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January 1970
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The link just goes to a Google search of BBC, what was the story it was meant to link to? |
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January 1970
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Not urban art but check your lofts..., by searchandrescue on Apr 12, 2016 19:19:01 GMT 1, would be nice but prob fake?? Caravaggio is a badboy.
would be nice but prob fake?? Caravaggio is a badboy. |
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January 1970
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Not urban art but check your lofts..., by Deleted on Apr 12, 2016 19:24:58 GMT 1, Turquin lol, I wouldn't personally trust his expertise. The discovery in Toulouse looks like one of many variations by different artists. The facial expressions don't do Caravagio justice and neither does the perspective etc. It looks wrongly attributed to me, but what do I know.
www.artnet.com/magazine_pre2000/news/darmon/darmon5-18-98.asp
"HARSH SENTENCE FOR FRENCH EXPERT
French Old Master paintings expert Eric Turquin has learned from a Paris court that he must guarantee the value of a painting that he had identified as a work of Italian master Andrea Solario (ca. 1600-1520), a work that in fact may be only a late-16th-century copy.
The painting, Jesus Christ with a Reed, was sold for FF4.5 million ($750,000) on June 27, 1994, by French auctioneer Jean-Jacques Mathias to Swiss dealer Bruno Meissner. In the catalogue Turquin listed the painting as an authentic work by Solario. After Meissner bought the painting, he had it cleaned -- and several specialists then identified the work as a late-16th-century copy by an unknown Flemish artist.
The Swiss dealer brought the case before a Paris court, which named two legal experts, one French, Edouard Bresset, and the other Italian, Pietro C. Marani. The two men determined that the painting was a copy of an original that had been lost long ago. They estimated its value at FF500,000 ($83,500) and Meissner then started proceedings to cancel the sale, ask for damages and have his money back.
Meissner had additional support in his claim from David Alan Brown, a prominent Solario specialist who had listed the painting as a copy in his Solario catalogue raisonnรฉ. The painting had also been offered for sale as a Solario at Sotheby's on July 11, 1979, when it carried an estimate of $50,000 but failed to sell, according to Meissner.
Turquin claimed in court that Brown had come to Paris to examine the work and had admitted that it was a genuine Solario. In addition, he said that Louvre curator Sylvie Beguin had given a similar opinion. However, neither Brown nor Beguin confirmed in court that they had authenticated the painting.
In the end, the judges determined that Turquin had acted in good faith and therefore had committed no fraud. However, they also canceled the sale as a result of the erroneous attribution and ordered Turquin to Meissner -- meaning that he would have to pay back some $750,000 if the actual consignor is unable to reimburse the sum. The judges stressed that Turquin should have been more cautious regarding his opinion.
For his part, Turquin is adamant that Brown and Beguin authenticated the painting. Unfortunately, in France museum curators are not allowed to deliver statements in writing and just give an oral opinion. In France, experts are responsible for their authentifications over a period of 30 years and it is not the first time that one of them has been confronted with a controversial matter. That is why so many works are offered for sale with no clear attributions and at low estimates."
Turquin lol, I wouldn't personally trust his expertise. The discovery in Toulouse looks like one of many variations by different artists. The facial expressions don't do Caravagio justice and neither does the perspective etc. It looks wrongly attributed to me, but what do I know. www.artnet.com/magazine_pre2000/news/darmon/darmon5-18-98.asp
"HARSH SENTENCE FOR FRENCH EXPERT
French Old Master paintings expert Eric Turquin has learned from a Paris court that he must guarantee the value of a painting that he had identified as a work of Italian master Andrea Solario (ca. 1600-1520), a work that in fact may be only a late-16th-century copy.
The painting, Jesus Christ with a Reed, was sold for FF4.5 million ($750,000) on June 27, 1994, by French auctioneer Jean-Jacques Mathias to Swiss dealer Bruno Meissner. In the catalogue Turquin listed the painting as an authentic work by Solario. After Meissner bought the painting, he had it cleaned -- and several specialists then identified the work as a late-16th-century copy by an unknown Flemish artist.
The Swiss dealer brought the case before a Paris court, which named two legal experts, one French, Edouard Bresset, and the other Italian, Pietro C. Marani. The two men determined that the painting was a copy of an original that had been lost long ago. They estimated its value at FF500,000 ($83,500) and Meissner then started proceedings to cancel the sale, ask for damages and have his money back.
Meissner had additional support in his claim from David Alan Brown, a prominent Solario specialist who had listed the painting as a copy in his Solario catalogue raisonnรฉ. The painting had also been offered for sale as a Solario at Sotheby's on July 11, 1979, when it carried an estimate of $50,000 but failed to sell, according to Meissner.
Turquin claimed in court that Brown had come to Paris to examine the work and had admitted that it was a genuine Solario. In addition, he said that Louvre curator Sylvie Beguin had given a similar opinion. However, neither Brown nor Beguin confirmed in court that they had authenticated the painting.
In the end, the judges determined that Turquin had acted in good faith and therefore had committed no fraud. However, they also canceled the sale as a result of the erroneous attribution and ordered Turquin to Meissner -- meaning that he would have to pay back some $750,000 if the actual consignor is unable to reimburse the sum. The judges stressed that Turquin should have been more cautious regarding his opinion.
For his part, Turquin is adamant that Brown and Beguin authenticated the painting. Unfortunately, in France museum curators are not allowed to deliver statements in writing and just give an oral opinion. In France, experts are responsible for their authentifications over a period of 30 years and it is not the first time that one of them has been confronted with a controversial matter. That is why so many works are offered for sale with no clear attributions and at low estimates." |
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