Francesco Guardi Expert International Art Authentication Investigations. Experts in Italian art and artist attribution investigation art forgery & fake art detection,  portrait, figure landscape , ois, drawings

 

Francesco Guardi

Fine Art Authentication Investigations

 
Enquêteurs d'authentification

Investigadores de autentificación

محققو مصادقة فن كوروت

Ermittler der Kunstauthentifizierung

Francesco Guardi

 FINE ART AUTHENTICATION  INVESTIGATION

Investigadores de autenticação da Art

Francesco Guardi

Арт Следователи

艺术真实性调查员

Kunsoutentiteit ondersoeker

פיין קונסט אָטאַנטיסיטי ינוועסטאַגייטער

 
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EXPERT   INTERNATIONAL   FINE   ART   AUTHENTICATION  INVESTIGATORS - ARTIST   ATTRBUTION & LEGITIMACY  INVESTIGATIONS

SPECIALIST  FINE  ART  RESEARCHERS - PROVENANCE  VERIFICATION   SERVICES - FORGERY   DETECTION

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EXPERTS INVESTIGATEURS INTERNATIONAUX EN AUTHENTICITÉ DES BEAUX-ARTS - ARTISTES ATTRIBUTION LEGITIMACY CONSULTATIONS

 

ESPERTI INTERNAZIONALI INDAGINI SULL'AUTENTICAZIONE DELL'ARTE FINE - ATTRIBUZIONE DELL'ARTISTA E RICHIESTE DI LEGITTIMITÀ

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DUE DILIGENCE SCRUTINY - ACQUISIZIONE E GESTIONE DEL PATRIMONIO FINE ART

 

Investigating the Authenticity and Attributions of Works of Art believed to be by;

 

Francesco Guardi  & Studio

(1712-1793)

Italian Venetian School Painter

 

 

 There is some argument and lots of speculation about Francesco Guardi and the basis of his early training as an artist. Mainly because it is simply not well recorded and there are few early works by him that have survived to make comparisons to possible major influences by his tutors. However he came from a traditional family of artists and his father was Domenico, running the busy workshop. But it does not matter in this instance, as we are not compiling yet another biography.

 But he was a master view painter (capricci or capriccio) full of intricate and highly accurate topographical detail, and the Venetians loved them, as did visitors from England. But that happened later, following the deteriorating health of his brother and the need to continue the family tradition and

supplying the bottega, which was half-studio and half-shop, with saleable product.

 His position in art history now becomes literally set in stone and as a result of that standing internationally and with ever increasing huge prices for such sought after works of art, complications can and do arise when similar, stylised works of the same type and near period emerge and they do appear occasionally from the mists of time.

 However, these can sometimes be unsigned and otherwise anonymous works of art which are expertly attributed to a given hand or workshop collaboration. A judgement usually made stylistically and with good academic soundness and highly detailed comparative study and research.  However, there are other artist attributions that are more poorly considered. With some attributors just guessing and others, falsely misattributing a work of art intentionally and for the purpose of nothing other than deception.

 Other contenders arriving on the scene to consider, are artist creating works of art very similar to a particular artist, and may be described as being someone close to the artist and from within their 'circle' of influence. These usually show a greater influence in the artistic handling.

But there are also those paintings created by an artists 'followers' to consider in the equation.

These can be and often are, quite different beasts made by people simply working in a similar style and using comparable forms or subject matter and to a degree, technique, to the artist they admire. And as an artist he was and is deeply admired, thus his works are in demand and inevitably he has been and will be imitated.

There are other less kind synonyms that could be used however..

 With Francesco Guardi, original examples of his oeuvres and those coming from within his workshop, are becoming more and more rare. And with that, they increase steeply in value.


So it is important to be able to distinguish between those pieces that were actually executed by an artist, compared to those either 'claiming' to be by him. Because it could quite possibly be that it's a work bearing a false signature, or an easily applied monogram in some cases, or it is a work that we are told was created by the artist as an attribution, which in actually is in reality only an opinion after all.

And it's patently important to be able to identify and differentiate between those works of art that are authentic examples made by a specific artist and those that are illegitimate.

 So the question will always remain. Is a newly discovered work of art authentic and is an already applied attribution to the artist, or the description of a work of art itself, reliable and ultimately sound? 

In any of those respects we can certainly help.

 

***

 As an international specialist fine art consultancy, also with bases in Europe and the UK, in order to undertake our European Old and Modern Master artist investigative work in person, multilingually archivally, we have been confidentially serving both private individuals and corporate clients around the world for over 45 years.

In so doing, we have investigated both single works of art and complete collections for clients, conducted in-depth authentication and legitimacy investigations and inquiries, directing full academic and forensic applications with multilingual archival research, into the origins of all works of art, from different geographical regions and eras. We also fully scrutinize and research the provenance and ownership lineage for verification purposes.

 

 We are able to assist and advise you in all fine art related matters, particularly issues of the authenticity and attributions of Italian and International Old Master fine art, including the works of Francesco Guardi, his studio and circle and any other piece that you need assistance and advice with.

 Just a few examples of works associated with this name appear below as comparative illustrations.

No inference is made, nor is it intended as to the question of legitimacy here. Moreover these are an across the board, representational view of the differing types of works of art that are and may in the future be offered and advertised for sale at auction internationally that are in the public domain, that you could need specialist advise on.

 

 

 

 

     

Francesco Guardi (Venice 1712-1793)
Venice: the Rialto Bridge with the

Palazzo dei Camerlenghi
Signed ‘GUARDI’
Oil on canvas


Sold GBP £26,205,000.00  !

Francesco Guardi (1712 - 1793)
VENICE, A VIEW OF THE GRAND CANAL

WITH SAN SIMEONE PICCOLO
Signed Franco./ Guardi
Oil on canvas
Sold GBP £1,695,000.00

Francesco Guardi (1712-1793)
Venice, the Bacino di San Marco, with the Piazzetta and the Doge’s Palace
With a nineteenth-century inscription ‘De la collection du Comte de Shaftesbury’

(on the stretcher) and with inscription

‘Veduta della Palazzo Ducale di Francesco Guardi di Venezia’ (on the relining

canvas, presumably transcribed from the reverse of the original canvas)
Oil on canvas
Sold GBP £9,882,500.00

     
     

FRANCESCO GUARDI (1712-1793)
THE ISLAND OF SAN CRISTOFORO,

NEAR MURANO, VENICE
Oil on canvas
Sold GBP £1,800,000.00

FRANCESCO GUARDI (1712-1793)
Venice, la Place Saint Marc avec la Basilique

et le Campanile
Oil on panel
EURO €588,500.00

Francesco Guardi (Venice 1712-1793)
The Entrance to the Grand Canal, Venice, looking towards the Dogana and Santa

Maria della Salute from the Riva del Grano

the Giudecca and the Redentore beyond,

with numerous gondolas and sailing boats
Oil on canvas
Sold GBP £798,650.00

     
     

Attributed to Francesco Guardi (1712-1793)
Flowers in a Basket and Flowers and a

Sprig of Cherries on a rocky Bank
Oil on canvas
Estimate GBP £40,000.00 - £50,000.00
Sold GBP £111,500.00

Manner of Francesco Guardi (1712-1793)
The Punta della Dogana and Santa Maria della

Salute, Venice, the Giudecca and the Redentore

beyondOil on canvas
Sold GBP £3,250.00

Circle of Francesco Guardi (1712-1793)
The Piazza San Marco, Venice, on the Doge's Coronation Day, with the Doge and the

Admiral of the Arsenal being carried on the Pozzetto, bearing the Banner of St. Mark, distributing Money to the People
Oil on canvas
Sold USD $43,700.00

     
     
Manner of Francesco Guardi
RUINS BY A HARBOR
Bears signature Guardi (lr)
Watercolor on paper
Estimate: $500 - $700
Sold for $1,100

*FOLLOWER OF FRANCESCO GUARDI (1712-1793)
CAPRICCIO SCENE OF the VENETIAN LAGOON
oil on canvas

Estimate: £800 - £1,200

FRANCISCO GUARDI, Attributed,

Italian 1712-1793, “Venice Canal Scene”,

oil on canvas, bears a faint signature on extreme lower left, framed. Has been

relined and professionally restored. This painting has never been shown for authentication

     
     

Follower of Francesco Guardi

The Grand Canal, Venice Oil on canvas
Estimate 600 - 800 GBP Sold £1,100 GBP

Manner of Giacomo Guardi

A view of Santa Maria della Salute

Venice Oil on canvas

Estimate: US$3,000 - US$4,000

Attributed to Francesco Guardi
VENICE, A VIEW OF THE CAMPO SAN ZANIPOLO WITH THE LOGGIA

TEMPORARILY ERECTED OUTSIDE THE

SCUOLA DI SAN MARCO FOR THE BENEDICTION OF POPE PIUS VI ON

19TH MAY 1782
Estimate30,000 — 50,000 GBP
LOT SOLD. £192,500 GBP

     

 

 

 

 

 

 

Art Authentication & Attribution Investigations

 

 

   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 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 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

   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 or studio attribution inquiry, that it is wise to have an impartial preliminary assessment conducted first. One made to balance any issues that may be present that could make the longer term exercise unviable.

 This is a professional advisory service that we provide, 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 on it. You should then have a far better understanding of both the prospects 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, or:

CONTACT US

CONTACTEZ NOUS

We will respond to you promptly.

 

 


 

 

 

ABOUT A WORK OF ARTS DESCRIPTOR AND TERMINOLOGY

 

  *It is very important to 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 artist; Francesco Guardi - Italian (1712-1793)

 

  •  Where the name, Francesco Guardi (1712-1793), is given with the first name/s and surname of the artist, usually cited as,Francesco Guardi (1844-1916) ,  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 appropriate and internationally recognized expert authority on the artist.
  •  When Francesco Guardi (1712-1793) , is the term used, or it is similarly defined as 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 the artist.
  •  But if the term Francesco Guardi (1712-1793) - circle of, entourage, or “Circle of Francesco Guardi (1712-1793) ” 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 Francesco Guardi ” or “Follower of Francesco Guardi 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 Francesco Guardi 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….Francesco Guardi "; 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 - Francesco Guardi ; “Dated….” or “Inscribed ” 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, Francesco Guardi is specified followed by the words; "With signature ….”, or “With date ….” or “With inscription….” or “Bears signature of Francesco Guardi /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.



 

 

 

 

 

 

SPECIALIST ART AUTHENTICATION LINKS LISTED BY ARTIST

D'AUTHENTIFICATION D'ART PAR ARTISTE

 

 

 

     
APPEL KAREL
BOUVARD  - Famile.
CORNEILLE  Guillaume Beverloo
CROME JOHN
DOU GERRIT
GRIS JUAN
LAM  WILFREDO
MONDRIAN   PIET
PISSARRO CAMILLE
RENOIR PIERRE
SPENLOVE-SPENLOVE FRANK
VAN GOGH VINCENT 
CONYERS BARKER
KLINE FRANZ
PECHSTEIN MAX
MUNNINGS Sir Alfred James
DAUMIER HONORE
EDOUARD MANET

PAUL KLEE

PICASSO USA BRANCUSI  CONSTANTIN
AMOS CASSIOLI
EGON SCHIELE
Pan Tianshou Zao Wou­Ki
YOSHITOMO NARA ANITA MAGSAYSAY-HO
CHEN CHENG-PO
ATSUKO TANAKA
Thomas Sydney Cooper Jackson Pollock
Georges Braque
Andy Warhol
Lucian Freud George Stubbs
Edward Hopper
Jan Gossart
Frederick Edwin Church Edvard Munch
George Romney
James McNeil Whistler
Pieter Brueghel Leonardo Da Vinci
Michelangelo Merisi da Caravaggio
El Greco
George Armfield Mary Cassatt
Cy Twombly
George Morland
Henri Martin Henri Edmond Cross
Pierre Bonnard
Gustave Loiseau
Theo van Rysselburgh Armand Guilllaumin
Emile Bernard
Massimo Campigli
Kees van Dongen Leon de Smet
Victor Brauner
Auguste Herbin
Charles Camoin Moise Kisling
Jean-Pierre Cassigneul
Jean Metzinger
Alfons Walde Alfred Sisley
Andre Lhote
Gustave Caillebotte
Barend Cornelis KOEKKOEK Alfred Stevens
JOAQUÍN SOROLLA
James Ensor
Alexander Archipenko Isaac Israels
Henri Fantin-Latour
Odilon Redon
Hendrik Willem Mesdag Henri Gervex
Paul Sérusier
JAWLENSKI Alexej von
Matthijs Maris Maxime Maufra
John Brett
GRIMSHAW John Atkinson Edward Seago
Jack Butler Yeats
Maximillien Luce
VALADON Suzanne Francis Picabia
Jean Francois Millet
Leon Lhermitte
FLINT Sir William Russell Augustus John
Winston Churchill
Paul Maze
David Cox Snr Myles Birket Foster
Thomas Bush Hardy
Philip Wison Steer
Paul Sandby Edward Lear R.A.
William Henry Hunt
Richard Parkes Bonington
David Roberts RA John Sell Cotman
William Hogarth
John Northcote Nash
Paul Nash John Piper CH
Ben Nicholson
Samuel Peploe
Graham Sutherland Ivon Hitchens
Sir Terry Frost
Dame Laua Knight
J A Park Walter Wm Sickert
Lamorna Birch
Frank Auerbach
William Orpen Robert Bevan
Glyn Philpot
Christopher Wood
Archibald Thorburn William J. Glacken
Helen Allingham
Marcel Dyf
Andreas Schelfhout Anders Zorn
Charles Conder
Edward Ladell

Horatio Henry Couldery

Dorothea Sharp Thomas Blinks
Henry Herbert La Thangue John William Waterhouse
William Henry Margetson
Jean-Léon Gérôme Jasper Johns
Henri Lebasque Louis Valtat
Benjamin Williams Leader Hector Caffierri
Sir Lawrence Alma-Tadema Arthur Wardle
Spencer Gore Sir Robin Philipson
Heywood Hardy Mary Fedden
Joan Mitchell Sigmar Polke
Alexander Calder Helen Frankenthaler
Per Kirkeby John Duncan Fergusson
Roderic O'Coner Giovanni Boldini
Bernardo Bellott Alexander Nasmyth
Giandomenico Tiepolo Francesco Zuccarelli
Francisco de Zurbarán Giovanni Battista Salvi- Sassoferrato
Guido Reni Sir Thomas Lawrence
Peter van de Veld Guido Cagnacci
Nicolas Poussin Claude Lorraine
Ludovico Carracci John Martin
Frans Snyders Pieter Coecke van Aels
Jean-Antoine Watteau Ferdinand Bol
Orazio Gentileschi Bartolomé Esteban Murillo
Marcantonio Franceschini Ramón Casas
Lorenzo Lippi John Singleton Copley
Jean-Paul Riopell Leon Spilliaert
Arthur Lismer Lawren Harris
Frank (Franz) Johnston J E H MacDonald
Fred Varley Maud Lewis
Robert Wakeham Pilot Arthur Shilling
Marc-Aurèle Fortin Ferdinand Hodler
Clarence Alphonse Gagnon Jean Paul Lemieu
Dorothea Tanning Thomas Hart Benton
Emile Claus Rik Wouters
George Frederic Watts Sir Stanley Spencer
Emil Nolde Franz Marc
Konstantin Somov Kuzma Petrov-Vodki
Alexei Venetsianov Ilya Repin
Konstantin Gorbatov Nicholas Roerich
Mario Carreño Alfredo Martinez
Ludwig Deutsch
Carl Larsson Sandú Darié
Rufino Tamay Johann Friedrich Overbeck
George Grosz Kurt Schwitter
Max Beckmann Grant Wood
Frank Weston Benson Frans Hals
Clyfford Still Richard Diebenkorn
Jan Lieven George Bellows
Michael Dahl Frederick McCubbi
Louis Anquetin Sir John Lavery
Maxfield Parrish Francis Newton Souz
Vasudeo S. Gaitonde Raja Ravi Varma
Grandma Moses Maurice Brazil Prendergast
Guy Pène Du Bois Adolph Gottlieb
Umberto Boccioni Piero di Cosimo  

 

 

 

 

ART AUTHENTICATION LINKS BY GENRE

LIENS D'AUTHENTIFICATION D'ART PAR GENRE

 
 

OLD  MASTER  ART

Art Ancien

17-18C EUROPEAN ROCOCO ART

17-18C Rococo Européen

EUROPEAN  ART   AUTHENTICATION

Authentification d'art européen

GERMAN  ART   AUTHENTICATION
Authentification de l'art allemand

ALTARPIECE &  PANEL  PAINTINGS

Retable et peintures de panneaux

IMPRESSIONIST   &  MODERN  ART

Art impressionniste et moderne

BRITISH  ART   AUTHENTICATION

Authentification d'art britannique

FRENCH  ART   AUTHENTICATION

Authentification d'art français

SCOTTISH  ART

Authentification de l'art écossais

Art hollandais et flamand

JUDAICA- JEWISH ART

Judaica - Authentification de l'art juif

IRISH ART AUTHENTICATION

Authentification d'art irlandais

AMERICAN ART AUTHENTICATION

Authentification d'art américain

RUSSIAN ART AUTHENTICATION

Authentification d'art russe

SPANISH ART

Authentification d'art espagnol

CUBAN ART

Authentification d'art cubain

CANADIAN ART AUTHENTICATION

Authentification d'art canadien

HUNGARIAN ART

Authentification d'art hongrois

NORDIC - SCANDINAVIAN ART

Art nordique et scandinave

ISRAELI  ART

Authentification d'art israélien

MINIATURE PORTRAITS

ITALIAN ART AUTHENTICATION

Authentification d'art italien

CORNISH ART

INTERNATIONAL PORTRAITURE

 


 

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Francesco Guardi Expert Art Authentication and Workshop Attribution Investigations || Italian Old master fine art experts and consultants ~ Specialist International Researchers || Provenance Verification - Due Diligence Services ~ Forgery Identification

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