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

(1856-1941)

British

 The Irish born artist, orphaned and adopted by Scotland after the loss of his parents, would finally have a fine art training under Bouguereau at the Académie Julian in Paris. Though he was more impressionistic than his tutor, inevitable due to the influence of artists he met working in the Grez-sur-Loing colony, upon his return to Scotland, he became an important member of the Glasgow Boys.

 A fine reputation as a portraitist followed his commission to paint Queen Victoria in 1888 when she visited the Glasgow International Exhibition.

Widely travelled, he settled in Morocco, though became the official war artist for the Navy in world war one.

 Further commissions to paint the British Royal family lead to his knighthood at the end of the war and incredibly well regarded as an accomplished painter, he became a full Academician of both the Scottish and B British RA, along with those of Rome, Brussels, Stockholm and Antwerp.

 Complications can arise when stylised works of the same type and near period emerge today. Sometimes they are unsigned and otherwise anonymous works that are attributed to a hand or that of a particular studio. This is made stylistically and usually with good academic soundness.  However, there are other attributions far less well considered, with some attributors using guess work and some, misattributing a work of art intentionally, but for the purpose of deception.

 Other contenders, similar to an artists hand may be described as a contribution made by someone close to the artist and from within their circle of influence. But there are also those paintings that are created by an artists followers. These are artists simply working in a similar style and using comparable subject matter or technique to the artist they admire. And this artist was admired, in demand and subsequently emulated.

 Sir John Laverys' works of art are highly regarded and sought after today and as they increase in value and as legitimate examples of his oeuvres become more and more rare, it is vitally important to be able to distinguish between those pieces that were actually executed by the artist, compared to those either 'claiming' to be by him. Perhaps a work bearing a false signature or an easily applied monogram, or it is a work that we are told was created by the artist as an attribution, which is in reality only an opinion. And of course, to be able to identify and differentiate between those works of art that are authentic examples of the artist and those that are illegitimate, even if they are small scale drawings or studies.

 So the question will 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 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 European fine art, including the works of Sir John Lavery, his circle and any that you need assistance and advice with.

 Just a few examples of works associated with this name appear below as 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 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 artist; Sir John Lavery - R.A., R.S.A., R.H.A. (1856-1941)

•  Where the name, Sir John Lavery (1856-1941), is given with the first name/s and surname of the artist, usually cited as,Sir John Lavery (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 Sir John Lavery (1856-1941) , 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 Sir John Lavery (1856-1941) - circle of, entourage, or “Circle of Sir John Lavery (1856-1941) ” 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 Sir John Lavery ” or “Follower of Sir John Lavery 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 Sir John Lavery 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….Sir John Lavery "; 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 - Sir John Lavery ; “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, Sir John Lavery is specified followed by the words; "With signature ….”, or “With date ….” or “With inscription….” or “Bears signature of Sir John Lavery /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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