An Original Painting By Romero Britto Born October 6 1963 Making Love 1990 1999

Romero Britto, born October 6, 1963, is one of the most recognizable figures in late-20th-century pop-inflected contemporary art. His crisp black contours, exuberant palettes, and heart-forward motifs made the 1990s a formative decade for his market. If you are evaluating a work identified as an original painting titled “Making Love” from 1990–1999, the stakes are high: this period coincides with Britto’s expanding international profile and an increasingly crowded field of editions and hand-embellished prints. Below is a structured guide to authenticate, date, assess condition, and value such a piece—focused on what appraisers and serious collectors need to know.

Context: Britto’s 1990s Output, Materials, and Signature Traits

• Medium and supports: Most original Britto paintings from the 1990s are acrylic on canvas, sometimes on panel, often with a glossy protective finish. The surface is typically smooth to moderately built-up; impasto is less common than in expressionist work but can be present along black outlines and certain color blocks.
• Visual language: Bold, outlined patterns; juxtaposed geometric sections; repeated motifs like hearts, flowers, birds, and stylized couples. Color segmentation often emphasizes contrast rather than blending.
• Signature: Usually “BRITTO” (uppercase) or “Britto” in a clear, graphic hand on the front lower right or left; the signature may be in black or a contrasting color. A heart symbol may appear nearby in some works, especially thematically aligned with love and affection.
• Verso markings: 1990s works may have handwritten titles, dates, and gallery or studio labels. Expect to see English-language titling, sometimes Portuguese variants, and variable thoroughness in inscriptions depending on where and how the work was sold. Inventory numbers or stickers from Miami-based galleries associated with the artist are not uncommon.
• Titles and variants: Britto’s romantic motifs generated multiple compositions in the 1990s. Works identified as “Making Love” may exist as original paintings, limited edition serigraphs, or giclées. Small changes in title (“Making Love,” “Love,” “In Love,” “Lovers”) occur across media, so match the title on the verso, invoice, or COA to the front image to avoid substitution errors.

Authentication and Dating: Evidence That Holds Up

1. Provenance and documents

• Chain of custody: A clear ownership lineage from first sale (gallery or studio) to present is ideal. Even a two-step chain (original purchaser to current owner) helps if accompanied by receipts.
• Certificate of Authenticity (COA): Look for COAs issued by the artist’s studio or a primary representing gallery. Verify that the COA includes the work’s exact title, medium, dimensions, and date, and that it corresponds precisely to the object.
• Invoices and exhibition literature: Gallery invoices, condition sheets, and exhibition checklists carry more weight than generic COAs. An exhibition history or inclusion in a catalog strengthens authenticity.

2. Front and verso examination

• Front: Confirm acrylic paint presence with raking light. Brushwork should interrupt the light in subtle micro-textures; machine-printed surfaces will appear uniformly flat, unless later hand-embellished.
• Verso: Original 1990s canvases typically show age-appropriate stretcher wear, corner impressions from keys, and canvas tone that is slightly off-white. Newer relinings or replacements should be disclosed. Anachronistic labels (recent print-on-demand decals) on a supposedly 1990s piece are red flags.

3. Signature alignment and paint strata

• Compare signature letterforms and paint layering: In originals, the signature is part of the paint strata and may slightly overlap earlier color fields with minor ridging. On prints, the signature may be printed, or if hand-signed, sits on top without integration into the paint surface; hand-signed prints on paper are common for serigraphs.
• Under magnification: Original acrylic shows continuous, non-screened pigment with brush micro-ridges; giclée shows dot patterns; serigraphs show crisp edges and stacked, flat ink layers without bristle disruptions.

4. Technical tests (when needed)

• UV light: Acrylic generally shows a soft, even fluorescence; retouches appear darker or differently fluorescing. Optical brighteners suggest paper-based works or more recent materials. UV can also reveal overpaint or restoration.
• Solvent swab tests should be left to conservators. Avoid disturbing surfaces; some varnishes are sensitive.

5. Dating within the decade

• Style: Early 1990s works may be slightly less segmented and have marginally less gloss than late-1990s counterparts; this is a weak indicator on its own.
• Materials: Staple patterns on the verso (back-stapled versus gallery-wrapped edges) and stretcher bar profiles can be era-specific. Cross-reference with documented comparables.
• Documentation: Ultimately, the date on the verso, combined with corroborating invoices or gallery labels, is the most defensible evidence.

Originals vs. Editions: Avoiding the Hand-Embellished Trap

Britto’s popularity led to a proliferation of fine art editions in the same era as his originals. For valuation, distinguishing an original painting from a print or “mixed-media” edition is crucial.

• Original painting (acrylic on canvas): Unique work. Expect substantial paint presence, irregular transitions between color blocks under raking light, and brush traces even in flat fields. The title and date may be on the verso; the piece will not carry an edition fraction.
• Serigraphs (silkscreens) on paper or canvas: Editioned with a fraction (e.g., 45/300). Edges of color are extremely sharp; overlapping inks produce minute registration cues. Texture is fundamentally flat unless later embellished.
• Giclée (inkjet) on canvas: Under 10x–20x magnification, you’ll see micro-dot patterns and no true brush striations in the color fields. Hand-embellished giclées introduce localized acrylic texture, often on top of printed black lines—a tell for editions masquerading as “originals.”
• Mixed media on canvas/panel: Some editions come with hand-applied accents or resin. They remain editions if they bear an edition number and printed imagery beneath the paint.
• The edition fraction: Originals never have a fraction number. If you find a fraction, it is an edition, regardless of added paint.

Inspect edges and sides:

• Printed canvas editions often wrap the image over the sides with uniform continuation; originals may have artist-painted sides or taped/unfinished edges, consistent with 1990s studio practice.
• A stapled verso with some paint wrapover from the front suggests original paint handling, but be cautious—some embellished editions mimic this.

Condition Assessment: What to Look for in 1990s Britto Paintings

A precise condition read materially affects value and insurability.

Common issues:

• Abrasion and scuffing: High-gloss surfaces show micro-scratches and matte scuffs, especially if framed without adequate spacing. Look for dull patches under raking light.
• Craquelure or incipient lifting: Along dense black contour lines where paint build-up is highest, you may find micro-cracks. Active lifting is more serious and requires conservation.
• Varnish irregularities: Uneven gloss or pooled varnish can occur, particularly if varnished outside the artist’s studio. Yellowing is uncommon with acrylic-compatible varnishes but possible with aged solvent-based coats.
• Fading and discoloration: Prolonged UV exposure can mute high-chroma areas. Compare protected edges under the frame lip with exposed areas for differential fading.
• Touch-ups and overpaint: Often located at corners, edges, and along outlines. UV light helps detect them. Systematic overpaint can conceal damage or convert an embellished print to appear more “original.”

Structural concerns:

• Canvas slack or deformed: Check tension; keys should be present in the stretcher. Warping or rippling indicates environmental fluctuations or improper framing.
• Frame interactions: Compression or contact glazing may abrade projecting textures. Verify adequate spacer depth.

Conservation notes:

• Cleaning: Dry microfiber plus light, non-abrasive dusting only. Wet cleaning risks disrupting acrylic surfaces and varnishes; seek a conservator for soil or nicotine accretions.
• Restoration: Document any inpainting or consolidation. Professional conservation is acceptable and common, but undisclosed repairs will affect value.

Market and Valuation: Building Defensible Numbers

Valuation hinges on accurate categorization (original vs. edition) and quality of evidence.

Key drivers:

• Medium and uniqueness: A true acrylic-on-canvas painting commands a multiple over serigraphs, giclées, and mixed-media editions, regardless of embellishment.
• Size and complexity: Larger, more intricate compositions with strong thematic appeal (“love” motifs are broadly popular) often perform better.
• Date and period relevance: A 1990s date aligns with a significant growth phase in Britto’s visibility, generally positive for market interest.
• Provenance strength: Works with traceable gallery invoices, studio documentation, or exhibition history are easier to sell and insure.
• Condition: Excellent, unrestored condition earns premiums. Visible scuffs, fading, or overpaint reduce value, particularly if they affect focal contours or faces.
• Market comparables: Seek recent sales of original Britto paintings of similar size, subject, and date. Separate comparisons for editions; do not mix edition results with originals.

Cautions in comparables:

• Title confusion: Ensure that a comp labeled “Making Love” is truly an original painting, not a serigraph or giclée with similar imagery.
• Edition inflation: Hand-embellished editions can sell robustly in retail gallery settings but should not be used as comps for originals.
• Regional variance: Primary market retail prices in tourist-heavy locales can be materially higher than auction prices; for appraisals, state whether your assignment is fair market value, retail replacement, or insurance.

Care, Display, and Insurance Considerations

• Display: Avoid direct sunlight. Use UV-filtering acrylic glazing if framing, with spacers to prevent contact. Maintain stable RH (40–55%) and temperature (18–22°C/64–72°F).
• Handling: Cotton or nitrile gloves. Lift by the frame or stretcher, not the canvas.
• Transport: Foam corners, glassine or archival interleaving over the painted surface, then bubble wrap (bubbles out) and rigid boards. Avoid pressure on textured areas.
• Documentation: Maintain copies of COA, invoices, condition reports, and high-resolution photos of front, back, and details. Insurers will ask for these in claims and scheduling.

Practical Checklist: “Making Love” (1990–1999) by Romero Britto

• Confirm medium: Acrylic on canvas with true paint texture (not printed). Check under raking light and 10x magnification.
• Verify uniqueness: No edition fraction present; no printed dot patterns below paint; signature integrated into paint layer.
• Match title and date: Verso inscription, invoice, and COA must align with the front image and stated year (1990s).
• Review provenance: Obtain gallery/studio documents and ownership trail. Prior exhibition info if available.
• Inspect condition: Look for scuffs, cracks along black lines, fading, and restorations under UV.
• Measure accurately: Record image and overall dimensions; size matters for comps and insurance.
• Build comps: Use sales of original Britto paintings (similar subject/size/decade). Exclude editions and hand-embellished prints.
• Document thoroughly: Photograph front, back, signature, labels, edges; keep digital and printed records.

FAQ

Q: How can I tell if my “Making Love” is an original painting or a hand-embellished giclée? A: Use magnification and raking light. Originals show continuous brush micro-texture within color fields, with no underlying CMYK dot pattern. Hand-embellished giclées show printed dots under a thin paint layer, often with embellishment on top of pre-printed black contours.

Q: Does a COA guarantee authenticity? A: A COA is supportive but not definitive. It must match the object’s title, medium, dimensions, and date. Prioritize gallery invoices, studio records, and consistent physical evidence. Be cautious of generic or recent COAs attached to works purportedly from the 1990s.

Q: Where is the signature usually located? A: Frequently lower right or left on the front, “BRITTO” or “Britto,” sometimes with a heart symbol. The verso may include the title and date. Compare letterforms to known 1990s examples and ensure the signature sits within the paint strata, not merely as a printed or later-added mark.

Q: Do 1990s Britto paintings have varnish? A: Many do, often with a glossy finish. Uneven gloss, pooling, or later over-varnish can occur. If conservation is needed, consult a conservator experienced with modern acrylics and synthetic varnishes.

Q: What affects value the most? A: Authenticity as a unique painting, condition, size, subject appeal (romantic/heart motifs are strong), and documentation. Clear, high-quality provenance and a clean condition report typically translate to stronger valuations.