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EXPERTS INVESTIGATEURS INTERNATIONAUX EN AUTHENTICITÉ DES BEAUX-ARTS - ARTISTES ATTRIBUTION LEGITIMACY CONSULTATIONS

Investigating the Authenticity of Paintings and Drawings believed to be by or Attributed to;

Dorothea Sharp, ROI, RBA. PSWA

British 1874-1955

Landscape, figure and flower painter

   Dorothea Sharp took up painting in 1895, at the age of 21 under the guidance of the Victorian artist, Charles Edward Johnson at his art school in Richmond, Surrey. She continued her training at the Regent Street Polytechnic where she was profoundly influenced by two of its regular visiting tutors, Sir David Murray and one of the greatest exponents of British Impressionism, Sir George Clausen.

Clausen had a considerable impact on Dorothea Sharp’s style, encouraging her distinctive use of wide brush-strokes in painting en plein air. Sharp furthered her interests in Impressionism when, after leaving the Polytechnic, she travelled to Paris and studied the work of Claude Monet and Pierre-Auguste Renoir.

 There is obviously no necessity for a full biography of the life of Dorothea Sharp to be written here, it has been documented extremely well by others, with the exception of saying, her choice of subject was extremely popular and that inevitably, she was imitated.

Due to the vastly increasing values of his works of art in recent years and the quantity of works of art she produced in his lifetime, today, all manner of paintings claiming to be hers, either deliberately faked, or more commonly, misrepresented or simply misattributed to her hand, sometimes wrongly attributed many years ago, be that mistakenly or deliberately, they do appear on the open art market.

 It may well be true that there are some works that were either lost, mislaid, or have been with families across the world for aeons and have never surfaced, still yet to be discovered. But it must be said, some of the Dorothea Sharp works that do appear on the open market will need seriously investigating to be absolutely certain of both their legitimacy or that a previously given attribution to her hand is accurate.

 Falsified works can be effected simply by the inclusion of a copied signature or a simple monogram placed on a work of art that is just a similar or of an early type, in her style, or the subject matter to that which Sharp would paint.

A previous signature which has been deleted from an old painting with a new one added is a common ploy. It is no wonder that question marks can and sometimes do arise about the authenticity of some of her paintings and confusion as to whether they were just from her studio, by pupils or from Sharp's circle.

* * *

 We are international fine art consultants, specialising in conducting full investigations into the authenticity of works of art created by artists in all categories, all regions and from historical eras, alongside scrutinizing their provenance.

Confidentially serving both private individuals and corporate clients from around the world for over 45 years, we can assist and advise you in all fine art related matters, particularly issues of authenticity, legitimacy and the attribution of old and modern master works of art. Including the fine works of Dorothea Sharp, her circle and followers, or any paintings or works of art that you are unsure about.

 Some examples of Sharp's works and those signed with that name, appear below. 

  No inference or question is made or intended as to their authenticity, moreover they are a representational view of the types of works offered for sale at auction internationally, some of which will need to be understood and sometimes specifically qualified and authenticated.

Dorothea Sharp 1874 – 1955 IN THE ORCHARD, PICKING PLUMS signed l.r.: DOROTHEA SHARP

oil on canvas

£84,000.00 US $170,838.00

Attributed to Dorothea Sharp [1874-1955]

Gathering Blackberries:- initialled DS bottom

right watercolour and bodycolour

Estimate: £250 - £350

Attributed to Dorothea Sharp RBA, ROI (1874-1955)

oil on card  Still life of rhododendron flowers in a white jug Sold £500.00

  Both the duration and direction of any attribution or investigation of the authenticity of an art work will always vary from project to project, but there are clear and well defined professional formalities, responsibilities and areas of scrutiny that we can assist you with including:

Authentication: Authentification: Conducting and directing comprehensive investigations and in depth research, with a view to establishing a correct, complete and formally recognized certification of a work of art. One that is absolutely upheld by the appropriate, legally acknowledged and internationally sanctioned authority, body or expert on that given artist.

Directing detailed and complicated inquiries with multilingual, international academic research and any 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 doubted.

 Confirmation:  Undertaking research and investigations into the legitimacy of the provenance, history and prior ownership of a work of art and establishing its own accuracy.

 Scrutiny: Examen minutieux: Identifying fake works of art and forgeries, including any false supportive accompanying documentation and determining works of art which may be studio or later copies, or previous incorrect attributions.

 Prosecution: Poursuite: Investigating alleged art fraud and forgery and assisting and advising those who are , or may be considering litigating or prosecuting the fact. This includes legal professionals and 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 a well balanced future family distribution.

 Appraisal: Évaluation - Valuations, quality and condition reports.

Step one in the Art Authentication and Attribution process.

Dorothea Sharp

The Pre-Authentication Assessment

    Before you begin any art authenticity, legitimacy, or any artist attribution investigation, it is more than wise to have an impartial preliminary assessment of the viability of the project conducted first. Made to independently and rationally balance any negative issues there may be against the positive elements. Treat this study as your safety net.

 We will be happy to professionally undertake this for you, based upon good quality images that you supply and all the known facts regarding its acquisition, the history and provenance of the work of art as is known to you.

You will then have a far better understanding of the prospects and pitfalls that could lie ahead.

See our FAQ's for details of the process

CONTACT US

We will respond to you promptly.

  Avant d'entreprendre une enquête sur l'authenticité d'une œuvre d'art ou l'attribution d'un artiste, il est plus que prudent de procéder à une évaluation impartiale de sa faisabilité. Ceci est fait pour équilibrer indépendamment tous les problèmes négatifs qui peuvent exister contre le positif.

Nous serons heureux d'entreprendre cette étude d'une manière professionnelle pour vous que nous considérons comme votre principal filet de sécurité.
Il sera basé sur les images que vous fournissez et tous les faits connus concernant votre acquisition, son passé et la provenance de l'œuvre telle que vous la connaissez.
Vous aurez alors une meilleure compréhension des perspectives et des difficultés éventuelles à venir, avant de prendre une décision.

  Antes de embarcarse en cualquier investigación de autenticidad artística o atribución de artista, es más que prudente realizar primero una evaluación imparcial de su viabilidad. Esto se hace para equilibrar independientemente cualquier problema negativo que pueda haber contra el positivo.

Nos complace emprender profesionalmente ese estudio para usted, que consideramos su red de seguridad. Se basará en las imágenes que usted suministre y todos los hechos conocidos con respecto a su adquisición, historia pasada y procedencia del trabajo tal como lo conoce.

Entonces tendrá una mejor comprensión.

ABOUT PAINTING DESCRIPTORS AND TERMINOLOGY

Dorothea Sharp

  It is important to understand the auction terms used in any published descriptor and to be cautious of works that may just be painted in the style or manner of the artist, or even the stylized - would be copies of her works which happen to bear a signature or monogram. In this case the paintings and drawings of Dorothea Sharp.

 Were the name, Dorothea Sharp is given with the first name/s and surname of the artist, usually as Dorothea Sharp , then in their professional opinion they are in no doubt, it is the genuine and authentic item, one painted by the artist herself.

When Attributed to Dorothea Sharp, or if Dorothea Sharp is similarly written or used as ascribed to or Attrib, [abbreviated,[ then in their opinion it is 'probably' a work by the artist, at least in part. But... there is no guarantee. It's only an opinion.

 When Dorothea Sharp ; “School of, or Studio of ….” or “Workshop of Dorothea Sharp " or atelier of Dorothea Sharp " is used, this means that in their opinion it is a work executed in the studio of the artist. Possibly by an apprentice or a pupil under the principal artists supervision and guidance.

 But if the term Dorothea Sharp circle of, or “Circle of Dorothea Sharp ” is specifically used, then in their opinion, it is a work only of the period of the artist and showing his influence, or closely associated with the artist, BUT not necessarily by his pupil or student.

 When the name is given; Painted in the “Style of Dorothea Sharp ” or “Follower of Dorothea Sharp is used, this means that in their opinion it is a work of art executed only in the artist’s way, her 'style', but not necessarily by a pupil. But it may be contemporary, or nearly contemporary of the artist.

 If the phrase in the “Manner of Dorothea Sharp is used or is defined….” then in their opinion it's also only a work painted in the style of the artist, but of a later date and definitely not by the artist herself.

 When the term “After….Dorothea Sharp "; 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 Dorothea Sharp ; “Dated….” or “Inscribed Dorothea Sharp ” 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, Dorothea Sharp is specified followed by the words; "With signature ….”, or “With date ….” or “With inscription….” or “Bears signature of Dorothea Sharp /date/or inscription” Then in 'their opinion,' 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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