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

Luis de Morales el Divino

Luis de Morales (called El Divino)

(Badajoz, c. 1510​-Alcántara, 1586​)

Spanish

   Morales only painted religious subjects and did so in a recognisable and sombre, some say morbid way, reflecting an older time than the era he lived and worked in.  His religious devotion is clearly why the Spanish baroque painter and writer on art, Antonio Palomino gave him the name el Divino. 

Though almost nothing is known of his early life, apart from some speculation that may also have been trained as a painter in Seville, the religious and artistic center of southern Spain, perhaps under the wing of Pedro de Campana of Brussels. Though the differences in style and manner between the two artists which you would expect to see between pupil and master, may contradict that proposition.

There are no other links to other artists, but it is known that he worked in the service of the bishops in the dioceses of the region of Badajoz where he was born and was kept a busy man.

 Achieving maximum acclaim as an artist in the period around 1550 to 1570, he painted numerous well known portraits, as well as triptychs and individual canvases which followed the popular devotion of the time. Even so, it would seem that he created many paintings which may have laid away in obscurity for centuries and are yet to be found.

It was therefore necessary for him to maintain a large workshop in which his sons Cristóbal and Jerónimo were also employed.

Though Cristobal accomplished little beyond creating fairly mediocre reproductions of his fathers works and Jerónimo seemingly did not enjoy the success of his father, but one of el Divino's pupils, Juan Labrador, became a distinguished painter of still life.

 Luis de Morales and the studio he ran returned to the same themes countless numbers of times, clearly due to commercial demand. So the head of the saviour, crowned with thorns, the Madonnas Dolorosas; Virgin and Child, Virgin of La Leche, la Pietà, Christ tied to the column, Ecce Homo, Virgin of the little bird, Virgin of Los Dolores and San Juan de Ribera all feature often. 

 It has been said that every head of Christ that is not from the hand of Murillo has been misattributed at some time to that of

Luis de Morales el Divino or his workshop.

 Even so, lost or newly found major paintings that are discovered are rare and seldom appear on the art market, but yet may.

 So it is very important to be able to distinguish between those works actually executed by an artist such as Luis de Morales, compared to those 'claiming' to be by him, or rather that we are told are by him in an attribution.

* * *

 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, research and verify 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 Luis de Morales, his circle and workshop, or those works 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: 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 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.

CONTACT US

We will respond to you promptly.

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; Luis de Morales, el Divino (Badajoz c. 1510-1586) and his school and studio.

•  Where the name, Luis de Morales, el Divino (Badajoz c. 1510-1586) is given with the first name/s and surname of the artist, usually cited as, Luis de Morales, el Divino (Badajoz c. 1510-1586) 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 Luis de Morales, el Divino (Badajoz c. 1510-1586) 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 Luis de Morales - circle of, entourage, or “Circle of Luis de Morales ” 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 Luis de Morales ” or “Follower of Luis de Morales 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 Luis de Morales 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….Luis de Morales "; 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 - Luis de Morales ; “Dated….” or “Inscribed Luis de Morales ” 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, Luis de Morales is specified followed by the words; "With signature ….”, or “With date ….” or “With inscription….” or “Bears signature of Luis de Morales /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.

SPECIALIST ART AUTHENTICATION LINKS LISTED BY ARTIST

D'AUTHENTIFICATION D'ART PAR ARTISTE

PAUL KLEE

OLD  MASTER  ART

Art Ancien

Authentification d'art européen

ALTARPIECE &  PANEL  PAINTINGS

Retable et peintures de panneaux

IMPRESSIONIST   &  MODERN  ART

Art impressionniste et moderne

BRITISH  ART   AUTHENTICATION

Authentification d'art britannique

FRENCH  ART   AUTHENTICATION

Authentification d'art français

SCOTTISH  ART

Authentification de l'art écossais

Art hollandais et flamand

JUDAICA- Jewish Art

Judaica - Authentification de l'art juif

IRISH ART AUTHENTICATION

Authentification d'art irlandais

AMERICAN ART AUTHENTICATION

Authentification d'art américain

RUSSIAN ART AUTHENTICATION

Authentification d'art russe

SPANISH ART

Authentification d'art espagnol

CUBAN ART

Authentification d'art cubain

Authentification d'art canadien

HUNGARIAN ART

Authentification d'art hongrois

NORDIC - SCANDINAVIAN ART

Art nordique et scandinave

ISRAELI  ART

Authentification d'art israélien

ITALIAN ART AUTHENTICATION

Authentification d'art italien

CORNISH ART

INTERNATIONAL PORTRAITURE

BEYOND WILDENSTEIN - THE  GAUGUIN INDEX

1871-1884 | 1885- 1888 |  1889 - 1890 | 1891 - 1893 | 1894 - 1896 | 1897 - 1899 | 1900 - 1903

TERMES ET CONDITIONS

CURRENT INVESTIGATIONS

ENQUÊTES ACTUELLES

LISTE DES CLIENTS D'ENTREPRISE