“Those experts and expertise committees are each focused on one artist and benefit from archives and photographic materials. After all, this art is less than 100 years old,” Camu added.
In Abercrombie’s case, gallerists and institutions were able to rely on the rather extensive records the artist kept of her art through around 1960. Art historian Susan Weininger, who worked with Don Baum, the late artist and curator who was executor of Abercrombie’s estate, also wrote a resourceful essay for a 1991 exhibition about the Surrealist’s work.
Boos agreed that documentation and research is key to ensuring authenticity. “It is always important to work with reputable dealers and auction houses,” he said. “When doing so, a collector should expect exceptional research and provenance information to be provided—always.”