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

Georges de La Tour & his Studio

(1593 - 1652)

FRENCH

Master of religious chiaroscuro scenes lit by candlelight.

 Not a little confusion or controversy surrounded this artist who seemed to fade from existence until the beginning of the last century. Many signed duplications along with studio copies and questions being asked about exactly how much product was actually not his and what amount of a contribution was actually made by his son is still a mystery.

 In fact, there has been more than seventy oil paintings which have historically, formally attributed to La Tour, but less than forty are accepted by academics as originals. With many of the incorrectly ascribed opinions latterly given over by scholars to other old masters from Holland, Germany and Italy.

 It is true to say however, that his works fetch exceptional values at auction and some, as will be seen from the examples set out below, considerably outstrip their auction estimates.

 But as with all successful artists whose works achieve such high monetary values, this as I  have said is clearly open to historically incorrect attributions and also even abuse. This made today and historically by deliberately incorrectly ascribing a work to his hand, primarily as a device to deceive potential buyers.  But there is also a more straightforward form of deception that we encounter in investigating authenticity and something that is all too common which has been an enterprise carried out for centuries.

This simple fraud is most often undertaken by the simple addition of a forged signature or monogram to an otherwise similar work of reasonable age. One granted of similar type, form or subject, but ne actually created by an anonymous follower of the artist.

 It is very important to understand the terminology used in describing a work of art for sale at auction, as this drastically alters the possible sale result. Equally, in terms of the possibility of asserting the legitimacy of a work of art, or underpinning an attribution,  either to the artist, or someone just painting like him, is a vital formal task we can assist you with and advise upon.

 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 British and European old and modern master fine art, including the works of Georges de La Tour, his direct circle and any other work of art that you need assistance or advice with.

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

*No inference is made, nor is it intended as to the question of their legitimacy 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 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;  

Georges de La Tour (1593 - 1652) - French

  *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, Georges de La Tour (1593 - 1652) is given with the first name/s and surname of the artist, usually cited as, Georges de La Tour .   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 Georges de La Tour (1593 - 1652) 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 Georges de La Tour (1593 - 1652) - circle of, entourage, or “Circle of ” Georges de La Tour . 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 Georges de La Tour (1593 - 1652) 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 Georges de La Tour 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…. Georges de La Tour "; 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 - Georges de La Tour ; “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, Georges de La Tour is specified followed by the words; "With signature ….”, or “With date ….” or “With ......inscription….” or “Bears signature of Georges de La Tour . / 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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