It is the opinion of this appraiser that many of the pieces in the Comisar Collection are singular and quite likely the only extant examples from some of the most revered and critically acclaimed television programs. It is therefore remarkable that a collection like this exists. No amount of money could recreate a collection with this depth and breadth, as the assets are simply not available. This collection began at a time when very little attention was given to television assets. While all eyes were squarely focused on film costumes, props, posters and animation art, this collection grew slowly and steadily made possible in great part to the fact that James Comisar, first as a TV writer and later as an advocate for preservation, built connections to people who had access to unique and important television artifacts. While most collectors were actively seeking out film related material, Comisar was deliberate in his desire to preserve television history and his pioneering e ff orts helped establish and foster a demand for television related materials in the marketplace. Comisar is a notoriously meticulous collector who seeks out pieces that are the finest examples available in the best condition possible and he adheres to these acquisition guidelines. In 99.9% of collections of this size there are invariably a good number of pieces that are not museum quality but perhaps the most a ff ordable example available. With rare exception, the pieces in the Comisar collection are of the finest quality available. In the vast majority of cases the objects in the collection have been identified as “Fine” to “Very Good” condition as pieces of lesser condition do not meet the exacting standards set for the collection and as such are not acquired or archived. Not only would it be impossible to source the variety of items represented by the collection in the current market, it would also be impossible to source the quantity of pieces represented at the level of condition found in this collection. The Comisar Collection has maintained a rigorous conservation campaign performing in-painting, stabilization, visual integration, conservation and restoration as necessary. The Comisar Collection uses Cara Varnell as their primary collection care manager. Varnell worked at the Los Angeles County Museum of Art before forming her own firm, Textile Arts Conservation Studio, and continues to work for Disney, Warner Bros., Fashion Institute of Design and Management, and the Smithsonian among others. Many leading conservators have waiting lists of weeks, months and in some cases years. The payo ff for this investment of time and money is the fact that a great many of the artifacts in the Comisar Collection are “exhibit-ready.” In addition Comisar has, at great expense, maintained the majority of these objects with archival standards that exceed those used by most museums. This attention to detail has essentially put the objects in suspended animation slowing the process of further deterioration as much as is scientifically possible providing additional value to the collection overall. Because of his precise focus on television artifacts Mr. Comisar has become the go-to expert for all things television. Christie’s, Sotheby’s, Bonhams, Julien’s, Profiles In History, Heritage Auctions, ScreenBid, and institutions like the Smithsonian, The Paley Center, and the studios themselves have all called upon Comisar to o ff er his expertise in helping to authenticate pieces. Because of his reputation for such scrutiny, the items in his collection are thought to be beyond reproach by other collectors and specialists. This product knowledge, together with his level of care has often pushed prices achieved through his own private sales beyond their market value. Collectors have shown a willingness to pay a premium for the fact that they don’t have to worry about any surprises concerning the provenance or condition of a piece. One of the most important benefits of all of the meticulous work that has gone into the research, conservation, documentation and archiving of the objects in the collection is the fact that the entire collection is as turn key as it could possibly be for anyone to be able to conceive of, curate and mount a myriad of exhibitions touching on a vast array of topics that go well beyond the history of television alone, allowing revenue producing scenarios to hit the ground sooner rather than later. Laura Woolley
Certified Appraiser Antiques Roadshow The Collectors Lab Info@thecollectorslab.com
[A complete appraisal document is available to qualified parties. Please inquire]
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