Alfred Binet was convinced to conduct research into graphology from to He called it "the science of the future" despite rejection of his results by graphologists. His major contribution to the field can be found in Handschrift und Charakter. Zubin modified Klage's ideas, based upon their experience working for the U.
What we are told is provenance. Wherever that is He considered it to be "an authentic Corot".
Then on November 1,Commander Professor Frederick Hermain, superintendent of a Gallery in Rome, considered the work authentic for Corot, though we are not told which gallery and he is untraceable.
By November 7, it is seen by another 'expert' who considers that the work is authentic. But we are not told who! Then on November 14,Professor Povede sees it and also considers and determines the authenticity as being correct.
That is that it is a genuine Corot and further, estimates its value as more thanItalian lire. Then inthe Professor of the Artistic Academy, Bartoli, has judged the work as an authentic Corot too. All of these facts and the names of those purported to have felt this way is not corroborated.
To give the provenance even more clout, this alleged Corot passes through Messrs Phillips and Co in London at auction incatalogued as being Jean-Baptisie Camille Corot.
Presumably because they too bought into the provenance and did not check it fully? Sadly all records and archives do not exist it seems. As far as the provenance is concerned, a huge mass of conjecture prevails with the story concerning its origins, none of which adds up.
This is the manufacturing stamp of a colourman in Paris.
No it's not a 5! Content sold artisits materials for a living and stretched and pre-primed and coated canvasses for Parisian artists. The stamp above rightcorresponds to that of the stamp shown below, which we know is a legitimate Pissarro oil of around It is the stamp Paul Contet used for each canvas he primed and stretched in his workshop.
Both stamps appear this way around see bottom right indicating that the canvas was prepared as a standard portrait or figure format for the time, with the weave going one way. But both canvasses have been turned through 90 degrees and used as landscape canvasses.
This was normal at the time as Portrait canvasses were more expensive and landscape less so, so economics prevailed.
The address is important here, seen as 34 Rue Lafayette, Paris. It was the former site of the Gallery Latouche, previously owned by artist Louis Latouche and his wife, who after ran the gallery on her own.
Her husband by now had gone back to concentrating on his painting. The important fact here is that record has it that Mrs. Latouche sold the business in the yearnot before. So one can safely assume it was to Mr. Paul Contet, as certainly it wasn't Contet's shop before that date!
So why is this simple fact so important, after all the Provenance mentions Monsieur Latouch and his friendship with Corot? Well the experts all immediately put 2 and 2 together and make this a thousand by deciding this painting is a genuine Corot and primarily because of that fact, the provenance assumes it is and none of them wanted to be seen to be wrong or go against the grain!
So not much has changed there then!!! But it is not a fact, it is guess work, assumption at best and conjecture and in Authentication there is no room for either. So why then is it not a Corot when so many say it is?Joseph Jalbert Background.
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Dear Client, My office is fast, efficient, and thorough. The Questioned Document unit at the FBI Laboratory is best known for handwriting analysis, Learn from expert document examiner, Bob Baier. A COROT? Sorry No. So why the need for the authentication of a Corot painting or one painted by anyone else for that matter?
Simple: To secure the integrity of art history, protect the artists name and all he stood for and sustain the values, both ethically and financially of his oeuvres.