Presentation on discovery of a new van Gogh painting

by Virginia M. Curry

The second session of the Authentication in Art Congress at The Hague presented a tour de force of scions defining the new intersections of science, art history and the law.

Dr. Ella Hendricks (Senior Paintings Conservator, Van Gogh Museum) and Muriel Geldof (Conservation Scientist, Cultural Heritage Agency of the Netherlands) in ‘Evaluating technical and analytical studies of Van Gogh’s paintings in support of attribution’ 'contemplated the  role of art-technological studies in the process of attributing and authenticating paintings by Vincent van Gogh in terms of consistency of the materials and techniques used, also leading to improved connoisseurship by informing and therefore refining our perception of the artist’s changing styles and techniques' (program).

In ‘Van Gogh and his oeuvre: the attribution process evaluated’ Dr. Tilborough (Senior Researcher, Van Gogh Museum) and  Teio Meedendorp (Researcher, Van Gogh Museum) emphasized that both transparency and access are key to their research.  This philosophy of transparency in research recently permitted Dr. van Tilborough and his team to discover and authenticate a new van Gogh painting, “Sunset at Montmajour”. The team compared “Sunset” to  van Gogh’s “The Rocks” from the Fine Arts Museum in Houston, and they were able to discern that the paintings were completed within two weeks of each other.

Dr. Ellen Landau discussed Pollock's "Mural"

“We carried out art historical research into the style, depiction, use of materials and context, and found that everything indicated that the work is by van Gogh," according to Dr. Tilborough. " We were able to track the provenance to Theo’s collection in 1890 and it was sold  in 1901.  Letters from the artist refer to this painting."

Many thanks to Dr. Ellen Landau (Professor  emeritus of Art History, Case Western Reserve University) for her presentation, “Conservation as a Connoisseurship Tool: Jackson Pollock’s 1943 Mural for Peggy Guggenheim, A Case Study” which highlighted the joint analysis of Pollock’s 1943 painting “Mural” recently undertaken by the Getty.  The analysis debunked many misconceptions concerning the manner in which Pollock worked, and converted me thereby, to a deeper understanding and appreciation of his art.

Professor Robyn Slogget (Director, Center for Cultural Materials Conservation, University of Melbourne) and her associate, paintings conservator Vanessa Kowalski, highlighted several case studies involving the forgery of aborigine art and the pitfalls eventually overcome to develop a protocol of examination and non-invasive analysis -- assisting in successfully prosecuting a case of forgery of aborigine art in Melbourne.

PhD Student Elke Cwiertnia (Northumbria University, Newcastle) in ‘Examining artworks attributed to Francis Bacon (1909-1992) to aid authentication’ presented the methodology of examination and preservation employed by the Francis Bacon research project in their efforts to publish a catalogue raisonné of Bacon's work.

Panel chaired by Lawrence Shindell

The lively panel discussion led by art law attorney Lawrence Shindell examined the impact of current authenticity issues on the art market. The expertise of the responding panel drew on multiple perspectives ranging from those of the legal and academic communities to market economics.  The panel included Dr. Friederike Grafin von Bruhl, William Charron, Randall Willette, Dr. Jeroen Euwe and D. Anna Dempster.

Following the panel discussion, the congress group traveled for an exclusive view of the exhibition "Mondrian and Cubism, Paris 1912-1914” (in partnership with MOMA) at an opening hosted by the Mayor of The Hague, Jozias van Aartsen, and presentation by Hans Janssen, curator at large for modern art.

Ms. Curry is a retired FBI agent, a licensed private investigator, and an art historian.

by Virginia M. Curry

THE HAGUE -- The Authenticity in Art Congress opened Wednesday here at the Louwman [Automobile] Museum in The Hague to discuss how the seemingly opposed spheres of  science and art history connoisseurship  might be aligned  to synthesize a protocol for establishing authenticity of art, specifically paintings.

Jugen W. Wittmann, the Senior Manager of the Mercedes Benz archives and Collection Brand Communications, presented the protocols utilized by Mercedes Benz to preserve the integrity of their vehicles against forgery.  Documents in their archives record each car manufactured and the “as delivered” condition of the vehicle to the original owner, with the serial numbers recorded on the vehicle. Wittman noted that such transparency is important since although there were only 33 of the Mercedes SSK ever built, there are more than 100 hundred registered as SSKs with the international Vintage Collectors Group.

Keynote Speaker Javier Lumbreras, the CEO of Artemundi Global Fund, discussed the collection of art and the frustrations of the purchaser who is burdened with the proof of due diligence.  He concluded by saying that inasmuch as science cannot provide a “bulletproof” decision which can stand up as evidence in court, litigation, in his experience, is not worth the effort.  Lumbreras drew an analogy similar to that of Jugen Wittmann of Mercedes Benz by noting that of the fourteen Rembrandt works in the collection of The Metropolitan Museum of Art only seven of them have an agreed authenticity.

Professor Martin Kemp, FBA, Emeritus Professor in the History of Art, Trinity College Oxford, (and an acknowledged Leonardo scholar) initiated the section on the Historical Developments in Painting Authentication and spoke about professional opinion in his paper, “It Doesn’t Look Like Leonardo”. Professor Kemp argued the construction of evidence of authenticity as “The judgment by eye in science and art and the tendency for the eye to see what it expects to see.”  He illustrated his point by comparing the points of view of a traffic accident, such as the point of view of the insurance adjuster, driver, weatherman, etc. noting that each one’s interpretation of what they see is relative to their interest. Professor Kemp concluded that the observable consequences of the visual techniques of historical and scientific that are the most specific in identification are the most malleable.  Above all, he cautioned, “We should be more cautious and prudent in our personal investments in our malleable acts and seeing.”

Dr. Margaret Dalivalle presented a paper, “Picturarum vere Originalium: Inventing originality in early Modern London", which explored the question of originality of paintings and the invention of the idea of artistic originality in the eighteenth century.

Professor Frank James, Professor of the History of Science, Head of Collections and Heritage of the Royal Institution, London, spoke about the work of Humphrey Davy and Michael Faraday who developed chemical techniques in the late 18^th, early 19^th century to understand, conserve and record archeological and artistic objects, such as the wall painting and vase painting from Pompeii; the Lewis chess pieces; the unfurling and attempts to read the Herculaneum Papyri; and their comparisons with the pigments found on the Elgin marbles.

Dr. Lynn Catterson, an Art Historian from Columbia University, presented an extraordinary paper and cautionary tale about Stefano Bardini and his Art of Crafting Authenticity.  Dr. Catterson's research led into the archives of Stefano Bardini whose expertize involved the forgery of “originals” and falsification of context and provenance.  Dr. Catterson’s research  in the Bardini archive challenges the accepted comparanda and consequently, perceived authenticity and attributions in major museums.

Dr. John Brewer, Professor of Humanities and Social Sciences, CalTech, discussed the Duveen Trial of 1929,  the hazards of presenting scientific evidence of authenticity in court, and the subsequent rejection of conflicting  connoisseurship in court.

Evan Hepler-Smith, a Historian of modern science and doctoral candidate at Princeton University, discussed the early utilization of x-ray to fit the material, intellectual and social contours of authentication and  connoisseurship.

Ms. Curry is a retired FBI agent, a licensed private investigator, and an art historian.