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

Julio Romero de Torres

 Julio Romero de Torres, born in Cordoba was the most popular painter of the regionalist Andalusian style and one of the most sought-after portrait artists in Spain and South America. His works can be described as soft, dark settings and always sultry. His aim to display his sitter in the most beautiful manner.

 With de Torres, one of the leading names in modern Spanish art, original examples of his oeuvres are becoming rare and with that, they increase steeply in value and there is always going to be a risk.

 Often there are stylised anonymous paintings which are expertly attributed to a given hand or studio. Usually this is a judgement made with academic soundness and highly detailed comparative study and research. But of concern, there are other artist attributions moor poorly considered, with some attributors second guessing and even falsely misattributing a work of art to deceive in a sale.

 Other works of art that arrive for consideration can be very similar indeed to a particular artist and these are often described as being from within the artists direct 'circle' of influence. Usually they display a greater similarity in style and quality of their artistic handling. But there are also paintings created by an artists 'followers' to consider in the attribution equation and these can be quite different beasts.

Created primarily by people working in a similar style or manner to an artist they admire and using comparable subject matter or technique.  These works can also be by an amateur hand, or a student of the arts. Such works are often used to pass off as legitimate by adding signatures or monograms to them.

 The terminology used in descriptions of a work of art are covered in detail further on this page and with each there is distinct variation with the value of the piece.

  Important is to be able to distinguish between those works that were actually executed by an artist, to those either 'claiming' to be, or that we are told was created by the artist in question as an attribution, which in reality is only an opinion.

 I it's patently important to be able to identify those works of art that are actually authentic and those that are illegitimate.

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

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 Spanish and International fine art, including the works of Julio Romero de Torres, his studio and circle and any other work of art that you need assistance or advice with.

 Just a few examples of works 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 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

 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; Julio Romero de Torres - Spanish (1874-1930)

•  Where the name, Julio Romero de Torres - (1874-1930), is given with the first name/s and surname of the artist, usually cited as,Julio Romero de Torres (1874-1930),  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 Julio Romero de Torres - (1874-1930) , 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 Julio Romero de Torres - (1874-1930) - circle of, entourage, or “Circle of Julio Romero de Torres - (1874-1930) ” 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 Julio Romero de Torres ” or “Follower of Julio Romero de Torres 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 Julio Romero de Torres 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….Julio Romero de Torres "; 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 - Julio Romero de Torres ; “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, Julio Romero de Torres is specified followed by the words; "With signature ….”, or “With date ….” or “With inscription….” or “Bears signature of Julio Romero de Torres /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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