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Expert  in the  Fine  Art of  Authentication - Expert de l'oeuvrede Fedor van Kregten

 

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Conducting Professional Investigations into the Authenticity of Paintings & Drawings believed to be by the Dutch Artist

Johannes Aurelius Richard Fedor van Kregten

'Fedor van Kregten'

Diever 1871 - 1931 Den Haag

'The Master of the Beasts'

 

 

  Fedor van Kregten, christened Johannes Aurelius Richard Fedor van Kregten, was born on January 16, 1871 in Holland, the eldest of eleven children, of whom three died shortly after they were born.

 His parents were Hermanus van Kregten, a well respected teacher and headmaster of a public school near the hamlet of Notter, Holland where van Kregten lived and later was to keep a studio and Anna Jufina Rienks, a talented wood carver, from whom Fedor insisted he inherited his creativity and love of art.

Under pressure from his father who insisted on a career for his son in education, Fedor first trained as a teacher, but gave this up at the age of 22, in favour of becoming an artist like his younger brother Jaap van Kregten, soon after graduating from the Normal School in Goor.

 A promising artist, Fedor van Kregten first married Bettine ten Bruggencate in Almelo in 1899 and had two children, a girl and a boy. But after many successive house moves, due to van Kregtens' obsessive passion with finding new places and landscapes to paint, a total of 16 in all, the marriage inevitably failed and in 1917 ended up in divorce.

 

 The following year Van Kregten married again, this time to Dientje Leeman and had a daughter. It is quite possible that the models for his painting entitled, Feeding the little calf, are his wife Bettine and children c 1904.

 

 The painting below, bearing Fedor van Kregtens signature is a poor copy after the original above and a fake. Sadly today faking van Kregten is commonplace.

 

Portrait of Fedor van Kregtons daughter

Portrait of Fedor van Kregtons daughter

Feeding the little calf.. Fake copy Fedor van Kregten

 

 

 Fedor Van Kregten had a true love and obsession with nature and loved the outdoors, painting plein-air and observing farm animals, trees, farmsteads and buildings with passion. So much so that he spent hours studying and painting them. Fedor would sometimes spend months completing a painting, often working all through the night, as he was so absorbed.

 

Landscape in Drente ; Fedor van Kregton  

These fairly uninteresting examples of van Kregtens landscapes come from his time in Den Haag in the first decade of the 20th century.

 

 Herfstbomen langs een bee
 Landscape at Dusk - Fedor van Kregten

 

 

 Self taught, van Kregten had no direct mentor and learned by pure observation, but hugely influenced by the new art of the 'Hague School'. 

 Soon he had developed a unique style which rapidly gained him a reputation as an artist. Becoming locally successful for the first time, it was not long before he was given commissions and painted many portraits in this first period of a long artistic career, which can be neatly divided into four phases.  But he was no businessman and cared little for success and the art worlds commercialism. It was likely for that reason that rather inevitably, he remained relatively poor, often having to pay his debtors with a painting or two.

 

Old Willem wanderer in Haarlem

Old Willem wanderer in Haarlem                                                 

  Fedor van Kregten

 

 

 

 

 Fedor van Kregten Portrait of a woman.

 

 

First period 1890 to 1905

 

   

From 1890 Fedor painted mainly in Overijssel and Drenthe. Principally concentrating on landscapes with animals, but he preferred to paint cows.

 

Near Overijssel : Cows in a landscape. Fedor van Kregten

Near Overijssel : Cows in a landscape. Fedor van Kregten

1887. Private collection of the author

 

 

 

Hearding the sheap.: Fedor van Kregten c. 1898

Hearding the sheap.: Fedor van Kregten c. 1898

Drenthe landscape with cows watering.Fedor van Kregten 1895

Drenthe landscape with cows watering.

Fedor van Kregton 1895

Private collection of the author

     

Fedor van Kregton. Tending the cow c 1895

Ponies Van Kregten

Shepheard and his flock; Fedor van Kregten c 1896

 

Second period from 1906 to 1926 - Den Hague

 

   


  In 1906 Fedor van Kregten moved to the Hague where he painted rather bland and uninteresting Dutch landscapes but mainly devoid of animals. These are considered now as less important than his paintings created in the first period.

 

 

Third period about 1926
In this year Fedor made a trip to Spain and Morocco and his pallet change to a more vivid and bright hue.

 

 

 

 

 

Fourth period from 1926 to 1937

 The colours of his pallette changed again. It was the last period of being vibrant. Fedor felt he had had become an old man and he now used many dark couloirs  and dark subjects. Now instead of painting young and healthy animals enjoying the Dutch countryside, he painted old, solitary animals ones and and withered floral subjects. Like the still life with wilted dying sunflowers below. Accompanied by a very sad vase of wilting tulips indeed.

 

 His much older and now plainly struggling plough horse and equally tired old plough man is telling. But his pair of very weary cows on a wet Polders track, are now being accompanied by a daunting, black cloaked figure guiding them home.

A grim keeper indeed!


 

 

Fedor van Kregton self portraits - zelfportret

 

     

 Fedor van Kregten became ill suffering lung cancer and failed to complete his last painting of a Jewish man. Fedor died on August 8, 1937.

 


 

 

 

AUTHENTICATING WORKS OF ART BELIEVED TO BE BY FEDOR VAN KREGTEN

 

 We have been advising and serving both private and corporate clients around the world on matters of the authentication and the legitimacy of works of art for over 44 years.

Specialising in conducting, managing and directing, international, academic and forensic investigations into the authenticity and validity of art work for clients from all walks of life. Undertaking complex attribution assignments and investigating and researching previously unknown or anonymous artists oeuvres. 

These are always diverse activities and ones which have fallen neatly into clearly defined professional responsibilities, multiple actions and formalities we can help you with.

 

 

 

 

 

Authentication:  Investigation and research, with a view to establishing a full, internationally accepted, well proven and correctly underpinned certification of a work of art.

 Attribution:  Identifying and confirming the identity of a previously anonymous artist, studio or workshop from which a work of art probably first originated. One which may not have been previously known, or formerly identified beforehand.

 Revision:  Re-examining and investigating an erstwhile, previously ascribed historical artist attribution which is possibly incorrect, or one that has been formally challenged.

 Confirmation:  Conducting the multilingual archival research required in investigating and confirming the provenance, lineage and prior history of ownership of a work of art internationally.

 Scrutiny:  Identifying premeditated fakes and forgeries, determining those which may be studio or later student copies, or previously misrepresented or wrongful attributions.

 Prosecution:  Investigating an alleged art fraud and forgery issue and assisting and advising those litigating or prosecuting the fact.

 Attention:  Conducting all fine art related due diligence and duty of care enquiries, the prepurchase or sale related studies and advising clients in matters of consolidating safe and secure future family distribution.

 

 Simply put, we are here to help in all fine art related matters.

 

 


 

Expert de l'oeuvrede Fedor van Kregten

We can assist you with any Fedor van Kregten art authentication issues, international investigations and research.

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THE  PRELIMINARY  ASSESSMENT  OF  VIABILITY  STUDY

 

 Before entering into a full investigation of the legitimacy of a work of art that you believe may be by Fedor van Kregten , it is essential to know if the project is viable in the long term.

 So we prefer to make a preliminary professional pre-authentication assessment for clients first.

A realistic well balanced and unbiased study, based upon the images you supply and the full details and the work of art's history and the provenance as is known to you.

 Simply put, a logical and cost effective professional assessment and advisory for which there is a modest set fee.

 

Please see our FAQ's which explains the process in detail.

 

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