Старый 22.10.2010, 11:34 Язык оригинала: Русский       #51
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По умолчанию Experts from the directory of Russian experts on cultural property

Avtonomova Natalya
Specialist in Russian and foreign art of the first half of the twentieth century. State Museum of Fine Arts named after AS Pushkin.
Ignatova Natalya
Specialist in Russian painting of the second half of the XIX century. Grabar
Lyudmila Markina
Head of the Department of Painting XVIII - early XIX centuries THG.
Ermakova Tatiana
Head of the Department of Painting of the first half of the twentieth century, Tretyakov Gallery.
Sarabyanov Dmitry
Expert on the history of Russian art from ancient times to modern times.
Gerashchenko Irina
Specialist in Russian painting at the turn XIX-XX centuries. Grabar
Gelenek Love Veniaminovna
A specialist in Russian art and the XIX century. Grabar
Goryachev Tatiana P. and
 Specialist in Russian painting of the second half of the XIX century.
Rybakova Julia V.
The curator of the collection of paintings of the Polytechnic Museum in Moscow.
Specialist painting of the XX century.
Podstanitsky Sergey
A specialist on the works of Russian artists battle-XIX - early XX centuries. From 2010 - art director of the Moscow Gallery Wizard
Goldovsky Grigory Naumovich
A specialist in Russian art of XVIII-XIX centuries. GRM.
Nesterova Elena
Specialist in Russian painting of the second half of XIX - early XX centuries. GRM.


Adaskina Natalia L.
Department Head, Graphic XX. THG.
Glebov Olga
Specializes in graphics, as well as the creativity of the Roerich family
Keeper and researcher of visual and memorial fund in the glove ICR.
Zhukova Elena
Section Head, the figure of late XIX - early XX centuries THG.
Silaev Valery S.
 Specialist Securities, graphic techniques and materials, as well as Russian and Soviet graphic XX century. THG.

-Western European Art

Kostenevich Albert G.
 Specialist in Western art. Hermitage.
Markov Victoria Emmanuilovna
 Specialist in Western art, in particular Italy .. State Museum of Fine Arts named after AS Pushkin.

 - The works of arts and crafts (jewelry, Russia)
Ivanov Alexander -
 General Director of the Museum of Faberge, Baden-Baden.
 section iconography - five experts.

    One of the main objectives guide - highlight the names of those experts whose opinions most authoritatively in the examination of Russian and Western European art, product firm of Carl Faberge and other Russian jewelry companies, Russian iconography.

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Старый 24.10.2010, 19:59 Язык оригинала: Русский       #52
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Experts from the directory of Russian experts on the cultural values
Oh! I am now Roshchin this guide gave.
And yet a film ("A terrible, look at Kostya, look !") on the disk about fakes.
And some other issue of the catalog objects art, antiques and rare books in the search.
Said the latter, № 5.
(There is also number 6, but found there already, like the way I understood it.)

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Старый 25.10.2010, 10:01 Язык оригинала: Русский       #53
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По умолчанию Artworks VD Polenov. Problems of attribution

The collection of the Yaroslavl Art Museum currently has 8 pieces associated with the name Vasily Dmitrievich Polenov. Three of them - the signature one - no signature, but came from the author, three - do not have a signature and cast doubts on the authorship, are copies of, or perhaps by copyright repetitions, and one - etching.
Problems of identification and attribution of his works, in part, been addressed by the authors of the first catalog of the art department of the museum (then enter the Yaroslav, Rostov Museum), which was released in 1964 - EP Yudin, VP Mitrofanov. In its preparation, they corresponded with Dmitry Vasilyevich Polenov, the museum's director, VD Polenov, which greatly helped our museum in cataloging the works of his father. However, in the catalog did not include an important information from the letter - send VD Polenov his painting "Genisaret Lake" for the museum.

[SPOILER] Today it is necessary to correct this omission and, if possible, complete catalog of VD Polenova new information. After 1964, the museum received two more pictures related to Polenov, without a signature, which is necessary to attribute. At this time, the work continues, especially with three nepodpisnymi canvases, wearing authenticity in nature, which so far collected only information material and make a visual analysis. This, we think, is not enough and needs to be done their technical and technological research (TIT) and comparative analysis with the originals.

Four out of five works by VD Polenova admitted to the museum until 1964, although it did not pass TIT, without a doubt are genuine original works by the artist.
Let's start with the landscape, which has the author's signature and date - "Monte Parioli, near Rome," 1896 (on, m 17,9 x26, 9). Under this name he came into our catalog.

The product has full custody, written on a wooden board, finely polished with a turnover, with beveled edges. On the back of a stamp store art supplies in a panel with the inscription "L. BERVILLE [...]". The obverse of the texture of the wood is not visible. Painting light, heavy, smear partially smoothed palette knife.
It is an undisputed work Polenova - has the author's signature, monogram, contemporary original painting, lying under a layer of varnish and similar in shape of the letters with original signatures of the artist. Author's dating in your signature (1896) does not contradict the state board and colorful pastes. Depicted on the landscape is hilly terrain with a white stone bridge with a semicircular arch over a small almost dried up river. Name of the product was established by an inscription on an old frame (with a pencil "Monte Parioli"). Monte Parioli - a northern area of Rome, famous for its parks and gardens. He had previously belonged to the most beautiful urban surroundings, is a hilly terrain covered with vineyards. Title received from the villa, built by DB da Vignoles in 1550-1555 years. Cardinal Giovanni del Monte, from 1550 - Pope Julius III. It is situated on Via Flaminia road between the gate of Popolo, Bridge Mall, the Tiber and the hills of Parioli. Now, an exclusive area with private villas and mansions. Lively quarter of Parioli a diplomatic and financial center of Rome.

In Rome Polenov lived and worked in the autumn of 1894 - until the spring of 1895. Date suggests that the product was written in Russia, Roman sketches or sketches. We know the Italian landscapes, dating from 1896 (for example, open-air museum Polenova: "Venice").

Most likely, our work took place at the 25 th Exhibition TPHV (PA, MA 1897) with author name "near Rome (Monte Parioli)" and indicating - sold. Who sold, we do not know it is not known, and existence of the product before admission to the museum in 1920 Since work comes from the collection, PD Antipova, a friend of ED Polenova closely communicate with her in 1880, you can make the assumption that it could be bought for just Paraschiva Dmitryevna and her husband, with whom Vasily Polenov was familiar. At this time (1895-1898) Antipova lived in Moscow, having your own home at Spiridonovka, and in St. Petersburg.

On the flip side has an inscription of gray paint "№ 427" - perhaps, № in list Polenova at the Museum-Reserve Polenova, although it put rates of black paint.

The next undisputed product VD Polenova in the museum is a landscape "Genisaret (Tiberias) Lake /Genisaret Valley" (H., MA 72x127, 9).

The painting was donated in 1913 by the author of the Yaroslavl branch of social protection and preservation of Russian works of art and antiquities for future Town Art Gallery, for which the artist was elected an honorary member. This event is reflected in the letter D. Polenova to the museum from March 19, 1955: "I inform you some information about the paintings of my father, VDPolenov located in the Yaroslavl Regional Museum of Art:

May 19, 1913 Yaroslavl Division of the Society to protect and preserve the monuments of art and antiquities donated paintings for the Yaroslavl City Art Gallery.

February 4, 1914 Yaroslavl Division of the Society to protect and preserve monuments of Russian art and antiques chosen Vasily Dmitrievich Polenova honorary member. In the art gallery, established by the department, placed the picture VD Polenova: "Sea of Galilee" and "Genisaret Valley.

The last picture is one that is currently in your museum, entitled "Genisaret Lake ..." (in YAHM - CAP 42 (2)).

Yaroslavl Art Museum (Art Gallery) was established in December 1919, time of receipt of exhibits in the museum is the 1920 th year, and in 1921 made the first inventory of the paintings. But in all the inventory books mentioned various sources of this landscape Polenov. So, for 1921 - no data in the inventories of 1922 and 1923 - entering the Academy of Fine Arts in 1913, in the next book 1920. appears Yaroslavsky Front society of protection of monuments of art and antiquities, but without a year later in 1930-1940 - from the collection Antipova in 1920 in the last inventory - new record: a collection of Antipova in 1930!? Complete confusion, which was partially corrected in the Catalogue of the collection 1964, which we mentioned above - found at last, the correct source of income: Conservation Society and the year: 1920. In this case, the directory still does not include valuable information, the Artist's Son, DV Polenov, the gift of paintings to the Company by the author. No explanation for this, especially because of a similar transfer of the same society in 1914, works from the Museum of the Academy of Arts information is published.

Let us return to the product itself. Author's signature on the front side is missing, there is an inscription on the stretcher (no author) - VP, repeated 4 times. Nevertheless, the origin of painting is absolute proof of its affiliation brush Polenov. A vivid confirmation of this is the technical mastery of the work and painting techniques characteristic of works by masters, belonging to a series of trips to the East.

In "Genisaret Lake" with full force to discover the "purity and sonority of the picturesque palette Polenova appeared in his sketches first trip to the East in 1881-1882.

We present excerpts from the work of Ernest Renan's "Life of Jesus, who had previously Polenova in 1860 made a trip to the East to places associated with the life of Christ. His impressions of Lake Tiberias fully reflect the image that is then captured the artist in its landscape: the lake has an oval form, but forms, from Tiberias and the Jordan River to the mouth of a kind bay, bend which equals about 3 miles ... At the exit from Tiberias you see the first steep cliffs and the mountain, as if ready to collapse into the sea. Further, the mountain retreat, and nearly level with the lake open plain. This is a lovely, bright green grove, abundantly wrinkled waters ... Horizon dazzling light. Water color azure sky deeply cut into the scorching rocks, and if you look at them from the heights of the mountains of Safed, they seem like a golden pot at the bottom ... in the west of the high undulating plateau Gavlonitidy and Perea, completely barren, sun-swathed in some sort of velvety atmosphere, represented a continuous mountain or, rather, a high long terrace, Caesarea Philippi, stretching endlessly to the south. " (E. Renan. The life of Jesus. Moscow, 1991. Pp. 134-135).

Polenov, as we know, shared the opinion of Renan on the person of Christ, carried away by his works still in Paris in the years 1873-1876. and conceived his series of paintings on the themes of the gospel. To do this, and it took a trip to the East to gather material in the 1881-1882 and 1899.

Our landscape is a complete picture of self-written, most likely in Russia, travel sketches. Such a conclusion is due to the relatively large size of the canvas. Dating can be a 1880-mi and 1890 mi over the years, which does not contradict the nature of the technique and beautiful execution picture.

The catalogs of exhibitions (TPHV), where the dimensions are not specified, it is difficult to determine - whether our work was exhibited. Author's name, "Genisaret valley" allows you to emphasize several exhibitions, presenting paintings or sketches with a similar name and matching the image (on the left side of the lake is visible from the bay, the valley on the right, front high-shore /western /far-hill /eastern /) : - 1885 - 13th TPHV: "Sea of Galilee. Genisaret Gospel, or the Sea of Galilee." - 1900 - Paris World Exhibition: "Genisaret Valley. - 1903 - 1-I show sketches, drawings, sketches, TPHV, P.: "Sea of Galilee. Genisaret Valley," "Sea of Galilee. Bay near Tiberias," "Sea of Galilee. Distant mountains, etc. - 1903 - 31 - I show TPHV, MA: the same, and "Sea of Galilee. Genisaret Valley", etc. - 1913 - November - Exhibition of sketches, drawings, sketches, TPHV, M.: "The Lake and Valley Genisareta. Western Mountains (in catalog Western mountain lakes and valleys Genisaret), "The Sea of Galilee or Lake Tiberias.

But at the exhibition sketches, drawings, sketches TPHV, P., 1914, which is indicated in this work in our catalog (Wiley, 1964. S. 128) was not of works on the East.

Next, we turn to the sketches that all documents of the museum is named as "Roman Head" - the old pencil inscription on back "Rimlyanin" (H. C., m 21,6 x18, 1). Small size of the canvas, tight weave straight, with a thin light soil, deposited the factory method, pasted on cardboard, the edges of which plastered with paper. Canvas before gluing was trimmed so that the puncture can be seen only in the upper right corner. Painting is thin, the texture of the canvas is visible, the lower edge of the author neprokras. Smear caused by the form of a brush of small size.

On the obverse is the author's signature, monogram "EP" lettering which is similar to the original monogrammed Polenov. On the back of cardboard, canvas backup, as there is author stamped with a monogram.

Sketches of Roman Jews Polenov wrote for the painting "Christ and the Sinner" (1888. RM). Above them, he mainly worked in Rome from November 1883 to May 1884 letter from his wife Polenova to his sister Helen Dmitrievna we learn interesting details: "Basil is working with all his might, and it still is going well. Do it every day nature ... Vasily each day brings me to my studies ... Some of the head I really like, and how easy it is to get nature. Basil catches pass, and most readily comes and immediately understand what was going on ... "(Rome, February 22, 1884 //EV Sakharov. VD Polenov. E. Polenov. Chronicle of a family of artists. M. , 1964. S. 339).

In determining the date of execution of our sketch is necessary to clarify that denotes the number "69" right at the bottom of the canvas. It may not be the date (in 1869 the young artist was written by an academic program "Job and his friends", to reflect its student learning). And in this issue is important to view DV Polenov. Let us turn to his letter: "From the works of VD Polenova interest "Head of a Roman." Judging by the letter and monogram it - not an academic work, written much later, and the figure "69" at the bottom right, indicates the date when, in this time he was a student Academy of Fine Arts. " (December 26, 1954 //AT YAHM - CAP 42 (2)).

Sketch "Roman Head" is closest to the correlated product of the second Roman period of the artist and may date back 1883-1884 years. This conclusion corresponds to the style and scene, and technique, and the availability of copyright monograms and stamps, and technology. According to the testimony, EV Sakharov, at this time Polenov used to travel the pieces of canvas, which in return pasted on cardboard (Saharova. Ordinance. Op. S. 733). A number "69", thin brush (?) Looks more like an enumeration. For example, in one of the sketches of the head in 1884 (Voronezh Museum of Fine Arts) at the bottom left there is an inscription "134 Jew," which undoubtedly is the number of this work.

By undisputed pictures VD Polenova applies landscape "Early snow. Behovo" (H., MA 76x135, 3). It is written in medium-grained canvas of dense direct weaving factory production and the factory primer. Has the author's signature, along with the original painting and lying under the lacquer, as well similar to the original signatures of the artist.

Dating can be a product of about 1891, which is consistent with the character of his paintings, figurative and stylistic system. It is author-version of the same name by repeating the pattern in 1891, located in the Historic Area VD Polenov. This first sketch is now known to all the story was written by the artist in his new estate, built on a high bank of the Oka, from the upper windows of the old wing. In a letter to Konstantin Korovin on May 31, 1914 Polenov recalled this period: "The second time you come to us when we were in a small house in the old Behove ... it was autumn, october, the first snow fell, but it was warm. In the evening we stood at the open window. Suddenly Const [Antin] Alex [eevich] says: "In the Ravine should be a wolf" - gives a lingering note of wolfish voice - and that of the darkness came a prolonged, in the same note back. I'm so stunned ... "(Saharova. Ordinance. Op. S. 679).

About our paintings interesting quote from the same letters Dmitry V. Polenov. At first, it transmits information about the cases: "The painting" Winter Landscape "is called" Early Snow "repeated the author of 8 times in 1891. Of the 8 track one into thirds. Gal., One in Kiev gal. One in a private collection was exhibited in Moscow in 1950, one mine, one belongs to Ilya Repin, one in your museum. Please indicate whether on the back of the canvas number number 329, 341, 344 or 345, he put the number of black paint on the back of the picture "(February 11, 1951 //AT YAHM - CAP 42 (2)).

Indeed, a number - 329 - is available. On this occasion, DV Polenov wrote to the museum: "As for the" Early snow ", then there are several options, and one that you have the list of pictures of my father, compiled by himself, for some reason is marked as belonging to P. Tretyakov, although he also belonged to another option, which was held in the spring of 1954, was presented as a gift to the French artists, and existed in 1963 at the Tretyakov gallery, went to Paris. " (March 19, 1955 //AT YAHM - CAP 42 (2)).

Unfortunately, further study on the possible affiliation patterns at number 329 PM Tretyakov is not known. Because the letter D. Polenova in the originals with all the information we have learned recently (before this had only extracts from them) for us to remain current investigation into the "intrigue". Our landscape enrolled in 1927 from the museum's fund through the Moscow Rumyantsev Museum from the collection of the unknown out of the house (VO?) Hirschman. Previous existence is unknown. Standing on a stretcher stamp store in Moscow IO Avantso probably indicates the sale of the painting. Hypothetically, he could be collections of the Tretyakov!? But perhaps the list of artists crept error. Is this not confirmed by the fact that the number 329 was someone paid off and the same dark-red paint next to the other written - 501.

Next work of relevance to the VD Polenov and included in the above mentioned catalog 1964 - "Mr. Right" (H. m.. 125h177). Despite the fact that this large canvas is not cleared of contamination, is not restored and has not been investigated by us until the end, you must agree with the author of the catalog, defining it as a copy by an unknown artist with the same title picture VD Polenov, 1874, located in the State Tretyakov Gallery.

These data were obtained from D. Polenova from his correspondence with the museum in 1954 are extracts from the letters. November 22, he asked: "Painting VDPolenov" Right the first night, which I think is a copy because he reps it did, too, came from the collection of Antipov? ". December 3 continued the theme: "Regarding the author's copy of the painting" The right of first night "can not say anything, the more that I never saw her again. It is interesting to look at least on a photograph." And December 26, replied in the affirmative: "The right of first night" - certainly a copy and is not particularly good (in b /w photos. All the letters: AT YAHM - CAP 42 (2)).

State of the canvas and painting allow us to date copy of the last quarter of XIX - beginning XX centuries. That is confirmed by the time of its possible establishment - between 1874 (the appearance of the original Polenova) and 1920

This year, or slightly later painting, as we assume, came to the museum.

October 12, 2009
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Старый 25.10.2010, 10:13 Язык оригинала: Русский       #54
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По умолчанию Discovered more than 30 fake paintings, sold by leading auction houses.

Interesting article on the site (material was prepared by Maria Onuchina)
Thank you very much. (EA)
-------------------------------------------------- ------------------
Among the works of the XX century, sold over recent years leading auction houses and dealers, and found more than 30 fakes. Reported by the Guardian with reference to the Observer. Were found counterfeits of Max Ernst (Max Ernst), Raoul Dufy (Raoul Dufy), Fernand Leger (Fernand Léger) and other artists - all worth at least £ 30 million. Dealers and collectors who have bought recently, works by artists appearing in the case, began to re-verify their purchase, even those in the authenticity of which there is no reason to doubt.
 Four fake paintings have gone through the auction house Christie's, in particular: "Horde" Max Ernst, with the estimate 3.5 million pounds sold in the Wurth Collection, "Boats at Collioure Andre Derain, pushed under the hammer for 2,000,000 pounds, the work of Henry Kampendonka ( Heinrich Campendonk) «girl with a swan with a hammer price of 67,000 pounds and has a certain pattern for 344,000 pounds. Six paintings were sold through a leading German auction house Lempertz, one of them went under the hammer for 2.8 million pounds.
 One expert dubbed the quality of these fakes the "gold standard». Fraudsters fake those works that are mentioned in the documentary sources, but their whereabouts was not known. For the most part it does not have copies of famous works and independent works, executed in the style of the respective artists.
 It is assumed that the forgery had been made over the past 15 years in Germany. Police have arrested 59-year-old artist from Freiburg Beltrakki Wolfgang (Wolfgang Beltracchi), as well as his 52-year-old wife Helena and her 57-year-old sister, Suzanne. Suspects in his testimony referred to the existence of a collection of paintings inherited from his grandfather, Helena and Susanna Werner Jeghers (Werner Jägers). Of the case are two other men, whose names were not called.
 Leading British expert on chemical analysis of paintings by Dr. Nicholas Istaf (Dr Nicholas Eastaugh) from the organization Art Access and Research conducted an extensive survey of three canvases, and stated that the composition of their paints have pigments that do not match the expected time of writing, - respectively, the picture fake. Among them was "Red picture with the horses" Kampendonka, sold in 2006 to Lempertz for a record sum. Istaf said that disclosing this information with the permission of the deceived buyer - Maltese trading company Trasteco, which requires her to return the amount paid. A sketch on the back of the canvas, supposedly indicating the creative search of the author, was a forgery.
 In many fake pictures were fake of gallery and collection labels, helping to build their mythic provenance. The work of Ernst with Christie's worn the label of "Collections Flehthayma" that caused suspicion among art critic and biographer Flehthayma Entsha Ralph (Ralph Jentsch). On the other paintings was labeled "Collections Jeghers.
 Surprisingly one of the auctioneers that he was not the first vendor of these pictures, that is, before these paintings have already sold, said that, they must have been so convincing that not to arouse suspicion.
  material was prepared by Maria Onuchina, AI
 Sources: guardian.co.uk , artinvestment.ru

1.Orda. Pastiche of Max Ernst.
2.Krasnaya picture with the horses. Pastiche of Henry Kam.
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Старый 25.10.2010, 20:12 Язык оригинала: Русский       #55
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По умолчанию On the film "Failure or fraud,

Message from Cyril Syzransky
Oh! I am now Roshchin this guide gave.
And a movie ("The Last Look, Kostya, look!") On the disk about fakes.

Recommend to anyone who has not watched the movie "Failure or fraud, look at it. Very interesting. More to say, very funny, we laughed for an hour. The film Roshchin yesterday was in the CHA, came into the gallery to my friend, together with Mr of the Chechen Republic, which is engaged in tracing patterns, missing from the Grozny museum.

Последний раз редактировалось Artem; 25.10.2010 в 20:32. Причина: Добавлено сообщение
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Старый 30.10.2010, 07:07 Язык оригинала: Русский       #56
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По умолчанию Why fund Viktor Vekselberg is suing Christie's?

Chapter Board of Directors of The Link of Times ", co-founder of Aurora Fine Art Vladimir Voronchenko calls this place the gallery, although it looks more like a museum store, located in the basement of Moscow's most luxurious hotel Ritz-Carlton. Voronchenko requests guard to open the safe deposit the heavy door and turn on the light, the darkness comes alive with hundreds of objects - paintings, books, icons in the expensive salaries, silver utensils, gold snuff boxes, vases, Imperial Porcelain Factory. Store-gallery - the embodiment of the Fund's mission objective, which in mid-2000's marked its major owner, billionaire Viktor Vekselberg: 'to return to Russia of cultural property removed from the country in the XX Century ".
Co-owner of TNK-BP, «Rusal and many other companies are actively involved in the process of buying antiques and he regularly visits the store. Here he can see the icons that once belonged to the imperial family, or collect funds "Link of Times" the world's largest collection of jewelry workshop of Carl Faberge - including items that had been stored at the Princess Margaret and the Rothschild family. Vekselberg wants to eventually put all these things in public museums: one will be in the Shuvalov Palace in St. Petersburg (under reconstruction, the opening is expected in 2012), the second is supposed to open in Moscow through
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3-4 years. In other circumstances, one of the walls of the future museum would hang and the pattern of the Russian artist Boris Kustodiev "Odalisque", bought the fund five years ago. But buying this, apparently, was one of the biggest mistakes the curators of the collection.

  Scandalous "Odalisque", sold for $ 2.9 million
 a record price

 Strictly speaking, this pattern is not an established name: "Odalisque" she was named in the catalog auction house Christie's, put it on the "Russian" auction in November 2005. Critics prefer to call it "Naked in the interior, one of dozens of works Kustodiev with a similar plot.
 Kustodiyev (1878-1927) in the early days of fame as a portraitist, and then wrote many outstanding works on the themes of peasant and petty-bourgeois merchant welfare, creating among other things, his biggest hit - "merchant's wife for tea." He has worked extensively in theater, and after the revolution remained in Russia, wrote to posters and paintings of revolutionary themes, including the famous "Bolshevik": a giant red banner with the steps of the revolutionary city. The vast majority of works Kustodiev is in museum collections, to market his paintings come very rarely, so the interest in "Odalisque" - albeit a small and little-known work - was predictable.
 But this excitement was not expecting one: during the trading price patterns in 7,6 times higher than the maximum estimate, and it was sold for $ 2.9 million, becoming the most expensive lot of the auction. Against this backdrop, a few even lost a very good overall outcome of the bidding - $ 38 million, almost twice as much on the same "Russian" auction a year earlier.
 The new price level deafening: the same picture in the auction of the same auction house in 1989 was sold to unknown buyer for $ 34,000, that is for 16 years its value has increased 85-fold. Take-off price is easily explained: in the late 1980's Russian art auctions bought almost exclusively by Western collectors, for whom it was exotic, a side interest, since the beginning of 2000's to the fight including secured Russian collectors, specifically going after a national classic. The result was fast to come. In 2003, at auction auction house Sotheby's «Beauty" the same Boris Kustodiev was sold for $ 1.4 million, setting a new record for the "Russian" auction. Then Kustodiyev was the fourth in the history of the Russian painter, whose works price of over $ 1 million, but before that level could overcome only by Kandinsky, Malevich and Chagall, whose Western collectors buy much more readily than almost unknown outside Russia Kustodiev. Record in 2003 was the turning point of trend - Russian arrived.
 And of course, on regular "Russian" auction houses Christie's and Sotheby's in London, buyers from the former Soviet Union accounted for the bulk of the audience. Among them the November 2005 notice and a partner founded just a few months earlier, the fund Aurora Fine Art of Vladimir Voronchenko. Like most customers auction, it is absolutely not sought to advertise their purchases, and even came to London in person to bid by telephone from the next room. Victorious reports Aurora was not and after the auction: "Odalisque", along with other acquisitions quietly placed in the London store stock, where she stood a few months.
 "I often went there, looked at her, and something I have to embarrass her. It is unclear what, and yet nothing should not confuse, is it? "- Says Voronchenko. Being, by his own admission, 99%sure that the painting still all right, spring 2006 Voronchenko decided nevertheless to bring a picture in Moscow and Vladimir Petrov show, one of the most respected experts in the field of Russian art. Two weeks later, Petrov gave damning verdict - not the picture painted by Kustodiev.

 "When I began to study it carefully, close-up, very surprised - the texture, the inner content of painting the picture completely dropped out of several works Kustodiev" - says in a telephone interview with Vladimir Petrov. He believes "Odalisque" by an unknown artist of the first half of XX century, performed "under Kustodiev. Interestingly, first saw the picture - though in the photo - Peter is not suspected in the "Odalisque" fake. On the eve of November's auction in 2005 an employee of Aurora Fine Art showed Petrov directory. "I flipped through it, did not even pay for this now for special attention, said only that the rejection of it did not seem to cause" - says Petrov. Aurora Fine Art did not apply either to him or to other experts to see the painting before the auction "live". Moreover, as recognized Voronchenko, prior to the auction by the representatives of the Fund is not seen nothing at all expert opinion on the "Odalisque."
 In principle this and was not required: the auction takes on attribution and examination of items offered for sale, and ensures that all the data in the catalog are genuine. In case of doubt major auction houses react quickly: in 2004 the house Sotheby's literally at the last minute withdrew from the auction the painting "Landscape with a stream, called a catalog of works by Ivan Shishkin with an initial price of $ 1-1,28 million was later revealed that a masterpiece of Russian classics have tried to give the picture a little-known Dutchman, an attacker a year ago bought the Scandinavian auction for $ 65,000 and completed the signature of Shishkin and some details. If the sale of questionable things took place, the buyers of the possible error protection standard agreement with the auction house. According to rules of the auction Christie's, the buyer within five years may request a refund for the purchased item, if he proves that the auction have inaccurate information for its sale. (Sotheby's releases of the same period, and the auction house MacDougall's, specializing in Russian art - a year.) In turn, Christie's reserves the right to request a written opinion on the contentious issue of two experts whose opinion recognizes and auction and the buyer.
 Guarantees are serious. But the buyer, of course, may require expert opinions on the subject of interest to him before the auction - that it would be logical to do in case of "Odalisque".
 Until 1989, the existence of the picture was not known, it was not mentioned in any of the catalogs are well studied in the Soviet era Kustodiev. At an auction in 1989 she came from a private collection of Russian emigre Leo Maskovskogo about which virtually nothing is known even to specialists. After the sale at Christie's, an unknown collector painting disappeared from view for 16 years, re-emerged into the light only at auction in 2005. In the history of "Odalisque", so there was only one item. Usually, collectors refer to the "previously unknown, and accidentally found the" works from private collections with the utmost suspicion, because it is such a legend on the market is thrown much of the fraud. Why do Aurora Fine Art decided to buy a job with a short history and opaque?
 Perhaps the fact that the "discoverer" "Odalisque" was himself the head of Christie's Russian department Alexey Tiesenhausen. It was he who in 1989 went to Munich apartment to an elderly woman who wanted to sell a dozen works of art collected by her late husband Leo Maskovskim. Among the paintings discovered Tiesenhausen of Isaac Levitan, Konstantin Somov and Boris Kustodiev - the very "Odalisque." All of them were quickly sold at Christie's. At least that's the story in 2006 described the American Journal of Departures in the article "The new king of art" dedicated Tizengauzenu. (Comments Alexei Forbes could not be obtained.) If the provenance of at least verbally, confirmed himself an international head of the Russian department houses Christie's, it could appease the buyer. But this is only version. Vladimir Voronchenko refuses to discuss it.
  According to the experts, "Odalisque" - a compilation of famous works Kustodiev such as "Beauty" (1918) and "merchant's wife and the house" (1922)
 What is it, if not \\u2028 Kustodiyev?

 Expert Centre of Grabar Irina Gerashchenko demonstrates told Forbes plump folder that was once the expert opinion of "Odalisque". Photos and pages in her swollen and stuck together, split them have hardly possible: the materials were badly hit by fire in July this year that killed two firefighters and destroyed a large part of the archives. The remaining materials are stacked in cardboard boxes, from which still bears the strong fumes.
 "I think this compilation, which were used in graphic excerpts from famous paintings Kustodiev, here they are," - Gerashchenko shows survivor protocol expert council "Odalisque." According to Gerashchenko, too many things do not render a true picture of Kustodiev: two-layer soil is not found in standard works of the artist, the lack of preparatory drawings, primitive, and the plane out the details, gross violations of perspective, even the authenticity of the signature is in serious doubt. "I would not even say that it is a quality fake - it's just a bad level," - she says.
 The findings of all respondents Forbes experts - and examination of "Odalisque" was performed at the request of Aurora and the Russian Museum and Tretyakov Gallery - almost the same type: a picture painted in 20-50-XX century, as evidenced by the composition of colors, the author tried to use the known motifs and techniques Kustodiev, but to sustain the level of Russian classics he did not succeed. Vladimir Petrov believes that the picture could have been written in Prague in 1920 operated a hub of counterfeit Russian Art, which produced emigrated from the Soviet Russian artists.
 Experts also looked at the version according to which "Odalisque" let the poor, but the real work Kustodiev. In 1919 (this date is in the picture) Kustodiyev was seriously ill: because of tuberculosis of the spine in 1916, he could only move in a wheelchair. "We have a very long discussion: Kustodiyev 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 Lydia Iovleva. - But the handwriting of the artist must still match, 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 name of Grabar Center in late 2006. Next was to earn a standard mechanism for resolving such disputes, but somehow he has failed.
 judicial perspective

 "We wanted to do everything amicably, quietly and did not want to wash dirty linen in public, because the scandal did not want anyone, including us, all the scandals undermine the confidence of collectors in the market", - said Voronchenko, choosing his words carefully. He has been collecting a long time and very seriously - only in his collection of icons, for example, more than 600 items. Voronchenko combines his passion with the core business: he is the owner of "Lux-Holding, one of Russia's largest distributors and retailers of luxury goods (operates a chain of jewelry boutiques hour Louvre). In the 1990's created the fragrance Voronchenko network "Rivoli", which later sold a large European retailer Douglas. Since Vekselberg he knew almost from childhood - they were born in a small town on the Drogobych western Ukraine.
 Collector with experience Voronchenko before encountered counterfeits on auction sites. In April 2001, for example, his company "World of Art" bought at auction at Christie's in New York, a small landscape by Ivan Shishkin's "Forest area" for $ 76,000. Consequently, experts have found that it was a fake. Negotiations with Christie's lasted almost one and a half years, but eventually returned the money to the auction, and the story never floated out, said Voronchenko.
 As Forbes said one expert, such a situation with major auction houses having at least 5-6 times a year - right now there is another hearing in one case, but the Russian buyer painting strives to any of its details are not leaked to the press. Why do Aurora Fine Art after three years of struggle "under the carpet" has decided to go on the attack on the auction house, announcing the lawsuit in London's High Court? And why Christie's was unable to quietly settle the conflict with one of their major clients?
 Voronchenko, seems to have lost patience. "Above us only mocked - he says. - We have for months had not received replies to emails for months could not talk to the right people on the phone, in general, the attitude towards us was as to some developing market Aborigines. Christie's refused to comment, coupled with the conflict, justifying their silence so that the case is already before the court - the first meeting is scheduled for January 2011. The only reaction Christie's - approved and circulated by the press service of the paragraph of text in which the auction confirms its intention to seriously examine and verify the conclusions of the "Odalisque" and make all necessary examination of their own paintings, which in the spring of 2009 was transferred back to London.
 Christie's tenacity may be explained by the fact that the company hid a "ace in the hole," says one of our interlocutors. He said that according to rumors, the auction house is the positive conclusion of one of the experts of the Tretyakov Gallery. (Lydia Iovleva denied the possibility of a positive opinion of the gallery, but did not exclude the possibility that it could prepare someone from staff.) Christie's may also try to insist on the version you have already considered the Russian experts: "Odalisque" is to let the bad, but true Kustodiev work. In this case the auction is in no way at fault. However, at Christie's must be irrefutable documentary evidence of the attribution of this work, but so far nothing about them was not known.
 If the parties (for whatever reason) did not conclude a settlement agreement, that is likely to come at them for a long trial. Work Kustodiev waiting for their "finest hour" for 80 years. Several years of litigation, which put an end to the issue of "Odalisque" is not so much. "Frankly, if I were in place [Christie's], would do exactly the same. The later brought back the money, the less they will cost - recognized Voronchenko. - It's business, nothing personal ».

Последний раз редактировалось Евгений; 30.10.2010 в 07:18. Причина: Добавлено сообщение
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Старый 30.10.2010, 20:06 Язык оригинала: Русский       #57
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По умолчанию Why fund Viktor Vekselberg is suing Christie's?

Christie's recalcitrance can be attributed to the fact that the company hid a "ace in the hole," says one of our companions

Certain "ace in the hole", in Christie's, can only be such as has already been largely discredited expert Vladimir Petrov and some experts THG. English courts are not ours, and very seriously to such experts. What guarantees that this expert did not give up its expertise. Not the first time nor the last. Or am I wrong?

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Старый 30.11.2010, 03:43 Язык оригинала: Русский       #58
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Zdravstvuite - recently in the news on TV showed a plot that experts Tretyakov take a little and not half the price of the painting for its certification (determined by the authenticity of e) - the question - where would you posovetovli examine patterns Rossiiskih painters (18-17veka)?

Another question - have offices in Moscow, Sotheby's Christie's - may be better than they have the expertise to conduct this?


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Старый 30.11.2010, 08:12 Язык оригинала: Русский       #59
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Сообщение от Ilia33; 1411841"
Another question - have offices in Moscow, Sotheby's Christie's - may be better than they have the expertise to conduct this?
They do not carry out examination .. It's just office and all ..
Сообщение от Ilia33 Посмотреть сообщение
Tretyakov experts take a little and not half the price of the painting for its certification (determined by the authenticity of e)
The cost of examination of 500 U.S. dollars, an average of 700 -1,000 USD, less read and listen to any delirium.

Added after 2 minutes
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de posovetovli you examine patterns Rossiiskih painters (18-17veka)?
Read carefully topic


NINE them.
Pavel Tretyakov;

GRC them.
Academician Igor Grabar.

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Старый 02.12.2010, 09:03 Язык оригинала: Русский       #60
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Useful information .. useful for the attribution of engravings.
The first online museum of prints appeared in Russia. Presentation of the project, which was organized by the RSL and Company Meat House Borodin, was held yesterday in the main library building in Russia.
In the virtual museum etchings you can see the best works of art made from the RSL, as well as unique works, collected by "Borodin's Meat House" over the past few years and its constituent fund of printmaking.
The project is dedicated to Printsmuseum.ru printed graphics end XIX - first half of XX century.
From the site of the museum.
Читать дальше... 
Internet-museum prints - is a unique project dedicated to printed graphics. His exhibit consists of works from the private collection "Meat House BORODIN, the initiator of creation of this museum, and some masterpieces from the collections of the Russian State Library. Created on the Internet, a virtual museum is a wonderful form of presentation of prints: "in real life" is almost impossible to collect as many works of art in one space, and technically this exhibition would have required an incredibly complex work to create the necessary exposure to printmaking terms.

The choice of the Russian-Soviet school of engraving the end XIX - first half of XX century as the first link of the virtual exhibition is not accidental. This period - the heyday of the engraving in general and Soviet prints in particular. As you know, at the turn of XIX and XX century engraving came out of the role of servant in relation to painting, has ceased to carry out reproduction of the problem and become a full, independent art form. It is this kind of art is the main focus of attention and study of our online museum. Its main sections are devoted to techniques of engraving. Here are the galleries etchings, woodcuts, linocuts, lithographs. In each chapter - a detailed account of the artistic and production "methods of these techniques. The most significant set of reproductions of Russian and Soviet artists - VV Mate, VD Falileeva, AP Ostroumova-Lebedeva, AP Shillingovsky, VN Masyutin, DI Mitrokhin, VA Tabor, N. Kupreyanova - provide a visual representation of the different types of prints and stages of development.

On our site you can find short biographies of artists, glossary of key terms and a bibliography. In comments to the images of the texts of the researchers, extracts from letters and memoirs of artists, their colleagues and friends. The site is designed for a wide range of users, it will be interesting to both specialists and those who rarely staying in the world of fine art. Indeed, this kind of art museum, which represents the vast pictorial material is rarely present in conventional displays, and an additional source of information on print graphics and artist-engraver. The search system allows you to find the interesting stuff - the technique, genre, author, historical period. All this gives grounds for believing that our "unrealistic museum is able to really enrich the knowledge and the spiritual world of its visitors. This is precisely his problem.


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