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

Apollonio Facchinetti, called Domenichini & Workshop

The Master of the Langmatt Foundation

Maestro della Fondazione Langmatt

(Active Venice c. 1740-c. 1770)

B 1715-C.1770)

ITALIAN

  Domenichini was a quality painter of distinctive vedute (views) of Venice and more rare, of Rome. Such cityscape paintings were in high demand from its wealthy visitors and their consistent supply was filled by several active studios, each producing works of very different qualities and of course, in different time frames.

  Many are unsigned works appearing out of the mists of time and are presented at auction with definitive attributions to a specific artist, but one must ask, is that attribution correct and can it be substantiated?

 As original legitimate examples of works from Domenichini's hand or his studio are becoming increasingly rare, they have began to steeply climb in value, with even modest works outstripping their auction estimates and with that there is always a risk.

With all fine art, it is clearly very important is to be able to distinguish between those works that were actually executed by an artist or his workshop, to those either 'claiming' to be by them, or that we are told were created by the artist in question, which in reality is only an opinion.  Questions will remain; is a newly discovered work of art purportedly by Apollonio Domenichini a legitimate example of the artists œuvre? Is an already applied attribution to the artist both appropriate and correct and on what scolarly basis was it made? Frankly a brass plaque on the frame is hardly a viable reason, neither is the fact that after all, it is Venice. Then by whom and from what level of qualification did it actually come? And lastly, is the description of a work of art itself reliable and ultimately sound? Many sadly are not.

 The generally accepted terminology 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 wording, there is always a distinct difference with the possible final 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 Italian and International fine art, including the works of Apollonio Domenichini, his studio and direct circle and any other work of art that you need assistance or advice with.

 Just a few examples associated with his name appear below as comparative illustrations.

*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 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 could need specialist advise on.

Apollonio Domenichini (1715-1770)-manner, Saint Marc Square with boats; oil on canvas.

Estimate:$320 - $650

   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. 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, 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 artist;  Apollonio Domenichini (C.1715-C.1770) (formerly known as the Master of the Langmatt Foundation Views)

•  Where the name, Apollonio Domenichini (C.1715-C.1770) The Master of the Langmatt Foundation Views is given with the first name/s and surname of the artist, usually cited as, Apollonio Domenichini   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 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 the artist.

•  When Apollonio Domenichini (C.1715-C.1770) The Master of the Langmatt Foundation Views 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 Apollonio Domenichini (C.1715-C.1770) The Master of the Langmatt Foundation Views - circle of, entourage, or “Circle of ” Apollonio Domenichini 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 Apollonio Domenichini (C.1715-C.1770) The Master of the Langmatt Foundation Views 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 of Apollonio Domenichini 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…. Apollonio Domenichini "; 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 - Apollonio Domenichini ; “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, Apollonio Domenichini is specified followed by the words; "With signature ….”, or “With date ….” or “With ......inscription….” or “Bears signature of Apollonio Domenichini / 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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