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

Peter van de Velde

van den Velde

(Antwerp, 1634 – Antwerp, 1723/24)

Flemish Baroque marine painter who monogrammed his work with P.V.V. or PVV

 Peter van de Velde was  born into a renown family of Flemish artists. The grandson of marine artist Willem van de Velde the Elder and son of Willem van de Velde the Younger. One of six children,following the family tradition; Willem (b. 1667), Cornelis (active 1675–1729), and Peter all became painters. He studied with the marine painter Simon de Vlieger in Amsterdam.

 Van de Velde ran a very successful marine painting workshop in Antwerp where he became a master of the Guild of St. Luke and it is recorded he had a large number of pupils and employed other workshop assistants to help in the creation of over 50 major works in only six years, commissioned by Antwerp art dealers Forchondt and exported to Vienna. It seems the van de Velde studio was a prolific and successful business. There is some confusion however, as to whether there were actually two painters involved with the studios creative output, father and son working together who both signed and monogrammed with the same name, Peter van de Velde.

 In recent years an increasing number of works ascribed to this name or from this workshop, have been consigned to auctions across the world and not surprisingly getting high prices. Subsequently, as the values of his works of art rise, there is also a greater need for caution and for confirmation of legitimacy. As well as to establishing the correctness of a previously given attribution, or assessing that a descriptor is accurate of a particular painting being offered.

 It would be fair to say that unknown major works are well catalogued and are unlikely to surface though not impossible. But that does not follow for any lesser works of art that could appear from the depths of time, or that they are presented as being by him or his studio.

Yet some works over time may have been mistakenly attributed to him and his studio in the past and some deliberately so. Others that originated specifically from his workshop may be from the hands of his students, apprentices or assistants.

 Common distractions employed by those who are intent on deception today and in yesteryear, is to find a vaguely similar, preferably anonymous painting or drawing, executed in a similar style to that of the artist. Add to it, a copied signature or monogram in this case, a forged atelier, studio, or auction house stamp, or add a new and persuasive inscription relating to it or a gallery label and the attempt at fraud is near complete. This is easily the most common form of forgery that we encounter and it has been happening for centuries.

 Works that do emerge will require both a comprehensive and thorough investigation of their backgrounds and authenticity, to confirm that any previously given attribution is indeed correct, or that a description of a work of art which is seemingly by Peter van de Velde can truly be relied upon. In that respect, we can certainly help.

* * *

 As an international specialist fine art consultancy, bases in the UK and Europe, we have been confidentially serving both private individuals and corporate clients around the world for over 45 years. Investigating both single works of art and complete collections for clients, and conducting in-depth legitimacy inquiries, full academic and forensic investigations and multilingual archival research into the origins of all old and modern master works of art from different geographical regions and periods. We also scrutinize and research the provenance and 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 Peter van de Velde, his circle, his workshop, or those of his followers, or any works of art that you are unsure about.

Some example works of art appear below as illustrations.

Note: No inference is made, nor is it intended as to the question of legitimacy. Moreover these are an across the board representational view of the differing types of works that are and may be offered and advertised for sale at auction internationally.

  Fine Art Authentication

  The duration and the direction of any authenticity investigation or 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 attribution study, that it is wise to have an impartial preliminary assessment conducted first. One made to consider and balance any issues that may be present that could make the longer term exercise unviable.

 This is a professional advisory service we offer, 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.

  Avant d'entreprendre une enquête sur l'authenticité d'une œuvre d'art ou l'attribution d'un artiste, il est plus que prudent de procéder à une évaluation impartiale de sa faisabilité. Ceci est fait pour équilibrer indépendamment tous les problèmes négatifs qui peuvent exister contre le positif.

Nous serons heureux d'entreprendre cette étude d'une manière professionnelle pour vous que nous considérons comme votre principal filet de sécurité.
Il sera basé sur les images que vous fournissez et tous les faits connus concernant votre acquisition, son passé et la provenance de l'œuvre telle que vous la connaissez.
Vous aurez alors une meilleure compréhension des perspectives et des difficultés éventuelles à venir, avant de prendre une décision.

  Antes de embarcarse en cualquier investigación de autenticidad artística o atribución de artista, es más que prudente realizar primero una evaluación imparcial de su viabilidad. Esto se hace para equilibrar independientemente cualquier problema negativo que pueda haber contra el positivo.

Nos complace emprender profesionalmente ese estudio para usted, que consideramos su red de seguridad. Se basará en las imágenes que usted suministre y todos los hechos conocidos con respecto a su adquisición, historia pasada y procedencia del trabajo tal como lo conoce.

Entonces tendrá una mejor comprensión.

ABOUT A WORK OF ART DESCRIPTOR AND TERMINOLOGY

  *It is important to very 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 Peter van de Velde (Antwerp 1634-1723) and his workshop.

•  Where the name, Peter van de Velde (Antwerp 1634-1723) is given with the first name/s and surname of the artist, usually cited as Peter van de Velde (Antwerp 1634-1723) , 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 Attributed to Peter van de Velde 1634-1723  is used, or it is similarly defined as 'ascribed to' or '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 Peter van de Velde - circle of, entourage, or “Circle of Peter van de Velde ” 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 Peter van de Velde ” or “Follower of Peter van de Velde 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 of Peter van de Velde 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….Peter van de Velde "; 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 - Peter van de Velde ; “Dated….” or “Inscribed Peter van de Velde ” 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, Peter van de Velde is specified followed by the words; "With signature ….”, or “With date ….” or “With inscription….” or “Bears signature of Peter van de Velde /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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