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

David Teniers II - the Younger

(ANTWERP 1610 - 1690 BRUSSELS)

Flemish

 Massively prolific as an artist, popular and with a host of both private, but more importantly, art dealer patrons who ordered up to 25 paintings a time from him, David Teniers II was also one of the most versatile Flemish painters of his time.
Arguably best known for his sharply detailed representations of taverns and peasant life, he also painted subjects that ranged as widely as alchemists to witches, dentists, surgeons and card players, right through to allegorical subjects and even biblical themes.
But Teniers painted unusual works too, such as views of collectors' cabinets, some including portraits, but he also made small-scale copies of Italian paintings. Some of which, if they still exist today, probably by now bear abnother artists name !

 David Teniers was clearly commercially motivated, painting for his domestic market but also for international clientèle and he also collaborated often with other artists such as; Jan Davidsz de Heem, Lucas van Uden, Jan van Kessel and Jacques d'Arthois.

 During recent years, Teniers' paintings have increased hugely in value, many making millions of Euros. With even some unsigned but well made and astute attributions, far outstripping their auction estimates, as will be seen below.

 Unfortunately, as far as any artists works that do attain and retain exceptionally high monetary values, this is sometimes open to basic descriptor errors and certainly in the past, wrongfully given attributions.  But it is also open to different levels of abuse, with incorrect attributions still being made today. This time either mistakenly, or deliberately made, intentionally devised to deceive. The latter being far too frequently.

 Some fine art attributors inevitably will stab in the dark and some will guess, whilst others may rely on something as risky as a label, or even a framers brass plaque attached at some time to the frame and bearing the name of an artist . Basing that evidence on which they make their assumption and they seemingly believe that it's a sound enough reason to make that expert assessment as to who may have painted the picture.

 Any formal attribution that is given to an artist, should be scrutinised very carefully indeed, if only to verify that the quality, academicism and the accuracy of that assignment to the name, is well established and rightfully ascribed. 

Confirming that it is specifically accurate, well researched and a credible academic attribution, is essential and it should always be kept in mind, that any attribution, no matter at what level of credibility or status it comes from, is still only their opinion.  Therefore it's a matter of personal interpretation and careful judgement as to how you view and how you respect it.

 As fine art consultants, we often encounter faking of various sorts, and levels of a accomplishment, particularly when an artists style is fairly easy to emulate. These are commonly seen with some sellers using online and poorly policed auction sites, or more easily, presented through small provincial auction houses.

 But many forgeries that we see, are effected simply by the addition of a forged signature or monogram. One which is added to an otherwise similar work of art to that of the artist, and it only has to be one vaguely like the 'type' of art he produced and be of a similar age to that of the artist it is claiming to be by, to seem and be passed off as genuine. 
Inevitably though, it will only be one that was created by an anonymous follower of the painter and made in his style and it is useful to recognize that, that form of deception has been going on for centuries and is the most common form of art fraud we see.

 To understand the generally observed and well accepted semantics that are used in auction descriptions, they are set out further down this page. They define exactly what the expert view of the work being offered is and they also have a distinct bearing on 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 Flemish or European old master fine art, including the works of David Teniers the Younger, his studio and circle and any other work of art that you need assistance or advice with.

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

*No inference is made, nor is it intended as to the question of their legitimacy here on this page. 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 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;  

David Teniers the Younger  - (ANTWERP 1610 - 1690 BRUSSELS) - Flemish

  *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, David Teniers the Younger (1610 - 1690) is given with the first name/s and surname of the artist, usually cited as, David Teniers 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 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 David Teniers the Younger (1610 - 1690) is the term used, or it is similarly defined as Attrib. to ' [abbreviated,] or Attribue, 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 'possibly' may be by the artist.

•  But if the term David Teniers the Younger (1610 - 1690) - circle of, entourage, or “Circle of ” David Teniers 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, assistant or student.

•  When the name is given thus; Painted in the “Style of or “Follower of David Teniers the Younger (1610 - 1690) 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 David Teniers 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…. "; 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 - David Teniers 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, David Teniers the Younger is specified followed by the words; "With signature ….”, or “With date ….” or “With ......inscription….” or “Bears signature of David Teniers 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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