Find peace in mind knowing when you shop at GallArt.com that the artwork you purchase is genuine and always comes with a Certificate of Authenticity.
What Is a Certificate of Authenticity?
A Certificate of Authenticity is a bit like an artwork’s birth certificate, passport and quality guarantee all rolled into one.
Essentially, a COA is a document, created by the artist or someone who is an expert on the artist, which accompanies an artwork and contains all the information a collector could need to verify if the piece of art is genuine.
A Certificate of Authenticity (COA) provides a lot of concrete detail about a piece, but by existing for a particular piece, it says even more. An artwork that has a COA is one that is made by a professional practicing artist, not an amateur. It is a piece that has collectible value. The Certificate adds a tangible credibility to the work. It can help the work hold its value.
The COA is held to be an indirect promise of quality. Art pieces that have a COA have usually been made by an artist who cares about their work, its longevity and their collectors. The piece is likely to have been created from the best materials available, be designed to last and been created by an expert. Back to the concrete details, the Certificate will provide all the information on the medium(s) of the piece needed for conservation that might otherwise be lost forever.
Certificates protect the artist and the buyer by helping to prove that an artwork is original. Cheap copies sold without an artist’s knowledge or consent is unfortunately common. Without a COA attached, this situation makes it next to impossible for the buyer to be confident of the value of the piece or for the artist to maintain their credibility and their livelihood.
As an art collector, you really must only buy Fine Art pieces that are backed by a Certificate of Authenticity. This helps ensure that what you have bought at a premium is genuine and not counterfeit.
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HAPPY MEMORIAL DAY FROM GALLERY ART!
NEW YORK, NY.- Leo Castelli Gallery announces the opening of the exhibition Jasper Johns and Roy Lichtenstein – Walls. The exhibition includes paintings, drawings and collages dating from the early 1970s to the 1990s, some of which have never been shown before. The exhibition focuses on the idea of taking a portion of a wall as the subject-‐matter for a work of art, an idea probably rooted in the great tradition of American trompe l’oeil painting. It intends to show how Johns and Lichtenstein, working at different times and under different circumstances, somehow reinvented this tradition, and elaborated it in a unique way. Included in the exhibition are Jasper Johns’ paintings Untitled, 1984, in which, taped on a wall, we see the detail of a “Flag”; and Untitled, 1988, in which a well-‐known Picasso image hangs on a wooden wall. References to the work of Modern Masters and self-‐references appear in Roy Lichtenstein’s works as well: in Trompe L’oeil with Leger Head and Paintbrush, 1973, the artist is including an image from Leger; while Dagwood, in Collage for Two Paintings: Dagwood, 1983, can be seen as related to the use of cartoons earlier in the artist’s career.
Above all, the works in the exhibition seem to create a space in which the boundaries between the artwork and the actual physical wall may be perceived as broken, and the viewer is faced with seeing paintings painted in a painting. (Via artdaily.com)