Postby kerangoumar » Mon Aug 13, 2007 6:08 pm
All the arts are subject to the same questions about authenticity; whether one is looking at an ivory cross or a silver cann, one has to curb one's enthusiasm and ask the hard questions - about provenance, if such is available, repairs, etc., in order to weed out the also-rans from the objects worth consideration. And if one is buying from a dealer it helps to know that the dealer is a member of an organization such as PADAC (Professional Art Dealers' Association of Canada), BADA (British Antique Dealers' Association) etc. who will stand behind what he sells.
So much for the more technical concerns.
Artistically speaking, however, there is a more ephemeral, more difficult aspect to determining whether an object meets the criteria of its supposed age. Especially nowadays styles are recycled ever more rapidly and while at first glance art deco might be just art deco, a more in-depth, critical look will bring to light subtle differences in the design that are expressions of a changed attitude toward that design. Once we have experienced art deco, we can never again design or create art deco items from the original perspective.
When the book about the Bury St. Edmunds Cross (ivory, 12th C English, at the Cloisters Museum in NYC) was published in 1981 (King of the Confessors by Thomas Hoving, Simon & Schuster) there ensued a rip-roaring debate about the skill involved in carving such a cross. A number of my associates thought that - even if it were 'fake' - the cross was of such high technical mastery that that should elevate it into the highest levels of art, regardless.
But - with ivory as with silver, wood and every other sort of creative endeavour, including music - the original style is different from its recycled interpretations, and originality does matter.
The bowl in question might call to mind Neo-Classical style, but if one were to put it alongside an actual Neo-Classical bowl such as the DePeyster [punch] Bowl one would see a lightness of touch in the floral swags, for example, that is not there in the sugar bowl. As one example.
There is only one protection against this: to look and to handle as much as possible. Whatever your collection focuses on, but even related items from the same time period. You look and look until you think you can't look any more, and soon you begin to internalize the characteristics and signature aspects of the time period. So that, while there is always a possibility that one is duped, one can reduce its likelihood to a great degree.
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