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Investigating the Authenticity and Attributions of works of art believed to be by;

Marcantonio Franceschini

(Bologna 1648 – 1729)

ITALIAN

Bolognese school - Religious and mythological themes.

  In his biography, he is described thus: A good honest man who worked hard and only put his brush down now and then to play his lute.

 It can be said that Marcantonio Franceschini became one of the more successful late-Baroque painters and the most sought after artist in his day for painting frescoes. However he favoured panel paintings as he often refused to travel out of his native Bologna and received a flow of commissions that kept his workshop constantly busy.

 Franceschini had a light, polished and bright touch, presenting lovely and skilfully created landscapes in generally conventional religious scenes that were favoured at the time, but which became his own signature and would set a style that would be followed and emulated for near a century.

 Suffice as to say, there is little reason to repeat a full account of his life here, as it has already been eloquently recorded.

But any lost or new major paintings yet to be discovered are rare and seldom appear on the art market, as near all are accounted for and are in major galleries or collections around the world.  So it is very important to be able to distinguish between those works actually executed by an artist such as Marcantonio Franceschini, compared to those 'claiming' to be by him, or rather that we are told are by him.

 There are always going to be those replicated or repeated works made by others to clarify and more possible and sometimes much more plausible authors to balance and re consider in an artist attribution or workshop equation.

There will also be paintings created by artists from within an artists direct circle and when you place those issues alongside works mistakenly believed to be by him, painted by one of his followers, artists who produced similarly themed paintings but in the artists own manner and which could have been painted at any time after him, it can become extremely confusing.

* * *

 As an international specialist fine art consultancy, with bases in the UK and Europe, we have been confidentially serving both private individuals and corporate clients around the world for over 45 years. In so doing, investigating both single works of art and complete collections for clients and conducting in-depth authentication and legitimacy investigations and inquiries, as well as full academic and forensic investigations and multilingual archival research into the origins of all old master works of art from different geographical regions and periods. We also scrutinize and research the provenance and ownership lineage.

 We are able to assist and advise you in all fine art related matters, particularly issues of authenticity and attribution, including the works of Marcantonio Franceschini, his circle and workshop, or those of his followers, or any works of art that you are keen to learn about.

 Some various example works of art associated with this name appear below as illustrations. 

Note: No inference is made, nor is it intended as to the question of legitimacy here. Moreover these are an across the board representational view of the differing types of works that are and may in the future be offered and advertised for sale at auction internationally.

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

• Authentication: Authentification:   Conducting comprehensive investigations and in depth research into a work of art with a view to establishing a correct, complete and formally recognized certification. One absolutely upheld by the appropriate, legally acknowledged and internationally sanctioned authority, body or expert on that given artist. Directing detailed and complicated inquiries, with multilingual capability, 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 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 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 a well balanced future family distribution.

•  Appraisal: Évaluation - Valuations and condition reports.

Step one in the Art Authentication and Attribution process.

The Pre-Authentication Assessment

   L'évaluation de pré-authentification. La evaluación previa a la autenticación

 We strongly advise clients before embarking on a full investigation of legitimacy or an artist or studio attribution inquiry, that it is wise to have an impartial preliminary assessment conducted first. One 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, 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 have had formerly conducted.

You should then have a far better understanding of both the prospects or any pitfalls we may face, before making a decision. This is a logical and cost effective professional review for which there is a modest set fee.

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A WORK OF ART DESCRIPTOR AND TERMINOLOGY

  *It is very important to clearly understand the auction terms that are commonly used in any 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 a signature or monogram. In this case as if they were defining the creations of; Marcantonio Franceschini (Bologna 1648-1729) and his school & workshop.

•  Where the name, Marcantonio Franceschini (Bologna 1648-1729) is given with the first name/s and surname of the artist, usually cited as, Marcantonio Franceschini (Bologna 1648-1729) including his dates to be specific, then in their qualified and professional opinion, they are in no doubt. It is a genuine and authentic item and one painted by that artist. This is usually fully qualified by its inclusion in any catalogue raissone, or by the guarantee of the opinion given by the appropriate and internationally recognized expert authority on the artist.

•  When Marcantonio Franceschini (Bologna 1648-1729) is the term used, or it is similarly defined as 'Attrib. to ' [abbreviated,] or Attribué à, 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 'possibly' may be by him.

•  But if the term Marcantonio Franceschini - circle of, entourage, or “Circle of Marcantonio Franceschini ” 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 or student.

•  When the name is given thus; Painted in the “Style of Marcantonio Franceschini ” or “Follower of Marcantonio Franceschini is used, this means that in their opinion it is a work of art executed only in the artist’s way, 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 Marcantonio Franceschini 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….Marcantonio Franceschini "; 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 - Marcantonio Franceschini ; “Dated….” or “Inscribed Marcantonio Franceschini ” 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, Marcantonio Franceschini is specified followed by the words; "With signature ….”, or “With date ….” or “With inscription….” or “Bears signature of Marcantonio Franceschini /date/or inscription” Then in 'their opinion,' either the signature / date / or inscription is spurious, forged or 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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