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Investigating the Authenticity and Attributions of works of art believed to be by;

Bartholomeus van der Helst & his Workshop

(HAARLEM 1613 - AMSTERDAM 1670)

DUTCH

  I will not venture into a biography of the artists life here as it is well documented by others: Excepting to say that  Bartholomeus van der Helst was hugely successful as a portrait artist and he succeeded and even eclipsed Rembrandt as the portraitist to Amsterdam’s wealthy classes.

He subsequently had many important patrons, many followers and an important circle of artists around him.

 In addition to portraits however, Van der Helst also painted genre scenes and biblical and mythological subjects too.

Though little is known of the artist as a teacher, his son Lodewijk is most likely to have trained in his studio and his most important followers include Nicolaas van Helt Stocade, Abraham van den Tempel and Paulus Hennekyn.

 His masterly technique and the depiction of clothes and his sitters accessories was highly detailed and elegant and these features in his smoothly rendered paintings, made him the most sought-after portraitist in Amsterdam in the mid-1600's.

 Demands are high today from collectors and institutions for quality paintings and drawings by him or from his workshop and they often well exceed their auction estimates and expectations. But as they increase in value and his works are getting more and more scarce, it is important to be able to distinguish between those works actually executed by an artist, compared to those either 'claiming' to be by the artist, or a work that we are told is by him.

 There are always going to be those replicated or repeated works made by others to identify and more possible and sometimes much more plausible authors to balance and consider in an artist attribution or workshop equation. There will also be paintings created by artists from within an artists direct circle and when you place those issues alongside works mistakenly believed to be by him, painted by one of his followers, artists who produced similarly themed paintings but in the artists manner which could of course have been painted at any time after him, it can become complicated.

* * *

 As an international specialist fine art consultancy, with bases in the UK and Europe where we are perfectly placed to undertake our Old master European research work archivally, we have been confidentially serving both private individuals and corporate clients around the world for over 45 years.

In so doing, we have been investigating both single works of art and complete collections for clients, conducting in-depth authentication and legitimacy investigations and inquiries, as well as directing full academic and forensic investigations, with multilingual archival research, into the origins of all works of art, from different geographical regions and eras. We also scrutinize and research the provenance and ownership lineage for verification.

 We are able to assist and advise you in all fine art related matters, particularly issues of the authenticity and attributions of Dutch and European art, including the works of Bartholomeus van der Helst and any old master works of art that you need assistance and advice with.

 A few examples of his works and those associated with this name appear below as illustrations. 

Note: 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 that are and may in the future be offered and advertised for sale at auction internationally 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

   L'évaluation de pré-authentification. La evaluación previa a la autenticación

 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 Dutch artist; Bartholomeus van der Helst (HAARLEM 1613 - AMSTERDAM 1670)

•  Where the name, Bartholomeus van der Helst 1613-1670, is given with the first name/s and surname of the artist, usually cited as, Bartholomeus van der Helst 1613-1670, 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 the appropriate and internationally recognized expert authority on the artist.

•  When Bartholomeus van der Helst 1613-1670, 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 Bartholomeus van der Helst 1613-1670 - circle of, entourage, or “Circle of Bartholomeus van der Helst ” 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 Bartholomeus van der Helst ” or “Follower of Bartholomeus van der Helst 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 Bartholomeus van der Helst 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….Bartholomeus van der Helst "; 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 - Bartholomeus van der Helst ; “Dated….” or “Inscribed Bartholomeus van der Helst ” 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, Bartholomeus van der Helst is specified followed by the words; "With signature ….”, or “With date ….” or “With inscription….” or “Bears signature of Bartholomeus van der Helst /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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