Typically, the work of Russian avant-garde artists in the small auction houses such as Nagel go for lower prices than large auction houses. "Customer agrees to these prices", - said the representative Nagel Kocher-Benzing. "If we have such high prices, as adopted at the Christie's and Sotheby's auction, we will have no buyers. But we do what we can. "
Many of the works attributed Shovlenom and other experts, have been analyzed by scientists Dzhegers Elizabeth (Elisabeth Jägers), deputy dean of the faculty culture at Cologne University of Applied Sciences, and her husband Dzhegersom Erhard (Erhard Jägers) in Bornheim, Germany. Their examination of a large number of Russian avant-garde works proposed in the small auction houses and galleries throughout Europe.
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Erhard Dzhegers told ARTnews, he assured the authenticity of work if "nothing goes against the" attribution, if it finds no reason not to confirm the authenticity. He said that he almost never attributed to the work accurately and confidently, with the exception of cases where the work is supplied with plenty of documentation.
Couple Dzhegers attributed, for example, mixed media on paper Popova, ongoing, according to the catalog from a private collection in Switzerland. The work was put up for sale at auction Hampel in Munich on July 4 last year (Lot 776). Art experts, however, revealed several inconsistencies. One of the reasons is the curved back of the chair behind the table. The name of the producer chair "Sinks» (Thonet) written letters of different fonts and sizes, and here there is a chronological anomaly. Cubistic painting dates from the early years of the early twentieth century, but the name Thonet written with new orthography adopted in Russia after the revolution: the letter ep, which was in use before 1918, no. Another discrepancy experts believe that the Arrangement signed by the initials and surname Popova's handwriting, which Popov is never ever used as a signature. Work remained unsold.
Director Holger Hampel (Holger Hampel) told ARTnews, that he does not discuss past sales. He also said that the company relies on the opinions of its own technical experts and experts on the history of art.
The earliest forgeries Russian avant-garde, rushed to the west, were Supremacist paintings and drawings, which, according to experts, began to emerge in the late 60's and 70's. Suprematic composition, consisting of simple geometric elements that attract the attention of counterfeiters, because they look so that they can be easily copied. According Shatskih, author of "Vitebsk: The Life of Art" (Yale University) commercial interest to Suprematism grew after the centenary of Malevich in 1978, and a large number of Suprematist works attributed to members UNOVIS appeared in European galleries and auction houses.
Suprematism was developed in Vitebsk, in terms of Malevich, a charismatic teacher, who gathered around him a group of students and students who identified themselves as affirmative new art, or UNOVIS. According Shatskih, these artists suffered remarkably similar fate. They all died young, leaving no heirs.
This is not so. Still alive Nina Suetina (wish her good health) - daughter of Nicholas and Anna Suetina Leporskii, close associates of Malevich, which today is considered the ultimate expert on the "circle of Malevich».
Contemporaries and eyewitnesses of the life of artistic personalities have disappeared. Although their names were known, they appeared on the group shots, their work remained unknown. Also add the fact that Shatskikh calls "the apparent ease with which the geometric abstract art can be tampered with" and there are circumstances for the influx of fakes.
When it appeared on the art market, and demand explanations. "As a rule, - says Shatskikh - canvases were found" by chance ", their former owners or did not specify the origin, or stated that" it was impossible to name names ". One of the "suitable figures for this kind of rigging" was Nina Kogan.
In 1985, the gallery Schlégl in Zurich organized an exhibition of 26 works attributed to previously unknown Kogan. According to the biography, published in the catalog, Kogan was born in Vitebsk, was a disciple of Malevich, followed him in Petrograd (St. Petersburg) after the collapse of UNOVIS and died in the gulag. Fortunately, as stated in the catalog, the work of Kogan were hidden close friends, and then secretly transferred abroad. Watercolors and gouaches, attributed to her, began to fill the market during the exhibition in the gallery Schlégl.
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I Shatskikh about the biography of Nina Kogan another opinion, based on her own research. She found that Kogan was born in St. Petersburg in the elite circle of baptized Jews. The daughter of a senior military doctor, she studied at the School of the Order of St.. Catherine. She returned to Leningrad (St Petersburg) in the late 20's and settled in the former apartment of his family, which she shared with another twenty other people and a pet white rooster. He died the winter of 1942, during the German siege of the city.
Faithful friends Kogan, who, according to the catalog picture Schlégl, saved her work and was driven smuggled to the West, surprisingly, according to the Shatskih, were not aware of the real facts of her life. They embellished her biography details such as childhood in Vitebsk, Jewish and death in a Stalinist concentration camp.
According Shatskih, Kogan has written many Cubist designs on paper and canvas, but only three known works, all minor, have survived. Its artistic heritage was destroyed. No doubt it ever could not submit his posthumous existence that awaited her in the auction houses to the west, where the drawings in watercolor and oil painting in the style of Suprematist signed her name, will appear regularly.
Since the late 80-ies auction houses have sold more than 150 works attributed to Kogan. Shovlen confirmed the authenticity of some of them. Shovlena When asked to comment on the opinion of many experts that the legacy Kogan was crudely forged, he replied: "I was in Moscow once during the 1980's. I was offered a box of her works, which were 100-150 pieces - watercolor, gouache, etc. to ask from 20 to 50 dollars per job. I have not bought, because nobody knew about Kogan. Until 1995, it generally was not known.
The works attributed Kogan, appeared not only on small auctions Spain, Germany or France, but also at Sotheby's and Christies. At Sotheby's auction in London on March 15, 2007 was a watercolor attributed Kogan (Lot 324); another job offered Christie's (Lot 1186) 27 November 2007. None of them was sold. Auction house Sotheby's did not respond to requests for comment. Christie said the statement: "Christie's will not sell any work of art, if we know or have reason to believe that work is a fake." Christina Stauffer (Christine Stauffer), partner Kornfeld Gallery in Bern, said she relies on the advice of experts in this field.
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Anna Kagan (or Kogan) - is another artist who remains a mystery to art historians. Neither one of Kagan (1902-74) is not in Russian museums, none of the work was not published during her lifetime. According Shatskih, painting at an art museum Kawamura in Japan, which appeared in the exhibition Kazimir Malevich: Suprematism "at the Museum Menil Collection in Houston and the Guggenheim Museum in New York in 2003, does not belong to the brush of Malevich. She suggests that this work Kagan. Another work of this artist is in the collection of Ernst Schwitters (Ernst Schwitters) in Norway.
Despite its obscurity, however, Kagan - a veteran of the art market. The works attributed to her or Anna Kogan began to appear in Western galleries and auction houses in the early 80's, and appear so far.
Abstract composition, attributed to Kagan, was put up for auction (but not sold) at auction in Cologne, Kunsthaus Lempertz June 2, 2007. Specialist Lempertz on contemporary art Ittershagen Ulrike (Ulrike Ittershagen) agreed that it was difficult to attribute the work of artists who are not too well known. "We are not experts on the Russian avant-garde, - she said. - We trust the sender and the two leading experts, who confirmed the authenticity of the work, Andrei Nakov and Vasily Rakitin. Ittershagen noted that the paintings attributed as the work of Nina Kogan and Anna Kagan, has appeared in museum exhibitions.
Today, the work attributed to other forgotten artists who worked in Vitebsk during the 20's, pop up on the world market. For example, on June 12 last year at an auction in London MakDugals offered "Portrait of a woman in a blue dress" Hope Liubavin (Lot 81), artist, of which very little is known.
According Shatskih, which was not familiar with this work and do not comment, Lyubavina was in the first wave of the Petrograd artists who moved to Vitebsk. "Although her takeoff on the Russian market and has been a lightning-quick, - wrote Shatskikh - disappearance Liubavin was so fast, that did not leave a trace. In the early 20's she married a professor from India and returned with him to his homeland. Only two of Liubavin are in the collections of Russian museums. Painting proposed MakDugalsom, is the only known work, attributed to the artist, who worked in the cubo-futurist style. Directory does not provide any information about its origins. Picture is not able to find a buyer.
Co-director of auction house William McDougal (William MacDougall) said that the attribution of works in such a little-known artists was "a very big problem, we are very careful with the works of avant-garde". "This picture, - he continued - was signed by the artist and considered by experts who felt that it was genuine.
Shatskikh added that the object of forgery is not only the Suprematism of Malevich. "Today, - she said - there are fake as his early impressionistic landscapes, and his post-Suprematist figurative works.
Perhaps the main leading figure in Russian avant-garde, whose legacy has been well protected, was Vassily Kandinsky, who died in Paris in 1944. A lot of works attributed to Kandinsky, available for sale, but, according to experts, an experienced collector will be careful with them until the Society Kandinsky in Paris will not put its stamp. Neither Sotheby's nor Christie's will not accept or graphics Kandinsky painting up for auction until the company decides to include this work in the catalog-reason.
The Society was founded in the Pompidou Center in 1979, the artist's widow, Nina, to protect and promote the heritage of Kandinsky. President of the society - the former French Prime Minister Edouard Balladur (Edouard Balladur). Director of three museums, which contain most of the works of Kandinsky in the West - Museum of Contemporary Art in the Pompidou Center, Lenbachhaus in Munich and the Guggenheim Museum - also members of society. Society does not issue certificates, it shall inform the owner about whether they will or will not include work in the forthcoming catalog-reason. Services are free.
Some critics accused the company of Kandinsky's monopoly rights to confirm the authenticity of works by the artist and stated that their assumptions about the absolute expertise is not guaranteed. Shovlen, for example, spoke bitterly about the Company. "You come to the Society, which looks like a court of the Holy Inquisition, and leave their work - says Shovlen. - Two weeks later you return to pick up work and get an answer, positive or negative. Usually the answer is no. If you do not have pictures of Kandinsky with this picture in his hands, then this is the end. "
Later, call the Society Kandinsky came from the east. Over the past few years, many previously unknown works in oils and watercolors attributed to Kandinsky, appeared in Moscow and St. Petersburg, and then went abroad. Many of these works have appeared on the market with certificates of authenticity from the Tretyakov Gallery or other Russian institutions.
About a dozen hitherto unknown works in oils and watercolors, most of which come from private collections, were published in the monograph "Kandinsky in Russia, written by Valery Turchin, a distinguished art historian and professor at Moscow State University, and published simultaneously in Russian and English in Moscow in 2005. This large volume, whose publication was supported by the Government of Russia. None of these newly discovered works did not appear in the catalog-resonator Society Kandinsky.
Turchin - member of the society of art lovers Wassily Kandinsky, founded in Moscow in 2004. The organization is not his staff. Its activity was limited only by the publication of a monograph Turchin and the establishment of a memorial plaque on the house, where Kandinsky lived in Moscow. According to Turchin in Moscow society there are no restrictions on membership. "Anyone who likes the art of Kandinsky, can consider himself a member" - he said.
Turchin, with the same bitterness as Shovlen, spoke about the Company, which rejected his invitation to collaborate with Moscow society. He believes that Parisian society takes Kandinsky, as a European artist, not Russian. "Their main problem is that they do not like the idea that Kandinsky - Russian artist - he says. - French or German, good, but not Russian. It is already established tradition. I want to change it. Therefore, they are not so friendly to me. "
Turchin believes the main problem is not the nationality of Kandinsky, and the monopoly of Parisian society in the attribution of his works. He said he often faced with private collectors who have works by Kandinsky and ask his opinion about them, but "there is always a big problem, because there are concerns that the company says Paris." "Who decided, and asks - Turchin - that they are bearers?»
I know at least two cases were found in Moscow work were presented at the trial of the Company and successfully passed attribution and inclusion in the directory-reason. So the assertion that the Company is not objective, does not hold water.
"The work attributed to Kandinsky, - says Turchin - can be sold on the west auction only if it certified the authenticity of the Parisian society. It's very sad, because, for example, if a person has a work of Kandinsky, and Paris has not confirmed the authenticity, but the man convinced that it was painted by Kandinsky, he turns into a gray area, operates almost illegal. "
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Monograph "Kandinsky in Russia" is similar to the many monographs and exhibition catalogs, which are published in Europe and Russia, where reproductions of works of unknown side by side with well-known. In almost all cases, previously unknown works were exhibited, not documented and do not reproduce in the life of the artist.
When asked how there are so many unknown paintings by Kandinsky Turchin said, a phrase that often you can hear from experts and art dealers in works of Russian art without Provenance: "We can not exclude the possibility that some of Kandinsky's work had been lost or are missing in the revolution. It was complete chaos. Other work could be lost during the Second World War. We do not know whether these works have been destroyed or saved? "
Society of Kandinsky's work does not comment, which rejects the directory-reason. Christian Derouet, curator and organizer of Kandinsky in the Pompidou Center, which will last until August 10 (opening at the Guggenheim Museum in New York scheduled for September 18) is responsible for the invaluable archive of letters to Kandinsky. Derouet Turchin met in Paris several years ago. "I was surprised that a Russian art historian does not express any interest in viewing the archive collection" - such was his only comment.
Article is correct and fairly sharp, but surely, the same article you can write about fakes miriskussnikov or impressionists. Where the smell of money, always find a crowd of crooks, but, on the other hand, any "correct" the deal will bring a lot of fun, expressed not only in artistic perception.
PS For Cyril - argued that the suit Popova was made to "Balde".
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10.07.2009, 19:48
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