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

Richard Ansdell, R.A.

British Sporting, Genre and Animal Artist

(1815-1885)

 Liverpool born Richard Ansdell, was one of the most successful and prolific of all Victorian sporting artists of his time and was so admired by his peers that he would be invited to collaborate on huge works of art with artists such as Thomas Creswick and William Powell Frith. His job to place his own portrayals of animals into their beautifully crafted landscapes.

 Ansdell was to become President of the Liverpool Academy in 1845, and produced one of his masterpieces in 1861 called the Hunted Slaves.

He was also elected an Associate of the Royal Academy in the same year and nine years later became a Royal Academician.

 It is only in recent times that many works of art have appeared on the market, as they have been kept in private collections for over a century.

 Without question, his expert works of art fetch high prices at auction today, with some considerably outstripping their auction estimates, as can be seen by some of the examples which are set out below.

 But as with all artists that achieve high monetary values at auction, this is sometimes open to both descriptor errors and historically incorrect attributions and even abuse. With incorrect attributions being made today, either mistakenly, or deliberately devised to deceive.

 Sadly there is also faking to contend with, most often undertaken by the addition of a forged signature or monogram to an otherwise similar work of type and age, but one that was created by an anonymous follower, who is painting similar compositions. The problem, this has been going on for centuries.

 It is important to understand the generally observed and accepted semantics used in Auction descriptions, ( set out further down this page) as this defines exactly what the expert view is of the work offered and also can drastically alter the financial outcome.

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 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 fine art, including the works of Richard Ansdell, his direct circle and any other work of art that you need assistance or advice with.

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

*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 in the public domain that you may 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 expert 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 to engage us to undertake 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.

FAQs

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* ABOUT A WORK OF ARTS DESCRIPTOR AND ITS TERMINOLOGY *

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

Richard Ansdell, R.A. - British (1815-1885)

  *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, Richard Ansdell, R.A. (1815-1885) is given with the first name/s and surname of the artist, usually cited as, Richard Ansdell . 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 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 Richard Ansdell, R.A. (1815-1885) 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 Richard Ansdell, R.A. (1815-1885) - circle of, entourage, or “Circle of ” Richard Ansdell . 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 Richard Ansdell, R.A. (1815-1885) 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 Richard Ansdell 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…. "; 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 - Richard Ansdell ; “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, Richard Ansdell is specified followed by the words; "With signature ….”, or “With date ….” or “With ......inscription….” or “Bears signature of Richard Ansdell . / 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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