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

Govert Teuniszoon Flinck

(Cleves 1615-1660 Amsterdam)

A DUTCH GOLDEN AGE PAINTER

  Govert Teuniszoon Flinck is an artist who had impeccable training, studying with Rembrandt from about 1633 to 1636 and was one oif the most accomplished of his followers.  Winning early acclaim for his work.

His early pieces naturally included portraits, but also religious subjects, genre paintings, narrative works and more rarely landscapes. With many works by Flinck mistakenly attributed to Rembrandt whose influence and style had a profound and lasting effect upon him.

 His paintings today are highly sought after and can command high prices at auction, well into the hundreds of thousands of Euros and some important paintings into the millions.

When any artists works become valuable, there is an almost inevitable result. There can be  signed and unsigned works, both major paintings, studies and particularly sketches or works on paper, that suddenly appear from nowhere, often with little or no provenance.

 Whether you take these as having a definitive and attractive attribution to a specific artist, or his immediate circle is a matter of judgement and logic. So you must be seriously cautious that when they do appear. Frstly that you can clearly determine if an attribution itself is correct and that it can be fully academically substantiated? Sadly, many such claims cannot be.

 By turning an otherwise anonymous, yet similar work of art of the period or of an age near the period of the artist, but painted by someone simply working in their style, into one now 'by' the artist you want it to be by quite convincingly, is as simple as it is commonplace.

It's easily the most consistent form of attempted fraud we see. Effected by adding a forged signature, monogram or inscription to the newly acquired unsigned work, or by removing an old signature from a lesser quality painting before doing likewise.

The issue is not a new one and people can have been duped in this way, believing that they have an original for decades, even centuries.

 Next in line for some deserved criticism, are deliberately misleading attribution claims. Ones that are either poor uneducated guesses, or worse, conscious attempts at deception as so much money can be involved. So there are plenty of questions that need to be answered when it comes to attributions and 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.

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 European and International fine art, including the works of Govaert Flinck, 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

  *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. In this case as if they were defining the works of the artist;   Govaert Teuniszoon Flinck (Cleves 1615-1660 Amsterdam)

•  Where the name, Govaert Flinck (1615-1660) is given with the first name/s and surname of the artist, usually cited as, Govaert Flinck .   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 Govaert Flinck (1615-1660) 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 Govaert Flinck (1615-1660) - circle of, entourage, or “Circle of ” Govaert Flinck . 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 Govaert Flinck (1615-1660) 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 Govaert Flinck 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…. Govaert Flinck "; 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 - Govaert Flinck ; “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, Govaert Flinck is specified followed by the words; "With signature ….”, or “With date ….” or “With ......inscription….” or “Bears signature of Govaert Flinck . / 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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