An Original Painting By Felius Marleen Rotterdam 1948

If you’ve encountered a listing or frame label that reads “An original painting by Felius Marleen Rotterdam 1948,” you’re likely dealing with a common cataloging shorthand, not necessarily a painting created in the year 1948. In Dutch and European auction practice, names are often presented as “Surname, First name (Place, Year),” which indicates the artist’s birth place and birth year—rather than the date of the artwork. That means this phrasing most likely refers to Marleen Felius (born in Rotterdam in 1948), a Dutch artist best known for carefully observed animal subjects, particularly cattle.

This article explains how to interpret the title, verify authorship, assess condition, and estimate value. It also offers practical steps for documenting and presenting your painting for appraisal or sale.

Reading the Title: What “Felius Marleen (Rotterdam, 1948)” Usually Means

• Surname-first cataloging: In many European catalog entries and gallery labels, the artist is listed as “Felius, Marleen (Rotterdam, 1948).” This format is simply surname, given name, followed by place and year of birth.
• Not the artwork date: “1948” in this context is the artist’s birth year, not the year the piece was produced.
• Why this matters: Mistaking 1948 as the execution date can lead to incorrect historical context, conservation assumptions, and valuation.

When you see a title like “An original painting by Felius Marleen Rotterdam 1948,” start by confirming whether the name order is meant as a catalog entry. If the painting’s subject matter aligns with known work by Marleen Felius (notably animal studies, especially bovines), and the signature corresponds, the attribution may be correct.

Artist Context: Marleen Felius and Typical Subjects

Marleen Felius (Rotterdam, 1948) is associated with detailed depictions of animals, particularly cattle. Collectors value her work for its accuracy, character, and draughtsmanship. While she may have worked across media (drawings, watercolors, gouache, occasional oil), the recurring thread is careful observation grounded in naturalistic rendering.

What to look for:

• Subjects: Cattle and farm animals are a strong match; rural scenes or animal studies are consistent. If your painting depicts a maritime scene or abstract geometry, pause and verify the signature and attribution.
• Mediums: Expect works on paper (pencil, watercolor, gouache) and sometimes works on canvas. Paint handling is often precise, with clean edges and attention to texture, coat, and anatomy.
• Signature tendencies: Signatures vary over a career. You may see “Marleen Felius,” “M. Felius,” or simply “Felius.” Placement is commonly lower right, but not exclusively. Compare letterforms (especially F, e, l, i, u, s) to known examples when possible.

Important caution: Because signature styles can shift and be mimicked, rely on multiple factors—subject matter, materials, provenance, and stylistic congruence—rather than the signature alone.

Authenticity: How to Verify an Original Work by Marleen Felius

1. Signature and inscription analysis:

   • Confirm the spelling: “Felius” can be misread as Feliu, Feliis, or Feliun. Ensure each letter aligns with authenticated examples.
   • Medium match: If the signature is in ballpoint over oil paint, or a felt-tip marker inconsistent with the period suggested by the rest of the work, be cautious.
   • Under-magnification: Check whether the signature sits atop the final paint layer and exhibits similar age and craquelure patterns.

2. Stylistic congruence:

   • Subject and approach: Animal studies with anatomically informed rendering and attentive surface texture support the attribution.
   • Palette and technique: Compare brushwork and color handling with documented works. Irregular discordance (e.g., fast, gestural abstraction) warrants further scrutiny.

3. Provenance:

   • Ownership chain: Prior owners, gallery invoices, and estate papers can anchor authenticity.
   • Labels and stamps: Look for Dutch frame shop or gallery labels (“Lijstenmakerij,” “Kunsthandel”) and exhibition stickers. Note addresses and phone formats (which can help date labels).
   • Catalog references: Auction catalogs may list prior sales. Keep photocopies or scans.

4. Materials consistency:

   • Papers and boards: European watercolor papers (e.g., cold-pressed) bear specific watermarks. Canvas and stretcher types can correlate to region and period.
   • Pigments and binders: A conservator can test media if needed. Modern pigments appearing in a work purported from an early period are a red flag.

5. Third-party opinions:

   • Seek opinions from specialists who know contemporary Dutch animal painting and the artist’s oeuvre.
   • For living or recently active artists, direct studio or estate confirmation (where feasible) can be decisive.

Condition and Conservation: What Matters for Mid-to-Late 20th Century Dutch Works

Condition drives price. For works likely executed in the late 20th or early 21st century, typical issues include:

• Works on paper:

  • Foxing: Brown spots from mold/metal impurities. Common in humid storage; reduces value but is treatable by a paper conservator.
  • Acid burn: Brown halo where old mats and backing boards leached acid. Re-matting with conservation materials helps preserve, but stains can persist.
  • Fading: Watercolor and some inks are light-sensitive. Compare margins under the mat to exposed areas to judge fade.

• Works on canvas/board:

  • Craquelure: Fine cracking is not unusual but heavy cupping may signal poor storage.
  • Stretcher bar marks: Visible imprints along the inside edges from tight stretching or environmental changes.
  • Nicotine film and grime: Yellowing and sticky residues from smoke exposure; surface cleaning can improve appearance.

• Framing:

  • Non-archival mats/backings: Replace with acid-free mat and backing, and UV-filter glazing for works on paper.
  • Original frame: Contemporary frames add less historic value than period frames, but intact gallery labels can aid provenance—retain all labels.

• Restoration:

  • Keep treatments minimal and reversible. Document all interventions with photos and invoices.
  • Avoid over-cleaning or re-varnishing without professional guidance.

Valuation: Factors That Drive Market Value

Because the phrase likely identifies Marleen Felius (Rotterdam, 1948), value hinges on demand for her specific work. Expect ranges to vary based on the criteria below:

1. Medium and size:

   • Oils on canvas generally command more than drawings or small watercolors.
   • Larger, finished compositions outperform sketches or studies.

2. Subject strength:

   • Signature subjects (e.g., well-rendered cattle portraits) draw stronger bidding than peripheral themes.

3. Condition:

   • Fresh, unfaded works with professional framing show better. Paper discoloration, heavy foxing, and tears suppress price.

4. Provenance and exhibition history:

   • Works with gallery invoices, exhibition labels, or inclusion in a catalog of works can command premiums.

5. Market channel:

   • Regional auction houses may realize modest but steady results.
   • Specialized dealers in animal portraiture or Dutch contemporary art may achieve higher retail pricing.

Indicative ranges: For comparable late 20th/early 21st century Dutch animal studies by a living or recently active artist, small works on paper often sell in the low hundreds to low four figures (local currency), while larger oils can reach into the mid four figures when subject, condition, and provenance align. Treat these as orientation figures only—secure recent comparables before setting expectations.

Research Pathways: Building a Confident Attribution

• Artist databases and dictionaries: Search national artist registries and standard artist lexicons for entries under “Felius, Marleen.” Note any monograms, alternate signatures, and career highlights to compare with your piece.
• Auction records: Compile realized prices for works explicitly titled and illustrated as Marleen Felius. Prioritize high-resolution images to compare signatures and brushwork.
• Gallery archives: Identify galleries known to handle her work. Archived brochures, card catalogs, or press clippings can be invaluable.
• Expert consultation: Engage a conservator for material analysis and a specialist appraiser for market context. Combine both views for a holistic picture.
• Direct inquiry: If the artist or estate is reachable, request guidance on signature verification and approximate execution date. Provide clear images and dimensions.

Cataloging Your Painting: Data to Capture Before an Appraisal

• Artist: “Marleen Felius (Rotterdam, 1948)”—presented in standard surname-first format if needed for records.
• Title: If untitled, describe succinctly (e.g., “Cattle Study in Pasture”).
• Medium/support: Oil on canvas; watercolor on paper; gouache, etc.
• Dimensions: Image and framed sizes, in cm and inches.
• Signature/inscription: Exact wording, location, and any dates.
• Provenance: Ownership history, dealers, auction lots, gallery labels.
• Condition: Notes on paper tone, foxing, craquelure, tears, repairs, and frame condition.
• Photography: Front, back, details of signature, labels, and any condition issues.

Practical Checklist

• Confirm the naming format “Felius, Marleen (Rotterdam, 1948)” refers to the artist’s birth details, not the artwork date.
• Verify subject matter and technique align with Marleen Felius’s known focus on animal studies.
• Compare the signature to verified examples; check letterforms and placement.
• Document provenance: invoices, labels, inscriptions, and prior sale references.
• Record measurements, medium, and high-resolution images front/back.
• Assess condition under good light; note foxing, acid burn, fading, or craquelure.
• Keep original framing and labels; reframe only with conservation materials.
• Identify recent sales of comparable works to gauge value.
• Seek opinions from a conservator (materials) and an appraiser (market).
• Maintain a clean, dry storage environment; avoid direct sunlight and humidity swings.

Frequently Asked Questions

Q: Does “Rotterdam 1948” mean the painting was created in 1948? A: No. In this context, it almost certainly refers to the artist’s birth place and year—Marleen Felius, born in Rotterdam in 1948—not the execution date of the piece.

Q: What subjects are most typical for Marleen Felius? A: Detailed studies of animals, especially cattle, are strongly associated with her work. Pieces that align with this focus are more likely to be authentic and more marketable.

Q: How can I be sure the signature is genuine? A: Compare the signature’s letterforms with verified examples and confirm it sits correctly atop the final paint layer. Then corroborate with subject matter, materials, and provenance. When in doubt, consult a specialist.

Q: Will reframing affect value? A: Reframing with conservation-grade materials usually preserves value and can enhance presentation. Retain any original labels and place them on the new backing; avoid discarding components that contain provenance.

Q: What is a realistic value range? A: Small works on paper by a living or recently active Dutch artist can sell in the low hundreds to low four figures, while larger oils with strong subjects and provenance may reach the mid four figures. Always verify with current comparables.

Interpreting “An Original Painting By Felius Marleen Rotterdam 1948” correctly is the first step toward a credible appraisal. By distinguishing birth-year notation from execution date, aligning subject and technique with the artist’s known strengths, and assembling firm documentation, you’ll be positioned for an accurate valuation and informed decisions about conservation, insurance, or sale.