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

Sebastian Vrancx

(Antwerp School 1573–1647)

Known as Sebastian Francx or Franken

 Regarded by his peers as one of the principal painters of battle scenes, all very complex, detailed and intricate, Vrancx also painted landscapes, for which he became famous in Antwerp. His other subjects included: comic performers and winter carnival scenes, as well as architectural interiors, biblical scenes, some genre paintings and various allegorical subjects.

This period was the era of Brueghel, an artist with whom he collaborated, as well as with van Balen and de Momper. Breughel of course produced equally complicated and colourful scenes but involving crowds and gatherings and this success sparked a whole generation of other artist followers working similarly. These today we have to differentiate from legitimate works by Vrancx and his circle, when it comes to possible attributions.

 His paintings are today highly prized and sought after, commanding exceptionally high prices at auction, many exceeding their estimated value severalfold.

 Sadly, when any artists works become rarer and ever more valuable, there is an almost inevitable result. Some try to pass off newly discovered works by artist as legitimate when they have been previously misattributed, possibly historically so. Or present works with applied, illegitimate signatures, added onto otherwise anonymous works, usually of a similar subject and period, but entirely designed to deceive.

This is commonplace and the most common form of attempted fraud we encounter.

 So there can also be both signed and unsigned works, including paintings, studies and particularly drawings and sketches, that suddenly appear from nowhere, usually with little or no provenance that require serious scrutiny regarding their legitimacy and backgrounds.

 Whether you take these as having a definitive or just an attractive attribution to a specific artist or their immediate circle or not, is a matter of judgement and applied logic. But be seriously cautious that when they do appear, that you can determine if the attribution itself is correct and that it can be fully academically substantiated? Many such claims cannot be.

 Next in line for some well deserved criticism, are deliberately misleading description claims at point of sale. Ones that are either made on the basis of poor uneducated guesses, or worse, conscious attempts at deception as so much money can be involved.

So there are always plenty of questions that need to be answered when it comes to artist attributions and a work of arts authenticity.

 The generally accepted terms used in descriptions of a work of art presented at auction are set out in greater detail later on this page. But it is worth remembering that with each specific variation of its wording, there is always a distinct difference with the possible finite value of the piece.

As Fine Art Consultants, in any of these respects we can certainly help you.

 We are able to assist and advise you in all fine art related matters, particularly issues of the authenticity and attributions of Flemish and European fine art, including the works of Sebastian Vrancx, his direct circle and any other work of art that you need assistance or advice with.

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

*No inference is made, nor is it intended as to the question of legitimacy of these 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 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.

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;  

Sebastian Vrancx (Antwerp 1573–1647)

  *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, Sebastian Vrancx (1573–1647) is given with the first name/s and surname of the artist, usually cited as, Sebastian Vrancx .   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 Sebastian Vrancx (1573–1647) 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 Sebastian Vrancx (1573–1647) - circle of, entourage, or “Circle of ” Sebastian Vrancx . 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 Sebastian Vrancx (1573–1647) 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 Sebastian Vrancx 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…. Sebastian Vrancx "; 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 - Sebastian Vrancx ; “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, Sebastian Vrancx is specified followed by the words; "With signature ….”, or “With date ….” or “With ......inscription….” or “Bears signature of Sebastian Vrancx . / 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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