Displaying items by tag: documents

In the spring of 2010, a Queens foundry owner offered to sell a bronze sculpture of a U.S. flag to an art collector. The creator, the foundry owner said, was American contemporary artist Jasper Johns, and the price was around $10 million.

On Thursday, the foundry owner, Brian Ramnarine, was sentenced to 30 months in prison in federal court in Manhattan after pleading guilty in January to three counts of wire fraud, including one for making an unauthorized copy of the sculpture, named “Flag,” and creating false documents purporting that it was a rare gift from Mr. Johns.

After two years of fundraising, Oxford’s Bodleian Libraries have finally secured the £2.25 million (approx. $3.6 million) necessary to buy the personal archive of early photography pioneer William Henry Fox Talbot. Although Daguerre is often credited with the invention of photography, Fox Talbot’s book “Pencil of Nature” was an early development for paper-based processes and the first photographically-illustrated book. The archive includes objects photographed in the book, documents relating to both his work and his personal life, and many other items. The Bodleian Libraries have several plans in the works for the archive including a 2017 exhibition, a catalogue raisonné of his work, and an online archive for scholarly research.

In what has been termed a “document dump”, previously undisclosed information and inflammatory allegations in two of the Knoedler gallery art-forgery lawsuits are now public for the first time. Last Wednesday, Knoedler, its former director Ann Freedman, the head of a related holding company Michael Hammer, and a former employee Jaime Andrade filed motions seeking to dismiss the lawsuits. The next day, the collectors Eleanore and Domenico De Sole and John Howard struck back, arguing that their cases must go to trial and accusing Freedman of perjury “on multiple occasions, including before this court”, a charge she vigorously denies.

More than 500 pages of legal arguments and thousands of pages of exhibits are now before Manhattan’s federal court.

One of four remaining copies of the original Magna Carta is on display at The Clark Art Institute in Williamstown, Massachusetts, surrounded by influential documents in American history.

Reverend Philip Buckler is Dean of England’s Lincoln Cathedral, the permanent home for the version of the Magna Carta currently on view at The Clark. Buckler explains the document was forced upon England’s King John by the country’s barons who were fed up with his demands and increasing taxes to fund warfare abroad.

The Smithsonian Institution is now actively seeking volunteers to aid in the digitization of its collection. Through a new website launched today, the public can sign up for various transcription projects which will take thousands of hand-written artifact labels and make them available digitally for researchers.

Among the hundreds of thousands of documents that need transcribing are the labels attached to 45,000 bumble bee specimens in the collection of the National Museum of Natural History. The museum hopes digitizing that information will aid scientists studying the current global bee decline.

Paris’s Picasso museum, which houses one of the world’s most extensive collections of the Spanish painter’s work, is set to reopen its doors in September after being closed for five years for renovation, the culture ministry announced Sunday.

The popular museum was originally to be closed for a two-year renovation and the delay has caused controversy, with the painter's son Claude Picasso on Friday accusing the French government of indifference and saying he was "scandalised and very worried" about the future of the museum.

This June, the Picasso Museum in Paris will reopen following a five-year renovation. The institution, which holds one of the most comprehensive collections of Pablo Picasso's work, initially closed for a two-year refurbishment, but once underway, the scope of the project expanded. The renovation cost around $71 million to complete.

Prior to the renovation, the Picasso Museum could only display a fraction of its 5,000 paintings, drawings, sculptures, ceramics, photographs, and documents. The project nearly doubled its exhibition space, allowing the institution to exhibit more of its illustrious collection.  The museum will also be able to accommodate more guests than ever before and annual admission figures are expected to rise from 450,000 to 850,000.

The museum, which is located in a 17th-century Baroque mansion in Paris' historic Marais quarter, first opened to the public in 1985. Most of its collection was left to the French state upon Picasso's death in 1973. A number of works were also donated by the artist's family, including his widow Jacqueline.

In mid-2015, The Picasso Museum will begin holding one major exhibition each year. The first annual show will be in collaboration with New York's Museum of Modern Art and will focus on Picasso's sculpture.

The Morgan Library & Museum in New York is currently presenting a selection of exceptional documents from the Gilder Lehrman Institute of American History, one of the country’s leading collections of Americana. Reflections on a Nation features documents from the Revolutionary, early national, antebellum, and Civil War periods that represent an array of transformative moments that took place throughout the history of the United States.

Highlights from the exhibition include the only surviving copy of a 1776 edition of the Declaration of Independence printed in the South, a first edition of Harriet Beecher Stowe’s Uncle Tom’s Cabin, a letter written by George Washington to secretary of war Henry Knox, and a letter written by Frederick Douglass to Mary Todd Lincoln. In it, Douglass thanked the president’s widow for giving him her husband’s walking stick, which he said was an indication of Lincoln’s “humane interest [in the] welfare of my whole race.”

Reflections on a Nation will be on view at the Morgan Library & Museum through January 12, 2014.

James Meyer, a former studio assistant to the contemporary artist Jasper Johns, was arrested on Wednesday, August 14, 2013 for stealing 22 unauthorized works, which he then sold through an unnamed art gallery in Manhattan. Meyer, who worked at Johns’ studio in Connecticut from 1985 to 2012, made $3.4 million off of the sales, which totaled $6.5 million.

Meyer was assigned to protecting the works that Johns did not want sold but ended up creating fake inventory numbers and false documents for the paintings, which he photographed inside a binder that catalogued Johns’ authorized works. Meyer told the gallery in New York that he had received the paintings from Johns as a present and offered notarized documents that supported his claim.

Meyer could spend anywhere from 10 to 20 years in prison and has been accused of transporting stolen good across state lines and wire fraud.

The descendants of a Parisian art dealer are demanding that the Henie Onstad Art Center near Oslo, Norway return Henri Matisse’s (1869-1954) Blue Dress in a Yellow Armchair (1937) to them. Nazis seized the painting from its owner, Paul Rosenberg, prior to the outbreak of World War II. Ultimately, Rosenberg, one of the most prominent French art dealers and a personal friend of Pablo Picasso and Matisse, fled to New York and survived the war.

The painting in dispute has been a celebrated part of the Onstad’s collection since the museum was established in 1968. The work was donated to the fledgling institution by art collector Niels Onstad and his wife Sonjia Henie, an Olympic figure skater. Museum Director Tone Hansen attests that Onstad and Henie bought the painting from the Parisian Galerie Henri Benezit in 1950, unaware of its troublesome provenance. Hansen was unaware that Nazis had stolen the painting until the Art Loss Register, an organization that tracks lost and stolen paintings, notified him in 2012.

Art Registry documents show that Rosenberg purchased Blue Dress in a Yellow Armchair directly from Matisse in 1937. Following World War II, Rosenberg attempted to re-establish his business and tried to recover the 400+ works that had been taken from him by the Nazis. The painting was marked on Rosenberg’s personal documents as missing after the war. He also reported the painting missing to French authorities in 1946.

While Rosenberg’s heirs hope that the painting will be returned to their family, Norwegian law states that if a person has had an item in good faith for over 10 years, they are deemed the rightful owner. However, the argument is in contrast to the Washington Conference Principles on Nazi-Confiscated Art, which Norway is a part of.