Everledger, Artory, COA Registry, Artwork Archive, and Arcual all solve the same problem: proving who owns a work and that its record hasn’t been tampered with. None of them ask whether the attribution behind that record was correct to begin with. That is a different problem, and it needs a different kind of research.
The Fonderie Valsuani was one of the most significant bronze foundries in Paris during the first half of the twentieth century. Founded by Claude Valsuani around 1899, it cast bronzes for artists whose names now define the canon of modern sculpture. Its history is a history of Paris’s art world — the network of studios, […]
Claude Valsuani was the real founder of the Fonderie Valsuani in Paris — one of the most significant bronze casting houses of the early twentieth century. He was not Italian. He was not named Marcello. He was a French professional who established a foundry that cast work for some of the most important sculptors of […]
The 1920–1930 dating of the Rembrandt Bugatti portrait bust of Blanche Denise Ferrero-Willmann is one of the clearest examples of how a single catalogue error can calcify into accepted art-historical fact. Understanding exactly how this date entered the literature — and why it has persisted despite being contradicted by the sitter’s biography — is essential […]
The Rembrandt Bugatti portrait bust of Blanche Denise Ferrero-Willmann is a work that the art market has described, catalogued, and sold using a date range — 1920–1930 — that primary source research cannot support. Art Revisionist’s investigation into the sitter’s biography demonstrates that the commonly accepted dating conflicts with the documented facts of Blanche Denise’s […]
Blanche Denise Ferrero-Willmann is a name that appears in auction records attached to a Rembrandt Bugatti portrait bust. For most of the time that name has circulated in the art world, it has functioned purely as a label — a string of words identifying a bronze, not a person. Art Revisionist’s research restores the person. […]