The criteria for determining the authenticity of art objects, other than archaic, primitive or tribal art, is well established. Authentic art is classified by many as that which is made by a specific artist. When an art appraiser, dealer or collector, lacks the specific knowledge that the object of review was indeed made by a given artist, attribution must then be made based upon the estimated date of creation, as well as the materials used, and the techniques of craftsmanship and style.
Provenance is often times used to enhance the prestige of an art object, add to its authenticity, and thereby increase it's perceived value. As the prices paid for works of art continue to increase, forgeries sold into the market as authentic items will also increase. Many examples of master forgeries from currency to paintings to furniture abound.
Many of us have "works of art" in our homes and offices where the attribution is, and will remain, unknown. Because we don't have a work done by a recognized named master, does not mean that we don't have a work of beauty that offers joy for its visual presence.
What is of concern to those of us who collect and sell art (and herein I collectively include tribal art, artifacts and antiquities), is the possibility of unknowingly acquiring or selling a fraud or forgery. Those of you who watch the PBS Antiques Road Show program may have seen the episodes, wherein a collector displays a recent purchase, or something that has been in the family for years, with the belief they have an authentic whatever. Only to be told what they have is not a whale tooth scrimshaw, but a plastic reproduction, or that the firearm they bought was reworked and modified to give the appearance of a more valuable item. Sometimes even the experts are baffled or fooled.
The Tribal Arts and Antiquities site is dedicated to the introduction and sale of tribal art, artifacts and antiquities. However, tribal art, artifacts and items of antiquity are not exempt from similar issues as described above. Tribal art and artifacts have been reproduced for centuries for sale as souvenirs to visitors and conquering armies. In the 16th Century, Central and South American cultures made gold and pottery objects for sale to the Spanish. Egyptians sold "made pieces" to Napoleon's troops, of objects resembling original Pharonic works. The inhabitants of west Africa made creative works specifically for sale to the Portuguese, the Dutch, later to the French, and then English. Many of these objects have been acquired by museums and collectors, but are not culturally representative pieces of the people who produced them. Many African artists continue to produce these types of works. Are these to be considered fakes or forgeries, even though they may be 500 years old, or made last year?
For the purpose of items we purchase, and offer for sale, we use, as a guide, the concepts offered by Mr. Henri Kamer, former President of the International Arts Experts Association, and first published in "Arts D'Afrique Noire", issue number 12, December 1974, under the article title of "The Authenticity of African Sculptures".
In that article, Mr. Kamer writes that "authentic" tribal art is that which is created by members of a specific culture for the purpose of tribal ritual, or utilitarian use. He furthers writes, however, that a "faked" object is something that may be outside of the culture's artistic standard. It may either be a commissioned piece (as done, by example, for the Portuguese in west Africa) or made to resemble the style of a western or other tribal culture. Nonetheless, even these objects, he concludes, have a place in both the private and public collection as valid works of art.
Mr. Kamer's observance that an art form made by one culture or people to pass as the work of another unrelated culture is the same as Van Meegeren's work being sold by him as a Vermeer. It simply is not legitimate, and he classifies this as a forgery. We agree with this.
Mr. Kamer continues by writing that ... "authentic sculptures" [he used this term to be inclusive of all art styles, whether masks, figures or utilitarian objects] "are classified generally in three principal categories:"
1. "The objects of the first period which I call a beginning art come to us directly from the ancestral traditions of the bush and the African forest. These are entirely pure and original creations which have not been subjected to any foreign influence. They are extremely rare pieces and are obviously the most in demand."2. "The objects of the intermediary period, which are always worked in the style of the preceding one, have undergone, nevertheless, certain alterations due to foreign contributions to the culture. Some of them are notably adorned with imported decorative elements: paint of European origin, copper nails, shotgun cartridges, Venetian or Arabian glass beads, some of which may date back several centuries. These objects are equally as valuable and legitimate as those in the first period, although less rare."
3. "The style of objects of the third period is characterized by a marked decadence due to a considerable foreign influence. This influence can be either intertribal or European. The sex of the figures is less apparent, being clad in loincloths at the instigation of the missionaries. Some statues even have sandals. The traditional secular forms give way to a certain creative audacity, at times delightful, but showing definite signs of decadence. I would say without hesitation, however, that [there] are indisputable masterpieces of African art among the objects of the third period."
To the best of our knowledge, none of the items we offer for sale falls into the category of a forgery, that being defined as an object made by one unassociated culture or society to pass as an authentic item from another dissimilar or unrelated culture or society. It has been, and remains our desire and intent to only offer authentic art, tribal art, artifacts and items of antiquity. Our material is acquired from sources we deem to be reliable, but not infallible. For this reason, we offer a return privilege following a five day examination period. Please review our Terms and Conditions section to read more about our return policy. We encourage you to make your own assessment, and if appropriate seek the advice of a professional at your local museum.