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

 There is some argument and lots of speculation about Francesco Guardi and the basis of his early training as an artist. Mainly because it is simply not well recorded and there are few early works by him that have survived to make comparisons to possible major influences by his tutors. However he came from a traditional family of artists and his father was Domenico, running the busy workshop. But it does not matter in this instance, as we are not compiling yet another biography.

 But he was a master view painter (capricci or capriccio) full of intricate and highly accurate topographical detail, and the Venetians loved them, as did visitors from England. But that happened later, following the deteriorating health of his brother and the need to continue the family tradition and

supplying the bottega, which was half-studio and half-shop, with saleable product.

 His position in art history now becomes literally set in stone and as a result of that standing internationally and with ever increasing huge prices for such sought after works of art, complications can and do arise when similar, stylised works of the same type and near period emerge and they do appear occasionally from the mists of time.

 However, these can sometimes be unsigned and otherwise anonymous works of art which are expertly attributed to a given hand or workshop collaboration. A judgement usually made stylistically and with good academic soundness and highly detailed comparative study and research.  However, there are other artist attributions that are more poorly considered. With some attributors just guessing and others, falsely misattributing a work of art intentionally and for the purpose of nothing other than deception.

 Other contenders arriving on the scene to consider, are artist creating works of art very similar to a particular artist, and may be described as being someone close to the artist and from within their 'circle' of influence. These usually show a greater influence in the artistic handling.

But there are also those paintings created by an artists 'followers' to consider in the equation.

These can be and often are, quite different beasts made by people simply working in a similar style and using comparable forms or subject matter and to a degree, technique, to the artist they admire. And as an artist he was and is deeply admired, thus his works are in demand and inevitably he has been and will be imitated.

There are other less kind synonyms that could be used however..

 With Francesco Guardi, original examples of his oeuvres and those coming from within his workshop, are becoming more and more rare. And with that, they increase steeply in value.

So it is important to be able to distinguish between those pieces that were actually executed by an artist, compared to those either 'claiming' to be by him. Because it could quite possibly be that it's a work bearing a false signature, or an easily applied monogram in some cases, or it is a work that we are told was created by the artist as an attribution, which in actually is in reality only an opinion after all.

And it's patently important to be able to identify and differentiate between those works of art that are authentic examples made by a specific artist and those that are illegitimate.

 So the question will always remain. Is a newly discovered work of art authentic and is an already applied attribution to the artist, or the description of a work of art itself, reliable and ultimately sound? 

In any of those respects we can certainly help.

 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 Old Master fine art, including the works of Francesco Guardi, his studio and circle and any other piece that you need assistance and advice with.

 Just a few examples of works associated with this 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 are and may in the future be offered and advertised for sale at auction internationally that are in the public domain, 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 artist; Francesco Guardi - Italian (1712-1793)

•  Where the name, Francesco Guardi (1712-1793), is given with the first name/s and surname of the artist, usually cited as,Francesco Guardi (1844-1916) ,  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 appropriate and internationally recognized expert authority on the artist.

•  When Francesco Guardi (1712-1793) , 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 Francesco Guardi (1712-1793) - circle of, entourage, or “Circle of Francesco Guardi (1712-1793) ” 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 Francesco Guardi ” or “Follower of Francesco Guardi 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 Francesco Guardi 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….Francesco Guardi "; 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 - Francesco Guardi ; “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, Francesco Guardi is specified followed by the words; "With signature ….”, or “With date ….” or “With inscription….” or “Bears signature of Francesco Guardi /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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