(left top) The collection at this Columbia office showcases original etchings depicting Southern scenes. This work is by artist Larry Francis Lebby of Dixiana, SC. Miller describes, “He makes magic with the common pen.” (left bottom) This collection focuses on Southern women artists. Miller notes that buying art with a specific purpose adds depth and value to a collection. The encased sculpture is Oyster Catcher by Granger McKoy. The oil-on-canvas painting is Sandra in the Garden by Helen Turner.
going to be the ones living with it, whether it goes up in value or not. That’s the first factor. For art—for a contemporary and living artist— there are different factors and market analytics that I look for: Does the artist display in any galleries or museums? Has he received any awards, like the Guggenheim Fellowship? Is he represented in any corporate collections? Is his work in any notable private collections? Does the artist have a presence on the auction market? The answers to these questions give a good indication about the future value of the work. For other items, I look for certain criteria of quality—good, better, best. You can always use that test at any type of auction or even flea market, whether you’re looking at a coin, a stamp, or a dining table. If you see enough of something, then you can see the differences in quality. How would an average shopper know what’s good, better, or best? It’s really just training your eye. My new book, which will be released this fall, is about collecting art and antiques. It’s a guide where I take readers through the entire collecting process, whether they’re a connoisseur or a beginning collector. It gives readers the vocabulary to talk about the pieces—to speak the right language. In the other chapters, I write about everything from American furniture and Continental furniture to sculpture and art. I give specifics about what to look for, what to buy, and how to inspect something from each genre for value. Always look for pieces of quality and magic—a piece that you would never tire of looking at. Did your work with PBS help you develop your keen eye for these types of details? Definitely. Once I got my appraisal license, I was approved to be on Antiques Roadshow. I talked to them for four-and-a-half years before I got the opportunity to be on the show. Someone was sick, and the producer said, “Can you just come up here for the weekend?” That’s how it began. With Antiques Roadshow, I never knew what I was going to see. We saw 5,000 to 6,000 people a day, all with different items for appraisal. When the producers were developing Market Warriors, they asked me if I wanted to go back to AnCH+D • Summer 2015
119