Close Examinations: The Complexity of Attribution

September 2010

How do experts spot masterpieces from fraudulent images?

In the first major exhibition of its kind The National Gallery in London has explored the complexities of attribution in 'Close Examination: Fakes, Mistakes and Discoveries' (30 June - 12 September 2010). The methods employed by scientists, conservators and art historians to examine the physical nature of pictures and unravel their hidden histories are placed at the forefront of this exhibition. Over forty of the National Gallery's paintings, including artworks by Rembrandt, Raphael, Dürer and Gossaert, are exhibited alongside expert evidence, illuminating the gallery's essential yet difficult tasks of identifying paintings as well as revealing the fascinating stories behind each layer of paint.

For centuries art experts have relied upon connoisseurship. Now modern scientific methods, including infrared imaging, X-ray images, electron microscopy and mass spectrometry can provide insights into the materials used by artists, studio practice and the ways paintings can change over time. In complex questions of disputed authorship and authenticity, such technology is crucial (but not always telling). In one instance, a painting purchased by the National Gallery in 1923 was originally thought to be an authentic 15^th century portrait by Renaissance artist Francesco Francia. Scientific analysis by infra-red reflectography, which in effect sees through layers of paint, later revealed that the artist used pigments not available before the 19^th century. In addition, the top layer of the painting had been coated with shellac, a natural resin to simulate the appearance of age. With such tangible evidence the Francia was deemed a fake and the National Gallery now attributes the Renaissance-style profile portrait to an unknown 19^th century artist.

While technology can determine who did not paint an artwork, it cannot prove who did. For this reason, connoisseurship remains a powerful tool.  In the National Gallery’s most famous reattribution, research proved ‘The Madonna of the Pinks’ to be a genuine Raphael. For most of the 20th century the picture remained unappreciated in a corridor at Alnwick Castle. Although Raphael scholars were aware of the existence of the work, they considered it merely the best of several copies of a lost original. On a visit to the castle in 1991, Gallery Director Nicholas Penny was struck by a pentimento where the landscape runs through the tower in the background; such an alteration would be highly unusual in a copy. Close visual examination and infrared reflectography revealed an under-drawing characteristic of the artist, and good lighting showed off its fine quality. Subsequent investigations confirmed the painting’s status as an original work by Raphael and the museum bought the reattributed work for £22 million in 2004. (Since, two separate parties have disputed the attribution).

The exhibition at the National Gallery successfully celebrates the remarkable collaboration of scientists, conservators and art historians whilst also reminding buyers to be wary. When buying art the difference between a follower-of and an authentic autographed is considerable. Buyers and sellers should contact the HSBC Private Bank Art & Design Advisory Service to undertake thorough due diligence at all stages of the buying process. With an unregulated market and plenty of counterfeit works circulating, your dedicated Art & Design Advisory Team will help you avoid any unpleasant surprises.

To learn more about the HSBC PB Art & Design Advisory service please contact the dedicated helpdesk on:

T: + 44 207 692 4884
E: hsbcpb@1858ltd.com