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

Louis Franciscus Hendrik Apol

(Dutch, The Hague 1850-1936)

 Louis Apol was viewed by the Dutch simply as one of the highest ranked and admired landscape painters of the Hague School, creating works with a high level of detail, but which he seldom dated.

 His principal focus as an artist, was in painting relatively small scale, snowy winter landscapes, usually taken from, or inspired by the area near to where he was born, the Hague forests or around Arnhem.

These pictures were far less grand than his Dutch landscape predecessors painted, such as Andreas Schelfhout, Kruseman, Leickert and Hoppenbrouwers, who usually dramaticised their winter scenes quite glamourously, filling them with skaters or people at play.  Apol however was instead much more impressionistic in style and intent on capturing the quality of the light in his compositions. As such his popular winter landscapes are almost inevitably covered in snow, perhaps only depicting a bridge, a ruin, a house, a castle or a gate. The canal though is popular and the occassional windmill a necessary focal point.  But only rarely do we find figures in his compositions.

He was a hugely prolific artist and even so, his paintings can and regularly do command exceptionally good prices at auction today, right up to the hundred thousand GBP and Euro range and they will likely continue to rise in value in the future.

 Sadly, when any artists works become rare and thus more valuable, there is an almost inevitable result of that event. With some trying to pass off newly discovered works by Louis Apol as legitimate when they are misattributed, possibly historically so, at some time in the past. Or presenting works with applied, illegitimate signatures, added to anonymous, lesser quality works that were painted buy followers mimiking the style. Usually they are of a similar subject and or period and are entirely designed to deceive. This is commonplace and the most common form of attempted fraud we encounter working in the specialised field of authentication.

We have to be seriously cautious that when they do appear, in order to determine if the attribution itself is correct, that it can be fully academically substantiated, as 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 poor uneducated guesses, or worse, conscious attempts at deception, as so much money can and often is involved.

So there are always plenty of questions that need to be answered when it comes to artist attributions and proving the authenticity of a painting

that someone owns, inherits or acquires.

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 British and European fine art, including the works of Louis Apol, 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; Louis Franciscus Hendrik Apol (Dutch, 1850-1936)

  *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, Louis Apol (1850-1936) is given with the first name/s and surname of the artist, usually cited as, Louis Apol .   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 Louis Apol (1850-1936) 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 Louis Apol (1850-1936) - circle of, entourage, or “Circle of ” Louis Apol . 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 Louis Apol (1850-1936) 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 Louis Apol 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…. Louis Apol "; 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 - Louis Apol ; “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, Louis Apol is specified followed by the words; "With signature ….”, or “With date ….” or “With ......inscription….” or “Bears signature of Louis Apol . / 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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