Examination of works of Russian and foreign painting and graphics XVI-XX centuries.

[Евгений]

Сообщение от "Mister-y

remains NINE im.Tretyakova.

You're right, this is the best option for him ..

[Евгений]

In Spain, revealed a picture of Anton Van Dyck, "The Virgin Mary with Child and repentant sinner," wrote on March 17 El Pais. This painting was kept more than a century at the Royal Academy of Fine Arts in Madrid, and until recently was considered a copy.
The picture was painted in 1625 for the Duke of Medina de las Torres. She subsequently appeared in the El Escorial monastery, where, until 1808, when the monastery was captured by the troops of Napoleon, exhibited in public. Painting has survived the invasion and soon after got into the Royal Academy of Fine Arts, where he kept until recently.

The painting depicts the Virgin Mary and baby Jesus, King David, the prodigal son, and Mary Magdalene. According to experts, they symbolize sins: adultery, waste and prostitution, respectively. Specialists also do not exclude that after writing a picture could "adjust" Diego Velázquez, who at that time was a court painter.

The hypothesis that the picture may actually be the original, appeared in the second half of XX century. In July 2010 the restorers Academy started to work in the research process, using different methods of analysis have confirmed its authenticity. The pattern can be seen in Madrid at the exhibition opening in May this year.

[мистер-у]

In the continuing debate about the works of Vasilkovskaja of participants with a forum Bottichelli.

Added after 5 minutes
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Quote :
Message from botticelli
All piled in a heap on the person came from. Ugly ! However , Eugene is quite right - a place for his remarks , I chose wrong . That's right, you , mister - y flood started , and I rashly responded the same . I apologize to the forum , except to say in my defense , that in this case also figured documents GRM .

Featured no documents timing , and the conclusion , in the second pervyh.Vo they opposed the Ukrainian Art Lab , which is distinctly personal and not answered , but its the same " reasoning " to sign otkazalsya.V Thirdly any independent examination of why some refused . It turns out that you are unfair play for little cash flows , and in fact the Art Lab is the structure of the auction house " Corners " , which is co-owner of the Humanities ministr.Deviz this company is very simple , " If not us, then no one ... . , " or our side correctly explained the situation .
Please answer , someone from the Ukrainian experts trust in Ukraine .

Added after 12 minutes
http://forum.artinvestment.ru/showthread.php?t=109861


Here is a link to the directory of the leading experts of the Russian federatsii.Proshu you to list and rank of the sequence of Ukrainian experts.

[SergeiSK]

Сообщение от Mister - y

Actually Art Lab is the structure of the auction house " Corners " , which is co-owner of the humanitarian minister .

If the timing would be the structure of the auction house " Russian Seasons " , then perhaps further dispute was not . Making comparisons of examination and , accordingly , experts one of the best museums in Russia with almost amateur Ukrainian examination , which is not quoted , not only in Russia (where it simply does not accept ), but also in Ukraine itself .

[Евгений]

Fake expert opinions GRC them. Acad. Grabar

  ARTinvestment.RU - 25.04.2011, 10:35
   . Style7 {font-size: 7pt;}
  at site ARTinvestment.RU received a letter from the GRC to them. Acad. Grabar. Publish this paper and its accompanying false expert opinion .
 Beware of fake!
 During the recent increase in occurrence of false expert opinions, written by counterfeiters on behalf of scientific expertise GRC them. Acad. Grabar.
 We believe that the fabrication of false findings is twofold. First, an attempt is made by means of such false opinions that accompany the sale on the antiques market non-genuine product or an obvious fake, to give them a picture of the famous masters for personal gain. Secondly, to discredit the scientific work of experts of Grabar on expertise and attribution.
 Collectors, antique dealers, owners and buyers of works of painting and drawing, be careful! If you have any doubts about the reliability of expert opinion, please contact us to verify its authenticity.
 Give the false conclusion, we have at our disposal:
 

1. Lagorio "Seashore»
2. Khrzhanovsky "Garden»
3. Jawlensky "Summer Sketch» ​​
4. Kustodiyev "Naked»
5. Saryan "Mountain Landscape»
6. Kharlamov, "The village children playing in the bone»
7. Korovin "house with cows»
8. Kuprin "Still Life»
9. Repin Portrait of the daughter of Faith »
10. 2008: Shishkin "Belovezhskaya»
11. 2010: Shishkin "Belovezhskaya»

 

False Opinion: Lagorio
"Sea Shore"
    False Opinion: Khrzhanovsky "Garden"
     

 

False Opinion: Jawlensky
"Summer Sketch"
    False Opinion: Kustodiyev "Naked"
     

 

False Opinion: Sarian
"Mountain Landscape"
    False Opinion: Kharlamov, "The village children playing in the bone"
     

 

   
    False expert opinion: Korovin, "House with Cows»

 

   
    False expert opinion: Kuprin "Still Life»

 

   
    False expert opinion: Repin Portrait of the daughter of Faith »

       False Opinion 2008:
Shishkin "Belovezhskaya"
    False Opinion 2010:
Shishkin "Belovezhskaya"

[Евгений]

Interestingly ( for attribution )

Сообщение от SBSMSK

Recommend , where better to do an examination on Neff TA ( painting without a signature ) , in Moscow or St. Petersburg ( Russian Museum ).

Сообщение от serg_str

If in St. Petersburg , then we can go to the Hermitage to the UU Gudymenko . He had long been engaged in creativity T. Neff and compile a catalog of his works .
You can bring a picture of the Russian Museum. The museum's collection more than a dozen standards brush Timothy A. and he well understood technology .
From Moscow, do not prompt .

[Евгений]

  changes in the life of a society, of course, leave their mark on the cultural development of society. Thus, the "restructuring" in our country if released from the "underground casemates," along with many, so we are interested in antiques market. The latter claimed his service rather rare specialist expert artistic values. Does not mean that they were not. Were they up to 1917, as were then. But they have never been so important as now. It is unlikely that this is something amazing. The market demands artwork authenticated. And the answer to this question should give people the circumstances evolved into a sort of caste of experts. Advance warning, we will not give recipes "proper" examination. And there are no estimates. No comparisons with the West and, therefore, the "correct" market to "correct" experts.
 We will try to draw the attention on a subject about which many people say, but no one bothered to find out what it is. Particularly in relation to fine arts.
    Order not to break a spear, try to find out what is the examination and who is the expert. The terminological problem is still open. Perhaps, then once the dust settles. We are not aware of how to prevent the daily work of the absence of clear definitions.
 Look at the dictionary Dahl: French word for expertise - expertise - from the Latin expertus - inspection, verification, investigation of something the experts and their opinion about something. Expert - expert, knowledgeable and experienced in person ...
 The dictionary Ozhegova shorter, but also in the case - an expert, specialist, giving the conclusion when considering any matter. Expertise - consideration of any matter experts to give an opinion.
[SPOILER] So, in this case, the examination of artistic values ​​- an activity aimed at identifying matching artwork data, which provided the customer.
 Experts check to examine a work of art for its authenticity: Appropriate statement creation time, and accessories hand of a painter. The result of their work - an expert opinion confirming or denying the authenticity of the pictures, icons, vases, jewelry, etc. The essence of the training expert can be defined as identifying and establishing the status of works of art, the primary accumulation of knowledge about it.
 The examination must in the best time to give your answer. Delays hurt the interests of the owner, buyer, including when they become and the museum. That is why the examination is the first operational step in studying the subject of art, art market demanded.
 In this case, for example, is the difference between expertise and attribution. Of the last aim to clarify issues of authorship, time and other characteristics of the product. But these actions take place already in other contexts. And the executor of this process will already be a narrow specialist in a particular period and the art form. His actions are defined within the adopted work plan and budget. Moreover, its conclusions will not always coincide with the conclusions of an expert. Often the works purchased by the museum on the recommendation of an authoritative expert, who later changed his authorship. Sometimes, the revision of the attribution takes years. Enough to look at the last page of the catalog of any great museum to see a systematic change in attributions. In the directory 1990 of the National Museum in Stockholm, pointed out nearly three hundred works, whose data has changed between 1972 and 1989. Among them - the two Italian paintings of the XVI century, now became the work of the mysterious Dutch artist Leonard Bramer XVII century. Many well-known portrait of Antonio Brocard Giorgione of the Budapest Museum. But few know that as a result of many years of his authorship attribution was changed seven times! All this - the primary examination and the subsequent attribution has been functioning as a research chain gradual accumulation of scientific knowledge about works of art.
 may be wrong. But the question is - how frequently. That depends on its credibility. Here are a few examples. Distinguished art historian Abraham Bredius, The Hague Museum director Maurittsheys, was the biggest expert in the field of Dutch painting, in particular, painting by Rembrandt. He had an exceptional flair for authenticity, allowing him to purchase the European market and for the museum, and a remarkable work. He is credited with determining the widely-known paintings by Rembrandt, "Saul and David." However, after the death of the scientist, in 1946, experts had doubts in Brediusa inconclusive. While the authorship of the great Dutchman saved. It's more complicated with another masterpiece by Rembrandt. His famous painting "The Polish Rider" was found Brediusom in 1897 in the Polish town of Dzikuv. Later it was bought by the famous American collector Henry Frick. But recently, the picture was re-examined, and its authorship has been subjected to serious doubt. Incidentally, the recent findings of the American Research Center Rembrandt disappointing. Its experts have questioned the large number of Rembrandt's paintings are stored in museums around the world. But back to Brediusu. Hesitated whether his authority is an expert? Of course not. The qualitative result of his work is so positive, and the amount of it - no errors - in this case, errors negligible. And now downgraded masterpieces - not a fake, a genuine blank masterpieces.
 These examples raise the question over who is an expert? Experienced in person - says Dahl. But every expert is experienced. What's the difference? We can assume that his experience - not a school, an academic. He acquired a practical activity not only in the museum, how much daily contact with a live motion artistic mass market, in the collections.
 This experience does not bring up, and are accumulating. It should be added, except natural academic knowledge, such vague and nevospityvaemymi properties such as intuition, a sense of authenticity, a special vision of the monument. This activity is reminiscent of the pianists. Them, brilliant and artistic lot, and like S. Richter, Vladimir Horowitz, Rachmaninov - units. The expert must have a breadth of artistic vision, because its purpose is to introduce a new life in a genuine work of art, give him a chance to survive and not get lost among the others. The strength of the expert should be shown the more than less familiar to him the subject of study.
 The expert, who declares himself a specialist in Aztec art is unlikely to be useful in their daily work flow with a variety of things. It is quite clear that it is impossible to know everything. An expert can not be assigned. Can be an expert. Apparently, this activity is purely individual expression. And education experts should be able to identify it.
 We have examined the attributive part, which found, in our opinion, the following important elements: the definition of expertise, it differs from the attribution and the essence of the expert.
 What are expert? There are many options. Selected by the customer. The most common is a professional opinion, doctors, academicians, based on their own authority in this area. There znatocheskaya group examination. This is usually a team of specialists - the commission - which expresses his opinion in the form of summarized. Such expertise prefer to official government agencies. Have the technological expertise, the results are expressed as a fixation of the material on the basis of data from different types of shots, x-ray, chemical analysis, etc. But it should be emphasized that the response of technologists still is only part of the program.
 All these options are viable, they all contribute to the knowledge of the subject. But today, the most effective is a comprehensive examination, which includes data and technology, and art history. It is very important and consultative meeting of specialists in various museum and restoration organizations in the preparation of the final conclusions, which allows to avoid hasty conclusions.
 Examination of today has a set of tools that allows, in contrast to many other branches of art history knowledge, the most versatile explore concrete monument, retrieves the information of all kinds. Ideally, the expert study seeks to comprehensiveness - a method that claims to be the greatest objectivity in assessing the status of the work.
 Two major parts of the study consist of art history and technological analysis. In the first part of the most important specialist knowledge of the basic processes of art, its patterns, styles and characteristics of schools - is a natural base of a professional. In addition, specific training of art experts is the need to accumulate material on the phenomena of art, the components are not elite, but the basic, everyday layer of culture, that is, an understanding of the broader cultural environment. This is related to the ability and desire to give up thinking in terms of reference, ideal in relation to the product, so the developed world in the museum.
 The main difference in the application of art history at the hands of expert analysis and academic researchers is that attention first focused not only on the artistic merits and demerits of the work, to search for specific features that allow the monument to connect with a specific name or by time.
 Recent studies of a single icon, which claimed the XVI century, may be a good example. Process data, including chemical analysis of pigments were objectively positive. But a thorough examination of the monument to art historians have called into question not only the correctness of objective data, but their inconsistency own object of research. In the end, the icon has been recognized as skillful fraud early XX century.
 One important methodological principles in the examination must be open-minded attitude to the test subject. The expert must not only remain at the level of academic knowledge, but to be at a certain ethical pedestal. The study should be no denial of the subject. Only by truncating nesostykuyuschihsya elements in the product can reach the truth. Appeared in the recent interest in the subject as a bogus investigation, we do not seem promising. Most fraud is the result of arbitrary craft with very limited capabilities. They immediately identified with knowledge of the terms of the real things. Few individuals are able to bring fraud to the level of authenticity manners of an artist. Landmark on fakes unwittingly lead to disorientation of the professional expert, will limit his opportunities, and ultimately disqualify him.
 Engineering study naturally includes the presentation of artistic practice in a historical sense and, besides, - the reconstruction of this practice for a specific product and compare the results with known data. In addition, technological survey work provides material that can be documented, and in this sense it is available and objectively represents the monument.
 Although it may seem strange, it was with the technological expertise of a party to the greatest degree is the question the objectivity of research. As part of the documentary research, technology must confirm, clarify, expand our knowledge of Art and, to a greater or lesser extent, subjective. Materials technology research works are impartial when they commit. Next comes a process of interpretation, which can silently deny their objectivity and put thus called into question the overall result.
 In our opinion, the cause of error and bias in the examination results today are the following factors:
 

• . lack of comparative material (standards);
• . difference in recorded scientific data;
• . incompleteness of scientific knowledge about the subject (the use of different pigments in time);
• . discrepancy of information literature and practice (recipe cooking art materials);
• . imperfection of the equipment used;
• . the presence of foreign intervention (restoration) and as a consequence - to change the original structure of the work.

 Therefore, in our opinion, it is impossible to speak about the unconditional objectivity of any of the parts of an expert study. However, the desire for it can be based on, first, as much as possible the completeness of the methods and, secondly, at the very method. Chance to avoid mistakes is likely to be adopted and executed to give in to some extent unconsciously sequence communication specialist with the product. The essence of this, did not re-invented an approach to the study went ahead concept when originally collected as much information extracted from a particular product. It should seek to ensure that at the time of this work to exclude the effects of all preliminary, often biased views (the original version, the story works, etc.). In practice, of course, different lines of research go hand in hand. But in this case that the objective data is not found immediately and mechanically primerivalis to favored by theory. Only after accumulating enough material different in nature, you can check it in comparison with the version. It is obvious that only the diversity of the objective at the initial fixing of the facts can insure a specialist on their subjective interpretation.
 it generally makes to the examination of certain requirements, which can be formulated as the need and desirability of a comprehensive study, accepted for some ideal duration of the work process, direct contact with the product and required documenting all findings, reasoning and conclusions.
 It is clear that today no study has been completed on a table under a microscope, begins the process of interpreting the material. In our opinion, the only full-fledged design of examination results can be concluded. The right of each specialist to express their views in a form that it considers most appropriate, but it is clear that the general trend is the requirement document. Issuance of detention - this responsibility, and certain advantages. On the one hand, the only thing that is realized in practice, and checks the reputation of an expert - a written and detailed account of the research results and their arguments in favor of a definition. In addition, this form seems to us more respectful of the product, its owner (or holder), co-workers - the experts and their own work. Another aspect of the problem lies in the fact that a written, detailed and publicly reasoned conclusion almost makes the status of the work, publish it, as a document of insuring against loss, damage or other changes in the fate of the monument. In our opinion, absolutely every work of art, regardless of its relevance to the museum level, has the right to gain their status.
 In our opinion, the expert opinion in a number of common components that determine its structure. This is, first of all, the presence of clearly legible formalized system of the material. Secondly, an indication of the consistency and completeness of the study (the original version - the final result, tools used.) Third, the system attributes that best describe the product (an indication of actual, operational characteristics, the state of preservation, reference image). Fourth, the presence of more or less advanced reasoning own conclusions. And, finally, expressed, so to speak, a willingness to cooperate in the form of instructions for organizing and executing, an opinion.
 Thus, whether we like it or not, the conclusion is a necessary tool expertise.
 Often, as a result of expert research findings are mixed. In some cases, among the experts consensus could be reached. But if this is impossible? In this case, we consider it necessary that the fundamental difference that the text of the final conclusions.
 

[Евгений]

Useful and interesting information (EA)
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Section of AV Winner: Proceedings of an oil painting.

Colored primers

Soils, which was introduced into the mass of one or another color, which gives them color, were used relatively infrequently. The bulk of the colored primers are adhesive-plaster or glue-chalk soils pure white surface is designed for painting, completely covered with a thin layer of any color paint such grounds we call tinted.
Tinted and colored bottoms and were of great importance and advantage over the pure white bottoms. In the construction of color paintings that belongs exclusively to the soils important role.
Tinted primer provides maximum effect using no lines, and additional color data in the process of building beautiful coloring. It is quite unique for a tuning fork applied to the surface by the artist paint colors. For example, an artist, applying his work in a neutral gray tinted primer, reaches through it to build a color not only the same color intensity of lights and shadows, but also equal strength of cold and warm tones. Old Masters paintings XV-XVII centuries. almost completely written in pure white surface of the ground and first entirely covered with a thin layer of lacquer-resin paint colors they need, they call "imprimaturoy."

Читать дальше... 

This coating a thin layer of lacquer-resin imprimatury a particular color, the white surface of the adhesive-plaster or glue-chalk soil had its value strictly conceived, namely a color layer imprimatury was the basis of color pictures and served as an excellent tool for the construction of color throughout rasochnoy to track work, as each new layer of paint, put on imprimaturu, perfectly detected and passes throughout the color base acted as a tuning fork.
Tinting the ground was first used old Russian masters of the XII century frescoes, and the deep techniques they have developed rendering the soil, especially in painting people and nudity, are widely included in the practice of the subsequent centuries.
In the picturesque artists practice shading the soil of Western Europe has become widespread only in the middle of the XV century through the works of the Venetian school of painters of the time:
Titian and others
Titian in his works sharply departed from the prevailing at the time of Flemish painting technique, designed for carrying out the process of painting almost exclusively on the white surface of the soil. Titian, creating their own works, and used adhesive-plaster ground pure white, but always completely full pictorial prokryval-soil surface with a thin layer imprimatury, ie, lacquer-resin paints. Almost all the works of Titian are of such a thin layer of imprimatury, most often they used different tones imprimatura gray: light gray, pearl gray and dark gray, obtained by mixing different parts of grape black with lead white. Served as a binder: heat of the sun boiled peanut butter, diluted turpentine varnish.
At the light-gray imprimature made Titian "Prodigal wife with Christ" (Vienna, Belvedere);
on a pearly-gray - "Assumption"
on silver-gray - "Virgin and Child" (Florence, Uffizi),
and the dark gray - "Magdalene" (Hermitage) and "Christ Carrying the Cross" (Hermitage).
Other works by Titian executed in bright red imprimature consisting of red earth, Naples yellow and white lead mixed with the above-mentioned binder.
Imprimaturu this color are:
"Madonna of the Cherries" (Vienna) and "Danae" (Hermitage);
dark red tones imprimaturu has "St. Sebastian "(Hermitage).
Titian Imprimatura deposited a thin layer on the white surface of the adhesive-plaster ground after it had been done drawing.
Imprimatura dark red tone was prepared by Titian of burnt red earth, Naples yellow and white lead.
Pupil of Titian, El Greco, Spanish painter, also wrote their works in the adhesive plaster-white ground, covering the entire surface of a thin, transparent layer imprimatury brown (burnt umber).
Raphael, Correggio, Tintoretto and Paolo Veronese performed their work on grounds of adhesive-coated as a thin layer of oil-varnish imprimatury, mostly bluish-gray, gray and sometimes light brown.
Frans Hals, wrote on a transparent brownish tinted white glue imprimaturoy-chalk soil. The famous Flemish Rubens worked on a white ground kleegipsovom, completely toned golden-brown, or pearl-gray imprimaturami.
Van Dyke wrote at the beginning of white glue, gypsum soil, covered with a thin layer of warm brown tones, imprimaturoy ("Peter" - State. Hermitage, "Lamentation" - State. Hermitage). After a trip to Italy, Van Dyke began to write in dark gray, dark brown and reddish-brown imprimaturah.
Rembrandt performed his work on white or grayish-white glutinous ground, completely transparent tinted golden-brown lacquer-oil imprimaturoy. ("The Parable of the Labourers in the Vineyard" - State. Hermitage and the "Old Jew" and "Old Lady" - State. Hermitage).
The Spanish painters of the XVII century Velasquez and Murillo used in his work is not tinted, and really colored primers in the primer which included the mass of dark red Armenian bole. In these dark red glutinous bolus ground Velasquez sang many of his works, in particular: "Breakfast," "Portrait of the Count of Olivares" and "Portrait of King Philip IV» (Гос. Hermitage). The outstanding Russian artists XVIII and XIX centuries, also inherited from the first Russian artists of color mural art building on tinted ground, but they have not only mastered it, but also extensively developed in his work on a new build of their superb colorist paint compositions of the toned-nym soils .
Matveev (1701-1739 gg.) Wrote on the ground glue, tinted with a thin layer of lacquer paints oil-transparent brown tones.
F. Roars (1735-1808 gg.) Majority of his works masterfully filled up glue-white chalky soil, cold tone prokrytyh entirely dark brown varnish maslyanono-tinted soil (Portrait of a Lady with a blue ribbon), or a warm red-brown tone imprimatury ( Portrait of Artemia Vorontsov).
D. Levitsky greatest skill was reflected in its use of warm, talented, dark-brown-tinted soil (a portrait of the father of the artist,
1779, a portrait of P. Demidova, 1773
Sievers portrait, etc.)
or grayish-green (Grisel) tinted grounds on which Levitsky brilliantly built all of its white and pink with the cold shadows of the portraits
(Portrait-Chesmenskaya Orlova, 1783;
portrait of M. Lvov,
1778 Portrait of Anna Davia, 1782).
V. Borovikovsky also executed a series of works on the glue-chalk soil, entirely covered with a thin layer of grayish-green oil-varnish imprimatury (portraits Derzhavin, M: I. Lopukhina).
O. Kiprensky widely applied in their work rendering the soil warm tones of dark brown imprimatury (burnt umber).
V. Tropinin tinted their ground very thin layer of golden-brown oil-varnish imprimatury (a portrait of his son, in 1818,
"A boy with a bird," 1804);
in other works Tropinin applied shading the soil of the warm tones of brown-red imprimaturoy) portrait of brothers Carrot, 1813.,
Portrait II Carrots, 1813).
K. Bryullov his "Siege of Pskov," performed by serovatozelenoy (Grisel) tinting the ground, and a portrait of Nestor puppeteer - a warm, dark brown tinting. Excellence of our Russian artists in the construction of a color of their works, very good use while rendering the soil, shows what an important role in building a skillful color picture is the color of soil.

[Евгений]

Сообщение от Eugene; 1353551"

"I believe that this compilation, which were used in the graphic excerpts from famous paintings Kustodiev, here they are," - shows Gerashchenko surviving record of expert council on "Odalisque." According to Gerashchenko, too many things did not suggest a true picture of Kustodiev: two-layer soil, is not found in standard works of the artist, the absence of a preparatory drawing, primitivism and the plane out the details, gross violations of perspective, even the authenticity of the signature is highly questionable. "I would not say that this is a quality fake - this is not a good level," - she said.
The conclusions of the experts interviewed Forbes - and examination of "Odalisque" was conducted at the request of Aurora and the Russian Museum and Tretyakov Gallery - almost the same type: a picture painted in 20-50s of the XX century, as evidenced by the composition of colors, the author tried to use the well-known motifs and techniques Kustodiev, but to sustain the level of Russian classics he failed. Vladimir Petrov believes that the picture could have been written in Prague in the 1920s, operated a center of Russian art forgeries, which were made emigrated from the Soviet Russian artists.
The experts also considered the version according to which "Odalisque" let the poor, but the real work Kustodiev. In 1919 (this date is on picture) Kustodiev was seriously ill: tuberculosis of the spine because he was in 1916 could only move in a wheelchair. "We have a very long discussion: Kustodiev could do such a bad thing just for sale? 1919, devastation, Petrograd, to feed his family: he could, of course, - said deputy director of the Tretyakov Gallery Lidia Iovleva. - But the handwriting of the artist will still be the same, but he is not the same. "
Aurora Fine Art at Christie's approached with complaints about the "Odalisque" after receiving an expert opinion in the Grabar Center in late 2006. Next was to make a standard mechanism for resolving such disputes, but somehow he has failed.

Vekselberg sued Christie's three million pounds for selling fakes
London's High Court granted the petition of Russian businessman Viktor Vekselberg, filed by the auction house Christie's. According to the newspaper London Evening Standard, the court ruled that the auction must pay the amount of oligarch three million pounds sterling for the sale of fake painting "Odalisque" - the cost of painting and compensation.

According to Bloomberg, it is only for reimbursement of the cost of painting. At Christie's reported that disappointed with the decision of the court.

The company Viktor Vekselberg Aurora Fine Arts Investment (AFAI) acquired leaf, which was attributed to Boris Kustodiev in 2005 for 1.7 million pounds. However, in 2006 AFAI expressed doubts about the authenticity of the picture and asked Christie's to cancel the deal but declined to auction.

Suspicion of the company intensified when in 2009 was published "Catalogue of counterfeit works of art" (under the auspices of Rosokhrankultura), and there in the list of fakes was a "Odalisque." The drafters of the catalog were based on expert opinion from the Scientific and Restoration Center Grabar, the Russian Museum and Tretyakov Gallery.

In 2009, Christie's experts have started their own testing, but it was delayed. As a result, in 2010, Vekselberg has filed a lawsuit against Christie's, charging him with trafficking in counterfeit.

Hearings on the case AFAI lasted 19 days, during which different conclusions were presented to the experts, but the judge agreed with the conclusion of the Russian Museum, according to which "Odalisque" was written by another artist.

"Odalisque" (or "Nude in an interior") was sold December 1, 2005 to the Russian bid at Christie's in London. Then the sum of 1.7 million pounds was a record for works Kustodiev. Vekselberg paid eight times the upper limit estimate the painting, which was estimated at 180-200 thousand pounds.

State of Viktor Vekselberg, the owner of the company "Renova", estimated at 14 billion dollars.
http://lenta.ru/news/2012/07/27/vekselberg/

[мистер-у]

Eugene, you see, the truth prevailed and the judge took into account this conclusion, the Russian Museum, and in this post for some reason, some forum participants questioned the practical conclusions of staff Russ.