Real client case
Real client case reviewed by ConfirmArt for Three Seated Women, attributed or related to Jamini Roy. The public page presents selected visual evidence and a rendered report viewer without exposing the private commissioned PDF.
Selected evidence
Report structure
Rectangular incised slate panel bearing a linear composition of three seated women in the Bengal modernist idiom popularised by Jamini Roy. The support is a single, dense slate slab with rounded corners and a triple ruled border incised parallel to the edges. The working face is a deep charcoal/black; the design is cut into the surface and reads a pale grey–white due to residual chalky fill and light catch.
The engraved face presents a crisp, high-contrast drawing created by shallow V-shaped grooves that remain of nearly constant width and depth . Long trajectories (sari hems, seat arc) reveal slight faceting at turns rather than continuous, elastic curves; intersections are mitred or butt-jointed, with no over-and-under brush overlap. The triple border is cut parallel to the edges with small registration drifts at the corners; the radiused corners of the stone are echoed by the border arcs.
Jamini Roy's Untitled (Three Seated Women) crystallises the artist's mature Bengali modernist idiom: a frieze-like procession of stylised female figures, articulated by a supple, calligraphic contour and broad planes of unmixed tempera. The panoramic format ( 39.7 \times 70.2 cm ) and the close, stage-front placement of the figures create a rhythmic, processional cadence across the field. Roy's black line swells and tapers with brush pressure, locking the anatomy into lucid, interlocking silhouettes; within these s
Selected evidence from this section shows how ConfirmArt structures a real client case for Jamini Roy, combining visual review with documented comparables.
The Bengali inscription and the overall composition indicate close dependence on Jamini Roy's well–known tempera Untitled (Three Seated Women) (Christie's, Property from the Estate of Dr.\ Marta Weigle). However, several format and layout mismatches argue against authorship: 0.49 Jamini Roy, Untitled (Three Seated Women) , tempera on card (Christie's). Note the broad aspect ratio, breathing margins and painted signature along the lower right border.
A market saturated with engraved-slate attributions. In recent years, the South Asian market has seen a notable volume of incised slate panels attributed to Jamini Roy—often showing line-only renditions of his best-known tempera compositions (Krishna iconographies, seated women, etc.). These circulate through gallery websites and private sale catalogues and are routinely justified not by museum records or published scholarship but by a "Certificate of Authenticity from the grandson of the late artist, Debabrata Roy
Structurally sound, single slate slab with the typical natural cleft at the edges and factory-rounded corners. The engraved design remains fully legible. No through-cracks or structural losses observed.
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