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Home , Art forgery, Elmyr de Hory, The Procuress (Vermeer)

, Girl with a Pearl Earring, in the style of (Dutch, 1632-1675), 2012, oil on canvas. Courtesy of Graham & Margaret Wright, Stratford Upon Avon, Warwickshire. Photo: Washington Green Fine ntent to Ideceive: Fakes and in the Art World

05.23.14–08.02.14 at the John and Mable Ringling Museum of Art, Sarasota • www.ringling.org

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provocative new exhibit

about art will have its Florida debut at The John and Mable Ringling Muse- um of Art in Sarasota. Intent to Deceive: Fakes and Forgeries in the Art World spotlights some of the world’s most notorious con artists, illuminating their dubi- ous legacies, and examining how their talents, charm, and audacity beguiled and assaulted the art world for much of the 20th century through the present day. The exhibition, which is organized by International & Artists of Washington, DC, and curated by Colette Loll, will be on view from May 23 through August 8, 2014.

Several ingenious forgers are landing one in jail. profiled in this ground-breaking The exhibit is divided into exhibition representing some sections that examine each of the most infamous scandals forger’s career. Included in of the last century. Han van each profile are original works, AMeegeren, Elmyr de Hory and personal effects and ephem- all shook the art era, photographs, film clips,

world with their exploits, gar- and representations of the John Myatt, Odalisque, nering each of them worldwide material and techniques used limited edition print; notoriety but an untimely death. to create the convincing art- in the style of More recently, John Myatt, works. Works by major artists (French, 1869 -1954), 2011. Courtesy of Washington and Mark Landis have been in such as Charles Courtney Cur- Green Fine Art & Castle the news for their prolific and ran, Honoré Daumier, Raoul Galleries, United Kingdom. stylistically diverse art frauds, Dufy, Philip de László, Henri Photo: Washington Green Fine Art.

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Han van Meegeren covered by art historians in the 1860s. Since Vermeer had a small Like others who followed him, body of work (36 known paint- turned to forg- ings), Van Meegeren was able to ery out of frustration with his own exploit a gap in the artist’s oeuvre artistic career and the demands to create an “early religious peri- of an expensive lifestyle. He od.” This allowed Van Meegeren’s began to produce forgeries of Supper at Emmaus to be heralded 17th century Dutch Masters in by 17th century Dutch art expert, the 1920s, but they were not Abraham Bredius, as a newly credible enough to earn him discovered Vermeer masterpiece. significant wealth. By the mid- The painting was subsequently Right: Han van Meegeren 1930s, however, Van Meegeren purchased by the Museum Boij- (1889-1947), developed a technique to simu- mans Van Beuningen, Rotterdam, The Procuress late the look and feel of centu- Netherlands. (after Baburen), in the ries-old dried oil paint by mixing Van Meegeren was found style of Bakelite (an early form of plastic) guilty of forgery and fraud by the (Dutch, ca. 1595 -1624), 1940, oil on canvas. into his . After baking Amsterdam Regional Court and Courtesy of The Samuel in an oven, the mixture dried to sentenced to prison for a mini- Courtauld Trust, a hardness that passed the alco- mum of one year. Prior to serving The Courtauld Gallery, hol and needle test, the primary his sentence, Van Meegeren suf- London. forensics test of the era. fered two heart attacks and died

Matisse, Amedeo Modigliani, approach: Information provided by International The 17th century Dutch Mas- on November 30, 1947. , Paul Signac, and Connoisseurship—a person Arts & Artists, www.intenttodeceive.org ter, Johannes Vermeer, was redis- —International Arts & Artists Maurice de Vlaminck, among with expert training in character- others, are included alongside istic features of an artist’s style “Driven to a state of anxiety and depression due to the the forgeries to better test per- and technique, often referred to ceptions of authenticity. as the “eye of the expert.” all-too-meager appreciation of my work, I decided, one fateful Unfortunately, the art world —an evaluation has yet to develop a fool- of the history of an artwork’s day, to revenge myself on the art critics and experts proof system for authenticat- origin, ownership, location, by doing something the likes of which the world has never ing works. The current sys- and transactions; documenta- tem is based on a three-pillar tion for authentication. seen before.” —Han van Meegeren, 1945 continued on pg. 86...

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Left: Elmyr de Hory (1906-1976), Fauve Landscape, in the style of Maurice de Vlaminck (French, 1876-1958), ca. 1968, oil on canvas. Collection of Mark Forgy. Photo: Robert Fogt.

Below: Elmyr de Hory, February, 6 1970. Photo: Pierre Boulet for Life magazine

Information provided by International Arts & Artists, www.intenttodeceive.org

Elmyr de Hory partnership with Fernand Legros, who sold a steady supply of de After World War II, Elmyr de Hory Hory’s forgeries on five continents moved to the US and portrayed over a period of nine years. Their himself as a dispossessed Hungar- profitable and prolific collabora- ian aristocrat selling off artworks tion came to a tumultuous end in from his collection. Befriending 1967 when Legros sold over 40 of the rich and famous, he was both de Hory’s bogus masterpieces to enigmatic and charming—yet oil millionaire, Algur Mead- behind this façade, de Hory was ows. After discovering the fraud, Technical analysis—scruti- to build credibility, constructed a frustrated artist struggling to the ensuing scandal unmasked DeHory was featured in Orson ny with scientific equipment of elaborate schemes to corrupt maintain a standard of living he de Hory as the artist behind the Welles’ last film, , in a work’s material components provenance documentation, and craved but could not afford. After works. With Legros’ aid, de Hory 1972. Despite his celebrity, he to determine if they are consis- went to great lengths to ensure several failed attempts to ignite likely inserted more than 1,000 had little success selling his origi- tent or inconsistent with a pur- their materials would pass fo- his own career, de Hory focused forgeries into the during nal works, though demand for his ported age or attribution. rensic examination. All relied on his talent as a forger. his 30-year career. Many of these forgeries remained constant. In works have not been exposed and 1976, deHory learned he would Above: All of the forgers in this ex- heavily on the art of deception. De Hory’s skill at deception Elmyr de Hory hibition employed means to “This exhibition brings to did not make him immune to continue to reside in museums be extradited to France on charg- (1906-1976), Odalisque, thwart this system of authenti- light how each forger was ulti- treachery, most notably during his and private collections today. es of forgery and fraud. Fearing in the style of Henri Matisse cation. They fooled the experts mately discovered, and illus- he would be killed in prison, he (French, 1869-1954), by mastering techniques of the trates the role technology plays committed suicide by taking an 1974, oil on canvas. “If my work hangs in a museum long Collection of Mark Forgy. artists they copied, created false in detecting forgeries and pre- overdose of sleeping pills. Photo: Robert Fogt. identities and background stories venting them from penetrating enough, it becomes real.” —Elmyr de Hory —International Arts & Artists continued on pg. 88...

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the various channels of the art Eric Hebborn world,” wrote David Furchgott, Founder & President of Inter- Eric Hebborn’s training at the national Arts & Artists. “We Royal Academy of Arts—Britain’s hope this exhibition inspires a most prestigious art school—as continuing discussion of collec- well as his award of the Rome tion integrity and the challenges Prize, could have heralded an faced by museums as they pre- illustrious artistic and academic serve our cultural heritage.” career. Instead, as his exquisite In her statement, Colette Loll, drawing skills were belittled by ized how easily the experts were of Intent to Deceive and the mid-20th century art market, fooled, his contempt for them art fraud expert, provides fur- Hebborn became profoundly increased. Ultimately, he came ther insight on the subject of critical of the prevailing style of to justify his forgeries as ethical art forgery: modernism and contemptuous if he sold them to experts and “Fakes and forgeries were of art dealers and experts. Like dealers, who should be able to once the dirty little secret of other forgers, Hebborn found his discern the authentic from the the art world, and no gallery, talents better suited to creat- fake. He never sold his forgeries museum or house has ing works from a bygone era; in to amateur collectors, as a stipu- ever been entirely free from his case, the and lation of his own moral code. the embarrassment of a costly Baroque periods. In 1996, Hebborn published error of misattribution or faulty Hebborn’s training as a paint- The Art Forger’s Handbook, and continued on pg. 90... ing restorer taught him to repair shortly after, he was murdered damaged works, but also to on the street, in Rome. The case enhance them and, at times, to remains unsolved. Right: Eric Hebborn (1934-1996), simply forge them. When he real- —International Arts & Artists St. George and the Dragon, in the style of Jacopo Bellini (Italian, 1400-1471), 1994; signed and numbered 37/40, produced for the exhibition “Only the experts are worth fooling. The Difficulties of Attribution, at Archeus Fine Art, London; 1994, color The greater the expert, the greater the photograph. Collection of Colette Loll. satisfaction in deceiving him.” Opposite: Eric Hebborn. Photo: Raimondo Luciani, 1991. —Eric Hebborn, 1991

Information provided by International

Arts & Artists, www.intenttodeceive.org O n V i e w M a g a z i n e . c om • A p r i l /J u n e 2 0 1 4 89 Intent to Deceive

Left: John Myatt (b. 1945), Charing Cross Railway taken from the Savoy, in the style of (French, 1840-1926), 2011, oil on canvas. Courtesy of Clive and Shyamali Fenton, UK. Photo: Washington Green Fine Art.

Opposite: John Myatt; Photo courtesy of Washington Green Fine Art.

Information provided by International Arts & Artists, www.intenttodeceive.org

did not sell his copies of recog- John Myatt nizable masterpieces as original works. It was when he teamed John Myatt began his artistic with professional con man, John career with promise. He was Drewe, that he crossed the line awarded a scholarship to open to illegal art fraud. The Myatt- his own art studio and supported Drew partnership created one of himself by selling and teach- the most damaging art hoaxes of ing art for several years. But his the 20th century. Myatt forged traditional, pastoral style did not over 200 modernist paintings, and rely on as proof of an provenance. In today’s art forgeries, mistakes, and misat- create enough interest to earn a approximately 120 of which are artwork’s authenticity. world, the bungling of authenti- tributions is evidence that the proper living. In order to provide still circulating in the art market, Myatt served just four months cation makes big news and can age-old art of forgery has never for his children, he devised a plan and Drewe most likely corrupted of a one year prison sentence for Above: no longer be silenced or swept intrigued the public more than to sell “genuine fakes” through an the art historical record for gen- fraud and was released in 2000. John Myatt (b. 1945), under the rug. Duped museum it does today. advertisement in a local paper. erations to come by falsifying He went on to hold a sold-out Landscape near Auvers, provenance documentation. Prov- exhibition of his work in 2005. in the style of and art experts, though by no Even though profit and greed Myatt’s idea was not illegal as means vindicated, may now are often assumed to be the he originally conceived it because enance, or ownership history, are His paintings continue to sell (Dutch, 1853-1890), find comfort in a growing pub- underlying motive for forgery, he had no intent to deceive—he the crucial documents collectors for upwards of $40,000. Myatt 2011, oil on canvas. lic interest in deciphering these the psychological underpinning teaches and lectures widely and is Courtesy of Clive costly mistakes. A recent flur- of these grand deceptions is represented by Washington Green and Shyamali Fenton, UK. “In prison, they called me Picasso.” Photo: Washington ry of books, conferences and actually far more complex than Fine , London. Green Fine Art. exhibitions dedicated to fakes, a simple scheme for financial —John Myatt —International Arts & Artists continued on pg. 92...

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rial gain, or embittered artist collection he wished to donate in Mark Landis seeking to punish a world which honor of his deceased parents. failed to appreciate him. Rather, He has gone to odd lengths to Mark Landis may be the most for the past 30 years, Landis perpetuate this fantasy to give famous art counterfeiter who has approached dozens of muse- away his fakes, not only falsifying never committed a crime. He ums and university galleries in documents and using aliases, but does not fit the standard profile multiple states claiming to be also dressing in costume. of a charlatan working for mate- a wealthy philanthropist with a Suffering from mental illness, Landis’ actions are apparently Mark Landis may be the most fueled by the need for attention and validation. Landis was diag- famous art counterfeiter who never nosed a schizophrenic at age 17, although caseworkers have committed a crime. recently suggested bipolar disor- der may be a more appropriate diagnosis. Landis cannot under- gain. The artistic and psycho- a con that paved the way for stand why museums are upset logical profiles of the forgers acceptance of their work into with his “hobby.” He claims his featured in Intent to Deceive, the legitimate art market. In donations are a tribute to his combined with a detailed profiling their lives and careers, deceased parents and are acts of description of the techniques this exhibition points to com- goodwill. He has at times prom- and tactics used to create mas- mon and recurring patterns: ised to stop his museum “dona- tions,” but it is not clear if he Above: sive fraud in the art world, frustrated artistic ambitions, Mark Landis (b. 1955), Untitled, serve as a cautionary tale for chaotic personal lives, and a can control his compulsions. His in the style of Paul Signac any serious collector, investor, contempt for the art market age and declining health limit (French, 1863–1935), date unknown, or institution accepting patron and its ‘experts.’ Despite their his mobility, so it is likely his watercolor on paper. Property of donations. This exhibition also creative powers, each subject in spree has come to an end. the Oklahoma City Museum of Art. , a documentary Photo: Shannon Kolvitz. serves as a wake-up call to this exhibition suffered a com- Art and Craft those interested in preserving mon, fundamental lack: the about Landis, will have its film Opposite: cultural heritage. vision that would allow them festival premiere in 2014. Mark Landis (b. 1955), Untitled, ...All of the forgers profiled to fit into the modernist para- —International Arts & Artists in the style of Marie Laurencin (French, in Intent to Deceive possessed digm, a value system that plac- 1883-1956), undated, charcoal on paper. Property of the Oklahoma City not only artistic talent, but the es primacy above all else. In Information provided by International Museum of Art. Photo: Shannon Kolvitz. ability to create and perpetuate each case, the forger was most Arts & Artists, www.intenttodeceive.org continued on pg. 94...

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successful at imitating a past an industry that suffers from a actually makes it any less of genre of art, its motifs and its lack of transparency, the prob- a work of art. Does the dis- techniques, and held the older lem is one everyone recognizes covery of a fake change our genre in higher esteem than but few have the incentive to relationship with a painting? the contemporary. Unable to fix in the face of indomitable Admirers and collectors of the make a career in an art market self-interest. It is the rare deal- work of several contemporary that no longer valued their pre- er or auction house that has forgers admit that they possess ferred style of artistic expres- not transacted, inadvertently great art, no matter that they sion, these artists found forg- or intentionally, in works of are forgeries. “They’re not ery and fakery to be their most doubtful integrity.” original artworks, but they’re REAL accessible avenue to public — Colette Loll (@artfraudin- so prestigious that they require recognition and commercial sight) is the founder and director the same security measures as or FAKE? success. of Art Fraud Insights, a consul- an authentic work,” said Julia Can you spot the ...Marketplace complicity tancy specializing in art fraud Courtney, curator of art at may well be the greatest obsta- related lectures, training and spe- Springfield Museum of Art in original among the cle in remedying the prolifera- cialized investigation of artworks. Massachusetts. The brilliance forgeries in this tion of art fakes and forgeries. is notable, and in fact, the selection of works The inability of the art mar- The ultimate question pro- murky history makes the work ket to self-police or lobby for posed within Intent to Deceive all the more interesting—the featured in the show? enforceable civil and criminal one can’t help but ask is stories and drama behind them See answer below... laws creates the opportunity for whether the uncovering of a are as fascinating as the imag- robust criminal enterprise. In painting’s unpalatable history es themselves. On View

Opposite (clockwise from top left): 1. Mark Landis, Untitled, in the style of Henri Matisse, 2013. Collection of Colette Loll. Photo: Laila Abdul-Hadi Jadallah, International Arts & Artists. 2. Original work of art by Charles Courtney Curran, Noonday Sun- light (detail), 1924, oil on canvas. Richmond Art Museum, Ohio. Photo: Grey Pyle Photography. 3. Mark Landis, Untitled, date unknown, in the style of Honoré Daumier. Property of Oklahoma City Museum of Art. Photo: Shannon Kolvitz. 4. Elmyr de Hory, Caryatid, ca. 1971, pencil on paper, in the style of Amedeo Modigliani. Collection of Mark Forgy. Photo: Robert Fogt. 5. Elmyr de Hory, Woman at Table, in the style of Henri Matisse, ca. 1975, oil on canvas. Collection of Mark Forgy. Photo: Robert Fogt. 6. Elmyr de Hory, Portrait of Elmyr and his brother Stephan, ca. 1950, oil on canvas, in the style of Philip de Laszlo. Collection of Mark Forgy, Photo: Robert Fogt. 7. Elmyr de Hory, Dansueses Nues, 1972, lithograph, in the style of Pablo Picasso. Courtesy of Colette Loll Marvin. Photo: Laila Abdul-Hadi Jadallah, International Arts & Artists. 8. Elmyr de Hory, Portrait of a Woman, in the style of Amedeo Modigliani, ca. 1975, oil on canvas. Collection of Mark Forgy. Photo: Robert Fogt.

94 O n V i e w M a g a z i n e . c om • A p r i l /J u n e 2 0 1 4 details. credit for page opposite See row. top the of center the in located is work original The Answer: