ESTONIAN ACADEMY
PUBLISHERS
eesti teaduste
akadeemia kirjastus
PUBLISHED
SINCE 1997
 
TRAMES cover
TRAMES. A Journal of the Humanities and Social Sciences
ISSN 1736-7514 (Electronic)
ISSN 1406-0922 (Print)
Impact Factor (2020): 0.5

THE FORM OF PAINTER’S SIGNATURE AND ITS SUITABILITY FOR THE ASSESSMENT OF THE AUTHENTICITY OF PAINTINGS; pp. 403–410

Full article in PDF format | https://doi.org/10.3176/tr.2017.4.07

Author
Anna Koziczak

Abstract

One of the commonly used methods for determining the authenticity of the painting is the analysis of signature placed on it. However, unmistakable confirmation of authenticity may apply only to signatures of sufficiently high quality. The article indicates, from a handwriting expert viewpoint, which properties of signatures are significant to their identification, and which are not, and therefore, that in some cases, despite the corres­pondence of signature with the exemplars, conclusion about its authenticity is invalid.


References

Arnau, Frank (1960) Kunst der Fälscher, Fälscher der Kunst: Dreitausend Jahre Betrug mit Antiquitaten. Econ-Verlag GMBH.

Bensimon, Philippe (1996) “L’expertise des signatures en matière de faux tableaux”. Revue Internationale de Police Criminelle 457, 28–30.

Ellen, David (1997) The scientific examination of documents: methods and techniques. London: Taylor & Francis.

Hilton, Ordway (1939) “The detection of forgery”. Journal of Criminal Law and Criminology 30, 4, 568–599. Available online at <http://www.jstor.org/stable/1136977>. Accessed on October 27, 2017.
https://doi.org/10.2307/1136977

Huber, Roy A. and A. M. Headrick (1999) Handwriting identification: facts and fundamentals. Boca Raton and New York: CRC Press.
https://doi.org/10.1201/9781420048773

Koppenhaver, Katherine M. (2007) Forensic document examination: principles and practice. Totowa New Jersey: Humana Press.

Matthew, Louisa C. (1998) “The painter’s presence: signatures in venetian renaissance pictures”. The Art Bulletin 80, 4, 616–648. Available online at <http://www.jstor.org/stable/3051316>. Accessed on October 27, 2017.

Mathyer, Jacques (1961) “The expert examination of signatures”. The Journal of Criminal Law, Criminology, and Police Science 52, 1, 122–133. Available online at <http:// scholarlycommons.law.northwestern.edu/jclc>. Accessed on October 27, 2017.
https://doi.org/10.2307/1141512

Morris, Ron N. (2000) Forensic handwriting identification: fundamental concepts and principles. San Diego, San Francisco, New York, Boston, London, Sydney, and Tokyo: Academic Press.

Naftali, Arie (1965) “Behavior factors in handwriting identification”. The Journal of Criminal Law, Criminology, and Police Science 56, 4, 528–539. Available online at <http://www.jstor.org/ stable/1141688>. Accessed on October 27, 2017.
https://doi.org/10.2307/1141688

Osborn, Albert S. (1910) Questioned documents. Rochester N.Y.: The Lawyers’ Cooperative Publishing Co.

Kelly, Jan Seaman and Brian S. Lindblom, eds. (2006) Scientific examination of questioned docu­ments. Boca Raton, London, and New York: CRC Press, Taylor & Francis Group.

Slyter, Steven A. (1995) Forensic signature examination. Springfield, Illinois USA: Charles C. Thomas Publisher.

Spencer, Ronald D., ed. (2004) The expert versus the object: judging fakes and false attributions in the visual arts. Oxford and New York: Oxford University Press.

Tomilin, W. W. (1974) Osnowy sudiebno-medicinskoj ekspertizy pisma. Moscow: Medicina.

Widla, Tadeusz (1980) “L’expertise des signatures artistiques”. Bulletin du Musée National de Varsovie 21, 1, 7–24.

Widla, Tadeusz (2016) Ekspertyza sygnatury malarskiej. Katowice: Wydawnictwo Uniwersytetu Śląskiego.

Worthington, A. C. and H. Higgs (2004) “Art as an investment: risk, return and portfolio diversifica­tion in major painting markets”. Accounting and Finance 44, 257–271. Available online at <http://citeseerx.ist.psu.edu>. Accessed on October 27, 2017.


Back to Issue