Many paintings are not signed. As a result, we must attribute them to an artist. When this is impossible, we speak of an anonymous artist and indicate the century and the school (example: Flemish school, 16th century). Often, however, it is possible to determine a link with an artist. This link may be certain, in which case we will say that the work is ‘from’ or ‘by’ Rubens, or it may be uncertain. If a slight doubt persists, we say that the painting is ‘attributed to’ Rubens. If it is believed that the painting was not painted by the master, but by one of his students, it will be referred to as a work from Rubens’ ‘workshop’. If the link seems a bit less solid (i.e. that the painting dates from the master’s period, although under his influence, was not painted by the master or his workshop), the work will be said to have been produced by Rubens’ ‘entourage’ or by one of Rubens’ ‘followers’. Finally, if the work dates from a later period (and sometimes several centuries later), the work will be referred to as a painting ‘in the manner of’ or ‘in the style of’, or even ‘based on’.

Although all of this must be very accurate, the difficulty of assessing the degree of an artist’s authorship in relation to the work persists. The challenge is especially great as a work considered to have been produced by Rubens is worth much more than a work produced by his workshop and even more than a work produced ‘in the style of Rubens’. As a result of incompetence, dishonesty, or even a combination of the two, it is very easy (much easier than affixing a false signature) to decide that the work is not from Rubens’ entourage, but was instead painted by the master himself.

When purchasing a work of art, although the amateur cannot count on his erudition, he must trust the seller. In other words, his only guarantee will be the latter’s competence and professionalism. Accordingly, our first piece of advice is to contact a professional known for his knowledge in his area of activity. One does not visit a flee market to purchase a Rubens. Needless to say, this does not mean that all of Rubens’ works sold by ‘major’ dealers are authentic; it merely means that there is less of a chance of being deceived. This piece of advice is particularly valid for auction rooms, in which case it is important to check the identity of the room’s expert before making the slightest bid, otherwise this may lead to serious disappointment. In this case, the best advice to give is never to be satisfied with the opinion of a single seller, unless the latter can support what he says with solid arguments (dossier prepared by a well-known art historian or a favourable opinion by a person known as an authority who is known not to have any financial interest in the transaction in question). If the seller does not offer conclusive arguments (it is a Rubens because I am completely convinced that it is), one should not hesitate to take the initiative and contact an independent third party or... refrain from buying!

When we talk about forgeries we naturally think about paintings that have been tampered with, if not fully forged works. The range of forgeries is very broad, from ‘improved’ paintings, to which one or more characters have been added to a period painting on which a false signature has been affixed. Certain forgeries are glaring, while others are more difficult to detect. With a little practice, certain manipulations can be uncovered. One of the classics is clearly a forged signature that covers the network of cracks: if the signature had been authentic, it would have aged with the rest of the pictorial layer and would also be cracked. However, you should be aware that a false signature does not necessarily mean that the painting is a forgery! Indeed, it is possible for an unsigned painting to have received a forged signature at a later time that nevertheless corresponds well to the identity of its author, simply with a view to being more convincing! One must also pay attention to all of the peripheral elements that are sometimes intended to confuse: old labels on the back of the painting attesting to its authenticity, seals from non-existent collections, etc. Finally, a painting restored improperly cannot be considered as authentic.

The Bounameaux office will assist you in the expertise of a work of art. Please do not hesitate to contact us. Together we will consider the best solution in total discretion.



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		Many paintings are not signed. As a result, we must attribute them to an artist. When this is impossible, we speak of an anonymous artist and indicate the century and the school (example: Flemish school, 16th century). Often, however, it is possible to determine a link with an artist. This link may be certain, in which case we will say that the work is ‘from’ or ‘by’ Rubens, or it may be uncertain. If a slight doubt persists, we say that the painting is ‘attributed to’ Rubens. If it is believed that the painting was not painted by the master, but by one of his students, it will be referred to as a work from Rubens’ ‘workshop’. If the link seems a bit less solid (i.e. that the painting dates from the master’s period, although under his influence, was not painted by the master or his workshop), the work will be said to have been produced by Rubens’ ‘entourage’ or by one of Rubens’ ‘followers’. Finally, if the work dates from a later period (and sometimes several centuries later), the work will be referred to as a painting ‘in the manner of’ or ‘in the style of’, or even ‘based on’. Although all of this must be very accurate, the difficulty of assessing the degree of an artist’s authorship in relation to the work persists. The challenge is especially great as a work considered to have been produced by Rubens is worth much more than a work produced by his workshop and even more than a work produced ‘in the style of Rubens’. As a result of incompetence, dishonesty, or even a combination of the two, it is very easy (much easier than affixing a false signature) to decide that the work is not from Rubens’ entourage, but was instead painted by the master himself. When purchasing a work of art, although the amateur cannot count on his erudition, he must trust the seller. In other words, his only guarantee will be the latter’s competence and professionalism. Accordingly, our first piece of advice is to contact a professional known for his knowledge in his area of activity. One does not visit a flee market to purchase a Rubens. Needless to say, this does not mean that all of Rubens’ works sold by ‘major’ dealers are authentic; it merely means that there is less of a chance of being deceived. This piece of advice is particularly valid for auction rooms, in which case it is important to check the identity of the room’s expert before making the slightest bid, otherwise this may lead to serious disappointment. In this case, the best advice to give is never to be satisfied with the opinion of a single seller, unless the latter can support what he says with solid arguments (dossier prepared by a well-known art historian or a favourable opinion by a person known as an authority who is known not to have any financial interest in the transaction in question). If the seller does not offer conclusive arguments (it is a Rubens because I am completely convinced that it is), one should not hesitate to take the initiative and contact an independent third party or... refrain from buying! When we talk about forgeries we naturally think about paintings that have been tampered with, if not fully forged works. The range of forgeries is very broad, from ‘improved’ paintings, to which one or more characters have been added to a period painting on which a false signature has been affixed. Certain forgeries are glaring, while others are more difficult to detect. With a little practice, certain manipulations can be uncovered. One of the classics is clearly a forged signature that covers the network of cracks: if the signature had been authentic, it would have aged with the rest of the pictorial layer and would also be cracked. However, you should be aware that a false signature does not necessarily mean that the painting is a forgery! Indeed, it is possible for an unsigned painting to have received a forged signature at a later time that nevertheless corresponds well to the identity of its author, simply with a view to being more convincing! One must also pay attention to all of the peripheral elements that are sometimes intended to confuse: old labels on the back of the painting attesting to its authenticity, seals from non-existent collections, etc. Finally, a painting restored improperly cannot be considered as authentic. The Bounameaux office will assist you in the expertise of a work of art. Please do not hesitate to contact us. Together we will consider the best solution in total discretion.

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