The Art of the Deal – An Initial Offer
By noon, I assure the CEO that the Scottish Rite scenery is in beautiful shape, historically significant, and that it should withstand any rigors of removal and transportation. This is when negotiations begin between Minnesota Masonic Charities and the Valley of Fort Scott.
The CEO offers the local representative $2,500 for the entire collection. He jokingly notes that the amount is more than twice the Valley of New Orleans received for their collection in June, further explaining that money will be offered as an in-kind donation. I see the disappointment on our host’s face and can’t help but feel sorry for both him and the Valley. He grudgingly promises to take the offer to the Valley and will respond soon.
I want to take a moment to explain my push for an “in-kind donation” and not an outright purchase of the scenery from the Valley of Fort Scott. I had also recommended this to the CEO for the New Orleans scenery too. A donation would not establish a “market value” for the collection or any other historical scenery collection nationwide. My greatest fear at the time, and now, is that all future damage that occurs to painted scenery collections across the United States and their subsequent insurance claims will take “market value” into account. Of significant import is the fact that the same insurance company covers ALL Scottish Rite theatres. Until June 2015, insurance claims were primarily based on their “replacement value.”
The majority of my replacement appraisals have the replacement value of entire Scottish Rite collections at between 1 million and 1.5 million dollars. Prior to the New Orleans scenery collection purchase for $1000, there had been no available information concerning the “sale” of Masonic scenery to reference.
Over the years, I had battled with this same insurance company on behalf of many other Valleys for years after collections were damaged, often resulting from leaking roofs and burst pipes. Two small examples are Danville, Virginia and Yankton, South Dakota where their scenery suffered pretty horrific water damage, and the insurance company had offered very little to even repair the damage.
A further practical consideration is ensuing damage. This affects neighboring drops that are not water damaged – or, “ensuing damage to the remainder of the collection.” This means that the dusting pigment resulting from water damage will coat the remainder of the drops after becoming airborne – not to mention the performer’s lungs below on the stage.
My work has been driven by a desire to preserve a heritage that goes beyond any one individual or community. I have always tried to educate unsuspecting stewards of these large –scale art collections. My belief is that if Scottish Rite Valleys understand the cultural significance of their material heritage, they will take care of fraternal artifacts. They only need the information to make an informed decision – or so I thought at the time.
To be continued tomorrow…
