Steps to make in an art authenticity research

As an illustration, a client in Abu Dhabi asks me to conduct research on a Picasso he found in his attic. Step 1: I first request that the purchaser supply front and back photographs of the artwork in very high quality. We will ask for pictures of any labels, markings on the stretcher or frame, or damage to the painting. I evaluate these images to determine whether or not we are looking at a "potential" genuine Picasso. If certain characteristics indicate that Picasso could not have created the work, we inform the owner and explain why we will not conduct an authenticity investigation. Step 2: I request an explanation from the owner as to how he came to own the piece of art. Provenance is the term for this stage. I need to be given as much information as possible about the painting's full, verifiable history. If the provenance is scant, I will inform the purchaser that getting an authentication will be difficult but not impossible. If there is acceptance of my future proposal, I will make an effort to look for remnants of the painting in galleries, museums, etc. At this stage, I'll ask for close-up photographs of the painting's details, the artist's signature, the artist's brushstrokes, the painting's most important details, a close-up of the canvas, etc. There is no fee up until this point for the time used. Step 3: If all of these evidence points to the existence of a genuine Picasso painting, I will remark that I must visit the artwork in Abu Dhabi, Los Angeles, or another location that is convenient for us both. We will now discuss a first proposal to examine the picture itself, which will include travel expenses, lodging, and a fixed rate for the time spent. Step 4 : On-site painting analysis. (The next chapter will explain how it works.) Step 5: If the artwork still appears to be an authentic Picasso, I will suggest to the client starting an authentication research file and will submit a second bid to create this research file. The owner will always have possession of the painting. The two suggestions indicated in steps 3 and 4 are sometimes combined into a single proposal. Step 6: The file is sent to the only universal authenticator that is acknowledged, in this case, the Picasso Administration in Paris. Each painter has a unique, universally accepted authenticator. To process the research file, some authenticators, foundations, or committees may charge a fee. - to do a physical analysis of the artwork Some committees, like the "Comite Chagall," only meet twice a year to examine the files given to them. Because of this, authentication study will often take three to four months but occasionally considerably longer. It took the Getty Museum ten years to confirm the authenticity of a Raphael picture that belonged to a British nobleman. Finally, the UK government forbade the shipping of the Raphael painting to the USA, thus they were unable to purchase the art. S tep 7: A certificate of authenticity or assurance that the artwork will be included in the future edition of the artist's "catalogue raisonne" will be provided by the authenticator, committees, and foundation. Regarding the fakes and the online experts (chapter to follow), experts are currently hesitant to provide certificates of authenticity because, if the request's outcome is unfavorable, an owner may sue them. The single authorized authenticator will release a "catalogue raisonne" of the artist's works in order to get around this issue. This catalog will contain a photograph of each item, often in black and white, together with information about its origin, size, date and place of creation, and title. Included in an authenticity certificate are: - The picture of the artwork; - information about it, such as its dimensions, annotations, signature, labels, and the time it was made. - The certificate's issue date. - The expert's name, his signature, and his full, precise address. - The expert's seal of approval. - The reference number to the expert's archives.

Sample of a fake COA for a Miro painting © Gerard Van Weyenbergh - www.vwart.com