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No, it doesn’t.
AI cannot authenticate a painting or determine the authenticity of an artwork.
Yes. AI is a quick and powerful art research tool.
Instead of checking one website after another to try to find the information you are looking for, AI can find it quickly for you.
AI does the searching that you used to have to do manually and that used to take hours when researching an artwork.
No. AI is not sufficient to complete an art authentication.
You will have to date the materials used in the painting. AI cannot do it for you.
If you are looking for information that has not been digitized and is therefore not on the Web, you will need to consult archives and go to libraries in person as part of the authentication process.
If you want to see what is below the epidermis of the painting, you will have to get X-rays and infrared photos.
If you want to check if your painting has been restored or if it was signed long after it was painted, you will need to get ultraviolet (UV) photos.
It means there is no single piece of evidence proving that the artist painted the work, but the overall evidence makes it highly certain that the painting is authentic.
For example, the painting may be a portrait of the artist’s wife, child, mother, or even a pet, created in the same style and period known for the artist’s work.
It may also depict an interior or subject closely connected to the artist, or be a composition supported by existing drafts, sketches, or studies that match the artist’s known techniques and style.
All supporting evidence must be carefully examined and weighed during the authentication process.
This can include comparing the painting with confirmed photographs, verified artworks, known artistic techniques, materials, dates, and historical records associated with the artist.
The style, technique, materials, and timeline must all be consistent with the artist’s documented body of work and period.
Yes, especially when the painting appears to present a strong and convincing case for authentication based on the available evidence.
The complete case should be reviewed by evaluating all available components and supporting evidence to determine whether the painting can be authenticated beyond a reasonable doubt.
A painting is authenticated “by default” when experts determine that no other artist could reasonably have created the work.
For example, there is a painting in Washington DC widely accepted as the work of Leonardo da Vinci because there is no other plausible artist who could have painted it.
In this type of authentication, the conclusion is reached by eliminating all other possible artists until only one remains.
Yes. This method requires carefully eliminating every other possible artist and explaining why the work cannot belong to anyone else.
The research must demonstrate why the painting matches only one artist’s style, technique, materials, and historical context.
The amount of work involved depends on the artist and the specific period of the artist’s career.
Artists with highly distinctive styles or techniques may sometimes be authenticated this way. Examples can include Leonardo da Vinci, Wassily Kandinsky, and other artists whose works are uniquely recognizable.
Yes. The process involves reviewing all available details about the painting and evaluating why it can only reasonably be attributed to a specific artist.
Authentication by default may take several weeks depending on the complexity of the research and the number of possible artists that must be examined and excluded.
A compositional analysis examines how an artist organizes and uses space within a painting.
Once an artist decides what to paint, many compositional choices must be made, including placement, balance, perspective, proportions, and the amount of space surrounding the subject.
For example, in a portrait, the artist decides how closely the subject fills the canvas, whether the work will show only the head, a bust, a three-quarter view, or a full-length figure.
In landscapes, the artist chooses the viewpoint, such as an elevated perspective, eye-level view, or a lower angle used to emphasize certain elements like waterfalls or architecture.
A compositional analysis in art authentication compares these spatial decisions in the painting being examined with known authenticated works by the same artist.
Yes. Along with style and technique, the way an artist structures and uses space can provide highly valuable information during the authentication process.
Artists often develop recognizable compositional habits and patterns that can help support attribution.
A compositional analysis for art authentication usually takes a few days, depending on the complexity of the artwork and the amount of comparative research required.
If the painting is dated, the style should match the artist’s known style during that specific period.
If the painting is not dated, the style should still fit logically within the artist’s artistic timeline and development.
The style should be consistent with how the artist typically painted the same or similar subjects.
The technique used in the painting should correspond with the methods and materials the artist used during the inscribed or estimated period.
The painting technique should match the artist’s known approach when working on comparable subjects.
The subject should align with themes and topics the artist was known to paint during the estimated time period.
If the location shown in the painting can be identified, it should correspond with places where the artist lived, traveled, or worked during that time.
The aging and condition of the painting should be appropriate and believable for a work of its claimed age.
The overall format and presentation should match the artist’s known preferences for similar works.
The size and proportions should be consistent with dimensions the artist commonly used for similar subjects.
The support material, such as canvas, wood panel, or paper, should match materials the artist used during the relevant period.
The placement and spacing of tacks or nails can help determine whether the canvas preparation is consistent with the artist’s working methods.
The materials and supplies used in the painting should be consistent with the geographic location where the artist lived or worked at the estimated date.
Yes. In art authentication, an authentic painting is expected to remain consistent with the artist’s known habits, materials, techniques, timeline, and working practices without major contradictions or discrepancies.
Critical Mass authentication is a method used in art authentication when there is no single clear or direct proof that a painting is authentic.
Instead of relying on one decisive piece of evidence, the authentication is based on multiple supporting elements that all point toward the same conclusion.
When enough consistent and convincing factors are gathered together, they create a “critical mass” of evidence strong enough to support the authenticity of the painting.
Many different factors can contribute to a Critical Mass authentication, including:
Use of materials consistent with the artist’s known works, matching dimensions, similar subject matter, corresponding painting style, comparable technique, a credible signature, plausible provenance, and related sketches or preparatory studies.
Additional historical, technical, stylistic, and scientific evidence may also strengthen the overall authentication case.
Yes, especially if direct proof of authenticity is unavailable but multiple positive indicators consistently support attribution to the artist.
Critical Mass authentication can be an effective approach when the combined evidence strongly supports the painting’s authenticity.
A Critical Mass authentication report generally takes approximately thirty days, depending on the complexity of the case and the amount of research required.
All available evidence, documentation, technical details, and supporting information are carefully reviewed and weighed before preparing the final authentication report.
No. Paintings on copper plates were widely produced between the 16th and 18th centuries, and many thousands of these works still survive today.
During certain periods between 1550 and 1700, painting on copper became extremely popular, and in some decades more paintings were created on copper plates than on canvas or wooden panels.
Yes. Dating the copper plate is an important part of art authentication because it helps determine whether the support material is consistent with the claimed historical period and artist.
One of the primary methods used is trace profiling through X-ray fluorescence analysis.
This process identifies trace elements present in the copper and compares them with known historical metal compositions associated with specific time periods.
Although the results may not provide an exact year, they can establish a reliable historical timeframe for the copper plate.
Depending on laboratory scheduling, transportation, and examination complexity, the dating process for a copper plate painting may take approximately six weeks.
An authentication by declaration occurs when an artist personally confirms that they created a specific artwork.
This type of authentication involves directly contacting the artist and asking whether the painting is their work.
In some cases, artists may review photographs of the artwork, while in others they may request to examine the painting in person before making a declaration.
A personal confirmation from the artist is considered one of the strongest forms of art authentication.
Yes. If the artist is living and reachable, obtaining a direct declaration from the artist can provide powerful support for authentication.
The process may involve communicating with the artist, arranging appointments, presenting the artwork for review, and managing any required travel or logistics for an in-person examination.
No. Digital image analysis alone cannot authenticate a painting.
However, it can measure visual similarities between your painting and recorded works by a particular artist by analyzing patterns, brushwork, color distribution, and other image-based characteristics.
Digital image analysis may increase confidence that a painting is visually consistent with an artist’s known works, but it is not considered sufficient on its own for full art authentication.
Important authentication steps such as provenance research, material analysis, stylistic examination, technical evaluation, and forensic studies are still necessary.
Yes. Digital image analysis is considered one of the more expensive methods used in art authentication.
The process often requires scanning and analyzing a large number of authenticated artworks in very high resolution before meaningful comparisons can be made.
Because of the amount of data preparation and technical analysis involved, the procedure can also be time-consuming.
Yes. Documentary research can help authenticate a painting by providing evidence that the artwork existed in the past and was sold, bought, collected, or exhibited as a work by the artist.
The closer the documentation is to the date of creation of the painting, the stronger the evidence for art authentication.
The references you are looking for may be found in art libraries, archives, museums, family papers of the artist, and documents held by previous owners.
From a few days in straightforward cases to several months in more complex situations.
It becomes time-consuming when the artist lived in a country with limited records or one affected by wars.
If it is a highly valuable painting, yes, documentary research is recommended for art authentication.
We perform documentary research worldwide, in all countries where relevant references may be found, and in the top 15 languages.
We use deconvolution methods based on the Fast Fourier Transform (FFT) process to correct issues in low-quality images and to improve clarity, sharpness, and detail.
This can enhance photographs to varying degrees depending on how subpar they are.
While this allows us to examine your painting more effectively at an initial stage of art authentication, it does not replace the need for high-quality images and specialized photography as the authentication process progresses.
Yes. Forensic chemistry can contribute to art authentication, usually by implication rather than direct proof.
Forensic chemistry allows us to extract information about dates, locations, and people, helping determine what is possible, unlikely, or impossible in relation to the authenticity of a painting.
Its applications include wood, metals, textiles, paper, ivory, paints, binders, glue, ink, clay, pastel, varnish, restoration materials, and it is also part of DNA profiling used in art authentication.
Yes. High intensity illumination can assist in art authentication. Examining a painting with a 300-watt light source or an 8,000 lumens flashlight can reveal details that are not visible under normal lighting conditions.
These may include signatures, monograms, artist symbols, dates, locations, short inscriptions, coats of arms, and even the name of the sitter in portraits.
Over time, paintings darken due to varnish discoloration, dirt accumulation, and exposure to candle smoke, oil lamps, kerosene lamps, fireplaces, wood stoves, and tobacco smoke.
During cleaning, signatures and other details may also become partially or almost completely erased, only becoming visible again under strong illumination.
Additionally, many paintings are displayed in low-light interiors or away from windows, which further reduces visibility.
No, provided proper precautions are taken. If the heat from the light source is kept at a safe distance and exposure is limited to a few minutes at a time, high intensity illumination can be safely used in art authentication without damaging the painting.
Anywhere in the world where a valuable painting, artwork, or collection is located. Worldwide.
For the safety of the painting, we recommend that you ship it to a secure art storage facility. These protected art facilities exist in all major cities. We can recommend some that our clients have used. This is the safest way to proceed. When we examine your painting at these facilities, it is done under video surveillance.
Yes, it frequently does, because the examination is often performed after other art authentication steps have already been completed. In those cases, the in-person examination serves as the final confirmation of authenticity.
Tell us about the painting and where it is located, and we will determine where and when to examine it.
The art market and art scholars have been searching for reliable art authentication methods since the mid-1800s.
Dr. Giovanni Morelli began publishing articles about his method in 1876 and his first book in 1880.
Despite advances in science and technology, the Morelian method continues to be used in art authentication.
It consists of examining and comparing how secondary details are executed in a painting.
Dr. Morelli’s theory was that artists render secondary details quickly and almost subconsciously, and that these details contain unique characteristics or quirks that can identify the artist.
The Morelian method is similar to handwriting analysis. It studies how an artist paints recurring details, just as one compares how a person forms specific letters.
In cases where definitive evidence is not available, a Morelian analysis can build a structured and well-supported case in favor of authenticity.
Two to three weeks.
Yes. Provenance is a key factor in art authentication because it is based on verifiable facts rather than opinions.
It is its uninterrupted and documented chain of ownership, starting with the artist and ending with the current owner, listing everyone in between. Each transfer of ownership must be documented, with no missing links.
Yes. It involves researching who owned the painting before the current owner, then tracing each prior owner all the way back to the artist.
In archives, libraries, city halls, museums, bank records, and through interviews with individuals who may have relevant information, including family members of past owners. Provenance research is similar to investigative journalism and requires searching multiple sources and speaking with many people.
From a few days in simple cases to several months in complex situations involving multiple countries and difficult-to-find records.
Yes, if simpler art authentication methods have not provided answers.
Yes, if your painting is by a well-known artist and has significant value.
We perform provenance research worldwide, following the investigation wherever it leads, using thorough and resourceful methods to obtain the necessary information.
It is what happens when your painting is not a copy of a known original but is in fact the original, and the other painting is the copy.
They happen frequently. Cases where a presumed copy turns out to be the original are a recurring feature of the art world and art market.
Before photography, paintings were routinely copied. The most popular works were copied the most, sometimes resulting in many versions in circulation. Over time, the best copies became confused with originals.
Yes. Using photography, technology, and art authentication methods, we can determine the status of your painting.
It takes several weeks, as we must obtain high-resolution images of both your painting and the one currently considered the original, and perform technical analysis.
Yes. In some cases, the probability that your painting is the original version can be higher than expected, especially when multiple versions of the same composition exist.
Before 1940, paper did not contain synthetic fibers.
A chemical analysis of a paper sample will reveal whether synthetic fibers are present. If they are, the paper was manufactured after 1940 and most likely after 1950. Very little paper containing synthetic fibers was produced between 1940 and 1950, and it was not intended for writing or drawing.
Most paper dating methods are not precise and typically provide results within a range of plus or minus 25 years, creating a 50-year window that can limit their usefulness in authentication.
The synthetic fiber test is more precise. If synthetic fibers are present, the paper cannot date from earlier periods and is highly unlikely to date from before 1950. This makes it a valuable method for art authentication.
When authenticating works on paper such as watercolors, pastels, gouaches, drawings, lithographs, and other prints by artists who were active before 1950.
Two to three weeks.
If your painting is on panel, identifying the wood species is an important step in art authentication.
For example, confirming that certain panels were Baltic oak helped establish consistency with known authentic works.
Identifying the wood also facilitates dendrochronological dating by determining the type of tree used.
For these reasons, if your painting is on panel, determining the wood species is recommended.
Usually a few weeks.
There are authentication cases where no external information or references can be found to support that a painting is authentic.
In such cases, one method consists of comparing all measurable metrics in the painting against the statistical range of the artist’s known oeuvre, using as much of it as possible in art authentication.
If, over multiple measurements, the results consistently fall within the artist’s statistical patterns, the probability increases that the artwork is authentic.
Depending on the number of metrics analyzed, and additional factors such as discrepancies, dissenting opinions, and potential red flags, the painting may be authenticated on statistical grounds.
It will contribute substantially to art authentication, but additional supporting evidence is usually required to confirm authenticity.
It is one of the major internal factors in art authentication. The way an artist applies paint to a surface is highly individual. While technique can vary depending on subject and intent, artists generally show consistent and recognizable preferences in execution.
High-resolution photographs, macro images, raking light photography, and in many cases X-rays are also useful for art authentication.
An average of 3 weeks.
Transmitted light reveals signatures, monograms, symbols, dates, locations, names, dedications, inscriptions, blind stamps, watermarks, the internal structure of the support, internal damage, restoration, paint thickness, underdrawings, and pentimenti.
This is such a rich source of information that it can, in some cases, be sufficient to support art authentication.
Yes. It may help authenticate your painting and, in any case, provides valuable information for art authentication.
Yes, if you are an amateur photographer and have a camera and tripod. If you do not have a tripod and are working with a phone, you will need to use a professional photographer.
Yes. The verso of paintings frequently contains stencils, stamps, marks, seals, labels, stickers, numbers, names, addresses, dates, or inscriptions. These may come from the artist, galleries, auction houses, exhibitions, museums, framing shops, restoration studios, moving companies, or previous owners.
Through art authentication and forensic analysis, it is possible to determine whether these marks are genuine, who applied them, and when and where they were added.
This information is extremely useful in reconstructing the movement of a painting over time.
The data is cross-referenced with where the artist lived, which galleries represented him, which exhibitions he participated in, and other verified historical facts, dates, places, and events.
Once this information is organized and verified, it can strongly support the authenticity of the painting.
It varies significantly depending on the nature, quantity, age, and origin of the material.
Some marks can take weeks to identify, especially when tracing historical seals, labels, or ownership marks across different countries and periods.
Yes. The verso contains critical forensic information. It is highly valuable and should be fully researched, identified, and dated as part of art authentication. In some cases, it may be sufficient on its own to support authenticity.
Yes. In some cases, X-ray imaging reveals critical information that can be sufficient to support a conclusion of authenticity in art authentication.
X-raying a painting reveals what lies beneath the surface layers, including earlier compositions, underdrawings, pentimenti, restorations (inpainting), paint thickness, and sometimes signatures, dates, inscriptions, and compositional changes.
For high-value works and important artists, X-ray examination is considered a standard procedure in art authentication, similar to imaging techniques used in the medical field.
It allows a deeper understanding of the structure of the painting and provides essential information below the visible surface. The first X-ray of a painting was taken in 1896.
After we receive your X-rays, we interpret them and explain what they reveal about the artwork.
Yes, archives can help authenticate a painting. Archives contain unpublished photos, videos, correspondence with friends, relatives, artists, clients, dealers, art galleries, auctioneers, exhibition records, notes, journals, drafts of unpublished writings, and family documents such as wills, insurance policies, tax records, bank records, accounting records, and bills of sale.
Sometimes archives are located in a single country where the artist lived most of their life. In other cases, artists’ archives are spread across multiple locations worldwide, including Paris, Antibes, Vallauris, Mougins, Barcelona, Madrid, Malaga, Münster, Cologne, Naples, New York, and Philadelphia.
Depending on the artist and archive location, archival research for art authentication can take anywhere from a single day to several weeks.
Yes, archival research is strongly recommended for art authentication because it provides valuable information and supporting documents that may help verify the authenticity of a painting.
Yes, archival research can be performed in locations worldwide where the artist’s archives are available.
Yes. Biographical research can help authenticate a painting by connecting the artwork to important details from the artist’s life.
Information about who the artist knew, relationships, travels, residences, personal habits, interests, and daily activities can provide valuable evidence supporting authentication.
In many cases, a direct connection can be established between a painting and a specific place, event, person, or period in the artist’s life.
Biographical research for art authentication can take from several days to a few weeks because it requires extensive reading, investigation, and review of publications and historical documents.
Additional time may also be needed to request and obtain important records or reference materials.
Biographical research for art authentication can be conducted in many of the world’s most widely spoken languages to access a broader range of historical sources and records.
Yes. Biographical research is strongly recommended for art authentication because it frequently uncovers important information that helps support the authenticity of a painting.
Extensive and detailed research across multiple languages can provide valuable insight into the artist’s life, movements, relationships, and artistic activities.
Yes. Carbon dating is one of the scientific methods used in art authentication to determine whether a painting dates from the period when the artist was alive.
It helps establish the approximate age of materials used in the artwork and can support the authentication process.
Carbon dating can be used on materials such as canvas, linen, silk, wood panels, boards, paper, cardboard, leather, ivory, and horn.
This allows many painting supports and related materials to be scientifically dated, except for materials such as glass, metals, and ceramics.
Radiocarbon dating of painting materials can take anywhere from about one week to approximately thirty days, depending on the testing process and laboratory requirements.
Yes, carbon dating is recommended when there are questions or doubts about the age of a painting or its materials.
Scientific dating can provide valuable evidence during the art authentication process and help determine whether the materials are consistent with the artist’s lifetime and historical period.
A connoisseur is an art historian or specialist who has spent many years studying the works of a particular artist.
Through long-term specialization, the connoisseur becomes deeply familiar with the artist’s paintings, techniques, materials, stylistic development, subjects, and artistic methods.
This expertise includes knowledge of the artist’s preferred colors, handling of light and contrast, composition, use of space, perspective, painting materials, and the natural aging characteristics of the artworks.
A connoisseur in art authentication is considered a highly experienced and valuable expert because of this extensive familiarity with the artist’s body of work.
Connoisseurship is important because it helps evaluate the artistic qualities of a painting, including style, composition, technique, and subtle visual characteristics that may not be immediately obvious.
Experienced connoisseurs can compare the artwork being examined with known authenticated works and identify details that support or challenge attribution to a specific artist.
Art authentication often relies on the knowledge and judgment of specialists and connoisseurs with years of focused study and practical examination of original artworks.
Yes. Craquelure dating is commonly used in art authentication because it is a non-invasive method that does not require removing samples from the painting.
It can often be performed during an in-person examination without shipping the artwork, making it practical for on-site analysis.
Craquelure usually begins to develop on paintings after several decades and can help estimate when the painting was executed.
Unlike methods that only date materials, craquelure analysis helps evaluate the aging process of the painted surface itself.
The age of the canvas or pigments alone does not necessarily indicate when the artwork was actually painted, while craquelure can provide clues related to the painting’s physical aging.
Yes. Craquelure can sometimes be analyzed photographically if a detailed set of high-resolution images is available.
The photographs must clearly capture the painting’s surface texture, crack patterns, and fine details under proper lighting conditions.
Craquelure dating is useful for distinguishing older or antique paintings from more recent copies or imitations.
While it may not be as precise as certain laboratory dating methods, it remains an important supporting tool in art authentication.
Craquelure on canvas is generally the easiest to evaluate.
Craquelure on wooden panels may require microscopic examination, while craquelure on metal surfaces often requires laboratory analysis involving corrosion studies.
For paintings on canvas, craquelure analysis may take one to two hours depending on the examination conditions.
For paintings on wooden panels, the process may take about a day, while metal artworks can require a week or longer depending on laboratory availability.
Yes. Craquelure analysis can support art authentication and strengthen the overall evidence regarding a painting’s authenticity and age.
Technical examination and detailed photographic documentation are often important parts of the authentication process.
The Danzig Method, also known as Pictology, is an art authentication technique developed in the 1930s by M. M. van Danzig.
This method focuses on studying and comparing artworks at the micro-technical and micro-stylistic levels to evaluate whether a painting is consistent with the artist’s known working methods.
The analysis examines detailed characteristics such as:
- The length of brushstrokes or drawing strokes
- The relative proportions of each stroke
- Stroke width and tapering
- Direction and density of strokes
- Amount of pressure applied
- Color density and paint handling
- Paint viscosity and texture
Yes. Technical inconsistencies are one of the most common reasons paintings are rejected during art authentication.
A Danzig analysis can help determine whether the painting’s technical execution matches the artist’s known methods and habits, providing valuable support for authentication.
A Danzig or Pictology analysis generally takes about three weeks, depending on the complexity of the artwork and the amount of comparative material available.
No. A large set of clear, high-resolution photographs taken under proper lighting conditions is usually sufficient for conducting a Danzig analysis.
Several components of a painting can be dated as part of the art authentication process.
These may include the support material, such as canvas, wood panel, board, metal sheet, or paper.
The paint pigments can also be analyzed to determine whether they are consistent with the historical period of the artist.
Craquelure is another important factor because it develops gradually over time and may help indicate when the paint was originally applied.
Additional components that may be dated include stretcher bars and tacks or nails if they appear to be original to the artwork.
Other materials and structural elements may also be examined through forensic studies and scientific analysis.
Dating multiple elements helps determine whether the painting and its materials are consistent with the lifetime and working period of the artist.
This process can reduce concerns that the artwork was created later, after the artist became well known and the value of the works increased.
When all major materials correspond to the correct historical timeframe, it strengthens the foundation for further authentication analysis.
Dating and analyzing the various components of a painting may take several weeks depending on the number of tests, the complexity of the artwork, and laboratory scheduling.
Yes. Multiple parts of a painting can be examined and dated using scientific, forensic, and technical methods commonly used in art authentication.
Dendrochronology is a scientific dating method used in art authentication that analyzes the annual growth rings found in wood.
By studying these growth ring patterns, specialists can estimate when the tree used for a wooden panel was cut down, often with a precision of about one year.
After a tree is felled, the wood is typically seasoned and dried before being used for painting panels. For woods such as oak and walnut, this process usually takes around three years, and sometimes longer in humid environments.
Dendrochronology can help establish the earliest possible date when a panel painting could have been created.
Dendrochronological analysis is possible when the wood grain and growth rings are clearly visible and when enough rings are present to create a recognizable sequence for comparison.
Yes. If your painting is on a wooden panel and the growth rings are visible, dendrochronology is strongly recommended as part of the art authentication process.
This method can provide valuable dating evidence and help determine whether the wood support is consistent with the claimed historical period of the artwork.
Yes. DNA can be used in art authentication, although the procedure is
different from other methods. The matching technologies are the same as those used in other DNA identification applications.
We provide three main types of DNA analysis for art authentication:
Let us know who the artist is, and we will determine what is possible and advise you on the next steps in the art authentication process.
DNA (Deoxyribonucleic acid)
Yes. Artists often produced multiple original versions of the same composition.
For example, Vincent van Gogh painted two versions of the Pietà. Leonardo da Vinci painted two versions of the Virgin of the Rocks. John Singleton Copley painted three originals of Watson and the Shark. Caravaggio painted The Lute Player multiple times. Arnold Böcklin painted five versions of Isle of the Dead. Gilbert Stuart painted about 72 versions of the Athenaeum portrait of George Washington.
We examine and compare the painting using art authentication methods, including photography, technical analysis, and selected tests. We then confirm and certify whether your painting is a duplicate original by the artist.
A few weeks, as art authentication requires specialized photography and technical examination.
Yes. Fingerprint analysis can be used in art authentication. Just as fingerprints identify individuals in documents and criminal investigations, they can be used to identify artists.
An examination must be performed, and any fingerprints present must be photographed using a macro lens.
We have a professional law enforcement fingerprint examiner perform the comparisons and provide a report as part of the art authentication process.
It varies depending on the artist, but about two months is a reasonable estimate for fingerprint-based art authentication.
It is common for paintings to carry inscriptions on the verso or to come with documents supporting their authenticity, such as letters, notes, statements, or declarations, often attributed to the artist.
Forensic linguistics in art authentication allows us to date handwriting, determine its geographical origin, and use dialectology to assess whether the text was written by a native speaker.
With this information, we can often determine whether the artist wrote the text and whether the documents are authentic.
Authentic documents associated with a painting carry significant weight and contribute substantially to establishing authenticity.
We conduct forensic linguistic analysis for art authentication in about 15 languages: English, Spanish, Italian, Portuguese, French, Catalan, German, Finnish, Swedish, Ukrainian, Russian, Arabic, Hindi, Urdu, Bengali, and Mandarin.
High-resolution photographs or scans of the texts or inscriptions are required for forensic linguistics in art authentication.
One part of art authentication is visual. The painting must be examined and compared to other works by the artist.
We evaluate wear and tear, discoloration, the age of materials, the shape and depth of cracks, how the paint was applied, and how much was used.
Signatures, fingerprints, and underdrawings also require sharp, detailed visuals.
For these reasons, high-resolution photography is essential in art authentication.
Yes. Use a small tripod so your camera or phone remains stable, and use a wireless remote or delayed shutter.
Use plenty of light—the camera cannot capture what it cannot see. Take many photos, adjusting the angle slightly and reshooting each detail several times.
It is common to take 100 to 200 images of a mid-size painting. Save images in RAW format, which preserves all the data captured by the camera.
Yes. We can come to you, you can come to us, or we can meet in between. You may also use a local professional photographer. We will coordinate directly and provide detailed instructions for art authentication photography.
Yes. Infrared light (0.7 µm to 1000 µm) is rich in what it reveals. We use it to identify paint pigments (FTIR spectroscopy) and to reveal underdrawings, signatures, pentimenti, previous compositions that have been painted over, damage, and restoration (IRR infrared reflectography).
No. It is non-invasive.
Yes, if, for example, an identifiable previous composition is found or another element that clearly links the painting to the artist.
The simplest example is that the materials in the painting must have existed at the time the artist was alive and working.
Likewise, in a cityscape, the buildings, monuments, or landmarks depicted must have existed when the artist painted it.
Depending on the painting, the necessary conditions for art authentication will vary.
Send us photos and any information you have, and we will determine the applicable conditions as part of the art authentication process.
Raking light photography reveals surface details that are not visible under normal lighting. Just as raking light has revealed the rugged surface of the moon, it can reveal the true texture of a painting.
It shows how much impasto there is, how thick the paint is, and how it was applied. It can help identify whether the artist used brushes, what kind of brushes, a palette knife, sponges, rags, squeegees, pouring, splattering, airbrushing, or even fingertips.
Yes. They reveal painting techniques and tools used by the artist, which supports authenticity from a technical standpoint in art authentication.
Before 1950, textile supports used in paintings, such as canvas, linen, and silk, did not contain synthetic fibers.
A chemical analysis of a canvas sample will reveal whether synthetic fibers are present. If they are, the canvas was manufactured after 1950, which is critical information for art authentication.
Most dating methods for painting materials are not precise and often provide results within a range of plus or minus 25 years, creating a 50-year window that can limit their usefulness in authentication.
The synthetic fiber test is more precise. If synthetic fibers are present, the canvas cannot date from earlier periods and must have been produced after 1950. This makes it particularly useful for art authentication.
When authenticating paintings by artists who were active before 1950.
Two to three weeks.
If your painting was created after 1945, pigment dating is usually not necessary because age is generally not in question.
If your painting is older, determining whether it was painted during the artist’s lifetime is often essential in art authentication.
For this reason, we use various methods to determine the age of materials, including chemical analysis of the paint.
Once the composition is known, we establish the terminus post quem for each pigment.
It will show that your painting could have been created by the artist, since all pigments identified were available during the artist’s lifetime.
It depends on the extent of restoration and whether newer paint can be separated from original layers so that only the original pigments are analyzed.
Usually about 30 days.
White, blue, yellow, red, green. More is better.
Our professional forensic signature and handwriting examiners determine whether signatures, monograms, dates, locations, inscriptions, dedications, and other writings are authentic as part of art authentication.
No. High-resolution macro photographs are sufficient.
The art market prefers authentication to be based on more than the signature alone. While an authentic signature is an important element, it should be supported by other factors such as style, materials, subject matter, and technique.
About 10 days.
Yes, if the painting is of modest value. If the painting is by an internationally famous artist and has high value, more evidence will be required to establish authenticity in art authentication.
For works by major artists, it is crucial. It is more than important—it is a prerequisite. The painting must be a strong stylistic match to be considered a candidate.
No. It requires advanced art analytical skills, solid art history training, strong art appreciation background, and years of experience performing stylistic evaluations.
An average of 3 weeks.
Nearly all stylistic analyses are performed by specialists with PhD degrees in art history and at least 10 years of experience in art authentication and stylistic evaluation.
It is a scientific ceramic dating method used in art authentication. Many artists produced works on clay or porcelain. Some of the most well-known include Marc Chagall, Salvador Dalí, Raoul Dufy, Paul Gauguin, Natalia Goncharova, Wassily Kandinsky, Fernand Léger, Kazimir Malevich, Henri Matisse, Joan Miró, Pablo Picasso, Pierre-Auguste Renoir, Nikolai Suetin, Louis Comfort Tiffany, and Mikhail Vrubel
Yes. Establishing a scientifically verified age for the object strongly supports art authentication.
About 30 days, including sample mailing time.
It contributes to art authentication because it reveals information about newer and older paint layers, varnish, restorations, in-painting, and signatures.
Yes. It is a standard procedure in art authentication to examine and photograph paintings under ultraviolet light. The information provided can significantly support the authentication process. A faded signature that is barely visible may also become clearer under ultraviolet illumination. When we examine paintings in person, ultraviolet photography is included as part of the technical documentation.
Yes. Relatives, friends, lovers, and other artists may testify about artworks being authentic because they were present when the artist created them. In other cases, they may have witnessed the artist gifting the painting.
The most reliable witnesses are those who directly observed the creation of the artwork or its transfer by the artist.
Credibility is stronger when witnesses have no financial interest or personal gain in the outcome of the art authentication process.