Tuesday, October 7, 2014

A Guercino Masterpiece: Stolen on August 10, 2014

Guercino. Stolen, 2014. by Travis Simpkins


A Guercino Masterpiece: Stolen on August 10, 2014
by Travis Simpkins

     At some point during the night of Sunday August 10, 2014, a well-known work by Guercino was stolen from the Church of San Vincenzo in Modena, Italy. Painted in 1639, Madonna and Saint John Evangelist with St. Gregory the Wonderworker is considered to be one of the artist's great masterpieces. It's value is estimated as high as $8,000,000. The painting was not insured, and although the building was equipped with security alarms, the system was rendered non-functional because the Church lacked the funds to maintain it. The theft of this Guercino masterwork is one of the most tragic art thefts to occur in Italy in the last decade.
     There was no sign of forced entry. This suggests that the thieves had hidden inside the building before the Church closed after the conclusion of Sunday Mass. The large Guercino painting measures about six by ten feet and was taken with it's heavy frame, a cumbersome task, indicating that at least two or three people were involved in the theft. They would've had a large vehicle parked nearby, most likely a van or box truck, in order to fit the framed canvas inside. Some Italian authorities have speculated that the thieves may plan on cutting up the painting to sell the pieces separately. However, that dire scenario seems unlikely, because the thieves made a pointed effort to keep the painting whole when they removed it.


The Guercino in situ, before the theft

Monday, October 6, 2014

Research: Worcester Art Museum "Then and Now" by Travis Simpkins. Update #12

     -In looking at the two photos of the Lower Third Floor Galleries, taken 94 years apart, not a whole lot has changed. A partition wall was added to showcase the 17th Century "Freake Portraits", and the Art is more widely spaced on the walls, but the architectural lines and ornamentation remain the same... classic and balanced.
     -The first photo in the second composition, from 1982, depicts the Renaissance Court... musicians and an audience sit on top of a covered Antioch Hunt Mosaic. Recently, I spoke with John Reynolds, who worked as a Preparator and Exhibition Designer at WAM from 1980 to 1997. He now works at the Hood Museum of Art, and has been an insightful and helpful resource on this project. When shown the 1982 Concert photo, John replied, " The photo, I believe, is a shot of one of the Sunday afternoon concerts that used to take place. The usual set up process, before a concert, was that the last thing that I would do on a Friday afternoon was to sweep the Roman floor mosaic, then the maintenance guys would roll out a couple of layers of rubber mats and then set up the stage. It was something that was built in house, long before I started and it was extremely heavy. I think it came in either two or three parts and was painted industrial gray. The concerts were a part of a regular music series that would also include organ music, although for organ concerts the chairs would face towards the Asian gallery, as the instrument was located on that wall. "

     -The sketch depicts the recently arrived "Armor for field and tilt, of Count Franz von Teuffenbach" (1554). The lighting had not been fully installed in the gallery at that point, and the dimly lit space is reflected in the steel armor. On a rather minor historic note, this is likely the first drawing made of a Higgins object upon the collection's arrival at the Worcester Art Museum.

3rd Floor Galleries. Worcester Art Museum. by Travis Simpkins

Renaissance Court. Worcester Art Museum. by Travis Simpkins

Teuffenbach Armor. Worcester Art Museum. by Travis Simpkins

     Worcester Art Museu Director Matthias Waschek really liked this fun photo comparison I made of the Higgins Armory Horse both pre and post strawberry paint, so I thought I'd include it here as well.

 
Higgins Armory Museum Horse

Sunday, October 5, 2014

"Caveat Emptor: The Secret Life of an American Art Forger" by Ken Perenyi (2012)

"Caveat Emptor" by Ken Perenyi

"Caveat Emptor" by Ken Perenyi
Brief Review by Travis Simpkins

     Before picking up a copy of Caveat Emptor by Ken Perenyi, it would greatly benefit readers to view several of the interviews with Mr. Perenyi on YouTube. He comes across much better in video than he does in written word. A talented artist, copyist and conservator, Ken Perenyi made a long career out of deception and introduced hundreds of fake paintings into the marketplace, an act for which he offers no remorse. He created fake works by Buttersworth, Heade and many others that are still circulating. In the book, Caveat Emptor (which was likely ghost-written), readers are presented with 300 pages of boasting and deliberate lies. Perenyi doesn't come across as a likable person in those pages. However, when viewing the videos it is not only apparent exactly how greatly talented Ken Perenyi is artistically, but also how (in his own mind) he feels that he did nothing wrong. 

"Caveat Emptor" by Ken Perenyi

Ken Perenyi News feature (video)


"Caveat Emptor" by Ken Perenyi

"Caveat Emptor" by Ken Perenyi


Ken Perenyi interview (video)


"Caveat Emptor" by Ken Perenyi


"It is said that the greatest art forger in the world is the one who has never been caught—the astonishing story of America’s most accomplished art forger.

     Ten years ago, an FBI investigation in conjunction with the U.S. Attorney’s Office in the Southern District of New York was about to expose a scandal in the art world that would have been front-page news in New York and London. After a trail of fake paintings of astonishing quality led federal agents to art dealers, renowned experts, and the major auction houses, the investigation inexplicably ended, despite an abundance of evidence collected. The case was closed and the FBI file was marked “exempt from public disclosure.”
     Now that the statute of limitations on these crimes has expired and the case appears hermetically sealed shut by the FBI, this book, Caveat Emptor, is Ken Perenyi’s confession. It is the story, in detail, of how he pulled it all off.
     Glamorous stories of art-world scandal have always captured the public imagination. However, not since Clifford Irving’s 1969 bestselling Fake has there been a story at all like this one. Caveat Emptoris unique in that it is the first and only book by and about America’s first and only great art forger. And unlike other forgers, Perenyi produced no paper trail, no fake provenance whatsoever; he let the paintings speak for themselves. And that they did, routinely mesmerizing the experts in mere seconds.
In the tradition of Frank Abagnale’s Catch Me If You Can, and certain to be a bombshell for the major international auction houses and galleries, here is the story of America’s greatest art forger.
" -amazon.com


"Caveat Emptor" by Ken Perenyi

"Caveat Emptor" by Ken Perenyi

"Caveat Emptor" by Ken Perenyi

"Caveat Emptor" by Ken Perenyi

"Caveat Emptor" by Ken Perenyi