Artwatch UK

Posts tagged “Cross-over dresses

Bendor Grosvenor’s Eye, a new Raphael, and further barbarism at the Louvre

Bendor Grosvenor has challenged our post on the so-called “Haddo Raphael” and asked for a right to reply.

Dr Grosvenor writes:

It is not correct to say that the Haddo Madonna ‘relates to no known Raphael work’. The picture bears a very interesting relation to a drawing by Raphael of the Head of a Virgin formerly in the de Triqueti collection. Sadly, that drawing is now lost, but it is listed in Paul Joannides’ 1983 catalogue, ’The Drawings of Raphael’ (no.64). A good quality reproduction is in the Witt Library. What I think Michael means is that the Haddo Madonna relates to no known work which he agrees is by Raphael (he does not agree that the de Triqueti drawing is by Raphael).

Michael seeks to establish the connoisseurial quality of my ‘eye’ by referencing the ongoing and recently uncovered fake Old Master scandal. He writes that, like numerous Hals scholars and the Louvre, I was ‘deceived’ by a Hals which has been proven to be fake. But there is an important distinction to be drawn between the Louvre’s deception and my alleged deception – I never actually saw the painting. As I make clear in the Financial Times article in which I discuss the Hals, I had only seen it via a photograph, long before the fake story ever began, and never paid it especial attention. In my business, seeing a picture in the flesh and via photographs offers a world of difference.

Michael then also states that I ‘came within a whisker of being deceived by a Gentileschi fake’ formerly on display at the National Gallery in London. I suppose that not actually being deceived by a painting which is indeed almost certainly a fake (it hasn’t yet been proved) could be characterised as ‘coming within a whisker of being deceived’. But that presentation of my views seems perhaps a little unfair. The Gentileschi is the only painting of a number of works currently being doubted as fakes that I have seen in the flesh. I have been the first to go on the record as saying that I think it is a fake. I have made that conclusion on the basis of ‘my eye’. I might be wrong, of course – in which case Michael will have further reason to doubt my connoisseurship, but for a different reason.

It might have been more helpful to ArtWatch readers if Michael had introduced them to the quality or otherwise of my ‘eye’ via the other re-attributions we made in the series ‘Britain’s Lost Masterpieces’; works by Jacob Jordaens, Peter Breughel the Younger, Allan Ramsay, and Claude Lorrain, all of which had been doubted before. (I must admit I am rather proud of them, so I’m sorry if it sounds like boasting, it’s not meant to.) For these pictures I felt confident enough to say, ‘this is what I believe them to be’, and happily had the agreement of other experts too. But in the case of the Haddo Madonna I have only ever said ‘it might be by Raphael’ (and happily had the agreement of Sir Nicholas Penny). I am very far from certain that it is