Wildensteins have denied this painting owned by David Joel is a genuine Monet. The challenge is on.
Dr Nicholas Easton
On the back of the painting - reveals more information - stock numbers of dealers and owners.
Prevenance counts for so much!!! Adds to price can you believe???
La Touche canvas - did he supply Monet with canvas'
Monet lived near the location of the painting - Argenteuille
70 years on 2000 canvas'
Impression - Sunrise - where impressionism gets its name Musee Marmottan
Very radical - it was so unfinished. Critics thought it looked incomplete and vague
Le Havre docks - sensual response to it. Just enjoy it with ease
At the Musee there is evidence that La Touche and Monet were friends
An account book from 1872 - written by Monet
Pictures sold to La Touche.
Railway baggage stamp on back of canvas - railway stamp Paris banlieu to Argenteuille - favourite haunt of Monet.
Industrial age
Monet had a boat adapted to paint from
Fiona and David travel along the Seine on a boat to see if they can find the same scene.
Ile Marente
Paris research lab - process of attribution - boundaries being truly pushed
scanning to show unprecedented colour and pixels
View surface and see through layers of paint and reveal the artists technique - like a fingerprint - more so that the signature
Iris Straefer - authority in scientific techniques and Monet- Wildenstein got one wrong!!! She saw that a palette knife had been used which Monet had not used at that time.
A commision was taken away.
She looks at Davids painting ....wow we can see the brush marks - it's amost 3D
She sees typical Monet in the foliage and the sky.
There are almost bits of bare canvas too. She says the painter new what he was doing for sure.
The signature is painted in greenish blueish colour which is typical of Monet who signed in colours typicl of his painting.
She sees the La Touche stamp (made by Gaugin)
Another La Touche stamp also made by Gaugin at a later date. So painting produced befoe design changed.
Evidence starting to stack up -
Is it a Monet - Iris says - YES!!!!! Nothing suggests it's a fake!!
Bloody Hell French customs have kept the painting - Fiona is furious.
7 Days and eventually they get the painting home. Blimey!
connoiseur of Monet - trained eye to identify
From the Courtauld Inst - 3 decades studying Monet
Professor John House - he has never doubted that it is a Monet.
Brush strokes are like a hand writing - and these are very similar to other Monets - a fluency
Other Monet scholars also are convinved its a geuine painting
Why are the Wildensteins saying no then????
They have been unwilling to change their mind - defying internationsl opinion
They have the authority though and hard to over turn that authority
Now they can be challenged!!! Wow
Provenance of this painting -
paper trail - Arthur Tooth - art dealer in London - stock books - number on back of painting match the stock books
Gallerie Georges Petit - with a name Mahoummad Khalil
Georges Petit was a prominent art dealer in Paris.
Kahlil - Egyptian - fascinated by things all French - art buying spree through the Gallerie Georges Petit
When was it in the gallery and when was it brought - this is what the Wildensteins have been asking for
Egypt - Cairo - once the painting was in Cairo
Kahlil spent half the year in Paris and the other half in Cairo
His home is now a state museum - an extraordinary legacy - he lived there from 1915 - 1919
Passionate about French art - and spent vast sums amassing works fromt eh greats
Impressionists - including Claude Monet
Rene Bahir - Museum manager - photos of paintings when Khalil looking to buy them. He was sent photos and found the one we are talking about amongst them
Inof on back of photo the same as on back of painting - the stock number
Checking on the back of all the Khalil collection of those paintings bought from Georges Petit
Same design and colour of ink and stamp - matches the same as out painting.
Hammock is the painting -and a lable saying Collection Georges Petit
Evidence that it was in the collection as the labeetc is all te same
Have been able to prove that it was in the Gallerie before monet died
Its genuine!!!!
Proven!
This should be enoght for the Wildnesteins. David has been trying to prove this for 18 years
I just heard someone at my front door - banging - how scary!!
Presentation to the Wildensteins - John House is coming along as well
A very daunting building
No one gets to meet Guy Wildenstein - they are istructed to leave the painting and the dossier of evidence.
Philip wants to be telling them - but they jst have to wait!!! How frustrating
And they are told to expect a letter within a week
John House is told to return to the Wildenstein Inst at the end of the day.
Interesting????
Damn the camersa can't go in
Guy Wildenstein met John House and a decision was given there and then!!
The result - have they approved the painting???????
Well????
NO!!!!!!! What??? They didn;t take the dossier seriously. What on earth ----
a casual dismissal - not a Monet - don't think it looks right!
Seen by Daniel Wildenstein before he died and Guy won't go against his fathers decision!!
John House cannot respect their judgement. How fooled the ar world are.
Dynastic art dealing - extremely wealty institution
Need a committee as for Van Gogh etc. People who have earned their status.
This situation is not right
It's deflating
The facts speak for themselves. But with the Wildensteins the facts count for nothing and they also moved the goalposts!!!!
Poor David - passionate man.
They just discounted everything - it's so flipping ffrustrating and I really have foudn David amazing and a wonderful man - he deserves better and recognition.
This is awful
Tough and aggressive business says Philip - and not proud to be part of such blocks on art!!
Another fascinating episode but PAH! To the Wildenstein Institute.
Bliss
XX
Wildenstein, Daniel
Date born: 1917
Place born: Verrières-le-Buisson, France
Date died: 2001
Place died: Paris, France Impressionist scholar and gallery dealer. Wildenstein was born to a family of art dealers. His grandfather, Nathan Wildenstein, began the business Wildenstein & Cie., in the 1870s selling 18th-century and old master paintings. In the early twentieth century, the business expanded to London and New York where their clients included Henry Clay Frick and J. P. Morgan. The younger Wildenstein was educated at the Sorbonne and spent his early professional years as the exhibitions director of the Musée Jacquemart-Andre, Paris, and the Musée Chaalis in the north of France. He was the publisher of the respected Gazette des Beux-Arts, which he took over from his father, Georges Wildenstein (q.v.). In 1959 Wildenstein took over the gallery business from his father, closing the Paris location in the 1960s and making New York its main office. Always a secretive business, Wildenstein was reputed to have large, unseen holdings of Impressionist masters. In 1978, the "Vault", as the New York storeroom is called, included 20 Renoirs, 25 Courbets, 10 Van Goghs, 10 Cezannes, and 10 Gauguins; 2 Boticellis, 8 Rembrandts, 8 Rubens, 9 El Grecos and 5 Tintorettos among a total inventory of 10,000 paintings. In 1993 a subsidiary of Wildenstein joined forces with Pace Gallery to become PaceWildenstein, a Manhattan gallery specializing in high-end contemporary art. Wildenstein set up a foundation, called the Wildenstein Institute, to issued catalogues raisonnés of major French artists. The Institute issued the definitive catalog on Monet, which Wildenstein personally oversaw. He was also responsible for founding the American Institute of France in New York. The end of Wildenstein’s days, however, were clouded by lawsuits and accusations that his father collaborated with the Nazis during the occupation of France to gain art treasures seized from Jews. The French government dismissed two libel lawsuits by Wildenstein for damages by author Hector Feliciano in his book, The Lost Museum, in 1999. Partially to counteract this, Wildenstein published Marchand d’Art (1999), a series of interviews. In a second case, family members of Alphonse Kahn sought to recover illuminated manuscripts stolen by the Germans and erroneously returned after the war to Wildenstein. At the time of his death, the Wildenstein Institute was embroiled in lawsuits by collectors of Kees van Dongen and Amedeo Modigliani paintings whose works had were being excluded from the forthcoming catalogues raisonnés.
Home Country: France
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