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

Konstantin Alexeevich Korovin

Константи́н Алексе́евич Коро́вин

(1861-1939)

Russian Impessionist Painter

 Konstantin Korovin was one of the leading Russian impressionist painters of his generation following in the footsteps of the School of the French Impressionists'. He was also a theatre designer and pursued that occupation as an official career whilst evolving his own style with bold, large brush strokes and vivid colours.

Korovin also illustrated a large amount of Russian literature and was responsible for decorating the Russian Village for the Universal Exposition of 1900, for which he was awarded a gold medal.

 All in all, like many of his contemporaries, he painted the stage sets and created costume designs for more than a hundred ballets and operas in the theatres of Moscow and St. Petersburg. Working also as a Professor of the School of Fine Art of Moscow and a Member of the Academy of Fine Art in St. Petersburg, Konstantin Korovin was awarded Chevalier of the Legion d'Honneur in France

 As demands become high for any artists paintings, drawings and studies, many often far exceed their auction expectations and estimates. But as works increase steeply in value and are getting more and more rare, it is important to be able to carefully distinguish between those works actually executed by an artist, compared to those either 'claiming' to be by the artist, or a work that we are told is by them as an attribution and for that, you may need some help.

 Many unsigned and otherwise anonymous paintings are attributed to an artists hand stylistically and with academic soundness. Others less so, using guess work or even being misattributed deliberately for financial gain.

Others are described as being a contribution from someone close to the artist from within their circle of influence. Whilst others are created entirely by an artists followers. Those working in their style and using similar subject matter and technique. These of course can be artists of all standards and calibres, simply painting similarly in the artists manner and at any time in the past. So with this brings a risk. Is it authentic and is an attribution to a specific artist and a description of a work of art itself, reliable and sound?

 We are able to assist and advise you in all fine art related matters, particularly issues of the authenticity and attributions of Russian and European art, including the works of Korovin, his circle and any works of art that you need assistance and advice with.

 A few examples of works associated with his 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 that you could need specialist advise on.

   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 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

   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 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 Russian artist; Konstantin Alexeevich Korovin (1861-1939)

•  Where the name, Konstantin Alexeevich Korovin (1861-1939), is given with the first name/s and surname of the artist, usually cited as, Konstantin Alexeevich Korovin (1861-1939),  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 appropriate and internationally recognized expert authority on the artist.

•  When Konstantin Alexeevich Korovin (1861-1939), 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 the artist.

•  But if the term Konstantin Alexeevich Korovin (1861-1939) - circle of, entourage, or “Circle of Konstantin Alexeevich Korovin (1861-1939)” 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 Konstantin Korovin ” or “Follower of Konstantin Korovin 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 Konstantin Korovin 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….Konstantin Korovin "; 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 - Konstantin Korovin ; “Dated….” or “Inscribed Konstantin Korovin ” 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, Konstantin Korovin is specified followed by the words; "With signature ….”, or “With date ….” or “With inscription….” or “Bears signature of Konstantin Korovin /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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