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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.
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.
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)
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. 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.
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.
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. 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.
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.
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.
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.
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.
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.
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.
We work with clients worldwide and provide art appraisal, art sales services, and certificates of authenticity wherever our clients are located.
We have experts based in major international cities including New York, Los Angeles, Miami, Washington, D.C., Buenos Aires, Helsinki, London, Paris, Geneva, Zurich, Rome, Milan, Madrid, Berlin, Amsterdam, Brussels, Dubai, Singapore, and Hong Kong. Our experts also frequently travel to other cities and countries when an in-person examination of an artwork is needed.
Examinations can be carried out at the client’s home, office, gallery, storage facility, bank, law firm, or other private premises. Whether you require an appraisal, assistance with selling an artwork, or a certificate of authenticity, our team can assist you wherever you or your artwork are located.