Investigating and Confirming the Authenticity & Attributions of Works of Art believed to be by:

INDAGARE AUTENTICITÀ E ATTRIBUZIONI DELL'ART -  ENQUÊTE SUR L'AUTHENTICITÉ ET LES ATTRIBUTIONS DE L'ART

James Ward, R.A.

(LONDON 1769 - 1859 CHESHUNT)

British

 Victorian era animal painter and engraver who also produced some history paintings, human portraits, landscapes and rustic genre scenes. Though latterly in his life Ward’s paintings move into the sphere of religious themes with some containing obvious moral messages.
His animal works are striking and colourful, often set in dynamic or panoramic landscape settings. His works included equine subjects, dogs, cattle and wild animals and from about 1800 he was regularly commissioned to paint portraits of pedigree horses and blood stock for affluent patrons.
Influenced to a large degree by his brother-in-law, George Morland, this is evident in his genre scenes containing children and rustic features.

 As with all artists whose works regularly achieve high monetary values at auction, there is a need to be cautious and to scrutinise legitimacy and any descriptors that are given for errors. Also identifying any historically incorrect attributions previously given that may need to be investigated and clarified. Unfortunately, sometimes there are attributions that are deliberately falsified to deceive potential buyers

 Any formal attribution should be examined very carefully indeed, if only to verify that the quality, academicism and indeed that the accuracy of that assignment to that particular name is well established and rightfully ascribed.  Confirming that it is specifically accurate, correctly researched and a credible academic attribution is essential and it should always be kept in mind, that any attribution, no matter at what level of credibility or status it comes from, is still only an opinion that it might be by that artist. 

It's a matter of personal interpretation and judgement as to how you view and respect it.

 There are many differing levels of forgery that we encounter in our fine art authenticity and attribution investigations.
Most commonly seen are those that are created with the addition of a fake signature or monogram, usually applied to an otherwise similar work of art to that of the artist it claims to be by.
The painting or drawing only has to be one of a comparable type, subject and of reasonable age to be passed off as an original, but one that was created by an anonymous follower. An artist who was only painting in the style of that artist.

 Unfortunately, this type of fraud has been going on in the art world for centuries and makes the task of investigating a given attribution or underpinning a work of arts authenticity, an involved and complex responsibility.

 To help understand the generally observed and well accepted semantics that are used in auction descriptions, they are set out further down this page. They define exactly what the 'expert' view of the work being offered is and they also have a distinct bearing on the financial outcome.
So be cautious that you don't miss the often disguised attribution. One hidden somewhere in that descriptor which starts by claiming to actually be BY the artist.

***

 We are able to assist and advise you in all fine art related matters, particularly issues relating to the investigation of the legitimacy and attributions of British and European fine art, including the works of James Ward R.A. , his circle and any other work of art that you need assistance or advice with.

 Some examples associated with that name appear below simply as comparative illustrations.

*No inference is made, nor is it intended as to the question of their legitimacy here on this page. Moreover they 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 may 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 expert 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 all clients before they embark on a full investigation into the legitimacy of art, or an artist or studio attribution inquiry, that it is very wise to engage us to undertake an impartial preliminary assessment conducted first. One that is made to balance any issues that may be present that could make the longer term exercise unviable.

 This is a professional advisory service we provide and 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 formerly had conducted on it. You should then have a far better understanding of both the prospects that lie ahead, 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.

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* ABOUT A WORK OF ARTS DESCRIPTOR AND ITS TERMINOLOGY *

As if in this case as if they were defining the works of the artist;  

James Ward, R.A. - British (LONDON 1769 - 1859 CHESHUNT)

  *It is very important to clearly understand the general auction terms that are widely used in a 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 an applied signature' or monogram.

•  Where the name, James Ward R.A. (1769-1859) is given with the first name/s and surname of the artist, usually cited as, James Ward R.A. 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 specific 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 that artist.

•  When James Ward R.A. (1769-1859) is the term used, or it is similarly defined as Attrib. to ' [abbreviated,] or Attribue, imputer à, imputée, or atribudo, 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 only 'possibly' may be by the artist.

•  But if the term James Ward R.A. (1769-1859) - circle of, entourage, or “Circle of ” James Ward R.A. 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, assistant or student.

•  When the name is given thus; Painted in the “Style of or “Follower of James Ward R.A. (1769-1859) is used, this means that in their opinion it is a work of art executed only in the artist’s way, in 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 James Ward R.A. 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…. "; 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 - James Ward R.A. ; “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, James Ward R.A. is specified followed by the words; "With signature ….”, or “With date ….” or “With ......inscription….” or “Bears signature of James Ward R.A. , / date / or inscription” Then in 'their opinion,' either the signature / date / or inscription is spurious, apocryphal, of doubtful authenticity, forged and 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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