel Duchamp quote about facing an enemy with nothing more than crossed arms, refers to diverting political persecutions and tactics with the neutrality of a stoic non-combatant stance. This collaborative approach with artists/architects, MAP Office (a Hong Kong-based duo), seeks to express a shared rejection of artistic and political oppression without revealing the game.

About AXA Art
International reach, unrivaled competence and a high-quality network of expert partners distinguish AXA ART, the only art insurance specialist in the world, from its generalist property insurance competitors. Over the past 50 years and well into the future, AXA ART has and will continue to redefine the manner in which it serves and services its museum, gallery, collector, and artist clients across the Americas, Asia, and Europe, with a sincere consideration of the way valuable objects are insured and cultural patrimony, is protected. In addition, AXA ART invests in risk-prevention awareness and cutting-edge conservation techniques as a measure to protect and preserve cultural heritage for generations to come.  For more information, visit www.axa-art.com.

We have been an AXA Agent for over 7 years. For more information and a fast free quote visit us at www.ArtInsuranceNow.com

ain-axa

Jasper Johns’ Assistant Accused of Swiping $6.5 Million Worth of Art

President Barack Obama awards medal of freedom to Jasper Johns
On February 15, 2011, Jasper Johns became the first painter or sculptor to receive the Presidential Medal of Freedom since Alexander Calder in 1977. President Barack Obama presenting the award.

This is a great reason we recommend Fidelity Bonds to our Clients.

Kahn, Robert “Jasper Johns’ Assistant Accused of Swiping $6.5 Million Worth of Art” – Courthouse News Service

MANHATTAN (CN) – A longtime studio assistant to Jasper Johns swiped at least 22 artworks from Johns’ Connecticut studio and pocketed $3.4 million by selling them through a Manhattan gallery without the artist’s knowledge or permission, federal prosecutors say.

The Manhattan gallery, which is not named as a defendant, sold the unauthorized works for $6.5 million, from which James Meyer took his cut, the U.S. attorney says in the grand jury indictment.
The United States unsealed a two-count grand jury indictment against James Meyer, accusing him of interstate transportation of stolen property and wire fraud.
Meyer worked for Johns in the artist’s studio in Sharon, Conn., for more than 25 years, according to the 8-page indictment.

Jasper Johns Three Flags Art Image
Three Flags By Jasper Johns – Whitney Museum of American Art, Fair use, https://en.wikipedia.org/w/index.php?curid=23128629

“While so employed, Meyer supported Johns in his creation of certain art at the Johns Studio, and had certain administrative responsibilities, including, among others, maintaining a studio file drawer containing pieces of art that were not yet completed by Johns and not authorized by Johns to be placed in the art market (the ‘Unauthorized Works’).

The indictment states “From at least in or about September 2006, up to and including at least in or about February 2012, James Meyer, the defendant, removed at least twenty-two (22) individual pieces of the Unauthorized Works from the studio file drawer he was responsible for maintaining, and from elsewhere in the Johns Studio, and caused those pieces to be transported from the Johns Studio in Sharon, Connecticut to an art gallery located in Manhattan, New York (the ‘Gallery’) for the purpose of selling those works in the art market without the knowledge or permission of Johns.

“In furtherance of his scheme to defraud, James Meyer, the defendant, represented to the owner of the Gallery (the ‘Gallery Owner’), and others, that each of these Unauthorized Works had been given to him as gifts by Johns when, in truth and in fact and as Meyer well knew, Johns never transferred ownership of those pieces to Meyer and never gave permission for those works to leave the Johns Studio.”

Nevertheless, Meyer provided sworn, notarized certifications to the Gallery Owner and others, stating, among other things, that these pieces were authentic works of Johns, that the art had .been given to him by Johns directly, that he was the rightful owner of these works, and that he had the right to sell each piece. Meyer conditioned the sale of the Unauthorized Works on the signed agreement by the purchaser that the art would be kept private for at least eight (8) years, during which time it would not be loaned, exhibited, or re-sold.

Detail of Flag (1954–55). Museum of Modern Art, New York City. This image illustrates Johns' early technique of painting with thick, dripping encaustic over a collage made from found materials such as newspaper. This rough method of construction is rarely visible in photographic reproductions of his work. Fair use, https://en.wikipedia.org/w/index.php?curid=3975993
Detail of Flag (1954–55). Museum of Modern Art, New York City. This image illustrates Johns’ early technique of painting with thick, dripping encaustic over a collage made from found materials such as newspaper. This rough method of construction is rarely visible in photographic reproductions of his work. Fair use, https://en.wikipedia.org/w/index.php?curid=3975993

 

“As a further part of his scheme to defraud, James Meyer, the defendant, created fictitious inventory numbers for the Unauthorized Works and/or assigned to the Unauthorized Works registration numbers belonging to other pieces completed by Johns, to create the appearance that the pieces were finished works authorized by Johns to be sold in the market. However, in truth and in fact and as Meyer well knew, the Unauthorized Works were not ready for release and had not been assigned those inventory numbers by Johns or any member of his staff.

“As a further part of his scheme to defraud, James Meyer, the defendant, created fake pages for certain of the Unauthorized Works that appeared as if they were included in a 3-ring loose-leaf ledger book maintained at the Johns Studio of registered pieces of art, and that purported to show both the inventory number assigned to the work and the fact that the work had been ‘gifted to James Meyer.’ At various times, Meyer took photographs of these fake pages in the ledger book, which he sent via e-mail to the Gallery Owner, and which the Gallery Owner thereafter transmitted by interstate e-mails to prospective buyers for certain of the Unauthorized Works to alleviate concerns about the provenance (i.e., the history of ownership of a work of art) of the piece.

“As a further part of his scheme to defraud, James Meyer, the defendant, blatantly misrepresented to the Gallery Owner, and others, that certain of the Unauthorized Works would be included in an upcoming catalogue raisonné (i.e., a monograph providing a comprehensive list of artworks by an artist, describing the works in a way so that they may be reliably identified by third parties) of Johns’ works. However, in truth and in fact and as Meyer well knew, as unfinished pieces, none of the Unauthorized Works would appear in any such compilation.

“Over the course of his almost six-year scheme to defraud, James Meyer, the defendant, caused the Gallery Owner to sell twenty-two (22) of the Unauthorized Works on his behalf for a total of approximately $6.5 million. In connection with these sales, Meyer caused the Gallery Owner to remit approximately $3.4 million in sales proceeds to him via check or wire transfer, which funds were deposited in Meyer’s account at a bank located in Connecticut.
Prosecutors seek forfeiture of ill-gotten gains and/or substitute assets.
Meyer, 51, was released on $50,000 bond and ordered to stay away from Johns, according to NBC News.

For more information about Fidelity Bonds and Art Insurance visit us at www.BFBond.com and www.ArtInsuranceNow.com, or call 1.800.921.1008

Theft of the Kunsthal museum in Rotterdam

From the Huffington Post:

BUCHAREST, Romania — It may be a case of art to ashes – and scientists are trying to get to the bottom of the mystery.

A Romanian museum official said Wednesday that ash from the oven of a woman whose son is charged with stealing seven multimillion-dollar paintings – including a Matisse, a Picasso and a Monet – contains paint, canvas and nails.

The finding is evidence that Olga Dogaru may have been telling the truth when she claimed to have burned the paintings, which were taken from a Dutch museum last year in a daring daylight heist.

Ernest Oberlander-Tarnoveanu, director of Romania’s National History Museum, told The Associated Press that museum forensic specialists had found “small fragments of painting primer, the remains of canvas, the remains of paint” and copper and steel nails, some of which pre-dated the 20th century.

“We discovered a series of substances which are specific to paintings and pictures,” he said, including lead, zinc and azurite.

He refused to say definitively that the ashes were those of seven paintings stolen from Rotterdam’s Kunsthal gallery last year, because he said it was not his position to do so. He said justice officials would make that decision.

He did venture, however, that if the remains were those of the paintings, it was “a crime against humanity to destroy universal art.”

“I can’t believe in 2013 that we come across such acts,” he said.

Oberlander-Tarnoveanu said forensic specialists at the museum have been analyzing ashes from Dogaru’s stove since March, and will hand their results to prosecutors next week.

The seven paintings were stolen last October in the biggest art heist to hit the Netherlands for more than a decade. Thieves broke in through a rear emergency exit of the gallery, grabbed the paintings off the wall and fled, all within two minutes.

The stolen works have an estimated value of tens of millions of dollars if they were sold at auction. Thieves took Pablo Picasso’s 1971 “Harlequin Head”; Claude Monet’s 1901 “Waterloo Bridge, London” and “Charing Cross Bridge, London”; Henri Matisse’s 1919 “Reading Girl in White and Yellow”; Paul Gauguin’s 1898 “Girl in Front of Open Window”; Meyer de Haan’s “Self-Portrait” of around 1890; and Lucian Freud’s 2002 work “Woman with Eyes Closed.”

Three Romanian suspects were arrested in January, but the paintings have not been found.

Romanian prosecutors say Olga Dogaru – whose son is the alleged heist ringleader – claims she buried the art in an abandoned house and then in a cemetery in the village of Caracliu. She said she later dug the paintings up and burned them in February after police began searching the village for the stolen works.

Prosecutors have not said whether they believe her account, but Pavel Susara, a Romanian art critic, said the story has the ring of truth.

“Olga Dogaru describes how she made the fire, put wood on it and burned the paintings, like she was burning a pair of slippers,” he said. “She’s either a repressed writer or she is describing exactly what she did.”

And now the museum staff have found exactly what forensic experts say they were seeking – materials such as canvas, wood, staples, and paints that indicate the ashes were the remains of artworks.

The next step would be to compare them to what is known about the missing paintings, which given their quality and status would be well-documented in photographs and condition reports.

“If one finds general similarities between the stolen works and the burned (remains), then one could test the elemental – and possibly chemical – composition of the burned `works’ to determine if they could be consistent with the stolen works,” said James Martin of Orion Analytical, LLC, who has taught forensic paint analysis at the FBI Academy Counter-terrorism and Forensic Science Research Unit.

Art market experts said the Rotterdam thieves may have discovered what many art thieves have before them – that easily identifiable paintings by famous artists are extremely difficult to sell at anything like their auction value.

“Criminals who are successful in their usual endeavors are often undone by a foray into art theft,” said Robert Korzinek, a fine art underwriter at insurer Hiscox. “They steal these works of art … and then they have the problem that they can’t dispose of them.”

That means many works suffer ignominious fates. Some are lost forever. Others turn up after years of being buried or stashed in storage. Edvard Munch’s “The Scream,” stolen from an Oslo museum in 2004, was recovered in 2006, water damaged and torn. Police have never offered details on the painting’s whereabouts during those two years.

Chris Marinello of the Art Loss Register, which specializes in tracking down stolen artworks, said that if Olga Dogaru is telling the truth, “this isn’t the first time the mothers of art thieves have come to the rescue of their son.”

One famous case involved a prolific French criminal named Stephane Breitwieser, who stole more than 200 works from small museums across Europe in the late 1990s.

His mother admitted destroying dozens of the works after police began investigating her son, cutting up paintings, stuffing the remnants down her garbage disposal and throwing valuable jewels and other antiquities into a canal.

She was arrested after some of them resurfaced. “Old Masters were washing up on the bank,” Marinello said.

More than 100 works were recovered from the mud and restored, but much of what Breitwieser stole was lost forever.

Mariette Maaskant, spokeswoman for Rotterdam’s Kunsthal, said Olga Dogaru’s allegation “underscores the pointlessness of the theft.”

“If this terrible news is true, then the last trace of hope that the art works would return is definitively gone,” she said. “It would be a loss that touches every art lover.”

Perhaps the only positive note is that, if Dogaru hoped to destroy the evidence, she likely failed.

“Almost everything nowadays leaves a trace,” said Marinello.

___

Jill Lawless reported from London. Associated Press Writer Michael Corder in The Hague contributed to this report.

 

 

Insuring Art, Art Gallery, Art Dealer, Artist and the Art world needs