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Investigating the Attributions & Authenticity of Works of Art believed to be by;

Marcus Gheeraerts the younger

(BRUGES 1561/2 - 1635/6 LONDON)

Flemish Portraitist in the Tudor Court

  Many unsigned works appearing out of the mists of time can be presented at auction with definitive attributions to a specific artist, Marcus Gheeraerts the Younger included. But one must always ask, is that attribution correct and can it be fully substantiated?

 As original legitimate examples of works from his hand are becoming increasingly rare, there has been a steep rise in their values, with even modest works outstripping their auction estimates and with that there is always a risk.

Turning an otherwise anonymous work of art, particularly sketches, works on paper and less commanding efforts created in oils purporting to be a major work of art, into one of the artist are commonplace, simply by adding a false signature or monogram, inscription or fake label to it. These are the most common forms of fraud we see. Next would be deliberately misleading attribution claims that are either poor guesses, or a simple deceit.

 With all fine art, it is clearly important is to be able to distinguish between works that were actually executed by an artist or his studio, to those either 'claiming' to be by that artist, against those that we are told were painted or drawn by the artist in question. This in reality is only an opinion. 

 So questions will be inevitably left to be answered;

Is a newly discovered work of art purportedly by Marcus Gheeraerts the Younger and his studio a legitimate example of the artists œuvre? Is an already applied attribution to the artist both appropriate and correct and on what scholarly basis was it made?

Frankly a brass plaque or painted name on the frame, is hardly a viable reason to give an attribution. Neither is the fact that it is just a similarly subjective portrait that was so fashionable in the time.

So by whom and from what level of qualification did an attribution actually come from and is the description of the work of art itself being presented for sale, reliable and ultimately sound?  Sadly many are not.

 The generally accepted terminology used in descriptions of a work of art presented at auction, are set out in greater detail later on this page. But it is worth remembering that with each specific variation of its wording, there is always a distinct difference with the possible final value of the piece.

In any of these respects we can certainly help you.

 We are able to assist and advise you in all fine art related matters, particularly issues of the authenticity and attributions of European and International fine art, including the works of Marcus Gheeraerts the Younger, his studio and direct circle and any other work of art that you need assistance or advice with.

 Just a few examples associated with his name appear below as comparative illustrations.

*No inference is made, nor is it intended as to the question of legitimacy of these here. 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.

Circle of Marcus Gheeraerts the Younger

(1561-1635) PORTRAIT OF A LADY
Three-quarter length, standing, wearing

a grey dress, holding a fan
Oil on canvas
Sold GBP £4,800.00

Marcus Gheeraerts the Younger (1561-1635)-attributed, Portrait of an aristocratic

lady with rich embroidery pearl necklace in

front of a green backgroud; oil on wooden panel

Estimate: €800 - €1,500

Attributed to Marcus Gheeraerts the Younger
PORTRAIT OF A LADY, SAID TO BE LADY HOLDERNESS

Previously thought to be by Gilbert Jackson, this work can be correctly attributed to Marcus Gheeraerts the Younger both on stylistic grounds, and through the distinctive lettering of the inscription, upper right
LOT SOLD. £44,450 GBP

   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. These include:

• 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 given expert on that 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 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 Art Authentication and Attribution process.

The Pre-Authentication Assessment

 We strongly advise clients before embarking on a full investigation of legitimacy or an artist or studio attribution inquiry, that it is always 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 that 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 on it. You should then have a far better understanding of both the prospects 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, or:

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ABOUT A WORK OF ARTS 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 the artist;  Marcus Gheeraerts the Younger (1561-1635)

•  Where the name, Marcus Gheeraerts the Younger (1561-1635) is given with the first name/s and surname of the artist, usually cited as, Marcus Gheeraerts the Younger .   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 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 appropriate and internationally recognized expert authority on the artist.

•  When Marcus Gheeraerts the Younger (1561-1635) is the term used, or it is similarly defined as Attrib. to ' [abbreviated,] or Attribue, 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 the artist.

•  But if the term Marcus Gheeraerts the Younger (1561-1635) - circle of, entourage, or “Circle of ” Marcus Gheeraerts the Younger . 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 or “Follower of Marcus Gheeraerts the Younger (1561-1635) 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 of Marcus Gheeraerts the Younger 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…. Marcus Gheeraerts the Younger "; 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 - Marcus Gheeraerts the Younger; “Dated….” or “Inscribed ” 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, Marcus Gheeraerts the Younger is specified followed by the words; "With signature ….”, or “With date ….” or “With ......inscription….” or “Bears signature of Marcus Gheeraerts the Younger . / 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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