In the old days, dealers and auction rooms would only use the phrase Attributed To for works that, in an expert’s opinion, were more than likely by the artist in question. Of course, there was still a little uncertainty, since many of those works were often unsigned. However, when a buyer saw a work with that phrase attached to it, they had a good deal of confidence in its authenticity was backed by an expert’s thorough research and examination of the work.
While personally, I was never comfortable dealing with Attributed To works when I first started in the business, it was not a very worrying term. Often, it was used in the Old Master market since many works were never signed. Experts would analyze stylistic elements, provenance, and historical records before making their determination.
Unfortunately, the use of the term has changed, and not for the better.
Today, many questionable works are being offered at smaller auctions with the term Attributed To. In most cases, to those with a serious level of expertise in the field, it is often blatantly clear that these pieces have no connection to the artist they are supposedly attributed to. I would like to assume that these sellers feel the term is similar to those like: Studio of, Circle of, After, In the Style of, Manner of, and Follower of. Let me be perfectly clear, it is not.
In case you are unaware, here is what those terms really mean:
Studio of: A work created by an unknown artist within the studio of the named artist, potentially with their guidance or direct involvement.
Circle of: A piece by an unidentified artist associated with the named artist, but likely not a direct student.
After: A copy of an original work by the artist.
Manner of / In the Style of: A piece executed in the style of the artist but produced at a later date and not by the artist.
Follower of: A work created by an artist inspired by the named artist, but without necessarily being their pupil.
Over time, the misuse of Attributed To will undermine buyers’ confidence and the integrity of the art market. It is vitally important that people who are “not in the know” reach out to those who are “in the know” to make sure they are correctly cataloging the works being offered for sale.