A Client's Guide For How to Take Photographs of Art and Antiques to Send to An Appraiser

Written by Elizabeth Stewart, PhD, AAA and John Flandrick

This article was originally published in Worthwhile Magazine™ and has been republished here with the permission of the authors.

A Note from the Co-Editor: As an appraiser, I frequently invite new clients to send me pictures of their items so I can review them in advance and better assist with designing an appraisal scope of work that is most appropriate to their needs. Being able to see photographs emailed to me ahead of time by a client can reduce the client’s total project cost, alert me of the need to consult specialized reference books or outside experts, and help me assess whether the client even needs an appraisal report at all. Photographs are immensely helpful in the overall appraisal process, and as the COVID-19 pandemic disrupts the world as we knew it, they are even more important.

There are some objects that are not well-suited for evaluating through photographs. Every appraiser should use her or his own best judgment on a case-by-case basis on what is the most responsible scope of work for the objects to be appraised. The following guide is designed to help an appraiser’s clients take photographs of their items to be appraised that will be most helpful in conveying the specific connoisseurship details an appraiser needs to evaluate an item. It is one thing to say “send me pictures” and quite another thing for a new client to know what we need to see. Our field requires years of training, and it can be very challenging for someone outside of the appraisal, art, and antique industries to even know where to begin when confronted with the task of taking pictures to send to us.

I’d planned to write about this topic myself in the future because it is such a key element in the overall appraisal process, especially now, and I’d hoped to reduce client stress by preparing a systematic guide for them to follow. It was thrilling then to hear from fellow appraiser Elizabeth Stewart, PhD, AAA of Elizabeth Appraisals in California and learn that she beat me to it and has already prepared the following extremely comprehensive guide she wrote for her clients about how to photograph objects.

It’s a pleasure to share her original work here so that it will accessible to assist an even broader audience. The guide is informed by Elizabeth’s many years of work with her full-time photographer John Flandrick of Flandricka House Photography. It reflects his recommendations and insights as a professional photographer and he has also written his own “How To Photograph: A Professional Photographer’s Top Ten Tips For Photographing Objects” to help our readers included here right below Elizabeth’s object guide. Elizabeth wrote a personalized cover letter detailing her updated appraisal options reflecting the complications of the COVID-19 pandemic that she sent to her clients with this guide, and other appraisers may wish to consider writing their own cover letters for their clients.

To add a few notes of my own, I’d like to reassure readers that you don’t need to have a fancy camera to do this. The camera pictured above actually looks a lot like the one I use in my own appraisal firm for photographing client collections but your phone will be fine if that is what you have available. You may find that some of the characteristics listed below aren’t present in the object you are photographing, and that’s totally alright too. The beauty of having a comprehensive list is that it helps you assess what to look for, whether it happens to be there or not. Also, know that we as appraisers are grateful to our clients for helping us by taking pictures that allow us to better serve their needs. Thank you, Elizabeth, for sharing this guide with our readers!

-Sarah Reeder, ISA CAPP, Co-Editor of Worthwhile Magazine™ and Owner of Artifactual History® Appraisal.

VALUE CHARACTERISTICS THAT MATTER TO AN APPRAISER:

WHAT TO NOTICE AND PHOTOGRAPH

1.     FINE ART:

A.    How to photograph so an expert can see:

The author talking with a client in her temporary home office/dining room during the COVID-19 pandemic stay-at-home order

Photograph by John Flandrick, Flandricka House Photography

• Photograph the entire piece with frame

• Close up of “sight image” (just the image, not the frame)

• Close up of signature and angled shot of signature

• Shot of back with any markings

• Shot of you measuring the piece

  • Image size only

  • Size of entire piece including the frame

B.    Characteristics; make notes on:

• Artist

• Date of creation

• Where “shown,” previously exhibited, or owned (provenance)

• Condition – front and back

  • Condition lighting: shine a flashlight to the angle of the side of an oil painting to show the raised brush strokes

• Size (from the measuring described above)

• Genre (what style) especially if unsigned

• Multiple:

  • If a lithograph, etching, engraving, silkscreen, serigraph, note “fraction” (edition number, for example 37/225)

  • If a print of any type, including a photo-mechanical reproduction (better known as a poster) note if the work is signed “in the plate” meaning if the reproduction includes the signature, or if it is signed with an original or perhaps double (both in the plate and on the piece by hand) signature.

Photograph by John Flandrick, Flandricka House Photography

2.     SILVER:

A.    How to photograph so an expert can see:

• Silver reflects, so shoot with dark background

• Shoot close ups of hallmarks or any markings

• Shoot around areas where there may have been repairs (spouts, handles)

• Shoot any other material (glass, ivory, bone, wood) and how it is attached

• Be aware of color changes which may not come out in photos – gold is often applied to silver (vermeil)

B.    Characteristics; make notes on:

• Hallmark

• Note if marked EPNS or “silver soldered;” this is not sterling

• Sterling or silverplate? Note the thickness of hollowware. Silverplate is often thicker and heavier than sterling

• Age

• Style (for example, Nouveau is valuable, Rococo Revival less so)

• Famous makers (such as Tiffany) or retailed from a famous shop (for example Liberty or Cartier)

• Weight in troy ounces (this is different from regular ounces.  If you don’t have a troy ounce scale, measure in ounces but be sure to let the appraiser know so the conversion can be made)

Photograph by John Flandrick, Flandricka House Photography

3.     GLASS DECORATIVE ITEMS AND TABLEWARE/BARWARE:

A.    How to photograph so an expert can see:

• Cut glass versus pressed – hard to see in photos. Check sharpness of the “dentils:” the cuts, which are “sharp” in cut glass; use close up feature on camera

• Measurements, including diameter

• Shoot in great outdoor light

• Set closeup of the hallmark (which is often hard to find as they are not always on the bottom)

• Blown or machine made? (The three categories are blown, blown in a mold, and machine made.) Shoot a close up of bottom, there, look for these features:

  • Pontil mark, which is where the glass blower would have attached his blow rod. These are sometimes ground down like an inverted saucer.

  • Look for a signature; good modern glass is often signed.

  • Look for a fraction or number. Fraction means a series (edition), a number may mean a style or model number.

B.    Characteristics; make notes on:

Photograph by John Flandrick, Flandricka House Photography

• Sizes

• Color (check to see if the colors of the glass seem to be in “layers” (cased glass)

• Purpose – what was it used for? Art piece? Tableware?

• Age

• Maker

• Period/date

• Originality (Tiffany Favrile or Tiffany reproduction)

• Condition; extremely important, but hairline damage is hard to see, especially in photos

• Wear: on glass used often at table, you’ll see wear marks, which you should see if the piece is old and not a reproduction

4.     PORCELAIN and CERAMICS:

A.    How to photograph so an expert can see:

• Shoot dimensions including a measuring tape in the image

• Condition – porcelain that was used at table will have knife marks, etc. Shoot traces of wear with ‘raking’ light, which is a light source like a flashlight held at an angle while shooting

• Repairs – on some old pieces a repair is acceptable and expected (for example Chinese Export porcelain or very old pieces)

• Maker – or hallmark – or number – or signature of factory. Shoot also all undersides, and geometrical markings, numbers, (model, edition, series) and dates

• Shoot closeup of decoration: hand-painted or hand-decorated design will typically not be “deep under” the clear glaze

• Shoot whole set if there’s a set, or shoot a sample and tell the appraiser how many are included in the total set

B.    Characteristics; make notes on:

Photograph by John Flandrick, Flandricka House Photography

• Set, services

• Color, glaze

• Condition, repairs

• “Foot” – is the bottom rim glazed? Do you see kiln marks?

• Signature, maker

• Style

• Age

• Shape

• Country or culture of origin

• Decoration or enameling or painting or gilding (gold, platinum, silver)

Photograph by John Flandrick, Flandricka House Photography

5.     FURNITURE:

A.    How to photograph so an expert can see:

• The whole piece front, back, bottom

• Special shots of “joins,” dovetails, applied “gingerbread,” backs of drawers where drawer pull holes are evident, hardware, hinges, locks, escutcheons, casters, feet, mullions on glazed doors, bottoms of drawers, one shot where “air” exposure over time has NOT occurred /such as a drawer liner (board between drawer bottom and drawer slot)

• Veneering, graining, a side shot of a veneered surface

• Crawl underneath and shoot up

• Labels, markings, numbers, any pencil marks

• Dimensions – shoot yourself measuring

B.    Characteristics; make notes on:

Photograph by John Flandrick, Flandricka House Photography

Photograph by John Flandrick, Flandricka House Photography

• Age

• Style

• Craftsmanship

• Maker

• Use

• Country and culture of origin

• Rarity

• Added features (a dry bar for example)

• Carving, decoration, additional materials (copper embossed straps for example)

• Feet – wear and originality

• Condition

• Type of wood

• Refinished?

• Provenance

• Paint?

• Dust board on back, undersides

• “Plane” marks, measurement marks, type of glues, hardware, glazing

• Functionality

• Genre or period

• Geographical location

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HOW TO PHOTOGRAPH:

A PROFESSIONAL PHOTOGRAPHER’S TOP TEN TIPS FOR PHOTOGRAPHING OBJECTS

by John Flandrick of Flandricka House Photography

1.     Direct sunlight is not your friend; outdoor daylight in shade lighting is great, diffused light (under a tree) is excellent, or shoot by an open window, or in a garage with the door open

2.     Avoid glare on art framed with glass by angling the shot, not straight on, and never shoot art in direct sunlight (bad for art) and bad for shot

3.     If client can get a partner to hold a flashlight, shoot oil paintings with raking light: the flashlight held at a 30-degree angle to the painting’s side. And for any photo - when you are tempted to use the phone flash, try another light source first. (Like the flashlight!) You might suggest to your client to pull out a strong flashlight - before you ‘virtually visit’

4.     For glass or porcelain, do not use phone flash, use a table lamp with a shade and move it close to the object

5.     For furniture, ask the client to shoot when house is lit up (mid-day) but do not shoot pieces in direct bright light

6.     Indirect light at noon is best for most objects; ask client when house is the brightest, as this will change as the direction of the sun changes in each season through the year

7.     For valuable art, especially oil paintings, shoot outside during the “golden hour” between 4 and 5 pm

8.     Tell your clients to shoot everything with a ruler in the shot. For very large pieces, make sure you get “scale:” put a person in the frame (this can be especially important with insurance shots)

9.     Get 3 shots of any signature from varying angles

10.  Check how to read metadata on telephone shots for date stamps and research now how to take date stamped screen shot photographs as you “Face Time” a client. The technique for taking screen shots varies depending on which device you are using but can be determined by searching for “how to take screen shots on [your device model].” The date stamp is especially helpful because it establishes the exact day and time the image was captured, and documents the item’s condition at that time

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Elizabeth Stewart photographed by Santi Visalli

Elizabeth Stewart, PhD, AAA is the owner of Elizabeth Appraisals in Santa Barbara, California and a Certified Member of the Appraisers Association of America.  You can visit her website at https://elizabethappraisals.com.

John Flandrick photographed by Santi Visalli

John Flandrick is a professional photographer and the owner of Flandricka House Photography. In addition to his work documenting California’s great collections of art and antiques, he also works extensively with members of the publishing and music industries.

Questions To Consider Asking Yourself While Contemplating A New Addition To Your Art Collection

My latest article for Worthwhile Magazine™ is a series of questions to consider asking yourself while contemplating a new addition to your art collection. Often I’m on the scene as an appraiser only after a purchase has been made, so the following group of prompts is based on lessons clients have shared with me about what informs their buying process, or what they wish had! My article is below or you can also read it online at Worthwhile Magazine™:

“It’s no secret I am passionate about the topic of helping people build a cherished collection of items they love living with—their right stuff.  It can be quite difficult to evaluate a new potential purchase clearly to discern what course of action would truly reflect your deepest wishes when confronted with the physical experience of a beautiful artwork and a very agreeable gallery representative eager to work with you.  Below I’ve compiled some questions based on my years of observation and experience in the field that may be helpful to consider asking yourself as you work to sort out your thoughts and feelings regarding a new potential future purchase.  Some questions may resonate more than others, and that’s perfectly fine.  My hope is the structure of inquiry and analysis will help you move forward feeling confident about your decision, whether it is to go ahead with a purchase or hold off.

QUESTIONS TO CONSIDER:

-Do I love this piece? 

-Why am I drawn to purchase this piece?

-Did a gallery or art dealer or consultant tell me I should purchase this piece?

-Do I feel like I’ll be perceived as more sophisticated and worldly by having this piece displayed in my home? 

-Have I checked out the reputation of the venue I’m working with?  Do they have any legal cases against them or any controversies in their history?

-Does the venue have any independent consumer ratings available to review?

-What is the return policy at the venue I’m working with?  Do they have an option to test out the work in my home before committing to purchasing it?

-Is the work in the artist’s catalogue raisonné if one is in existence?

-Where does the venue source the work I am considering?  Is it directly from the represented artist or the artist’s estate or is the sourcing not disclosed?

-Is the venue’s pricing reflective of its level of the market, or is it significantly out of range in either direction?

-What sort of provenance paperwork will the venue provide?

-Am I concerned about potential future monetary appreciation of the work, or will I simply enjoy looking at it?

-If I am concerned about future financial appreciation, am I focusing my purchases on works executed in mediums that generally experience the most appreciation?

-Where will this work go in my home?

-Does it closely replicate something I already have, or will it fill a hole in my existing collection?

-Is it in good condition?

-Is there any previous conservation or restoration? If so, is a conservation report available to review?

-Do I feel comfortable with the price, or do I feel like I’m stretching or overreaching my budget to purchase it?

-Does the vendor promise me that it is a good buy because it will appreciate and be an investment?

-Will I care if it never does appreciate in value?

-Did it capture my attention from the first time I saw it?

-Is the price justified for how much I will enjoy living with it?”

Understanding the Different Levels of Value: It’s Worth What Where and When?

My latest article for Worthwhile Magazine™ tackles a tricky area of appraising: understanding the different levels of value. This is one of the most confusing elements of appraising that I spend a lot of time discussing with clients, so I wanted to cover the subject in an article that could reach and help a much broader audience. The following is my article or you can also read it online at Worthwhile Magazine™:

“One of the most challenging things to wrap my head around during my formal training to be an appraiser was that value and worth as we popularly understand it in our culture are completely relative.  There is immense curiosity regarding the question “what’s this worth?” but an appraiser’s answer is usually some form of “it depends.”   

Value exists in the presence of its context in a specific level of the market at a specific point in time. 

Without those other two data points of 1) market level and 2) point in time (which is commonly referred to as the “effective date,” meaning the date the appraised value is effective for), any number that is thrown around as a value is essentially meaningless.

Based on this, the same exact object can have multiple values on the same day, depending on what level of the market one is evaluating.  An appraised value for insurance may be significantly higher than an appraised value for planned future sale, which can be baffling and difficult to comprehend without a familiarity with the different levels of the market.

For those without dedicated appraisal training, and especially for those in the general public who may be thinking of having items appraised, these concepts are often unknown and frequently very confusing.  I’ve written this basic guide as an introduction to the different levels of value so that users of appraisal services will be able to better determine what sort of appraisal reports would best suit their needs.  To be clear, the levels I am describing are those typically used in the United States, where I am based, but I recognize that among our international readership there may be other levels of value specific to different countries.

All appraisal reports written in compliance with the Uniform Standards of Professional Appraisal Practice (USPAP) have to include identification of the level of the market the appraised values are set in and the effective date of the valuation.  There are a number of professional organizations for appraisers, and regrettably, they don’t all use the same terminology to describe the different levels of the market.  For the purposes of this guide and to improve clarity for a general audience, I have streamlined and simplified some of the names of the market, particularly for the retail market, but readers should be aware that their appraiser may use slightly different terms depending on that appraiser’s professional memberships.

Below I will introduce the different major levels of the market working from highest to lowest, and discuss the appraisal purposes, or intended uses, that are frequently associated with certain market levels.  While there are a number of other rarely used levels, in this guide I’ve focused on the main, most commonly used levels.

Retail Level of the Market, frequently described as Retail Replacement Value: 

As defined by the Appraisers Association of America, appraised "retail replacement value" is defined as the highest amount in terms of US dollars that would be required to replace a property with another of similar age, quality, origin, appearance, provenance, and condition within a reasonable length of time in an appropriate and relevant market. When applicable, sales and/or import tax, commissions and/or premiums are included in this amount.”  (Appraising Art: The Definitive Guide to Appraising the Fine and Decorative Arts, 2013, Appraisers Association of America, page 438.)  You may also see this level of the market described as “replacement cost,” which is a term used by the International Society of Appraisers.

Examples of retail replacement value are the price an art gallery asks for a painting in their inventory, the asking price of a table by a furniture designer, or the manufacturer listed price of a sterling silver serving item.  The key elements of the definition of retail replacement value are “the highest amount… that would be required to replace a property with another of similar [characteristics] within a reasonable length of time.”  This is because retail replacement value is typically used in insurance appraisal reports, and in the event of loss, the client needs to receive a settlement from the insurance company that is sufficiently high to replace the lost items with similar replacements in a relatively short time frame.  The best availability of inventory to accomplish this is within the retail market.  While it might be possible to scour the auction market for years searching for an offering similar to the lost item and then obtain that item at a much lower price, this is not the function of insurance coverage.  Clients pay the insurance premium precisely to preserve the option of receiving a settlement sufficient to replace items within a practical time frame sourcing from the retail level of the market.

Due to these factors, retail pricing tends to be much higher than the other levels of the market, and it can contribute to misleading expectations of the profit in a planned future sale if retail replacement values are the assumed future sale price.  Most people selling items on the secondary market who aren’t professional dealers or without access to the assistance of professional dealers will find it difficult to obtain retail prices in a sale, and can more realistically expect future sale prices to be closer to the Fair Market Value and Liquidation Value levels of the market.  Part of the reason retail prices are so much higher than the other levels of the market is that they reflect the overhead and carrying costs of the gallery or dealer maintaining the instant availability of the item.  A gallery may have to wait years before selling a painting in its inventory, and in that intervening time the gallery would be paying rent or a mortgage for the gallery space, utilities, taxes, advertising, employee payroll, and insurance for the works in the gallery’s inventory.  All of those costs are factored into retail prices and contribute to their position at the top of the levels of the market.

The next level down of value is Actual Cash Value.  Actual Cash Value is Retail Replacement Value minus depreciation, which can be a deduction made for age, damage, or another factor.  It can sometimes be present in insurance policies, although in my experience it is much less frequently encountered.  The best way to determine what level of value you have in your own insurance policy is to pull out and read your policy documents or call up your insurance agent to confirm.  In my firm’s appraisal assignments, I’ve found that Retail Replacement Value is the main level of value used in fine art and antique insurance coverage.

The next level is Fair Market Value.  Fair Market Value is used in all appraisal reports for United States government federal functions such as non-cash charitable contributions for income tax deductions and estate tax.  Fair Market Value is also frequently encountered in equitable distribution and family distribution appraisal reports.  The formal definition for Fair Market Value is defined by the United States government as “Appraised "Fair Market Value" is the IRS definition as stated in the Treasury Regulation Sections 1.170A-1 (c) (2) is "the price at which the property would change hands between a willing buyer and a willing seller, neither being under any compulsion to buy or to sell and both having reasonable knowledge of relevant facts."  [Source:  Treasury Regulations Sections 1.170A-1 (c) (2)].  Fair Market Values are most commonly interpreted as being sourced from auction sold prices, and based on the Technical Advisory Memorandum 9235005 [May 27, 1992], fair market value should include both auction hammer price and buyer's premium.

So what does this mean in plain language if you aren’t familiar with the auction world?  The following is the example I use with clients: 

Imagine you are watching an auction, and the auctioneer is up at the podium holding a wooden gavel selling a particular item.  The auctioneer takes bids from all the bidders interested in the item, and the numbers of the bids continue to climb until there is a single final winning bidder.  The auctioneer hammers down the wooden gavel and shouts, “Sold!  $400 to Bidder A.”  That $400 is called the hammer price, referencing the tradition of the wooden gavel.  If Bidder A wants to remove the item from the auction house, in most circumstances it is going to cost more than $400 to be able to do so.  Most auction houses also charge what is called buyer’s premium, which is a surcharge on top of the hammer price paid by the winning bidder.  25% is a common buyer’s premium across the industry.  In this imagined scenario, Bidder A pays $400 plus a buyer’s premium of 25% of $400, which is an extra $100.  When Bidder A pays, the total hammer price plus buyer’s premium will be $400 + $100 = $500.  Sales tax is not included in the calculation of fair market value, although Bidder A may have had to pay it! 

If you believe you need an appraisal written at fair market value for a legal use such as equitable distribution or family distribution, I recommend confirming this with the lawyer representing you before engaging an appraiser, as well as establishing the effective date the appraiser must write the report to.  The website of the Internal Revenue Service also contains a wide range of publications providing detailed guidance about their requirements for different situations.

The final level of value to be discussed is Liquidation Value.  This is the lowest level of the market discussed here and represents the price realized in a forced sale within a short time that is lacking adequate advance marketing.  Due to the rushed timeline and the limited buyers who would be informed of the sale at short notice, prices are very low.  A critical difference between a sale at liquidation value and a sale at fair market value is that the liquidation value sale does not have a willing seller, but rather one who is forced to sell by extenuating circumstances.  Liquidation Value is often used in bankruptcy contexts.

If you aren’t sure which level of value you need an appraisal report written at, I recommend discussing your needs with the appraiser you are engaging for guidance.  Many of my clients reach out to me not quite sure what they need and our subsequent discussion of the appraisal scope of work clarifies what type of report will be best suited for their situation.  Users of appraisal services should feel empowered to actively ask questions about how their needs can best be met.

A Consumer’s Guide to Insurance Appraisal Reports: Do You Need One and How to Get One?

Recently I wrote an article for Worthwhile Magazine™ titled “A Consumer’s Guide to Insurance Appraisal Reports: Do You Need One and How to Get One?” I’ve included a short excerpt below and the entire article can be read online here (https://www.worthwhile-magazine.com/articles/a-consumers-guide-to-insurance-appraisal-reports-do-you-need-one-and-how-to-get-one)

“Many people are familiar with the concept of insurance coverage in the context of car insurance or travel insurance, but knowledge about insurance coverage of personal property such as fine art or antiques is much less widespread.  In my own appraisal firm, I answer many questions from potential clients who are unsure if they need an insurance appraisal report or what the process is to get one.  I’ve written this article as a general guide to help empower consumers with knowledge about insurance appraisal reports.  It incorporates many of my most frequently asked questions and answers. This guide is designed to help readers determine whether they really need an insurance appraisal report, and if they do, what the typical process is for working with an appraiser to have one prepared.

The world of personal property insurance is filled with all sorts of fun vocabulary like ‘inland marine policy,’ ‘blanketed,’ and ‘rider,’ none of which really make any sense unless you work in the field and are familiar with their specific meanings.  I’m going to get to all these terms and define them later, but the very first thing I always recommend in my conversations with potential clients is for them to pull out their current insurance policy and check the coverage.  Some homeowners policies can already be sufficient for strong coverage of all items in the house, and a written appraisal report for itemized coverage may not be necessary.  The best first step is to confirm what coverage you already have.

Sometimes clients can’t find their policy documents or may not have ever received the full paperwork describing their specific coverage details.  In those instances, I recommend they call their agent or local insurance office to ask what their policy covers and confirm their current level of coverage.  In my experience, the insurance agents are very pleased to hear from the clients and will take time to explain what their current policy covers and what options they have for adding to it.  Even if the potential client finds out an appraisal is not needed, it makes me happy as an appraiser to be able to help. The client now has peace of mind of knowing they are already well-protected and don’t need to move forward with engaging me to prepare an appraisal report.

If you find you do need an appraisal report, how to get one?  I recommend searching for an appraiser who is USPAP-compliant and who has a strong connoisseurship background in the types of items you need to have appraised.  The “Find a Member” search tool on the websites of the major professional organizations for appraisers (International Society of Appraisers, Appraisers Association of America, and American Society of Appraisers) can help you locate an appraiser whose service area is close to you.

Insurance agent Andrew Elliott, CLU states, ‘In our office, we highly encourage our clients to obtain appraisals for high-valued items or even sentimental pieces passed down through family generations. Whether the item be jewelry, fine art, or antique furniture having a detailed appraisal report allows our clients to feel comfortable with their insurance policy coverage and provides guidance when there is a claim. If no recent appraisal exists after there is a loss such as a fire, then it is very challenging for the property owner to replace or restore the item(s) and the insurance company to settle their claim. If you have questions or would like us to review your options for coverage with our office then please feel free to reach out by email to andrew@myfairfaxinsurance.com.’

After checking their policy documents or talking with their insurance agent, if clients do need a written appraisal report to obtain an appropriate level of insurance coverage for the art, antiques, and other personal property in their collection, when they call me the next step I recommend is to find out what their scheduling threshold is.  A ‘scheduling threshold’ is another insurance world phrase that can be confusing, but what it basically means is the amount of money an item must be worth to require that an insurance appraisal report is needed to protect it with insurance coverage.  Any item that falls under a scheduling threshold could be protected with blanketed coverage based on the property class or scheduled individually at its value without an appraisal requirement. Sometimes, the insurance company could use a detailed receipt or invoice for an item to schedule it at its valued amount.”  

To continue reading, check out the complete article online at Worthwhile Magazine™ (https://www.worthwhile-magazine.com/articles/a-consumers-guide-to-insurance-appraisal-reports-do-you-need-one-and-how-to-get-one)