Most galleries will label
the pictures they buy and sell. A gallery label can tell you a number of
things, including which galleries have owned the painting and — if you’re lucky
— the year they bought it. A good name can be fantastic for provenance, and can
really add to a work’s value. In London, I look out for labels from dealers
such as The
Fine Art Society and Richard Green, though there are several names
that are key players in the market.
Exhibition labels are also
important to look for: if a painting has been shown at somewhere significant —
such as London’s Royal Academy — it only emphasises its importance. An
exhibition label can also lead us to original reviews, allowing us to see how a
painting was first received, which is always interesting, and a good addition
to catalogue notes.
2. Follow chalk marks and
barcodes to trace a work’s journey
through
the big auction houses
When trying to learn more
about a painting, chalk marks form an integral part of the jigsaw puzzle.
Sotheby’s has always used yellow chalk to mark pictures, which can offer some
clues about a work’s history. Since its foundation in 1766, Christie’s has used
stencil marks, which allow you to see who has bought and owned a work over the
course of its history; many of these marks date right back to the very first
consignment. They are a fascinating insight into previous owners — with more
interesting owners having a positive effect on value. The information you can
draw from the back of a work can be vital for deeper research into provenance;
archives such as those held at The Witt Library allow you to trace a long way
back.
3. Don’t believe
everything you read
Inscriptions (anything
written on the back of the painting) can be a variety of things, from the title
of the work, to the artist’s name. Caution is advised, however, as inscriptions
can be misleading. Some will say that the picture is by an artist who didn’t
paint it, or that the work represents somewhere or someone that it does not. A
name written on a work could be the artist’s, but it could also be their
partner, a member of the family, an art dealer, or anyone else — there is any
number of possibilities.
4. Take time to assess the
lining for possible signs of restoration
Thomas Jones (1742-1803), An extensive
landscape with houses seen from the Porta Pia, Rome, circa 1778. Oil and pencil on paper.
Sold for: £164,500. Main image at top: reverse showing loan labels, exhibition
labels, framer and restoration labels
Unlike the front of a piece, the back of a work will often allow you to see
whether it’s been lined or not, with the lining being central to the work’s
condition. You can tell a picture has been lined if it has had another canvas
put onto the back of it. It’s a good indication that a work has been restored,
which is not necessarily a bad thing, but isn’t always a good thing either. It
basically means the piece has been damaged at some point and restored — to what
extent requires further investigation. Sometimes a work is lined because it’s
had a lot of work done; sometimes, a lining is added just to stabilise the
work, or in response to a very small amount of damage.
5. It’s always possible to discover weird and wonderful things
The reverse of a 16th
century oil painting, showing the brand of the city of Antwerp — a pair of
hands above a castle — indicating the work’s support was approved by a guild of
panel makers. The mark dates from 1617, when new regulations required guilds to
register a symbol — with 22 official makers listed. Regulations drawn up by the
Antwerp Joiners’ Gild stated ‘every joiner is from now on obliged to punch his
mark on frames and panels made by him, on pain of a fine of three guilders’
What lurks beneath the
back of a painting can often be as surprising as what is marked upon it. Though
it’s incredibly rare, there have been cases where paintings have been found
hidden behind other works — sometimes for hundreds of years, escaping the
attention of galleries and auction houses. A loose lining, or an unusual run of
nails can be a clue, though sometimes these secret masterpieces are only
revealed when a work is reframed. It’s impossible to say why a work is hidden
in this way: it may have been a way to store and preserve a work, or it might
simply be that the frame was repurposed.
Where reframing would be
difficult, improvements in imaging technology have allowed experts to see
through the top layers of a work to any original paintings or drawings below;
it has not been uncommon for penniless artists to reuse canvases.
