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

Arthur Shilling

(1941 – 1986)

Canadian

 Arthur Shilling was born on the Chippewas of Rama First Nation Reserve, near Orillia, Ontario to Ojibway parents and was largely a self taught artist, though he did attend some art classes in Toronto and was influenced by Arthur Lismer. While he mainly painted portraits, he occasionally painted landscapes in his own unique broad stroked and vibrant expressionist manner.

 Shilling's work is both now highly regarded and collectible. Thus as the values increase and his works are getting more and more rare, it is important to be able to distinguish between those works actually executed by an artist like Shilling, compared to those either 'claiming' to be by that artist, perhaps by an imposter, or rather a work that we are told are by them.

 Many unsigned anonymous paintings are attributed to an artists hand stylistically, or are described as being a contribution from someone close to them from within their circle of influence. Whilst others are created entirely by an artists followers, both working in their style and using similar subject matter.  These can be artists of all standards and calibres, simply working in an artists manner and of course, at any time in the past and with this brings a risk. So you must ask, is the attribution to a specific artist and a description of a work itself, reliable and sound?

 But when the values of works do start to get high, there are always the attempts at copying an artists hand by directly forging new variants of their works. Usually these are executed over the top of an old pot boiler, or amateur painting, bought cheaply at auction and convincingly from the artists actual era. So they look the right age and are then stripped off with solvents prior to a new creation being made. Then again, there are works which are vaguely similar to the artist that suddenly gain a new signature on them overnight.

* * *

 As an international specialist fine art consultancy, with bases in Canada, but also the UK and Europe to undertake our Old and Modern master research work archivally, we have been confidentially serving both private individuals and corporate clients across Canada and around the world for over 45 years.

 In so doing, investigating both single works of art and complete collections for clients, conducting in-depth authentication and legitimacy investigations and inquiries, as well as full academic and forensic investigations with multilingual archival research, into the origins of all works of art, from different geographical regions and periods. We also scrutinize and research the provenance and ownership lineage for verification purposes.

 We are able to assist and advise you in all fine art related matters, particularly issues of the authenticity and attributions Canadian art, including the works of Arthur Shilling. Frankly, any works of art that you need assistance and advice with.

 Some example paintings, associated with his 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 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 Canadian artist; Arthur Shilling (1941 – 1986)

•  Where the name, Arthur Shilling (1941 – 1986), is given with the first name/s and surname of the artist, usually cited as, Arthur Shilling (1941 – 1986), 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 Arthur Shilling (1941 – 1986), 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 Arthur Shilling (1941 – 1986) - circle of, entourage, or “Circle of Arthur Shilling ” 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 Arthur Shilling ” or “Follower of Arthur Shilling 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 Arthur Shilling 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….Arthur Shilling"; 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 - Arthur Shilling; “Dated….” or “Inscribed Arthur Shilling ” 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, Arthur Shilling is specified followed by the words; "With signature ….”, or “With date ….” or “With inscription….” or “Bears signature of Arthur Shilling /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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