News 'in little'

June 25 2011

Image of News 'in little'

Picture: Bondu et Associes

Some miniature news for you. 

First, an exceedingly rare portrait of Peter the Great by the court artist Grigory Musikiysky (1678-1739), sold for EUR 27,000 in Paris today. The estimate was just 5-6,000. As you can see, it isn't a particularly accomplished work, but such is the demand for Russian Tsarist portraits that the quality seems not to have mattered. Musikiysky normally painted enamels (see an example in the Hermitage here), and this was an unusual watercolour example. It was dated 1719.

And second, if you're in Washington DC, there's a fine looking exhibition of important American miniatures just opened at the National Portrait Gallery (closes May 13th 2012). You can view the exhibits online here.   

If you're really keen on miniatures, then why not come and buy one at the Masterpiece fair in London next week (30th June - 5th July). We will be unveiling some of the stellar works we have amassed over the last few months for the launch of Philip Mould Miniatures. 

On the Monet - Waldemar writes

June 24 2011

Image of On the Monet - Waldemar writes


Further to his tweeted attribution of the Monet featured on Fake or Fortune (he said it wasn't by Monet), Waldemar Januszczak has also written a letter to the Guardian. He says:

In his review of Fake or Fortune (Last night's TV, G2, 20 June), Sam Wollaston accepts too wholeheartedly the argument presented in the programme that the painting under discussion is a genuine Monet. He also joins a long line of people keen to attack the Wildenstein Institute, the official arbiter in these matters, for continuing to insist that it is not. What no one seems prepared to countenance is that the Wildenstein Institute is right. Having just made a series about Monet and the impressionists, I completely agree with their view that the picture featured in the programme was not painted by Monet. Plenty of fake Monets were already in circulation while Monet was alive. And, unfortunately, his unscrupulous dealer, Georges Petit, was perfectly capable of selling pretend Monets to visiting Egyptians. All this episode of Fake or Fortune actually proved is that the art world hasn't changed a bit.

Now, I'm not aware of any evidence that Georges Petit sold fake Monets. But let's just imagine that he did, that he actually employed or found someone to sit in a boat on the Seine and paint a fake Monet in the style in which Monet painted in the 1870s (long before he reached his greatest fame). Then let's imagine that the forger was good enough to paint a work that would convince a large number of Monet scholars, and was clever enough to source all the appropriate canvas supplier's marks on the back. And finally, let's imagine that Petit was then able, as one of Monet's main dealers and someone who knew the artist well, to sell this cunning fake as a 'Monet' while Monet was alive. That's pretty ingenious, don't you think? And probably a more expensive operation than just buying a real Monet.  

There's also a further problem with Waldemar's argument. If Petit was clever enough to do all that, why would he, as one of Paris' leading art dealers, then risk his reputation by illustrating the said fake Monet in Monet's obituary in Le Figaro newspaper (which he did on December 16th 1926)? Just for a laugh?  

A Holy Family reunion

June 24 2011

Image of A Holy Family reunion

Picture: Philip Mould Ltd

Plug alert - here's a bit of news from our exhibition at Philip Mould Ltd, Finding Van Dyck (closes 13th July).

The small picture on the left is Van Dyck's study for the Head of St Joseph, which was used in his larger composition of The Holy Family, on the right. The study was previously unknown, and appeared in December 2009 in a London saleroom catalogued as 'Circle of Van Dyck/Head study of a Man'. But, having established that it related to a known Van Dyck, we were confident, despite layers of dirt and old varnish , that it was 'right' (as we say in the trade), and bought it.

The version of The Holy Family on display here is on loan from Manchester Art Gallery. Like many of Van Dyck's religious and classical compositions, it was painted partly by Van Dyck and partly by his studio assistants. For example, the cherubs upper right are finely executed, while the blue drapery around the Virgin is rather stiff and heavy.

The head of St Joseph in The Holy Family was also painted by a studio hand. While it follows Van Dyck's original study closely, it lacks the vitality of an original head by Van Dyck. Not a great deal is known about Van Dyck's use of studies, and for a long time they were disregarded by scholars. But as more and more are discovered, it becomes evident that, like his one-time master Rubens, Van Dyck made wide use of head studies, both for his own reference when composing large pictures, and for his assistants to follow.

The study and the finished Holy Family have now been reunited for (presumably) the first time since they were painted in Van Dyck's studio in Antwerp, in about 1630.

Gainsborough goes to Holland?

June 24 2011

Image of Gainsborough goes to Holland?

Picture: De Telegraaf

A museum in Holland is trying to buy this exquisite landscape by the young Thomas Gainsborough. They need to raise EUR 378,000, and have 90% of the funds already. If you're so minded, donate to the Rijksmueum Twenthe here. 

Praise for PCF website

June 24 2011

Image of Praise for PCF website

Picture: Guardian

Yesterday's launch of the BBC/Public Catalogue Foundation website has gone down well in the press. The Guardian has illustrated Hogarth's Sealing of the Tomb triptych (above), which forms an unlikely if impressive office decoration for the staff of Bristol Region Archaeology department. Should it not be in a museum somewhere, or a church that is open, or a National Trust property?

The BBC also has video of the painting and its environment, here. Curiously enough, though, the picture is not yet listed on the Your Paintings website under Hogarth...

Over in The Independent, Tom Sutcliffe describes the PCF as 'a kind of Pevsner of fine art'.  

A cherubic Rubens sleeper?

June 23 2011

Image of A cherubic Rubens sleeper?

Picture: Sotheby's 

This curious picture just made a lot of money at Sotheby's in Paris. Catalogued as Studio of Rubens, and with an estimate of EUR 40-60,000, it sold for EUR156,750. I wonder if someone thought it might be better than 'studio'.

Although I didn't see it in the flesh, I thought the face was quite good. The blue background and grey clouds had the distinct feel of being added later, and may be removeable. Perhaps we'll see it again, looking rather different...

Sotheby's Carmelite Monk

June 23 2011


Sotheby's have a good video on their Portrait of a Carmelite Monk, by Van Dyck. Normally, auction house videos can be a bit stilted, but in this one George Gordon and Astrid Centner engage in lively banter over how they encountered the picture. Like me, their initial reaction was 'this is by Rubens'. I'm looking forward to seeing the picture next weekend.

Worth a click.

Picasso in Palestine

June 23 2011

Image of Picasso in Palestine

Picture: AFP

A painting by Picasso has gone on display in Ramallah. It has been lent by the Van Abbemuseum in Holland. Valued at $7m, Buste de Femme first flew to Tel Aviv, then travelleby road through several checkpoints. They say it is the most valuable work of art ever displayed int eh West Bank.

New PCF website goes live

June 23 2011

Image of New PCF website goes live

Picture: BBC

A new website created in partnership between the BBC and the Public Catalogue Foundation, has gone online. There's even a guided tour with Frank Skinner. The aim is for you to be able to look up every publicly owned painting in the UK - 80% of which are not usually on display.

The project is the brainchild of Dr. Fred Hohler, the tireless founder of the PCF. All together now - thanks Fred!

Sotheby's Old Master sales

June 22 2011

Image of Sotheby's Old Master sales

Picture: Sotheby's

Sotheby's Old Master sales catalogues have gone online. There are some nice things, including the whopping £15-25m Guardi. However, it looks like Christie's have trumped them this time round thanks to the Cowdray collection

Perhaps the most interesting picture at Sotheby's is Lely's full-length portrait of Nell Gwyn. It is catalogued as 'Portrait of a Young Woman and Child... Almost certainly Nell Gwyn.'

I'm convinced it is her. It seems always to have been called Nell, right back to the Royal Collection in Charles II's day - but was doubted when the late Sir Oliver Millar suggested (I don't know why) that it might instead be Barbara Villiers.

The picture was offered at Christie's in 2007 (as 'almost certainly either Barbara Villiers... or Nell Gwyn') with an over-enthusiastic estimate of £1.5-2m. It failed to sell, but found a buyer after the sale for £1,588,000 including premium. The estimate now is £600-800,000. Ouch.

I'll post a review of the sales next week.

Vincent or Theo?

June 22 2011

Image of Vincent or Theo?

Picture: Telegraph

The Van Gogh Museum has decided that the above painting by Van Gogh thought to be a self-portrait instead depicts his brother, Theo. From the Telegraph:

"People have often thought it was funny that there were no portraits of Theo, given that they were so close," said museum spokeswoman Linda Snoek.

She said the portrait was made in 1887 while the pair lived together in Paris – a lesser-known period of Van Gogh's life, since the bulk of information about Vincent is derived from letters he sent to Theo.

The painting has long been in storage, but went on display at the museum in Amsterdam on Tuesday as part of an exhibition on new findings about the painter's time spent in Antwerp and Paris in 1885-1888.

The museum has also discovered that the bird in Van Gogh's 1887 painting Wheatfield with a Lark is in fact a partridge.  

Forests, Rocks, Torrents

June 21 2011

Image of Forests, Rocks, Torrents

Picture: National Gallery

What a strange thrill one gets from seeing an exhibition before anyone else. Thanks to this blog, I blagged my way into the 'press preview' today for the National Gallery's new show, 'Forests, Rocks, Torrents: Norwegian and Swiss Landscapes from the Lunde Collection' (22nd June - 18th September). It features 45 rarely seen works by artists such as the Norwegian Johan Christian Dahl (1788-1857) and the Swiss Alexandre Calame (1810-1864). 

The show's curators gave the press a guided tour of the exhibits. Everyone paid attention, save Brian Sewell, who wandered off on his own. As I'm slightly in awe of Sewell, I tried to imagine his august thoughts as he scampered from picture to picture. 

Forests, Rocks, Torrents is certainly worth going to see. The prevailing view is that 19th century landscapes are deeply unfashionable. And since this show is filled predominantly with views of rocks, then you might think it's about as dull as you can get.

But far from it. The artists' quest for realism draws you into each picture, marvelling at the depiction of frothing water, distant glaciers and the odd cow.

By the end of the exhibition, however, you get a sense of how exhausting it must have been - both physically and intellectually - to painstakingly portray an exact representation of, say, a cascade of rocks, and why the next generation of artists, seeing that the faithful depiction of nature could not be bettered, decided that there was no point, and sought instead to paint mere 'impressions'. And, well, thank goodness they did...

Catalogue for sale here

German fraudsters to stand trial

June 21 2011

Image of German fraudsters to stand trial

Picture: Der Spiegel

The trial of four German fraudsters who sold more than 50 fake paintings will begin this summer in Cologne. Among their victims was the Hollywood star Steve Martin, who sold the above painting, a 'Campendonk', through Christie's for EUR500,000. 

There's a full update on the case here, including news that one of the experts used to authenticate the fakes is now being sued. It also discusses the ramifications for the auctioneers who sold the fakes:

The scandal has shaken faith in the auction houses that bring works onto the market, and the experts who deem them authentic. It has exposed how some auctioneers evidently refrain from full checks because they are in a hurry to conduct the sales, or because they have placed too much faith in the sellers.

Auctioneers and galleries now face a number of compensation lawsuits, but it is unclear whether buyers will be able to get all their money back - many auction houses have small print in their sales contracts that limits their liability.

On the 'Monet' - Waldemar speaks

June 21 2011

Image of On the 'Monet' - Waldemar speaks

Or rather, Tweets.

I'm a great fan of Waldemar Januszczak, probably the best communicator on art and art history of his generation. So I was amused to see his tweeted verdict on the Monet painting featured in our programme 'Fake or Fortune?' - 'That is not a Monet', he said.

I don't know if Waldemar is a good connoisseur. I suspect he's an excellent one. So his view on whether David Joel's painting is a Monet is worth taking seriously.

But perhaps the most interesting thing about Waldemar's pronouncement is how very ArtHistory 2.0 it all is. Here's a painting he has only seen on the telly, and then he dials in his attribution via Twitter, in no more than 140 characters. If this is the future of art history, do we need real art anymore?

A later tweet gives his view in a little more detail:

'The painting looks wrong. Wrong angles, wrong perspective, wrong spatial awareness. It's not a Monet.'

I'm not a Monet expert, but for what it is worth I do believe in the picture. I also take very seriously the opinion of Professor John House of the Courtauld Institute (PhD on Monet, books on Monet etc.), who also believes in the picture. And I find John's latest evidence, found since we filmed the programme, extremely compelling: an obituary of Monet in Le Figaro (16th December 1926), in which David Joel's painting is illustrated, as supplied by 'Georges Petit', one of Monet's main dealers. 

If Monet had painted Darth Vader...

June 21 2011

Image of If Monet had painted Darth Vader...


New Caravaggio discovery

June 20 2011

Image of New Caravaggio discovery

Picture: Telegraph

A previously unknown painting by Caravaggio has been found in a private collection by art dealer Clovis Whitfield. The composition of Saint Augustine, dated to around 1600, has never before been linked to Caravaggio, but will be published in Caravaggio and His Followers in Rome next month by Yale. More details here

The dark depths of the auction world

June 20 2011

Image of The dark depths of the auction world

Picture: Telegraph

In my day job, I spend a lot of time scouring auction catalogues. In practically every other general sale these days (in regional auction houses) there are pieces of what is called 'Nazi memorabilia'. American auctions particularly are full of the stuff. And it isn't cheap either. There's a whole underworld of collectors, some of them very rich, who are obsessed with anything Nazi-related. 

What really baffles me, however, is the relish with which some auctioneers sell Nazi items. Take J P Humbert, for example, who tomorrow will sell a set of four drinking glasses engraved with swastikas and Hitler's initials. Mr Humbert is 'excited' to be selling Hitler's glasses. He tells The Telegraph:

"There is every chance that Adolf Hitler himself sipped from these very glasses.

"It was well known that Hitler had a personal valet in his bunker, and that he dined alone most evenings, using only the finest silver and glassware.

"Certainly the quality is there - the etching is superlative and the mouth and foot of each glass is superbly gilded.

"Whilst there is no written provenance, the fact that the same vendor owned Hitler's sword means that there is every chance that Adolf Hitler himself sipped from these very vessels.

"This really could be a little piece of history in our sale rooms. The glassware is estimated at £5,000-£8,000 but prospective buyers will have to make of it what they will."

As with all Nazi memorabilia, Mr Humbert added they were always mindful of people's feelings. "We have to be tasteful in all we do and would not wish to upset anyone with the item."

I wonder if the tasteful thing would have been to politely decline the lot.

Every now and then someone rings the gallery and mutters something like; 'Can you get me a portrait of Hitler?' With Gestapo-like efficiency, I tell them where to go.*

*ie, sod off.

The BBC guide to spotting a fake painting

June 20 2011

A well-meaning but slightly muddled article has appeared on the BBC news website following the first episode of 'Fake or Fortune?'

It gives three top tips on how to tell if your painting is fake:

  • Shine a halogen torch at the painting to check the brush strokes - the unique handwriting of the artist.
  • Date the wood used in the frame. Dendrochronology - the date analysis of tree rings can be used for this.
  • Smell it. Oil paintings will have an oily smell for many years until the oil fully dries. An old painting shouldn't have that smell.

Of course, a torch is always handy when examining pictures. But the frame rarely tells you much, not least because it isn't hard to put an antique frame on a new painting. And as for smelling a picture to see if it's real, well, you'd be better off licking it. Yum.

'Fake or Fortune?'

June 20 2011

Image of 'Fake or Fortune?'

Picture: BBC

Many thanks to those of you who have written to say that you enjoyed the programme last night. If you missed it, it's on iPlayer here.

The reaction so far has been very encouraging. I'm told we averaged 3.9m viewers, which is quite good for a 7pm Sunday slot in the summer. The Times gave us 5/5 stars ('This Gripping programme took us to a very dark place: the art world'); The Guardian liked 'this fascinating new series'; The Telegraph called it 'aesthetically pleasing, quietly enjoyable'; and Metro 'fascinating'. Sorry if this all sounds a bit self-congratulatory...

Tom Sutcliffe in The Independent seemed to like the programme, but thought one scene 'didn't feel right': 

It was implied, for example, that Bruce and Mould had to wait on tenterhooks for their emissary to return to London from Paris before finding out the final verdict, though it seems frankly inconceivable that he wouldn't have called them on the phone the moment he got the news.

Well I can assure Tom that Philip and Fiona (and nor I) had any idea of the final verdict before John House delivered it. 

New exhibition at the Liechtenstein museum

June 20 2011

Image of New exhibition at the Liechtenstein museum

Picture: Liechtenstein Museum

The Hohenbuchau Collection of Dutch and Flemish old masters has gone on display in its entirety for the first time at the Liechtenstein Museum. Amongst the Baroque gems is this portrait of a monk by Rubens, which is interesting to compare with the Portrait of a Carmelite Monk of a similar period about to be sold by Sotheby's.

The latter picture, long attributed to Rubens, is now being sold as a Van Dyck. As you can see from the catalogue note here, the picture was traditionally called 'Rubens' Confessor', and has a plausible provenance going back to Rubens himself. I'm looking forward to seeing it in the flesh - and if I'm feeling brave and am prepared to back up my earlier hunch that it might in fact be by Rubens, I'll let you know here...

By the way, in case you didn't know, the Liechtenstein Museum is not in Liechtenstein, but in Vienna. A long time ago, I was skiing in Switzerland, not far from Liechenstein. Feeling cultural, I thought I would drive down to the small principality to look at their fine collection. A couple of hours later a friendly tourist official in Vaduz (the capital of Liechtenstein) told me that no, the Liechtenstein Museum is in Austria. But the curious thing was the shock on his face, as if anybody could be so stupid to think it wouldn't be... 

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