What is more, how can anything be wrong with a fake in itself unless – or perhaps until – you know that it’s a fake? The latest intriguing story in the fumy and fishy old world of copying and fakery comes from three artists who were trained in St Petersburg. What a great copy that promises to be, and a very, very old copy too! No fly-by-night Russky knocked that one out in a garret in St Petersburg last week!
Among those missing marvels will be an almost full-size, early 16th-century copy of da Vinci’spainted by his pupil Giampietrino just a few years after the original.
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These mediators between art and its collectors, those who decide whether a painting is an authentic example of its kind or not – have often made tidy sums by declaring a painting to be true or false. Yes, I’m talking about , the only Leonardo da Vinci still left in private hands, which was sold in December by Christie’s New York to an anonymous buyer (which later proved to be a museum in Qatar) after a razzmatazz PR exercise. According to the , which broke the story, the price is $10,000 (£7,200).
So here’s what’s tricky about all this business of copying and fakery. Art experts have been scratching at their balding pates over these issues for centuries, of course. Three Russian brothers who have a thriving workshop in Berlin – their names are Semjon, Michael and Eugen Posin – are making tidy sums of money by copying the most expensive painting ever to have been sold at auction.
While it has been discovered that 20 works in a Modigliani exhibition in Italy were fakes, copying great paintings is thriving; three Russian brothers are making anything from $10,000 per painting, and the Royal Academy is soon to exhibit a copy of Da Vinci's Last week Tate Modern got a bit of a shock. Because if you fake, you are trying to trick people into believing that something is what it is not. Whereas, if you make a copy and declare it to be a copy – and master painters have always encouraged the young pupils in their studios to make copies because that was a way of learning the craft, the tricks of the trade – that’s fine.
News came winging over from Italy that an exhibition of works by Modigliani which had been shown at the Palazzo Ducale in Genoa last year had included 20 fakes. Were the experts at the Tate really sure that the show of portraits by Modigliani which opened in November in London were all genuine? The argument seems to suggest that everyone is absolutely cast-iron certain that all the works in that catalogue were genuine. And why is a book published 50 years ago cited as the final authority anyway?
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Westminster Foreign Bank (established 1913) was restyled International Westminster Bank in 1973.
Duncan Stirling, outgoing chairman of Westminster Bank, became first chairman of the fifth largest bank in the world.
Works long away from home will emerge, blinking, into the light of newly refurbished gallery spaces in the old quarters once occupied by The Museum of Mankind.