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Famed Group of Seven painter’s sketches donated to the Vancouver Art Gallery a decade ago turned out to be counterfeit. A new book looks at how the fakes were exposed.
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Ten years ago, art conservationists Kate Helwig and Alison Douglas began a deep investigation into the authenticity of a series of sketches by Group of Seven co-founder J.E.H. MacDonald that were given to the Vancouver Art Gallery.
The research involved a huge amount of detailed scientific analysis for 32 paintings and sketches, as well as close visual examinations of 150-plus works.
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That investigation (the sketches are fakes) is the subject of the new book J.E.H. MacDonald Up Close.
Postmedia reached out to Helwig, a senior conservation scientist at the Canadian Conservation Institute, and Douglas, a conservator at the McMichael Canadian Art Collection, and asked them some questions about their fascinating investigation.
Question: What are the main points conservation experts look at when deciding the authenticity of a work?
Alison Douglas: We conservators do a close visual examination, every material in the stratigraphy of the painting is identified visually, and the condition details noted. In the case of authentication, this type of detailed information for many works over the oeuvre of the artist is compiled, and trends and commonalities can be established.
Kate Helwig: Conservation scientists also undertake chemical analysis of the paint materials to determine if they are consistent with those used by the artist. If all the materials are typical of the artist, this supports an attribution. If uncharacteristic materials are present, the outcome is less encouraging.
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Q: In the case of J.E.H. MacDonald’s sketches that the VAG has, what set off alarm bells?
Helwig: Questions about the authenticity of the oil sketches were raised by several experts, mainly related to stylistic and formal aspects, as well as their unusual provenance. The VAG initiated various avenues of research, including sending the sketches to the CCI for scientific analysis. Based on the pigments used, we were able to show definitively that MacDonald couldn’t have painted the sketches. Several of the pigments weren’t available during his lifetime.
Q: Is a fraud of this level, common?
Douglas: I think as long as there is art, there will be forgeries. Especially considering the value of works of well-known artists. Forgeries of Tom Thomson and Group of Seven works began to appear on the market in the 1950s. Cornelius Krieghoff’s art has also targeted by forgers as well as Norval Morrisseau more recently.
Q: While scientific analysis is obviously a huge part of the authentication process, what else was a huge help in solving this mystery?
Helwig: There are three main aspects in any authentication process like the examination of the VAG paintings: connoisseurship, provenance research and, finally, scientific examination. Scientific examination is normally the last step. It is usually only used in cases where there are conflicting opinions about the attribution or if the provenance is incomplete.
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Douglas: Although in this case, Kate’s analysis regarding pigments used outside of the artist’s lifetime were quite definitive, the specific trends that Kate and I discovered through research on JEH also showed anomalies in the VAG sketches, including aspects such as the paperboard characteristics and dimensions.
Q: What can a purchaser of art do to protect themselves from becoming victim to a scam.
Douglas: I think it’s always so important to do your homework whenever investing in a piece of art. Consult with established resources and institutions, like galleries, museums, or auction houses, to answer questions and guide you along the process.
Q: Who is this book for and what do you hope people take away from it?
Helwig: Our book will be very useful to conservators, curators and art collectors. It’s written in an accessible format with lots of illustrations, so we think it will also appeal to anyone with an interest in Canadian art history and the Group of Seven painters.
Douglas: We also think that it will be of interest to visual artists who are fascinated by the details of techniques and materials — this type of information is rarely published.
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Q: What’s the best part of your job?
Helwig: I love the variety of questions that come up, and the whole mystery-solving aspect of my job. I also feel very privileged to have the chance help preserve cultural heritage in Canada. I really enjoy collaborating with colleagues who have different expertise and backgrounds.
Douglas: It is a privilege to be able to work with original art close-up. And to look under the microscope at the mountains and valleys of texture and kaleidoscope of colours blended to create artists’ works. Like Kate, I also feel the responsibility of caring for and protecting our Canadian cultural heritage. And, of course, working with my incredible colleagues and friends that create the Canadian conservation community.
dgee@postmedia.com
twitter.com/dana_gee
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