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Investigating the Authenticity and Attributions of works of art believed to be by;

John Singleton Copley R.A.

Anglo American

(Born July 3, 1738, Boston, Massachusetts [U.S.A]—Died September 9, 1815, London, England),

 Under the influence of a limner step father, John Singleton Copley became a fine American portraitist and introduced a tantalising well used Rococo device into his portraits of his wealthy socialite Boston and New England patrons called the portrait d’apparat. This was something that those in the Colonies had never witnessed before.

By placing interesting objects into his paintings directly associated with the sitter, this told more about them than just a likeness could, including character, interests, occupation, their all important status and successes. An unusual English tool in his portrait artist armoury and impressed those Colonials who were now keenly eager for him to paint them.

 As history has well recorded, there was to be a second part to his highly successful artistic career as he had been inspired to move to Britain and enter into the highly regarded sphere of historical painting rather than keep to just portraiture. So he spent a year in Italy honing his skills. He was very successful and highly acclaimed with a full acknowledgement from his peers coming by way of the full association with the prestigious Royal Academy that followed.

 Many artists would emulate him and follow, but few matched him. So it is very important to be able to distinguish between those works actually executed by an artist such as John Singleton Copley, compared to those 'claiming' to be by him, or rather that we are told are by him, as there are three kinds of attribution;

The well worked out, thoroughly academically researched, scholarly type, the poorly informed guesses and the deliberate attempts of deception. Including where works have added signatures, monograms or inscriptions to otherwise anonymous works effected in a generally similar manner to a particular artist and devised to impress a potential purchaser.  The most common form of fraud we see.

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 As an international specialist fine art consultancy, with bases in the UK and Europe, we have been confidentially serving both private individuals and corporate clients around the world for over 45 years. In so doing, investigating both single works of art and complete collections for clients and conducting in-depth authentication and legitimacy investigations and inquiries, as well as full academic and forensic investigations and multilingual archival research into the origins of all old master works of art from different geographical regions and periods. We also scrutinize and research the provenance and ownership lineage.

 We are able to assist and advise you in all fine art related matters, particularly issues of authenticity and attribution, including the works of John Singleton Copley, R.A, his circle and workshop, or those of his followers, or any works of art that you are keen to learn about.

 Some various example works of art associated with this name appear below as illustrations. 

Note: 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.

   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 expert on that given 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 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 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 a well balanced future family distribution.

•  Appraisal: Évaluaton - 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 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.

You should then have a far better understanding of both the prospects or any pitfalls we may face, before making a decision. This is a logical and cost effective professional review for which there is a modest set fee.

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A WORK OF ART 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; John Singleton Copley, R.A. 1738-1815 and his school and studio/ workshop.

•  Where the name, John Singleton Copley, R.A. 1738-1815 is given with the first name/s and surname of the artist, usually cited as, John Singleton Copley, R.A. 1738-1815 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 the appropriate and internationally recognized expert authority on the artist.

•  When John Singleton Copley, R.A. 1738-1815 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 him.

•  But if the term John Singleton Copley, R.A - circle of, entourage, or “Circle of John Singleton Copley, 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 or student.

•  When the name is given thus; Painted in the “Style of John Singleton Copley, R.A ” or “Follower of John Singleton Copley, R.A 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 John Singleton Copley, 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….John Singleton Copley, R.A "; 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 - John Singleton Copley, R.A ; “Dated….” or “Inscribed John Singleton Copley, R.A ” 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, John Singleton Copley, R.A is specified followed by the words; "With signature ….”, or “With date ….” or “With inscription….” or “Bears signature of John Singleton Copley, R.A /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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