Fine Art Authentication Investigations

 
Enquêteurs d'authentification

Investigadores de autentificación

تحقيقات الفنون الجميلة المشروعة

Ermittler der Kunstauthentifizierung

Conducting Specialist Investigations into Confirming the Authenticity or Attributions of Works of Art believed to be by:

INDAGARE AUTENTICITÀ E ATTRIBUZIONI DELL'ART -  ENQUÊTE SUR L'AUTHENTICITÉ ET LES ATTRIBUTIONS DE L'ART
Duncan Cameron

(1837-1916)

Flourished 1863-1907

British

 The Scottish born landscape painter Duncan Cameron was born in Perthshire, Scotland and was educated in the cities of Dundee and in South Kensington in London.

Cameron was a painter of extensive landscapes whose subjects mainly concerned themselves with peasant life and farming. Primarily he painted in oils using an earthy palete, of which near all are on canvas and in standard landscape format. Some rare examples of his work appear in watercolour, but tend to be studies for more formal, later works.

 Duncan Cameron was an artist who for most of his life was based in Stirling in central Scotland, a busy market town, surrounded by rich farmland and he is best known for his fine landscapes of the Scottish countryside around both Stirling and Edinburgh. Duncan Cameron had a particular aptitude for painting scenes of cornfields which feature in many of his paintings. The treatment of light held a particular fascination for him and is usually apparent within his works , be it from water or sunlight.

 Duncan Cameron exhibited at the Royal Academy in London, the Royal Scottish Academy and at the Society of British Artists between 1872 and 1900 and in 1876 was awarded the highest accolade, a Gold Medal at Crystal Palace for showing the best landscape.

 Cameron died in Edinburgh aged 79. A fine obituary in the Scotsman newspaper remarked that; ‘his distinctive note… best expressed in the treatment of cornfields’.

 Several principal British museums and collections hold his work. Sheffield museum in particular has a very fine cornfield scene entitled ‘Harvest Time near St. Fillans,1877’. and apart from the Royal Academy, he also exhibited at the Glasgow Institute, the Walker Art Gallery in Liverpool, the Manchester City Art Gallery, the Royal Society of British Artists and the Royal Hibernian Academy.

 But as can be seen from the examples set out below, Cameron's paintings can fetch increasingly high prices at auction, some well exceeding their auction estimates.  So there is always a need to be cautious and scrutinise with a view to confirming both the legitimacy of any painting claiming to be by the artist and equally, understanding fully, any descriptors that are given if a work ius offered for sale. 

 Identifying any historically incorrect attributions that may have been previously given is vitally important as they will need to be fully investigated and clarified.

 Unfortunately there are some artist attributions and descriptions that are deliberately falsified to deceive potential buyers.

So any formal 'attribution' in itself should also be examined very carefully indeed. If only to verify that the quality, level of academicism and the accuracy of that assignment to that particular artist, is well established and rightfully ascribed.

Confirming that it is specifically accurate, correctly researched and a credible academic attribution is essential and it should always be kept in mind, that any attribution, no matter at what level of credibility or status it comes from, is still only an opinion that the work 'might' be by that artist. 

It's a matter of your personal interpretation, discretion and judgement as to how you view and indeed, respect it.

 Fake works of art:

 An increasingly popular mode of deception, is for an unscrupulous dealer to take a similarly subjective, yet less important painting, in Cameron's case, a typical Scottish landscape and either remove its existing authors name, or if a previously anonymous unsigned work, add a name to it such as Duncan Cameron to increase its value. This is the most common form of art fraud we encounter and investigate.

 To help understand the generally observed and well accepted semantics that are used in auction descriptions, they are set out further down this page. They define exactly what the 'expert' view of the work being offered is and they can also have a distinct bearing on the financial outcome. So be cautious that you don't miss the often well 'disguised' attribution. One that is carefully placed or even hidden somewhere in that descriptor which starts off by stating that it actually is BY the artist, when it actually is not!

***

 We are able to assist and advise you in all fine art related matters, particularly issues relating to the investigation of the legitimacy and attributions of Scottish art, including the works of Duncan Cameron and any other works of art that you need assistance or advice with.

Some examples associated with this name appear below simply as comparative illustrations.

*No inference is made, nor is it intended as to the question of their legitimacy here on this page. Moreover they are an across the board, representational view of the differing types of works of art that have, are, or may in the future be offered and advertised for sale at auction internationally in the public domain that you may need specialist advise on.

   The direction and subsequently the duration of any authenticity investigation or inquiry into verifying an attribution of a work of art to agiven artist, will inevitably vary from project to project. But there are clear and very well defined expert professional formalities, responsibilities and areas of scrutiny that we can formally assist you with. Including:

• Authentication: Authentification, Authenticity:  Conducting comprehensive investigations and in depth research into a work of art with a view to establishing a correct, complete and formally recognized certification of legitimacy. One that's absolutely upheld by the appropriate, legally and internationally sanctioned authority, body or internationally acknowledged expert on that artist. Directing detailed and complicated inquiries, with multilingual capacity, including any international academic research and forensic applications that are required.
  

•  Attribution: Identifying and confirming the identity of a previously anonymous artist, studio or workshop from which a work of art most likely originated. Including the re-examination and investigation of a previous attribution which may be incorrect, or the scrutiny of an attribution that has been formally questioned or is currently formally doubted.
  

•  Confirmation:  Undertaking research and investigations into the legitimacy of the provenance, history and prior ownership of a work of art and establishing its accuracy and own legitimacy.
  
  

•  Scrutiny: Examen minutieux:  Identifying fake or faux works of art and forgeries, including any false supportive accompanying documentation and determining works of art which may be studio or later copies, or previously given, incorrect attributions.
  
  

•  Prosecution: Poursuite:  Investigating alleged art fraud and forgery and assisting and advising those who are currently, or may be considering litigating or prosecuting the fact. This includes colleagues who are legal professionals and individual private clients.
  
  

•  Attention: Conducting all fine art related due diligence and duty of care inquiries. Including safe prepurchase or sale related audits and assisting clients in consolidating well balanced future family distribution.

•  Appraisal: Évaluation -  Valuations and condition reports.

Step one in the Duncan Cameron & Scottish Art Authentication and Attribution process.

The Pre-Authentication Assessment

 We strongly advise all clients before they embark on a full investigation into the legitimacy of art, or an artist or studio attribution inquiry, that it is very wise to engage us to undertake an impartial preliminary assessment of viability conducted first. One that is made to balance any issues that may be present that could make the longer term exercise unviable.

 This is a professional advisory service we provide and based upon the images you supply, the full details of work of arts acquisition, its history and provenance as is known to you, along with sight of any documentation, previous research or analysis that you may formerly have had conducted on it. You should then have a far better understanding of both the prospects that lie ahead, or any pitfalls we might face, before making a decision.

This is a logical and cost effective professional review and advisory for which there is a modest set fee.

Our FAQ section covers this in more detail.

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* ABOUT A WORK OF ARTS DESCRIPTOR AND ITS TERMINOLOGY *

As if in this case as if they were defining the possible works of the artist;  

Duncan Cameron (1837-1916)

  *It is very important to clearly understand the general auction terms that are widely used in a published descriptor and to be cautious of works that may just be created in the 'manner of' the artist, or those which could be variants of the artists works of art that 'bear an applied signature' or monogram.

•  Where the name, Duncan Cameron (1837-1916) is given with the first name/s and surname of the artist, usually cited as, Duncan Cameron, called Duncan Cameron - including the dates to be specific, then in their qualified and professional opinion, they are in no doubt, it is a genuine and authentic item. One painted by that specific artist. This is usually fully qualified by its inclusion in any catalogue raissone, or by the guarantee of the opinion given by appropriate and internationally recognized expert authority on that artist.

•  When Duncan Cameron, is the term used, or it is similarly defined as Attrib. to ' [abbreviated,] or Attribue, imputer à, imputée, or atribudo, or ascribed to, then in their opinion it is 'probably' a work by the artist, at least in part. But... there is no guarantee. It is only an opinion that it only 'possibly' may be by the artist.

•  But if the term Duncan Cameron, or Duncan Cameron- circle of, entourage, or "Circle of "Duncan Cameron is specifically used, then in their opinion, it is a work only of the period of the artist, but showing their influence. Or by someone closely associated with the artist, BUT not necessarily by their pupil, assistant or student.

•  When the name is given thus; Painted in the "Style of or "Follower of Duncan Cameron is used, this means that in their opinion it is a work of art executed only in the artist's way, in their 'style', but not necessarily by a pupil. Yet it may be a contemporary, or nearly a contemporary of the artist.

•  If the phrase in the "Manner of Duncan Cameron is used or is defined.." then in their opinion it is also only a work painted in the style of the artist, but of a later date and definitely not by the artist as named.

•  When the term "After Duncan Cameron" is the term used, then in their opinion it is a copy (made at any date) of an authentic and original work by the artist. This also applies to prints made 'after' an original work of art either by the artist or another artist/ printmaker.

•  Signed - Duncan Cameron; "Dated.." or "Inscribed Duncan Cameron" then in their opinion the work has been signed/dated/or inscribed by that specific artist. The addition of a question mark ? however, indicates a strong element of doubt.

•  When the term 'Bears signature', is used, or the name, Duncan Cameronis specified followed by the words; "With signature ..", or "With date .." or "With ......inscription.." or "Bears signature of Duncan Cameron/ date / or inscription" Then in 'their opinion,' either the signature / date / or inscription is spurious, apocryphal, of doubtful authenticity, forged and has been added by someone else other than the artist.
  

We can assist and advise you in all fine art related matters.

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