Corot painting authentication, authenticating the art of Corot, authentication of Corot art, Corot art authentication services, Jean Baptiste Camile Corot landscape painting authentication, Corot signature authentication, Corot fakes

The Most Faked Artist in the World

 

Camile  Corot 

{French 1796 - 1875}

 

A CASE STUDY

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Authenticating  the art of  Jean  Baptiste  Camile  Corot

 

 

  So why the need for the authentication of a Corot painting, or one painted by anyone else for that matter?

 The answer is simple: To secure the integrity of art history, protect the artists name and all he stood for and sustain the value, both ethically and financially of his works.

 Here then is a prime example of how authenticating, or should we say 'attributing' a work of art to a man like Camile Corot can be so patently and obviously wrong. Even though multiple experts (it is alleged) all agreed that the painting was by him.


  What they missed was the most obvious and logical of all facts. Instead, they pinned everything on their opinion alone, which is the most dangerous method in the world, yet one still followed by the majority of principal auctioneers.

Relying solely on an 'experts' personal opinion.

 

A COROT? No

So let's examine the Corot Provenance.

Or: What we are told is provenance.

 

 

 

 

< In 1920, this Corot picture on the left, had been viewed several times. Firstly by Sen. Cavalier Mori, the Director of the Gallery of Modern Art. (Wherever that is?)

He determined it was "an authentic Corot".


  Then on November 1st, 1920, Commander Professor Frederick Hermain, the superintendent of a Gallery in Rome, considered the work also as an authentic Corot, though we are not told which gallery he superintended, not that he did intend...and he is untraceable.
  By November 7, 1920 it is seen by yet another 'expert' who considers that the work is authentic. But we are not told who!

   

 Then on November 14th 1920, a Professor Povede sees it and also determines it's legitimacy as being correct. That it's a genuine Corot and further, estimates its value as more than 100,000,000 Italian Lire, about £45,000.00 pounds.


Then in 1941, the Professor of the 'Artistic Academy, Bartoli,' has decided that the work is an authentic Corot too.

 

All of these facts and the names or status of those purported to have given their expertise is not corroborated.

 

 To give the Corot's provenance even more clout, this alleged legitimate Corot passes through Messrs. Phillips and Company in London, at auction in 1922, catalogued as being Jean-Baptisie Camille Corot. Presumably because they too bought into the provenance being reliable and authentic and did not scrutinise it out fully.

Sadly, it seems all their records and archives do not exist.

 

As far as the provenance is concerned, a huge mass of conjecture prevails with the story concerning its origins, none of which adds up.

 

 

What they missed:

 

 

 This is the manufacturing stamp that appears on the back of the Corot painting we investigated. It's the stamp of a colourman in Paris. (A person who sold and prepared artist's paints and canvasses) His name was Paul Contet and his shop was on the corner of Rue Lafayette in Paris. In fact as you can see, the number ~ 34. ( No it's not a 5 but a 3)

 Paul Contet sold artists materials for a living and stretched, pre-primed, coated canvasses for many Parisian artists.


  The stamp above corresponds to that of the stamp shown below. One which we know is a legitimate Pissarro oil painting of around 1890 that was sold at a top auctioneers.

It is exactly the same stamp that Paul Contet used for each canvas he primed and stretched in his workshop.

 Both stamps appear this way around on each canvas (see bottom right) indicating that the canvas was prepared as a 'standard portrait' or figure format for the time, as the weave goes one specific way.

But both canvasses have been turned through 90 degrees by there respective artists and used as landscape canvasses. This was normal at the time and a cost saver. In general, portrait canvasses were more expensive and landscape less so, so economics and a little logic prevailed.

 

 

 

 

 

 The address becomes important here, read as 34 Rue Lafayette, Paris.

This was the former site of the Gallery Latouche, previously owned by the artist Louis Latouche and his wife. She, after 1875 ran the gallery on her own, as her husband by now had gone back to concentrating on his painting for a living.

 

 The important fact here is, record has it that Mrs. Latouche sold the business in the year 1886 and not before that year. So one can safely assume it was sold to Paul Contet, as certainly it wasn't Contet's shop before that date!

 So why is this simple fact so important? After all, the written Provenance did mention Monsieur Latouch and his friendship with Corot.

 


  Our experts all put 2 and 2 together and make this into a thousand by deciding this painting was indeed a genuine Corot and primarily because of that single fact. The provenance assumed it was and none of them wanted to be seen to be wrong, or go against the grain! So not much has changed there then !

 But it is not a fact, it's guess work. It is assumption and at best conjecture and in authentication there is no room for either.


So why then are we so sure as investigators that it is not a Corot, when so many 'experts' said it was?

 

 

Because Jean-Baptiste-Camille Corot died on February 22nd 1875.

 

That's a full eleven years BEFORE this stamp ever appeared on the back of the canvas and over a decades BEFORE this canvas or stamp ever even exisited.

It may be a tad obvious to you, but why on earth for all these years has this simplest of facts been missed, or worse, ignored?

 

 

 

ART AUTHENTICATION EXPERTISE LISTED BY ARTIST

VOIR L'EXPERTISE EN AUTHENTIFICATION D'ART PAR L'ARTISTE

 


 

 

     
APPEL KAREL
BOUVARD  - Famile.
CORNEILLE  Guillaume Beverloo
CROME JOHN
DOU GERRIT
GRIS JUAN
LAM  WILFREDO
MONDRIAN   PIET
PISSARRO CAMILLE
RENOIR PIERRE
SPENLOVE-SPENLOVE FRANK
VAN GOGH VINCENT 
CONYERS BARKER
KLINE FRANZ
PECHSTEIN MAX
MUNNINGS Sir Alfred James
DAUMIER HONORE
EDOUARD MANET

PAUL KLEE

PICASSO USA BRANCUSI  CONSTANTIN
GEORGES BARBIER FRANK-MOSS-BENNETT
 

 

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