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

Emily Carr

(1871 - 1945)

Canadian

   Emily Carr trained after the death of both her parents at the California School of Design, spending more than three years in San Francisco. Pressing on with her art education she did further training, this time in traditional watercolour style in England and moved to France to be heavily influence by the Post-Impressionists of Brittany.

 Throughout her career, she had turned to the modes of painting that were prevalent and developing at the time and tried most, but never settled in one, instead, developing her own unique manner and handling.

 She had been and was hugely committed to documenting the First Nations cultures of British Columbia where she was born and where most of her creative output was made and of course, her most famous works created.

Great totems, dark forests and swirling atmospheric landscapes are her signatures.

 Her work is highly regarded and collectible today, thus it's valuable and getting more and more rare. So it's important to reflect on the fact that long lost paintings, or those recently discovered that are actually painted by Emily Carr, are going to be few and far between. Though it's not impossible for them to appear, as they may be tucked away with Canadian families for decades and are only now resurfacing.

 More commonly however, paintings that do appear are attributed to an artists hand, as well as those that are contributed from within their circle of influence, or those created by an artists followers. These in themselves are artists of all standards and calibres, who are simply working in an artists way and at any time in the past and with this brings a risk. You must ask, is the attribution to a specific artist and a description of a work itself, reliable and sound?

 It is important to be able to distinguish between those works actually executed by an artist such as Emily Carr, compared to those either 'claiming' to be by the artist, or rather that we are told are by them.

There are scholarly academic attributions  of course, the poorly informed guesses and the deliberate attempts of deception by forgery. 

This unfortunately is fairly common and includes the adding of signatures, monograms or inscriptions to otherwise anonymous works of art. They are effected in the main in a generally similar manner to a particular artist and clearly devised to impress a potential, gullible purchaser. 

And this is the most common form of art fraud we see.

 But as the values of her works are high, there are always the excellent attempts at mimicking an artist by directly forging new variants of their works to identify. These are usually executed over the top of an old pot boiler or amateur painting, bought at auction cheaply and convincingly from the artists era and cleaned off with solvents.

* * *

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

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

 We are able to assist and advise you in all fine art related matters, particularly issues of Canadian art authenticity and attributions, including the works of Emily Carr, her circle, or those of her followers. Frankly, any works of art that you need to learn about.

 Some example paintings , 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.

   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 Canadian artist; Emily Carr (1871 - 1945)

•  Where the name, Emily Carr (1871 - 1945), is given with the first name/s and surname of the artist, usually cited as, Emily Carr (1871 - 1945) including her 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 Emily Carr (1871 - 1945) 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 him.

•  But if the term Emily Carr (1871 - 1945) - circle of, entourage, or “Circle of Emily Carr ” 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 Emily Carr ” or “Follower of Emily Carr 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 Emily Carr 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….Emily Carr "; 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 - Emily Carr ; “Dated….” or “Inscribed Emily Carr ” 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, Emily Carr is specified followed by the words; "With signature ….”, or “With date ….” or “With inscription….” or “Bears signature of Emily Carr /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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