<?xml version="1.0" encoding="UTF-8"?><rss xmlns:dc="http://purl.org/dc/elements/1.1/" xmlns:content="http://purl.org/rss/1.0/modules/content/" xmlns:atom="http://www.w3.org/2005/Atom" version="2.0"><channel><title><![CDATA[Van Weyenbergh Fine art]]></title><description><![CDATA[Independent art authentication & appraisal. 40 years experience, 45,000+ clients. Evidence-based verdicts for collectors worldwide.]]></description><link>https://www.vwart.com/blog</link><generator>RSS for Node</generator><lastBuildDate>Thu, 06 Aug 2026 08:32:00 GMT</lastBuildDate><atom:link href="https://www.vwart.com/ru/blog-feed.xml" rel="self" type="application/rss+xml"/><item><title><![CDATA[$1M Picasso gouache offered in auction was fake.]]></title><description><![CDATA[Overview of the Engagement FAE.LLC was retained by a private client to provide an independent pre-auction risk assessment concerning a gouache attributed to Pablo Picasso, offered by a major international auction house. Auction Estimate: USD 1,000,000 – 1,200,000 Proposed Transaction: Public auction bidding Scope of Engagement: Advisory opinion only No financial interest held by FAE.LLC in the auction outcome The client sought a risk-based evaluation, not a confirmation of authenticity....]]></description><link>https://www.vwart.com/post/1m-picasso-gouache-offered-in-auction-was-fake</link><guid isPermaLink="false">6a36d6e0a8977cb11dd62887</guid><pubDate>Sat, 20 Jun 2026 18:07:36 GMT</pubDate><enclosure url="https://static.wixstatic.com/media/36657e_4c02e225b7a34ddd9596f989bbe3809a~mv2.jpg/v1/fit/w_1000,h_1000,al_c,q_80/file.png" length="0" type="image/png"/><dc:creator>gerard van weyenbergh</dc:creator></item><item><title><![CDATA[Foundation refused COA, but is it real or fake]]></title><description><![CDATA[Many serious collectors are holding masterworks that are 100% authentic, yet they are un-sellable because a major foundation refused authentication. Why? Often, it’s not about the art; it’s about liability and legal bureaucracy at the foundation level. Instead of a COA, they offer you an “insertion in the catalogue raisonné.” We are changing that. We specialize in the difficult 5% of submissions—the masterpieces that require forensic provenance research, stylistic analysis, and absolute...]]></description><link>https://www.vwart.com/post/foundation-refused-coa-but-is-it-real-or-fake</link><guid isPermaLink="false">6a36d632a8977cb11dd626bf</guid><pubDate>Sat, 20 Jun 2026 18:05:02 GMT</pubDate><enclosure url="https://static.wixstatic.com/media/36657e_aa6e0a56c3cd4d8694b37efc870e6430~mv2.jpg/v1/fit/w_480,h_600,al_c,q_80/file.png" length="0" type="image/png"/><dc:creator>gerard van weyenbergh</dc:creator></item><item><title><![CDATA[Why this Picasso is Fake in my opinion]]></title><description><![CDATA[1. The signature The red “Picasso” inscription is mechanical and decorative, not calligraphic. Picasso’s authentic signatures are: rhythmical, confident, alive integrated into the painting logic Major red flag. Despite Cinzia Altieri analysis. 2. The drawing quality Picasso could distort anatomy but never lose control. What we see here: Confused facial construction Eyes placed without structural logic No tension between planes No mastery of line economy This is Picasso-style mimicry, not...]]></description><link>https://www.vwart.com/post/why-this-picasso-is-fake-in-my-opinion</link><guid isPermaLink="false">6a36d497a8977cb11dd6229f</guid><pubDate>Sat, 20 Jun 2026 18:00:21 GMT</pubDate><enclosure url="https://static.wixstatic.com/media/36657e_0fa02b2a2ed74c76aa1a77ad649806c0~mv2.png/v1/fit/w_880,h_1000,al_c,q_80/file.png" length="0" type="image/png"/><dc:creator>gerard van weyenbergh</dc:creator></item><item><title><![CDATA[The Dangerous Art Expert, part 3 ]]></title><description><![CDATA[The Difference Between Confidence and Certainty Collectors often misunderstand confidence. An expert may speak confidently. That does not mean certainty exists. Confidence reflects conviction. Certainty reflects proof. The two are not interchangeable. One of the most important habits a collector can develop is listening carefully to language. Notice the difference: “I believe this work is authentic.” “This work appears consistent with the artist’s practice.” “In my opinion, the evidence...]]></description><link>https://www.vwart.com/post/the-dangerous-art-expert-part-3</link><guid isPermaLink="false">6a341aeb217d21f7fb5f4f4e</guid><pubDate>Thu, 18 Jun 2026 16:45:04 GMT</pubDate><enclosure url="https://static.wixstatic.com/media/36657e_9bc0cda4e2ac498f8f88589972740514~mv2.png/v1/fit/w_1000,h_1000,al_c,q_80/file.png" length="0" type="image/png"/><dc:creator>gerard van weyenbergh</dc:creator></item><item><title><![CDATA[The Dangerous Art Expert, part 2 ]]></title><description><![CDATA[The Famous Name Trap Many collectors believe that hiring the most famous expert guarantees the best result. Reputation certainly matters. Experience matters. Scholarship matters. But fame alone is not protection. History is filled with respected authorities who later proved incorrect. Some attributed works that were later rejected. Others rejected works that were later accepted. No reputation eliminates the possibility of error. Collectors often confuse prestige with certainty. The two are...]]></description><link>https://www.vwart.com/post/the-dangerous-art-expert-part-2</link><guid isPermaLink="false">6a3418bd217d21f7fb5f4888</guid><pubDate>Thu, 18 Jun 2026 16:15:54 GMT</pubDate><enclosure url="https://static.wixstatic.com/media/36657e_3760476d8d2344ed8c809857b97ed35e~mv2.png/v1/fit/w_1000,h_1000,al_c,q_80/file.png" length="0" type="image/png"/><dc:creator>gerard van weyenbergh</dc:creator></item><item><title><![CDATA[The Dangerous Expert, part 1 ]]></title><description><![CDATA[Why Expertise Can Protect You—or Cost You a Fortune Most collectors believe that once an expert becomes involved, uncertainty disappears. The logic seems reasonable. An expert has knowledge. An expert has experience. An expert has credentials. Therefore, the expert should know the answer. If only it were that simple. During my decades in the art world, I have learned a lesson that surprises many collectors: The greatest risks often emerge not when there is no expert involved, but when the...]]></description><link>https://www.vwart.com/post/the-dangerous-expert-part-1-1</link><guid isPermaLink="false">6a3415a395f3c9cf74d1e989</guid><pubDate>Thu, 18 Jun 2026 16:05:58 GMT</pubDate><enclosure url="https://static.wixstatic.com/media/36657e_b66a8ffa29e347c094889f2d26fe6a12~mv2.png/v1/fit/w_1000,h_1000,al_c,q_80/file.png" length="0" type="image/png"/><dc:creator>gerard van weyenbergh</dc:creator></item><item><title><![CDATA[Why Auction Estimates Mean Almost Nothing, part 3]]></title><description><![CDATA[Why Experts and Auction Houses Disagree Another common misunderstanding is the assumption that auction estimates and expert opinions should always align. They frequently do not. An art expert may focus on authenticity, rarity, historical importance, condition, and provenance. An auction specialist may focus on current demand. Both can be correct. A work can be historically significant and commercially weak. Another work can be historically modest and commercially strong. The market does not...]]></description><link>https://www.vwart.com/post/why-auction-estimates-mean-almost-nothing-part-3</link><guid isPermaLink="false">6a32bf34cf81212a9feb5b54</guid><pubDate>Wed, 17 Jun 2026 15:41:50 GMT</pubDate><enclosure url="https://static.wixstatic.com/media/36657e_2855086ef8ba431e84280b75726200c1~mv2.png/v1/fit/w_1000,h_1000,al_c,q_80/file.png" length="0" type="image/png"/><dc:creator>gerard van weyenbergh</dc:creator></item><item><title><![CDATA[Why Auction Estimates Mean Almost Nothing, part 2]]></title><description><![CDATA[The Psychology of High Estimates The opposite can also occur. A work receives a strong estimate. The owner is pleased. Expectations rise. The catalogue appears impressive. Then bidding begins. And stops. The work fails to sell. Collectors often assume a high estimate indicates confidence. Sometimes it does. Other times it simply reflects the auction house’s desire to secure the consignment. Auction houses compete aggressively for desirable property. A generous estimate can help convince an...]]></description><link>https://www.vwart.com/post/why-auction-estimates-mean-almost-nothing-part-2</link><guid isPermaLink="false">6a32bdd59b47a7f91ae66bc7</guid><pubDate>Wed, 17 Jun 2026 15:35:06 GMT</pubDate><enclosure url="https://static.wixstatic.com/media/36657e_f28935c48c0d460684aed367d8870dc1~mv2.png/v1/fit/w_1000,h_1000,al_c,q_80/file.png" length="0" type="image/png"/><dc:creator>gerard van weyenbergh</dc:creator></item><item><title><![CDATA[Why Auction Estimates Mean Almost Nothing, part 1]]></title><description><![CDATA[For many collectors, an auction estimate feels like an objective statement of value. \The catalogue says: Estimate: $100,000–150,000 The owner immediately assumes the work is worth at least $100,000. Sometimes much more. After all, if a respected auction house published the estimate, surely it must reflect careful research and market knowledge. That assumption has cost collectors enormous amounts of money. One of the most persistent myths in the art market is that auction estimates represent...]]></description><link>https://www.vwart.com/post/why-auction-estimates-mean-almost-nothing-part-1</link><guid isPermaLink="false">6a32bb3acf81212a9feb51f7</guid><pubDate>Wed, 17 Jun 2026 15:27:55 GMT</pubDate><enclosure url="https://static.wixstatic.com/media/36657e_030214ffb0524b10a6ca6bf4e073cd98~mv2.png/v1/fit/w_1000,h_1000,al_c,q_80/file.png" length="0" type="image/png"/><dc:creator>gerard van weyenbergh</dc:creator></item><item><title><![CDATA[The Provenance Illusion, part 4]]></title><description><![CDATA[The Investigator’s Mindset Serious provenance research requires skepticism. Not cynicism. Not negativity. Skepticism. Researchers must learn to ask uncomfortable questions. What evidence is missing? Who benefits from this narrative? Can this claim be independently verified? What would happen if this document did not exist? What evidence supports the conclusion beyond the story itself? The objective is not to disprove authenticity. The objective is to determine whether the historical record...]]></description><link>https://www.vwart.com/post/the-provenance-illusion-part-4</link><guid isPermaLink="false">6a306203c0b3ed92b0fb9c0b</guid><pubDate>Mon, 15 Jun 2026 20:37:21 GMT</pubDate><enclosure url="https://static.wixstatic.com/media/36657e_e63dd057b89b463d9cb21d6a96c19cde~mv2.png/v1/fit/w_1000,h_1000,al_c,q_80/file.png" length="0" type="image/png"/><dc:creator>gerard van weyenbergh</dc:creator></item><item><title><![CDATA[The Provenance Illusion, part 3]]></title><description><![CDATA[Provenance Versus Ownership Many collectors confuse provenance with ownership. They are not the same thing. Ownership answers a legal question: Who possesses title? Provenance answers a historical question: Where has the object been? A collector may legally own a painting while knowing very little about its history. Likewise, a painting may possess a long historical record while still presenting ownership complications. This distinction becomes especially important in cases involving wartime...]]></description><link>https://www.vwart.com/post/the-provenance-illusion-part-3</link><guid isPermaLink="false">6a3060e2c0b3ed92b0fb987a</guid><pubDate>Mon, 15 Jun 2026 20:32:55 GMT</pubDate><enclosure url="https://static.wixstatic.com/media/36657e_4f8bb879bfa24405a79b9a2b318ec485~mv2.png/v1/fit/w_1000,h_1000,al_c,q_80/file.png" length="0" type="image/png"/><dc:creator>gerard van weyenbergh</dc:creator></item><item><title><![CDATA[The Provenance Illusion, part 2]]></title><description><![CDATA[The Missing Link Problem One missing document can change everything. Consider a painting allegedly acquired in Paris in 1925. The family possesses photographs dating back to the 1950s. The painting appears in an estate inventory from 1974. The current owner inherited it from a parent. Everything appears consistent. Until one question arises: How did the painting enter the family between 1925 and 1950? Twenty-five years have disappeared. That gap may be entirely innocent. Or it may contain the...]]></description><link>https://www.vwart.com/post/the-provenance-illusion-part-2</link><guid isPermaLink="false">6a30553b2e35c99df8d54565</guid><pubDate>Mon, 15 Jun 2026 19:41:35 GMT</pubDate><enclosure url="https://static.wixstatic.com/media/36657e_b2e76c288d334a259cb6410bff83b3f9~mv2.png/v1/fit/w_1000,h_1000,al_c,q_80/file.png" length="0" type="image/png"/><dc:creator>gerard van weyenbergh</dc:creator></item><item><title><![CDATA[The Provenance Illusion, part 1 ]]></title><description><![CDATA[When Perfect Histories Hide Problems If there is one word capable of transforming an ordinary painting into a highly desirable asset, it is provenance. Collectors speak of provenance with reverence. Auction houses highlight it in catalogues. Dealers emphasize it in conversations. Museums examine it before considering acquisitions. Insurers, attorneys, and estate planners often rely upon it when assessing risk. A strong provenance can increase confidence. A weak provenance can create doubt....]]></description><link>https://www.vwart.com/post/the-provenance-illusion-part-1</link><guid isPermaLink="false">6a3051fdb7a8fae04ebba2f1</guid><pubDate>Mon, 15 Jun 2026 19:34:04 GMT</pubDate><enclosure url="https://static.wixstatic.com/media/36657e_1d3a1f4b9f554d84ba20309701bdd791~mv2.png/v1/fit/w_1000,h_1000,al_c,q_80/file.png" length="0" type="image/png"/><dc:creator>gerard van weyenbergh</dc:creator></item><item><title><![CDATA[Why Certificates of Authenticity do not Protect You, part 3]]></title><description><![CDATA[Authentication Is a Process, Not a Piece of Paper The public often imagines authentication as a single event. An expert looks at a painting. A certificate is issued. The case is closed. Serious authentication rarely works this way. Instead, it involves layers of evidence: ·       Provenance research ·       Historical analysis ·       Stylistic examination ·       Comparative study ·       Scientific testing ·       Materials analysis ·       Archival investigation ·       Market history The...]]></description><link>https://www.vwart.com/post/why-certificates-of-authenticity-do-not-protect-you-part-3</link><guid isPermaLink="false">6a2eace9418318a8f7e6637b</guid><pubDate>Sun, 14 Jun 2026 13:33:19 GMT</pubDate><enclosure url="https://static.wixstatic.com/media/36657e_98885d7a1808479c9d623e7eb67764ec~mv2.png/v1/fit/w_1000,h_1000,al_c,q_80/file.png" length="0" type="image/png"/><dc:creator>gerard van weyenbergh</dc:creator></item><item><title><![CDATA[Why Certificates of Authenticity do not Protect You, part 2 ]]></title><description><![CDATA[The Certificate That Destroyed Value Collectors often assume that obtaining a certificate can only help. Sometimes the opposite occurs. I have seen situations where an owner sought a certificate hoping to strengthen value, only to receive a negative opinion from a recognized authority. Overnight, the marketability of the work changed dramatically. The irony is that before seeking the opinion, uncertainty existed. After receiving the opinion, the uncertainty became documented. In the upper...]]></description><link>https://www.vwart.com/post/why-certificates-of-authenticity-do-not-protect-you-part-2</link><guid isPermaLink="false">6a2de5e000dbe48b1c78112d</guid><pubDate>Sat, 13 Jun 2026 23:24:11 GMT</pubDate><enclosure url="https://static.wixstatic.com/media/36657e_68832efa23fa4ba281509357967a3299~mv2.png/v1/fit/w_1000,h_1000,al_c,q_80/file.png" length="0" type="image/png"/><dc:creator>gerard van weyenbergh</dc:creator></item><item><title><![CDATA[Why Certificates of Authenticity do not Protect YOU! part 1 ]]></title><description><![CDATA[The day a collector acquires a certificate of authenticity is often the day they stop asking questions. That is understandable. A certificate feels reassuring. It has a letterhead. It bears a signature. It may include photographs, descriptions, dimensions, and even official-looking seals. To many buyers, a certificate appears to represent certainty. In reality, a certificate often represents nothing more than an opinion. During more than four decades in the art world, I have encountered...]]></description><link>https://www.vwart.com/post/why-certificates-of-authenticity-do-not-protect-you-part-1</link><guid isPermaLink="false">6a2d8481418318a8f7e4658f</guid><pubDate>Sat, 13 Jun 2026 16:58:19 GMT</pubDate><enclosure url="https://static.wixstatic.com/media/36657e_68832efa23fa4ba281509357967a3299~mv2.png/v1/fit/w_1000,h_1000,al_c,q_80/file.png" length="0" type="image/png"/><dc:creator>gerard van weyenbergh</dc:creator></item><item><title><![CDATA[Why Some Experts Should Never Authenticate Art]]></title><description><![CDATA[The art world places enormous value on expertise. Collectors, museums, attorneys, insurers, and auction houses often rely on specialists to evaluate works of art that may be worth thousands—or millions—of dollars. Yet one of the least discussed realities of the market is that not every expert is qualified to authenticate art. In fact, some experts should never authenticate art at all. That statement may sound controversial, but it reflects a problem that affects collectors every year. A...]]></description><link>https://www.vwart.com/post/why-some-experts-should-never-authenticate-art</link><guid isPermaLink="false">6a2c406044c7bef1d02e2b00</guid><pubDate>Fri, 12 Jun 2026 17:27:51 GMT</pubDate><enclosure url="https://static.wixstatic.com/media/36657e_fbc301c9cb32486b8953ad4c6f64f63a~mv2.png/v1/fit/w_1000,h_1000,al_c,q_80/file.png" length="0" type="image/png"/><dc:creator>gerard van weyenbergh</dc:creator></item><item><title><![CDATA[Collective Art Ownership: The New Investment Model]]></title><description><![CDATA[How Fine Art Is Becoming Accessible to a New Generation of Investors For centuries, ownership of important works of art was reserved for museums, wealthy families, institutions, and a relatively small circle of elite collectors. Acquiring a museum-quality painting often required hundreds of thousands—or even millions—of dollars in capital.  Today, a new model is emerging. Through the collective ownership initiatives developed by Fine Art Expertises LLC and supported by the research...]]></description><link>https://www.vwart.com/post/collective-art-ownership-the-new-investment-model</link><guid isPermaLink="false">6a2987fea83c9aa62bd3a079</guid><pubDate>Wed, 10 Jun 2026 16:02:08 GMT</pubDate><enclosure url="https://static.wixstatic.com/media/36657e_9cb79e98a08b48a7a546510e8a2fb6fd~mv2.png/v1/fit/w_1000,h_1000,al_c,q_80/file.png" length="0" type="image/png"/><dc:creator>gerard van weyenbergh</dc:creator></item><item><title><![CDATA[A Genuine Painting Can Still Be Difficult to Sell | VWART]]></title><description><![CDATA[Why authenticity, documentation, and market acceptance are not the same thing Many collectors assume that once a painting is genuine, selling it should be straightforward. Unfortunately, the art market does not work that way. A painting may have been created by the artist and still be rejected by auction houses, questioned by buyers, excluded from a catalogue raisonné, or considered too risky to handle. An impressive certificate may offer reassurance but carry little authority in the current...]]></description><link>https://www.vwart.com/post/why-authenticity-documentation-and-market-acceptance-are-not-the-same-thing</link><guid isPermaLink="false">6a284e47bcf454bfefde78df</guid><pubDate>Tue, 09 Jun 2026 17:37:36 GMT</pubDate><enclosure url="https://static.wixstatic.com/media/36657e_464ddbf9db27407c91feb11bf272f9bb~mv2.png/v1/fit/w_1000,h_1000,al_c,q_80/file.png" length="0" type="image/png"/><dc:creator>gerard van weyenbergh</dc:creator></item><item><title><![CDATA[Why Authenticity Should Always Come Before Value]]></title><description><![CDATA[The Costly Mistake Many Art Collectors Make One of the most common mistakes in the art market is assuming that a high value automatically confirms authenticity. It does not. Experienced collectors, museums, and sophisticated investors generally follow a simple sequence when evaluating a work of art: Step One Establish authenticity. Step Two Determine market value. Step Three Obtain insurance coverage and documentation. Unfortunately, many collectors reverse this process. They obtain an...]]></description><link>https://www.vwart.com/post/why-authenticity-should-always-come-before-value</link><guid isPermaLink="false">6a26f48ba7cc9d295b40bc7a</guid><pubDate>Mon, 08 Jun 2026 17:06:21 GMT</pubDate><enclosure url="https://static.wixstatic.com/media/36657e_55de5f39486c49d4b4237801f0c8fdd5~mv2.png/v1/fit/w_1000,h_1000,al_c,q_80/file.png" length="0" type="image/png"/><dc:creator>gerard van weyenbergh</dc:creator></item></channel></rss>