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For most of the art market, provenance is a value question. For African art it is frequently a legitimacy question, and the two behave very differently.
The reason is structural rather than incidental. A great deal of historical African material entered European and American collections during the colonial period, and the documentation that exis...
The instructive thing about the two largest forgery scandals of the modern era is that neither was undone by the painting. In both cases the pictures were good enough to satisfy specialists, museums and one of the oldest galleries in New York. What failed was the story attached to them.
Which is the argument for provenance research, made twice, ...
A catalogue raisonné is the scholarly master list of every known work by an artist — images, dimensions, media, provenance and exhibition history for each entry. For artists who have one, it is not a reference book. It is a gate.
The consequence stated in one sentence: a work in the catalogue can trade at full value at a major auction house. A w...
Ask who can authenticate a painting and the honest answer, for a great many artists, is: nobody with the authority to make it stick. That is a relatively recent development, and it is the single most useful thing a buyer can understand about the current market.
For decades the final word belonged to artist authentication boards — committees run ...
The Art Loss Register is the closest thing the art market has to a title search, and it costs less than dinner. A striking number of buyers spending five figures on a painting have never run one.
What follows is what it is, what it covers, what it does not, how to run a search, and the other databases that professionals use alongside it.