“A little learning is a dangerous thing;/Drink deep or taste not the Pierian spring:/There, shallow draughts intoxicate the brain,/And drinking largely sobers us again.”
So said Alexander Pope (1688-1744) and I am not going to disagree. Particularly when it comes to art and spotting something that is not quite “right.” You really do need a lot of learning. There is simply no shortcut to checking an artwork’s authenticity if the artist is not around to verify it. Provenance becomes vital; how did the work reach you, who were the previous owners, has it passed through the hands of a reputable dealer or auction house? Appearances alone can be deceptive – perhaps even intended to deceive.
Fakes and forgeries
When an artist’s work begins to command high prices, there is often a temptation among the less scrupulous to cash in on the less knowledgeable. Or the greedy. Or the gullible. We want so badly to believe we have discovered an overlooked masterpiece that we ignore the obvious warning signs. If you are going entirely on the name, you may lose out. After all, the best artists have off-days and their lesser works are never going to be worth top dollar. Local expert Hennie Niemann says, “Buy a good painting, not a good name; then, even if it is not by whom you think it is, you still have a decent work to enjoy.”
Where do fakes come from?
Someone who has a talent for copying may decide to reproduce a picture or make a painting in the style of an established painter and add the required signature. A quicker way is to discover an authentic painting, perhaps a bona fide student’s copy done to practice technique, perhaps a work by another artist in a similar style, and forge a signature. In a few cases, the picture may be authentic but the artist, for reasons of his own, may not have signed it. Then the temptation is strong to add a signature and increase the value. Alas, if discovered, it has the opposite effect.
With lithographs, the work may be essentially identical, just an edition number and signature is added. I am referring to contemporary fakes of contemporary artists – when it comes to Old Masters, the game is upped and there are technical ways of checking the composition of canvasses, paints etc and processes like x-ray and spectroscopic examinations may be employed.
Tretchikoff under the spotlight
“The Lost Orchid”, an oil by SA Master Vladimir Tretchikoff , (illustrated) was sold for R3,2million at the much-hyped Brett Kebbble Auction last month in Johannesburg. Doubts have been cast on its authenticity and the auctioneers are remaining non-committal until their expert, a professor from the University of Pretoria, has given an opinion. Members of Tretchikoff’s family are being consulted, too. Undoubtedly the provenance will be closely checked, as well as comparison of the brushstrokes and signature against any other reproductions of the work in books of reference. There is a lot at stake.
Domsaitis (1880-1965)
Pranas Domsaitis (his Lithuanian name) was born as Franz Domscheit in East Prussia and came to SA in 1949. Already established as a painter with German Impressionist/Expressionist influences, his works were often religious and , in SA, moody Karoo landscapes, with occasional flower pieces. He tackled the same subject repeatedly and at his death there were several hundred works of varying quality and completeness in his studio. It was rumoured that his wife arranged for the finishing touches and even the signatures on some works as dealers were offered canvasses with moist paint several years after his death.
The illustrated painting, which cropped up some years ago in an auction house catalogue, was spotted by the eagle eye of Hennie Niemann as being an identical copy of an oil in the SA National Gallery –“Stormy Landscape.” A late work, the whirling crowds were described as symbols of the human spirit, contrasting with the two houses, symbols of life on earth. The National Gallery had issued prints of this work so Niemann was able to compare and note the uncertain treatment of the clouds and the doubtful signature; he drew this to the auctioneer’s attention and the work was not offered for sale.
I am indebted for this tale to Mr Niemann, a partner in the Onrus Gallery and acknowledged for his experience, particularly in respect of local artists like Gregoire, Wallace, etc. And as I have a work by Domsaitis, almost indistinguishable from one sold at auction some months ago in Cape Town, I am debating whether I should let him pass judgment on it. Sometimes ignorance is bliss.
The future of fakes
Sad thing is, once a fake/forgery is identified, a reputable auctioneer will quietly withdraw it from sale and return it to the owner. It is not destroyed or indelibly marked FAKE so, after a while, it will probably appear in a small town sale and seek another willing innocent buyer. There it will remain, for years, perhaps decades, until the heirs of the owner (who may even have fought over the “famous name” work) again offer it for sale.
Claerhout, Pierneef, Gregoire Boonzaier, Tinus de Jong, even Nelson Mandela – anyone whose work is attracting high prices, distinctive and not too difficult to copy, may have admirers who wish to relieve you of your art money. So do take expert advice in private deals or buy from a reputable dealer - and remember the golden rule “If it seems to be too good to be true, it probably is…” Caveat emptor!
If you have any personal stories about art fakes, let me know at niblos@telkomsa.net.
SNIPPETS
• The Mission’s House Gallery, Onrus, will reopen on 27th June after their winter break.
• Whale Rock Auctioneers held a successful fine art, carpet and collectibles sale on 6 June at their Hermanus rooms. Noted Cape Town auctioneer Kenny Finberg held the hammer and the highest price of the day was for a Hugo Naudé seascape.
• Mila Mosaics, (owned by Lara Levey who shared her expertise for the exciting murals at Enlighten Trust), is moving 1 July to the funky new courtyard at 3 High St between Melony’s and Haute Rizelle – or you can enter through Chilli Pepper at 10 Mitchell Street. Art, mirrors, mosaics and craft material.
• The SA Art Information Directory 2009 is now available – R169 from info@saaid.co.za or call 021 424 7733. A cross-country list of galleries and art events. Compiled by the publishers of the splendid SA Art Times, free each month at selected galleries.
• Bonhams’ next SA art sale is in London, 13 & 14 October – contact Penny Culverwell on 011 783 1813 or sapictures@bonhams.com.
• Stephan Welz/Sotheby’s are inviting consignments for their Cape Town sale, 20/21 October. SA paintings, furniture, silver and ceramics. Call 021 794 6461
