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

30 January 1913 – 5 December 1941

 The Hungarian born, Indian painter is regarded as one of the greatest of modern women artists in India, with her paintings and works of art selling for exceptional prices and the Indian government declaring her a National Treasure akin to being their very own Frida Kahlo.

 As a result of her international standing, today and ever increasing prices for her sought after works, complications can inevitably arise when similar, stylised works of the same type and near period emerge. Sometimes unsigned and otherwise anonymous works can be attributed to this hand. This is made stylistically and usually with good academic soundness and detailed research.  However, there are other attributions that are far less well considered, with some attributors using guess work and some, misattributing a work of art intentionally, but for the purpose of deception.

 Other contenders,  creating work similar to an artist may be described as a contribution created by someone close to the artist and from within their circle of influence. But there are also those paintings that are painted by an artists followers to consider. These are artists simply working in a similar style and using comparable subject matter or technique to an artist they admire and this artist was admired, in demand and inevitably emulated.

 With  Amrita Sher-Gils' works of art today and with an ever greater interest in Indian and Asian art in general, as legitimate examples of his oeuvres become more and more rare, it is vitally important to be able to distinguish between those pieces that were actually executed by the artist, compared to those either 'claiming' to be by her. Perhaps a work bearing a false signature or an easily applied monogram, or it is a work that we are told was created by the artist as an attribution, which in actually is in reality only an opinion. And of course, to be able to identify and differentiate between those works of art that are authentic examples of the artist and those that are illegitimate.

 So the question will remain, is a newly discovered work of art authentic and is an already applied attribution to the artist, or the description of a work of art itself, reliable and sound?  In any of those respects we can certainly help.

 We are able to assist and advise you in all fine art related matters, particularly issues of the authenticity and attributions of International fine art, including the works of Amrita Sher-Gil, her circle and any that you need assistance and advice with.

 Just a few examples of works associated with this name appear below as illustrations. 

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 of art 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 artist; Amrita Sher-Gil (1913-1941)

•  Where the name, Amrita Sher-Gil (1913-1941) , is given with the first name/s and surname of the artist, usually cited as,Amrita Sher-Gil (1913-1941),  including her 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 Amrita Sher-Gil (1913-1941), 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 Amrita Sher-Gil (1913-1941) - circle of, entourage, or “Circle of Amrita Sher-Gil (1913-1941) ” 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 Amrita Sher-Gil ” or “Follower of Amrita Sher-Gil 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 Amrita Sher-Gil 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….Amrita Sher-Gil "; 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 - Amrita Sher-Gil ; “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, Amrita Sher-Gil is specified followed by the words; "With signature ….”, or “With date ….” or “With inscription….” or “Bears signature of Amrita Sher-Gil /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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