Specialists Investigations with a view to Confirming the Authenticity & Attributions of Works of Art believed to be by:

INDAGARE AUTENTICITÀ E ATTRIBUZIONI DELL'ART -  ENQUÊTE SUR L'AUTHENTICITÉ ET LES ATTRIBUTIONS DE L'ART

Marten van Cleve the Elder & his Studio

Flemish

(ANTWERP CIRCA 1527 - BEFORE 24 NOVEMBER 1581)

 Marten van Cleve the Elder was from a notable family of distinguished painters. Wilhelm the Younger, his father and his younger brother Hendrick van Cleve III.

 Marten became a pupil of Frans Floris, but he also worked together with Gillis Mostaert in Amsterdam. In 1551 he became a member of the Antwerp Academy and the Guild of Saint Luke and never left Flanders, dying at the age 50.

Following in their fathers footsteps, Cleve's sons Gillis, Joris, Marten the Younger and Nicolas also became notable and successful painters.

Painting in a similar manner and style to Pieter Bruegel, he is perhaps best known for his genre scenes depicting groups of peasants in landscapes.

 A highly sought after artist whose works regularly are achieving increasingly high monetary values at auction, with many works massively exceeding their modest auction estimates, as can be seen in the examples set out below.
But there is always a need to be extremely cautious and scrutinise the legitimacy of the work and any descriptors that are given, for errors. Identifying any historically incorrect attributions that have been previously given is vitally important, as they may need to be researched, investigated and clarified.

 Unfortunately sometimes there are artist attributions that are deliberately falsified to deceive potential buyers. So any formal attribution should be examined very carefully indeed, if only to verify that the quality, level of academicism and the accuracy of that assignment to the artist is well established and rightfully ascribed. Confirming that it is specifically accurate, correctly researched and a credible academic attribution is essential and it should always be kept in mind, that any attribution, no matter at what level of credibility or status it comes from, is still only an opinion that the work 'might' be by that artist. 

It's a matter of your personal interpretation, discretion and judgement as to how you view and indeed, respect it.

 There are differing levels of forgery that we encounter in our fine art authenticity and attribution investigations.  Most commonly seen are those that are created with simple the addition of a fake signature or monogram, usually applied to an otherwise similar work of art to that of the artist it is claiming to be by.
The painting or drawing only has to be one of a comparable type, similar subject and of reasonable age to be passed off as an original, but in reality is one that was created by an anonymous follower. An artist who was only painting in the style of that artist.

This type of fraud we see far, far too often and has been going on in the art world for centuries, making the task of investigating a given attribution or underpinning a work of arts authenticity, an involved and often complex responsibility.

 To help understand the generally observed and well accepted semantics that are used in auction descriptions, they are set out further down this page. They define exactly what the 'expert' view of the work being offered is and they can also have a distinct bearing on the financial outcome. So be cautious that you don't miss the often well 'disguised' attribution. One that is carefully placed or even hidden somewhere in that descriptor which starts off by stating that it actually is BY the artist.

***

 We are able to assist and advise you in all fine art related matters, particularly issues relating to the investigation of the legitimacy and attributions of European old master fine art, including the works of Marten van Cleve, his circle and any other work of art that you need assistance or advice with.

 Some examples associated with this name appear below simply as comparative illustrations.

*No inference is made, nor is it intended as to the question of their legitimacy here on this page. Moreover they are an across the board, representational view of the differing types of works of art that have, are, or may in the future be offered and advertised for sale at auction internationally in the public domain that you may 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 expert professional formalities, responsibilities and areas of scrutiny that we can formally assist you with. These include:

• 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 all clients before they embark on a full investigation into the legitimacy of art, or an artist or studio attribution inquiry, that it is very wise to engage us to undertake an impartial preliminary assessment of viability conducted first. One that is 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 and 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 formerly have had conducted on it. You should then have a far better understanding of both the prospects that lie ahead, 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.

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* ABOUT A WORK OF ARTS DESCRIPTOR AND ITS TERMINOLOGY *

As if in this case as if they were defining the works of the artist;  

Marten van Cleve The Elder - Flemish (ANTWERP CIRCA 1527 - BEFORE 24 NOVEMBER 1581)

  *It is very important to clearly understand the general auction terms that are widely used in a 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 an applied signature' or monogram.

•  Where the name, Marten van Cleve the Elder (Circa 1527 - 1581) is given with the first name/s and surname of the artist, usually cited as,Marten van Cleve including the 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 specific 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 that artist.

•  When Marten van Cleve the Elder (Circa 1527 - 1581) is the term used, or it is similarly defined as Attrib. to ' [abbreviated,] or Attribue, imputer à, imputée, or atribudo, 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 only 'possibly' may be by the artist.

•  But if the term Marten van Cleve the Elder (Circa 1527 - 1581) - circle of, entourage, or “Circle of ”Marten van Cleve 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, assistant or student.

•  When the name is given thus; Painted in the “Style of or “Follower of Marten van Cleve the Elder (Circa 1527 - 1581) is used, this means that in their opinion it is a work of art executed only in the artist’s way, in 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 of Marten van Cleve 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 Marten van Cleve" 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 -Marten van Cleve; “Dated….” or “Inscribed Marten van Cleve” 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, Marten van Cleve is specified followed by the words; "With signature ….”, or “With date ….” or “With ......inscription….” or “Bears signature of Marten van Cleve, / date / or inscription” Then in 'their opinion,' either the signature / date / or inscription is spurious, apocryphal, of doubtful authenticity, forged and 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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