Examination of art treasures from the standpoint of antiquarian

[Евгений]

In the past few years, examination of artistic treasures has become one of the most acute problems in Russia's antique market. Once in 2004 at auction Sotheby's scandal was removed bogus work of Ivan Shishkin, accompanied by expert opinion of the Tretyakov Gallery and in 2005 launched high-profile case of Antiquaries Preobrazhensky, also associated with counterfeit products, confirmed by government experts, the credibility of the museum's expertise has suffered greatly . To this day, the decision on how to change the existing system for years, has not been fully accepted. Questions answered, vice president of the expert work of the International Confederation of antique and art dealers Viktor Lebedev.

 

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- Victor, now Russia's antique market was a difficult situation with the examination of artistic values, often called a crisis, even expertise. What happens in your opinion?

- In my understanding, we have no expertise at all, we have a business to issue special documents. And business has its own laws, a business seeking not the truth, and profit. This situation is still in the early 1990's. In Soviet times, things are bought privately and mainly on the recommendation. When the market began to evolve rapidly, there are many non-professional antique dealers who did not want to take responsibility and seek a third party. Thus was born Institute of Museum and expertise, that is, collective responsibility and, therefore, no liability at all. This was largely connected with the economic condition of people who work in the museum, with a small state salary. I know a specialist in Paris, which acquired privately infrared installation and works with museums and collectors. The man who seems to be interested that appealed to him as much as possible, because it is his salary, said - do not need my help to you in 90%of cases. We have the chase for profits. Expertise done literally everything, even on minor things that generally do not need them. Given the vast flow of work is great and the error in determining authenticity. For instance, bought three etudes, which together in 1938 were in the exhibition - one gave positive feedback on the two - no. How can that be? How do you can give expertise on the sketches? Levitan, for instance, wrote a great number of studies, their quality is no different from the average artist.

Unfortunately, many antique dealers and collectors continue to cultivate a museum expertise and now, when it is clear that this is a dead end road. The overall result is not the expertise, and the issuance of certificates. And on one sheet you will receive and artistic, and technological research. For example, the expert wrote, that the signature is false. Why, then, no one shows the picture which, for example, the ink flow into the craquelure? We do not have separate laboratories, which would carry out only technological expertise. In the West you can get a detailed study of the content of pigments, metal, different shots - everything you need. But no technology lab does not take the responsibility to say, whether it is a genuine product or not.

- You started talking about how the examination is carried out art treasures in Europe. As far as I know, the state examination there does not exist.

- In all countries where developed antiques market, have long recognized that people working in public institutions should not engage in commercial expertise. If it becomes known that a museum staff member has written examination, he was immediately fired, not figuring. My London colleagues say that, when museum workers simply go to the gallery to see they are afraid to say something to someone when something they are not referred. Because people involved in other matters - improving, study, increasing the state assembly. They are engaged in science and should spend on it all the time. If government officials are beginning to issue examination, they not only once to do science, but they often begin to develop a pseudoscience.

- Perhaps, then in Russia needs private experts?

- Top experts from around the world - it ourselves antiquarians. Museum workers - in fact only theorists. What they can not refuse, so it is in the ability and opportunity to work with files, documents, art history with the material. All that concerns the practical side of the question, any person who works in the market, risks every day, understands much better than government employees. When you follow his every mistake to pay a lot of money, you learn very quickly. But in Russia, now in pursuit of money and antique dealers do not always want to learn. Many prefer to work as intermediaries. At the same time they themselves have no idea how the world works in general, antiques market, but a pleasure quick profit. In Europe, each person knows all of the world, working in its narrow field.

- In 2006 Rossvyazokhrankultura banned museum expertise, announcing that it will replace the private experts who receive state licenses. Most recently, the first 418 people received such certificates. Will this change anything?

- When Rossvyazokhrankultura initiated this process, all were in favor, everyone understood that this is necessary. But if you prohibit the state examination, then disable all. Why ban the Tretyakov Gallery and the Russian Museum, but allowed Grabar Center? As a result, the ban was simply not working, and the Russian Museum examination still issues, but calls them in another way - advice. Obviously, if you enter a private examination, it will raise the material standard of museum staff. But in terms of market licensing sense. For licenses issued the same state in the same museum staff. They have not increased from that neither knowledge nor the money to bear the financial responsibility for their detention. Art critic - is not an expert, and expertise - this is not a business. It is needed in a small number of controversial cases. And for this to be created private structures. So the situation is still deadlocked.

- How this situation is reflected in Russia's antique market in general?

- Due to problems with the examinations, but also because of scandals involving inflated counterfeiting and customs difficulties, we get only what the market is gradually shifting to the west. Even 4-5 years ago the Russian Front was only at Christie's and Sotheby's, auctions are held once a year and to work up the catalogs. Now the Russian bid is already going on throughout Europe. Why? Simply dealers here carry Russian art has become unprofitable, too many complications. It is much easier to pass it to the European auction. That's why Russian sales in the same London or New York since soared. Among the antiquities market even has a fantastic view that all the difficulties of Russia's antique market held by order of Christie's and Sotheby's. This is a joke, of course, because of our troubles, too, are not needed. They are attracted by rapidly developing Russian market, bringing considerable benefits.

- But somehow need to go out of this impasse?

- I do not think that now something can be dramatically changed - requires time. Unfortunately, it is not just about making any decisions, but also about the psychology of Russia's buyer. The credibility of the document goes back to Soviet times, and change is not easy.

Do not think that the situation with Russia fakes - some kind of exception. Entire world market overloaded wrong things, like roll cake. If I see an auction where 10%of unnatural things, this is a good auction. A reaches 80%. The auction does not guarantee - given the tremendous amount of work he simply can not ensure it. That is why the West customers rarely buy yourself stuff at auction. Only if he is knowledgeable and enthusiastic collector or it is a very serious investment in the tens of millions. Most customers buy in galleries: they are the principal guarantors of authenticity. Literally next door to the London branch of Sotheby's Old Masters gallery is located, in which the same work as in the auction, there are twice as expensive. But it has existed for many years, precisely because it is for the client filter, do not let the low-quality stuff. Customers trust the gallery, and the crucial role is played by such a thing as reputation. And I think we also need to move in this direction. At that time itself will natural selection professionals who can be called experts antique market.

[Art Consulting]

Eugene,
I, frankly, always moved by these articles. I often intersect at conferences with representatives of the Confederation and unfortunately, I have never heard of a constructive, open rhetoric, always tiger meat do not report. And all the time appear dubious identity and say that there is no examination, all the experts ignoramuses, assessment nobody does, auctions do not trust, not to insure .... in a word, everything is bad. And it all comes down to that .... just believe me, I'm better than anyone I know everything, my opinion is absolutely no matter, I've been mending stoves and very modest. :-) You know the old parable about a boy who is wrongly several times called for help .. Why would one of you gentlemen do not take the reins of power in the confederation? :-)

[Евгений]

"Examination of artistic values in terms of antiquarian"
Article is good, in principle, all pravilno.Statya mainly on the museum's examination.
  Art Consulting, what does a museum expert?
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Who is Viktor Lebedev? The site ARTinvestment.RU: list of members of the International Confederation of antique and art dealers for professional section http://artinvestment.ru/about/icaad/icaad_members/
Lebedev is-Antique Salon "Russian Seasons".
http://www.ruseasons.ru/
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[Art Consulting]

Eugene,
Here, I probably should apologize. I mixed up the story and responded in a similar paragraph. My speech dealt with presentations by representatives of the Confederation, the last of which I listened carefully to the conference investment in art, in the Marriott. I read the article more closely and in principle it is very different from previous ones.

[color="# 666686"]Posted 12 minutes[/color]

Сообщение от Eugene

My dear, are you talking about?
Here Freud .. how are your plans?

I have no such plans, but I always wanted to see on the side of the Confederation of enterprising people, such as, for example, are on this forum. And I meet, as a rule .... OK, Let it all. It's a shame that many of the problems in the market could be solved together, but that both sides should be open position and the desire to change the situation.

[Евгений]

Art Consulting, Write more, you also run the talented professionals, and many on the forum (70-80%) are interested in a professional approach to the attribution of paintings, antiques. Fresh information on the technological expertise (not just painting, but like metal, etc.), articles from foreign sources, all of this is not enough.
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And for an interview with Victor Lebedev, you have to say thanks to him, he at your mill and the water pours.

[мистер-у]

I love science filosofiyu.Prekrasnaya worthy minds chelovechestva.Esche prefer to apply this knowledge to praktike.Kratkaya history of expertise and the attribution of Yu.Klevera senior, or may be lost in three sosnah.Imena and the names were not disclosed, in order not to confuse the Our ryady.Dogadaytes sami.V single entity which is engaged in the examination, and attribution has been brought to my work Klever-winter, more than a meter, and the authenticity hristomatiynaya.Somneny at first glance not vyzyvala.Datirovana beginning 20v.Pri of technological expertise, it was found that signature marked "dry" colorful sloyu.Podpis pozdnyaya.Krakelyury aging of the paint layer and the signature odnovremenny.Uzhe soul for such work lezhit.Rabota not returnable, deposit in full salone.Priglashayut a lady made up of distinguished experts to write the attribution and it hudozhnika.Priglashayut confirms the authorship of another lady, the same is very respected and it is not confirmed, referring to the signature on the "dry". I was even more nastorazhivaet.I born here in some expert circles are new or well-forgotten old version that Clover signed his work only "on the wet, colorful layer. Version is the development of the same council of experts concludes that the clover after 1890 generally did not write, she worked studiya.Otkryvaem magazine Antiques number 3 "for 2005 page 67 article by Elena Nesterova's" Around Yu.Yu.Klevera.Tsitata "For recent years clover rare paintings were entirely written by him, usually rabotalagruppa less talented artists (Rosen, Obolensky, etc.) They are preparing now, as an amendment to Clover and Clover podpisyval.Podlinny-rare. "Naturally, with such works, where not only use art materials and signs of aging, but the signature is stamped on the wet colorful layer speaks for the clover to understand the author's incredibly trudno.Ispolzuya artel method, the artist himself the fruits of their imitators and double back. "At present, the Sotheby's or Christie played for three of the Klever with attribution Yu Clover and studiya.Na Uppsala-one "Autumn" previously sold "attributed Clover." Question from the audience? "There is generally somewhere in this Clover? experts in Russia are afraid of his works" like the devil incense. "By the way in the cabin" Russian Seasons "hung two of Klever dry podpisyami.V art studio Centaur I saw a few years ago Klever work with dry, with a signed opinion Grabarya.Rabotu I returned with the attribution of authenticity, with the money all right People here poryadochnye.A heart precipitate ostalsya.Ne know or do not know how?? I, for a museum expert, scientifically based and razvernutuyu.A actually the conclusion of the work should provide expert advice in the form of a protocol, a copy attached to the conclusion . Examination of the serious work will have a duration of up to six months, and even bolshe.Stoit be from 5000 to 10000 tys.u.e. regardless of rezultata.Togda probably will not be issues.

[Евгений]

Сообщение от Mr-y

In carrying out technological expertise, it was found that the signature is marked "dry" colorful sloyu.Podpis pozdnyaya.Krakelyury aging of the paint layer and the signature are simultaneous.

Well-known, though not decisive, as is sometimes believed, the value is the location of the signature: if it is under the varnish, or affixed on top of it, that is, how closely linked it with the original painting.

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painted under a layer of old varnish signatures and inscriptions can sometimes be detected by infrared rays. It must, however, to stress once again that the identification of the old signature, even under the account or under the other signature is not necessarily indicative of its authenticity. Intentional slight brushing false signature - a well-known method counterfeiters, calculated that the signature will be "accidentally" found during the washing of painting and confirm the "authenticity" paintings.
An important point in the process of studying the paint layer is to determine its safety. What is it explorer - with the author's paintings or her likeness recreated hand restorer, which plots painting survived intact, and which are rewritten? Needless to say, how important it is to get the correct answer to such questions in the course of, for example, the attribution of the painting.
Determination of safety of the paint layer would be best to start with his views in light of the visible luminescence, excited by ultraviolet radiation. If the picture in the light of luminescence emitted uniform milky-blue light, in which the image appears as a disguised transparent cigarette paper, one can conclude that the painting is well preserved. Some dark spots on the background luminescence lacquer surface may indicate worn or partial loss of lacquer on the small retouch on stony ground and breaking the paint layer. Lots of paint layer subjected to restoration records and toning lacquer surface, clearly visible in the light of luminescence by visual inspection pictures and photos in the form of dark spots showing the location and size of records. We can distinguish toning and under a layer of varnish: if the latter is not very thick and not too decomposed, such toning look much paler than that made by polish .. http://www.art-con.ru/node/288
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But expert opinion-Petrova V. (signature on dry, or over the varnish).
Technology, as a blood test, only an aid to the diagnostician. Technological scheme - canvas, the nature of the soil, drawing, color, general methods of constructing the paint layer is very similar for many artists, especially - academics XIX century that the German, that the Danish, that Russian. Radiograph is not always without a range of other studies, may give the correct result. For paintings Levitan, for example, is characterized by several types of X-rays. As the signature - that's at least a Surikova almost any signature "hanging" on the varnish. So if you rely on it, all our Surikov have a museum pass. But some artists - such as Kuindzhi and Vasily Vereshchagin - almost all are signed, and signature on any sketch not so much convincing as alarming .
  http://www.wm-painting.ru/Novosti_mi..._articleid/111

[мистер-у]

Eugene thanks! I personally know a VP I know his opinion and very prislushivayus.Popovodu museum work, the issue never has and never will is the reference. "Late" signature is on the varnish and the time of its application can calculate, there are nuances and secrets that experienced technologists are well znayut.Klever was a commercial artist, he wrote the work, and immediately exhibited it at prodazhu.My are talking about the examination of works of clover.