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Authenticity certificates were explored in last month's column (AM355). This month we revisit the subject in the light of further authentication disputes and debates.
Art Fairs have vastly inaeased in numba ova the past ten years or so. TEFAF at Maastricht in March exhibits for sale museum-quality works (from antiquities through to contemporary) and opaates robust vetting procedures to authenticate works before they are allowed to be exhibited for sale, thus offering strong general provenance assurance to potential buyers throughout the fair. Dealas' entry conditions in the 'Modem' section require 'refaaices to catalogues raisonnes or certificates/ authentications from the accepted authorities on each artist'. Many dealers and collectors regard TEFAF's approach to vetting as the markd standard, but others, including otha art fairs, view its vetting requirements as stringent.
Art Basel in June, and its offshoot at Miami Beach in Decemba, is one of the biggest modem and oentemporary art fairs. It has no vetting procedures, on the basis that 'as most of our galleries are active in the primary market and are working closely with living artists or very active artist estates, the provenance of works on display is generally very well documented'. Art Basel has an 'ombudsman' present to consida disputes, and also Art Loss Regista personnel offering advice to potential buyers. It is not dear what expertise and/or authority the ombudsman may exacise, and whetha the fair itself is an appropriate location for attempting dispute resolution.
FIAC at Paris in September also specialises in modern and contemporary works, with around 70% being primary sales by dealas representing artists they personally know. FIACs 'college of experts' operates only when a potential buyer questions a work's provenance, and so is decidedly not a TEFAF-style provenance-vetting committee. It comprises five museum professionals and two dealers in modern works. For similar reasons Frieze at...