20_20_newsize10(8.8)_no ads:Layout 1 01/12/2009 20:04 Page 65
20/20
YOUR FINANCES
The Art of
Investing in art!
byJOHN FALLE
CENTRE MANAGER
Art a sound alternative investment strategy.
Falle Fine Art
Sarah Louisa Kilpack. the Channel to the Boulogne area and of course to all the

We read about the spectacular sales of the work of Channel Islands, where she made several enduring
Damien Hirst and its huge potential on the world stage of friendships. Her subject matter was in the main remote
investment in art, and indeed many commentators and rocky coasts to which access was not for the feint
advisors encourage investment in art as a sound hearted, especially when one considers the local travel
alternative investment strategy, but they focus on the very arrangements by public transport at that time. That in
top echelons of art. But what about the less stressful, itself gives a clear indication of her single mindedness and
local, collectable art with which we are more familiar? Art dedication to her painting.
that perhaps will not make a fortune, is still affordable,
understandable and has a local dimension and is worth It was thought for some time that Sarah Kilpack was a
the investment is the focus of this piece. Jersey artist, but in fact she was not. In 1867 she
exhibited annually in London with what is now the Society
There are a number of artists with Jersey connections of Women Artists, always giving her London address. The
whose work falls reason she was

into this thought to be a
category, but I Jersey resident
have chosen to was that Jersey

discuss the work and the Channel
of Sarah Louisa Islands formed
Kilpack alone to such a
make the point. disproportionate
The prime volume of her
reason for so work the

doing is that this assumption was
winter is the easily made.
centenary year
of her death in However, today

1909. she is claimed

as a ‘Channel
Sarah Louisa Island’ painter.
Kilpack was born at 42 King Street, Covent Garden, in Her work developed over
London on 15th December 1839 and died in east London the years into romantic
on 25th October 1909 just before her 70th birthday. She overstatement of the
was a Londoner through and through, with a distinct coastal atmosphere
artistic bias. She was an accomplished pianist, giving solo which made for dramatic
recitals at various public venues in London, including the lively paintings of
Wigmore Hall, but she was naturally a free spirit and subjects still
wanted to travel and paint. One of the earliest references recognisable despite the cancer of development. Taken
to her painting and travelling was in 1867 when she together, her oeuvre is one of the most collectable in the

exhibited a group of paintings of Guernsey subjects in the Channel Islands.
annual exhibition of the August British Institution.

In the last ten years the value of her paintings have at
At the time the British Institution was second only in least doubled and it is difficult to acquire them at auctions
precedence to the Royal Academy, which is an indication due to their appeal. Consequently auction prices are

of the standard of Miss Kilpack’s capacity. One of those constantly being driven upwards. It is a good example of
paintings, Beech Trees at Le Foulon Cemetery is in the the market still undervaluing her work and when

possession of the Candie Museum in Guernsey and can be considering the work of Sarah Louisa Kilpack it should be
seen for comparative purposes on their web site (or by borne in mind that you are acquiring something with an
visiting the Museum). But Miss Kilpack travelled asset value which has stood the test of time. Sarah Louisa
extensively around the coast of Southern Britain across to Kilpack is an artist well worth investing in.

20
:
20 66

Page 1  |  Page 2  |  Page 3  |  Page 4  |  Page 5  |  Page 6  |  Page 7  |  Page 8  |  Page 9  |  Page 10  |  Page 11  |  Page 12  |  Page 13  |  Page 14  |  Page 15  |  Page 16  |  Page 17  |  Page 18  |  Page 19  |  Page 20  |  Page 21  |  Page 22  |  Page 23  |  Page 24  |  Page 25  |  Page 26  |  Page 27  |  Page 28  |  Page 29  |  Page 30  |  Page 31  |  Page 32  |  Page 33  |  Page 34  |  Page 35  |  Page 36  |  Page 37  |  Page 38  |  Page 39  |  Page 40  |  Page 41  |  Page 42  |  Page 43  |  Page 44  |  Page 45  |  Page 46  |  Page 47  |  Page 48  |  Page 49  |  Page 50  |  Page 51  |  Page 52  |  Page 53  |  Page 54  |  Page 55  |  Page 56  |  Page 57  |  Page 58  |  Page 59  |  Page 60  |  Page 61  |  Page 62  |  Page 63  |  Page 64  |  Page 65  |  Page 66  |  Page 67  |  Page 68  |  Page 69  |  Page 70  |  Page 71  |  Page 72  |  Page 73  |  Page 74  |  Page 75  |  Page 76