Displaying items by tag: investigation

Prominent Canadian art collector David Mirvish filed a lawsuit on Friday, February 22, 2013 against the disgraced New York-based art gallery, Knoedler & Company. Since closing its doors in late 2011, Knoedler & Company has been accused by multiple clients of selling forged paintings, which were acquired by the gallery from Long Island dealer Glafira Rosales. Mirvish’s is the fifth lawsuit against Knoedler since 2011.

However, Mirvish’s claim is slightly different than its predecessors. While the other lawsuits accused Knoedler of passing off fake Jackson Pollock (1912-1956), Robert Motherwell (1915-1991), and Mark Rothko (1903-1970) paintings as the real deal, Mirvish claims that the works he purchased from the gallery were authentic. Instead, Mirvish is arguing that he lost out on millions of dollars in profits when Knoedler failed to sell three Jackson Pollock masterpieces he purchased jointly with the gallery.

Between 2002 and 2007 Mirvish purchased two paintings attributed to Pollock and bough a half stake in a third for $1.6 million. The sole purpose of Mirvish’s dealings with Knoedler was to resell the works for a profit. One of the Pollock paintings sold to collector and hedge fund manager Pierre Lagrange for $17 million in 2007, but in 2011, the day before Knoedler shut down, Lagrange announced that he would be filing a lawsuit against the gallery as forensic testing suggested the painting was a fake. The Lagrange suit was eventually settled but Mirvish was not involved and refused to return the money he made off of the deal.

Mirvish is now seeking reparations for the two unsold Pollocks, claiming that Knoedler breached its agreement when the gallery suddenly went out of business. Mirvish is asking Knoedler to return the two paintings, referred to as “Greenish Pollock” and “Square Pollock,” as well as reimburse him for his $1.6 million stake in the third painting, referred to as “Silver Pollock.” Even though Mirvish only paid Knoedler $3.25 million, half of “Greenish Pollock” and “Square Pollock’s” purchase prices, he claims that Knoedler’s violation of contract entitles him to both paintings.

Nicholas Gravante, the lawyer of Knoedler’s former president, Ann Freeman, is representing Mirvish. Freeman is not named as a defendant in Mirvish’s case and she has maintained that all works acquired from Rosales are genuine. Rosales is currently under investigation by the F.B.I.    

French senator Corinne Bouchoux is urging French museum officials to take closer looks at their prized holdings as many public art collections contain works looted by Nazis during World War II. Bouchoux has led an investigative committee devoted to uncovering Nazi-looted artwork in France, which prompted her to ask museums to be more thorough in their provenance research.

Bouchoux revealed that out of the 100,000 artworks stolen from Jewish families in France and Belgium, approximately 2,000 of those works were still present in French museums. Many of these museums were designated “national museums of recovery,” which allowed the institutions to keep the works as long as they did not become property of the state and if identified, the rightful owners could reclaim them.

Bouchoux wrote her doctoral thesis, which has just been published as a book, on Nazi-looted art in France and has suggested nine proposals to direct the stolen works back to their rightful owners or offer restitution for them.

In line with Bouchoux’s efforts, the Shoal Memorial in Paris presents the exhibition Looting of the Jews: A State Policy (1940-44), which grants visitors a glimpse of the goods, including artworks, that originally belonged to Jews in France. The show is on view through September 29, 2013.

Following a two-year investigation conducted by the Italian art forgery unit, Christian Parisot, president of Rome’s Modigliani Institute, has been arrested. Police seized 18 works from Parisot including prints, bronzes, and a painting attributed to the Italian artist Amedeo Modigliani (1884-1920); the counterfeit works are said to be worth almost $8.7 million. The unit also apprehended forged certificates of authenticity from Parisot.

Parisot has worked with the Modigliani family for years and even served as secretary to Jeanne Modigliani, the artist’s daughter. Laura Nechtschein Modigliani, Jeanne’s daughter and the only living descendant of the artist, currently holds the rights over her grandfather’s works.

Modigliani’s oeuvre has proved problematic through the years; due to his consistent and distinctive style, Modigliani’s works are often subject to forgery. There are at least five catalogue raisonnés of the artist’s work and Parisot was in the process of compiling his own prior to his arrest.

The Oakland Museum of California, which is devoted to the art, history, and natural science of California, was been burglarized for the second time in two months on Monday, January 7, 2013. During the first robbery, the thief made off with a number of objects and pieces of gold that were on view as part of an exhibition about California’s Gold Rush. This week, a thief stole a significant gold and quartz box from the same exhibition. The box, which features elaborate decorations depicting early pioneer life, could be worth as much as $800,000.

Officials believe that the most recent break-in was pre-meditated and that the burglar pinpointed specific items to steal, making their way in and out of the museum very quickly. Security camera footage confirms that the thief worked alone. Both recent burglaries occurred on Mondays, when the Oakland Museum is closed to the public. Officials are investigating whether or not the two crimes are connected.

A $12,000 reward is being offered for the safe recovery of the box, which officials fear could be melted down for its materials.

On view through April 12, 2013 at the Cleveland Museum of Art, Picasso and the Mysteries of Life: Deconstructing La Vie is the first exhibition devoted to Pablo Picasso’s (1881-1973) complex masterpiece, which defined his well-known Blue Period. A cornerstone of the museum’s collection, La Vie (1903) is accompanied by related works on loan from Barcelona’s Museu Picasso as well as works by Francisco Goya (1746-1828), Albrecht Dürer (1471-1528), and Auguste Rodin (1840-1917) from the Cleveland Museum’s own collection.

The exhibition uses x-radiographs, infrared reflectographs, and other scientific methods to delve into the process behind La Vie. Displayed on iPads, the technological investigation illustrates Picasso’s creative process and how he altered the painting’s composition considerably before deeming the work complete.

Picasso drew preliminary sketches for La Vie in May of 1903. At the time, he was a young, unknown artist who still lived in his parents’ home in Barcelona. The first sketches depicted an artist in his studio and evolved into a more intricate scene meant to evoke thoughts about life and art and the intersection of the two. A solid analysis of La Vie has always eluded scholars due to its enigmatic subject, early history, and its relationship to Picasso’s other works from this time. However, the painting has never been examined as thoroughly and in-depth as by the Cleveland Museum of Art.

Picasso and the Mysteries of Life strives to make sense of the work by exploring the subjects of the painting. Carles Casagemas, the gaunt man featured in the work’s left foreground, was a friend of Picasso’s and a fellow artist. Casagemas committed suicide in 1901, prompting Picasso to contemplate the glorification of suicide and the bohemian lifestyle in modern art and culture. The woman standing behind Casagemas in La Vie has been identified as Germaine Pichot, his lover and a contributor to his suicide. Pichot stands as a symbol of Picasso’s coded representation of women and in a broader sense, as the fatal woman often portrayed in modern art.

A 163-page book by William H. Robinson, the Cleveland Museum’s curator of modern European art, accompanies the exhibition. The book further explores the role of La Vie in Picasso’s creative process as well as the important issues in the modernist culture of the 19^th and 20^th centuries that affected Picasso and his work. Robinson explores how Spanish and French literature affected Picasso’s Blue Period paintings, the impact of Rodin’s large retrospective of 1900 on the young artist, and Picasso’s ongoing struggle to fully understand the notions of fate and destiny.

Deconstructing La Vie is the inaugural exhibition in the Cleveland Museum of Art’s new Focus Gallery.

Scottish artist, Douglas Gordon, who won a Turner Prize in 1996 and represented Britain at the 1997 Venice Biennale, was told Wednesday, November 28, that his solid gold sculpture, The Left Hand and the Right Hand Have Abandoned One Another (2007), had gone missing from Christie’s London. Worth approximately $800,000, Christie’s was unable to tell Gordon when the piece had disappeared from their warehouse or where it had gone.

The piece had been part of an exhibition curated by Michael Hue Williams and organized in part by Christie’s. Though Gordon owns the work, it was out on consignment when it disappeared and Williams is being held responsible for any information surrounding its disappearance.

Disconcertingly, Christie’s failed to notify Gordon of the work’s disappearance until two weeks after they realized it had gone missing. Christie’s confirmed that the sculpture was returned to its vault on May 24. On August 14 the work was transferred to a small box from its vault and sometime after that, an art handler or technician noticed that the box had no weight. Christie’s reported the work missing to officials on November 8, but a proper investigation did not begin until November 12.

Composed of nearly 9 pounds of gold, Gordon believes that his work was melted down, as it would be easier to sell that way, although the value would decrease. The Left Hand and the Right Hand Have Abandoned One Another was supposed to be prominently featured at an upcoming exhibition of Gordon’s work at the Tel Aviv Museum of Art.

Fake Cultural Development Ltd., the design firm of dissident Chinese artist, Ai Wei Wei, will have its business license revoked by Chinese authorities. It is rumored that the district commercial affairs department will pull the license on the grounds that the company failed to re-register. The 55-year-old artist is a designer at the firm while his wife serves as the legal representative.

Ai Wei Wei has been under fire by the Chinese government since officials slammed him with a $2.4 million (15m yuan) tax evasion fine in 2011. His subsequent appeal was shut down in July and a Beijing court rejected his challenge to that decision last week. Ai claims that the firm was unable to properly renew their license because officials had confiscated the documents necessary to re-register during the tax evasion investigation.

Mr. Ai, China’s most famous contemporary artist, promises that the license fiasco will not affect his art. A critic of Communist Party rule, Ai Wei Wei caught the media’s attention when he was detained without explanation for nearly three months in 2011. Upon his release he was hit with the tax evasion claim and fine. Ai Wei Wei says an application has been submitted for a public hearing in regards to the revoked license.

Jeffrey Gundlach, the chief executive officer of DoubleLine Capital LP, was the victim of a multi-million dollar burglary last week. After returning to his Santa Monica residence, the so-called ”bond guru” found $10 million worth of assets missing including several paintings, a 2010 Porsche Carrera 4S, watches, wine, and cash. At least ten paintings, including pieces by Jasper Johns (b. 1930), Piet Mondrian (1872–1944), and Guy Rose (1867–1925) were taken. Gundlach, a well-known connoisseur of fine art, is offering a $200,000 reward for any information leading to the recovery of the goods.

The burglary occurred sometime between September 12 at 3PM and September 14 at 8PM as Gundlach was in New York at the Bloomberg Markets 50 Summit. The investigation is ongoing.