Fortunately, I wasn't under arrest when my fellow appraiser Ellen Epstein and I spent the morning in Scotland Yard last week. We were in London for the Arts and Antiques PG Board Meeting, for the Royal Institute of Chartered Surveyors (RICS) and were visiting Scotland Yard on official appraisal business.

At Scotland Yard my colleague from RICS and I, met Detective Sergeant Claire Hutcheon, head of the “Organized and Economic Crime Command – Art & Antiques Unit.” Detective Hutcheon, an attractive woman who has worked for Scotland Yard for more than 14 years, discussed with us some of the experiences she had had in her career; but like much of police work un-publishable until the perpetrator is behind bars.

However, as representatives of RICS Personal Property/Art & Antiques Committee we were specifically interested in the professional standards for valuers (appraisers) in London. For example: what does it take to be taken seriously by the police if asked to value stolen or missing works of art? Compared to the USA, Europe’s requirements for appraisers are far below those of US practitioners, something that is readily admitted by everyone in the London art world. In some countries there are no discernible standards at all. However, Detective Hutcheon mentioned that England and France were working towards an agreement that would raise the level of professional standards.

Change seems to be in the air. Those with whom we spoke – police, attorneys, non-profit organizations, and representatives of professional entities, stated that they hope for a tightening of the rules governing appraisals by independent appraisers. We were told that at the moment, the only due diligence generally performed is through the Art Loss Register, which affirms whether a work has been stolen.

View from the roof of the RICS building in Parliament Square

It is anticipated that this will change with the implementation of The Red Book, which would be an international source of regulations and standards for appraisers worldwide. This document would help to unify standards globally, whether dealing with real estate or fine art. Even now regulations are being standardized internationally, as are the ethical rules imposed on all practitioners. It may not be long before The Red Book becomes required reading for those internationally who have any participation in the world of art.

There are well over 160,000 RICS members worldwide and growing. At the moment there are relatively few practitioners in America, but the world is opening up and I can see a future where there are singular and stringent regulations regarding good business practice in all nations. Sort of a One World concept, but not altogether so bad a thought.

Written by Elin Lake-Ewald

Last night OTE’s team took advantage of the late gallery hours in Chelsea. Below are a few shows and works we found most noteworthy.

We all enjoyed seeing Tara Donovan’s enormous installation pieces at Pace Gallery.

In this work, the millions of acrylic pieces create a mesmerizing shimmer. The form recalls a fluffy puppy. A reaction to Jeff Koons, perhaps?

Dr. Elin Lake-Ewald thought that Pierre Dorion’s trompe-l’œil paintings at Jack Shainman Gallery were riveting – about the best examples she saw on the walk.

Meanwhile, Dr. Ewald found it not altogether surprising that most of the larger galleries closed on the Chelsea Art Walk last night. The art explorers wandering the streets, from 19th to 26th, didn’t look quite up for a $30 million Christopher Wool or a $50 million Koons production. It was for the most part the medium sized and smaller galleries who opened their doors (and occasionally their wine bottles), to the Gen X crowds.

The galleries we checked out for the most part had wall works (and sometimes floor works) in the $10,000 – $25,000 range. A well-thought out way to attract potential investors in art. If a collector has the ability to pay just about anything for what he wants in his home(s) he can visit those spaces any day any time. Or send his art advisors. He doesn’t have to wait until working hours are over. Great strategy. Good show.

Julia Plotkin was intrigued by Nick Gentry’s paintings on mosaics of old floppy disks at C24 Gallery:

and by John M. Armleder’s mixed media glitter-covered paintings at Galerie Richard:

and also by Jerry Kearns’ wall paintings at Mike Weiss Gallery. Whoever buys one has the artist’s studio team come and repaint it in their space, à la Sol Lewitt.

Most of all, Julia loved the fare at Unix Gallery, which offered a box of chocolates by Peter Anton and a lollipop by Desire Obtain Cherish:

Alanna Butera’s choice for the best curated exhibition goes to Procedural Portraiture at Caroline Nitsch Project Room. She was captivated by the intimate interaction between each artist’s exploration of faces, and the different use of media and line to reveal the inner essence of the subject.

Walking into Franklin Evans’ paintingassupermodel at Ameringer McErny Yohe, she was immersed into the artist’s mind and his artistic practice. The walls and floors were adorned with tape, digital prints and photographs.

As the sun set, however, the galleries closed their doors and the OTE team headed home.