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

 Painted impressionistic society portraits, landscapes and interiors, who became a successful and well known artist of great renown, becoming president of the Society of American Artists. His works of art highly regarded and prized.

 However, there are paintings, sometimes left unsigned and otherwise remaining anonymous works of art which are expertly attributed to a given hand or studio collaboration. A judgement made stylistically and with clear academic soundness and highly detailed comparative study and research. But there are other artist attributions that are more poorly considered. With some attributors guessing or deliberately falsely misattributing a work of art for the purpose of deception.

  Some contenders that arrive for consideration are by artists creating works very similar to a particular artist. These may be described as being by someone close to the artist and from within their direct 'circle' of influence. They usually show a greater similarity in style and quality in their artistic handling. But there are also those paintings created by an artists 'followers' to consider in the attribution equation.

These can be and often are, quite different beasts. They are made primarily by people simply working in a similar style and using comparable subject matter and to a degree, similar technique, to the artist they admire, and as an artist he was and is deeply admired. Thus his works are in demand and inevitably he has been and will be imitated.

 With William Merritt Chase, original examples of his oeuvres and those coming from within his studio and direct circle, are becoming more and more rare and with that, they increase steeply in value. One 'attributed' work, simply signed with a monogram, making over a million dollars at auction recently.
So it is important to be able to distinguish between those pieces that were actually executed by an artist, compared to those either 'claiming' to be by them. Because it could quite possibly be that it's a work bearing a false signature, or an easily applied monogram in some cases, 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 after all.

And it's patently important to be able to identify between those works of art that are authentic examples created by a specific artist and those that are illegitimate.

 So the question will always 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 ultimately 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 American and International fine art, including the works of William Merritt Chase, his studio and circle and any other work of art that you need assistance and advice with.

 Just a few examples of works associated with his name appear below as comparative 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 are in the public domain, 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

 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; William Merritt Chase (1849 - 1916)

•  Where the name, William Merritt Chase (1849 - 1916), is given with the first name/s and surname of the artist, usually cited as,William Merritt Chase (1844-1916) ,  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 William Merritt Chase (1849 - 1916) , 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 William Merritt Chase (1849 - 1916) - circle of, entourage, or “Circle of William Merritt Chase (1849 - 1916) ” 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 William Merritt Chase ” or “Follower of William Merritt Chase 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 William Merritt Chase 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….William Merritt Chase "; 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 - William Merritt Chase ; “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, William Merritt Chase is specified followed by the words; "With signature ….”, or “With date ….” or “With inscription….” or “Bears signature of William Merritt Chase /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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