Art dating london

Art dating london

Having thus ascertained that at least the two side strips of the stretcher are unquestionably original and coeval with this painting, we proceeded to date them scientifically.The spectroscopic analysis of the wood gave the following results: Many areas of the painting evidence a deep, extensive craquelure.In this specific case the analysis did not found a preparatory drawing of the subject below, but it pointed out some parallel lines to external edges, which determine a perimetric rectangle.The attached photo, which shows the lower corner near the signature, points out very well this characteristic (red arrows).The most recent catalogue on the determination of authenticity in art, published by the same in June 2007, contains an exclusive six-page presentation of the scientific laboratory of the Museo d Arte e Scienza in which its methods for dating paintings, furniture, and objects in ivory and other materials are illustrated in detail and their validity, in effect, endorsed.As a consequence a section of the trade rejects scientific methods out of economic necessity.

The Museum laboratorys mission is to improve existing scientific methods and elaborate new methods for the ascertainment of the authenticity of art objects.All the above features are typical of an authentic craquelure which has formed naturally and begin to be noticeable about The microscopic examination of the signature (macro photos no.7, and no.8) evidenced its uniformity with the rest of the painting: it can be seen, in fact, that the colour has worn to the same degree, especially in the more protruding areas, and has not penetrated into the fissures of the craquelure as would have been the case if the signature had been inscribed onto a painted surface that was already old.Examination under Woods light also showed that the reactions of the signature were comparable to those of the rest of the painting (photo no.9 taken under Woods light).It was noted in particular that in the case of the two side strips making up the stretcher there is a perfect correspondence between the holes currently present in the canvas and the holes in the underlying stretcher.Attached please find photos of the two sides with a red arrow showing the holes in the canvas which match those in the stretcher underneath (photos no.2, no.3 and no.4).

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Whilst this type of ascertainment is to the dealers advantage, for buyers it could mean the almost total loss of their investment if one day this overemphasis on the signature were considered illogical and mistaken and a more traditional way of attributing art returned to the various component materials of the painting and its support.

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