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

Sarah Louisa Kilpack SWA

(1839–1909)

Known as the Jersey Woman

British

  In brief, the artist Sarah Louisa Kilpack was born into a large family of siblings in stylish Covent Garden, London, the daughter of a former book shop owner and tobacconist. "A favourite resort for young men was " Arthur Gliddon's Cigar Divan. It was situated next door to Evans's, a tobacconist's with a large smoking-room attached, kept by one Tom Kilpack, a quiet little man who, in those days, sold a very decent cigar for 3d. "

  A shy introverted, but very talented young musician, Sarah originally became a pianist, attending the Royal Academy of Music an becoming a King’s Scholar. Later giving her profession as 'professor pianoforte' in the 1861 census (at the age of 21) She played a Beethoven sonata at a concert in Picadilly at the age of 11, later working as a semi-professional concert pianist and teaching music which enabled her to start painting.

 After her mother died in 1863, the large family became more dependent on her and it was around this time that she first visited the Channel Islands. In 1867 she exhibited two landscape views of the Islands at the British Institution and Society of Female Artists, continuing to exhibit there for the rest of her life bar one year.
  From 1871, census returns give her profession for the first time as an artist a calling to which she finally turned.
  Thereafter she was a regular visitor to Jersey, Guernsey and Sark and parts of northern France too, before finally settling in Jersey. She painted mainly in oils in quite large sizes but also on much smaller scales, usually on card. These paintings are dramatic, very impressionistic and often panoramic and wide ranging. Usually depicting stormy and turbulent weather with moody skies, tall rugged cliffs and scenes off the coast. Many times she added figures set out on rocks such as fishermen, but also shrimpers or mussel gatherers, wreckers or rescuers. Sarah often used the same geographical scenes and features in her compositions, only changing the atmosphere and weather conditions, but was also known for painting tall narrow works of similar subjects. They all display a very distinct and recognisable style.

 Not all her works were quite so dramatic as her marine works though and early watercolours do exist. Idyllic cottages, cattle watering and romantic settings with waterfalls are not what she is generally recognised for and are collected much less, which is reflected in their values.

 He artistic output during her life was vast however, earning above £500.00 a year from selling her paintings for as little as £6.00 each. That equates to near $20,000.00 today.
  Sarah never married and dies in 1909 of cancer. Her estate was left to two women, Kate Scott, to whom her relationship is unclear and Letitia Edith Obery Sarah's niece.

 In 1989, in recognition of her talent, the post office issued a commemorative set of stamps depicting paintings by Sarah Louisa Kilpack; Gorey harbour; Gorey harbour, La Corbière, Greve de Lecq beach, Bouley Bay and Mont Orgueil Castle.

Today, works by Sarah Louisa Kilpack offered at auction often vastly outstrip their auction estimates.

 One thing that is extremely important if considering purchasing any attributed work of art, is the understanding the academic quality of where any attribution came from. With this in mind, it must be said that we all should be cautious when works do appear and are offered for sale claiming to be by Sarah Louisa Kilpack, particularly with a view to confirming the legitimacy of the painting and understand fully how it is described. Straightforward mistakes, as well as purposeful deception does still  regularly occur, particularly when offered on some less discreet internet platforms.

  A simple and increasingly frequent mode of fraud, particularly once an artist has become popular such as Sarah Louisa Kilpack and his contemporaries have done over the years, is for a less then honest individual to take a work of art that is subjectively similar and stylized, yet a far less important painting, such as S L Kilpack could possibly have created and either remove its existing artists name, or if it is a previously anonymous unsigned work, add a name or initials to it such as S L Kilpack to increase its value significantly.
 

 Bar far, that is he most common form of faking and attempted art fraud we encounter and have to investigate, not only here in Britain, but internationally.

***

 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 British and European fine art, including the works of Sarah Louisa Kilpack and any other works of works that you need assistance or advice with.

 Simply as comparative illustrations and to show just how much money this artist's works can and do fetch. some examples of works of art sold at auction and associated with the name of Sarah Louisa Kilpack appear below.

*Note that no inference is made, nor is it intended as to the question of their legitimacy 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 and appearing in the public domain and that you may need specialist advise on.

   The direction and subsequently the duration of any art authentication investigation or enquiry into verifying an attribution of a work of art to a given 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.
  
  
• Attributions: We conduct investigations with the intention of identifying and confirming the identity of a previously anonymous artist, studio or workshop, from which a work of art most likely originated. As well as, the re-examination and investigation of any previous attribution,. One which may be incorrect and scrutinizing an attribution that has been formally questioned or 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 British Art Authentication and Attribution Investigation Process.

The Pre-Authentication Assessment

 We strongly advise all our clients, that before they embark on a full investigation into the legitimacy and authenticity of art, or an artist or studio attribution enquiry, 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 and unwise.

 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 THE TERMINOLOGY THAT IS USED *

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

Sarah Louisa Kilpack

  *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, Sarah Louisa Kilpack (1839–1909) is given with the first name/s and surname of the artist, usually cited as, Sarah Louisa Kilpack, 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 Attributed to Sarah Louisa Kilpack  (1839–1909) , or simplified to S L Kilpack, 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 Sarah Louisa Kilpack , or Sarah Louisa Kilpack, circle of, entourage, or "Circle of " Sarah Louisa Kilpack 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 term is given thus; Painted in the "Style of or "Follower of Sarah Louisa Kilpack 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 Sarah Louisa Kilpack 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 that is named.

•  When the term "After Sarah Louisa Kilpack " 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 - Sarah Louisa Kilpack ; "Dated.." or "Inscribed Sarah Louisa Kilpack " 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, Sarah Louisa Kilpack is specified followed by the words; "With signature ..", or "With date .." or "With ......inscription.." or "Bears signature of Sarah Louisa Kilpack / 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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