Art Research News

Growing interest in Tarbell, an early twentieth-century Boston painter, leads to concerns among scholars that a 1980 catalogue compiled by Patricia Jobe Pierce contains a number of forgeries.

Discussion of spurious works attributed to Edmund C. Tarbell, including Woman in Pink and Green, a Study and Study of Frederick Prince on Horseback, that were submitted to IFAR’s Research Service. Sharp rise in prices of American painting over the last decade has made this school a prime target for forgeries.

The photo archives of Madame Guillon-Laffaille, Raoul Dufy expert, show an extensive and growing number of fraudulent Dufys. Discussion of the difference between the way France and the U.S. treat fraudulent works in the marketplace.

Drawbacks of the committee approach to connoisseurship as seen in the project reevaluating the Rembrandt canon of works.

John Walsh, Jr., director, J. Paul Getty Museum, Malibu, California; Michael Jaffé, director, Fitzwilliam Museum, Cambridge, England; Robert Schmit, manager, Paris art gallery.

November 14, 1984: Building a Conservation Facility: the Hamilton Kerr Institute of the Fitzwilliam Museum; December 3, 1984: Authenticity, Condition, and Originality: Problems in the Examination of Sculpture; February 11, 1985: American Impressionists: Connoisseurship Questions; March 18, 1985: The Getty Museum of the Future; April 15, 1985: Humanism, Restoration, and the Sympathetic Attention to Works of Art; May 13, 1985: IFAR Spring Party.

Catalogue of Félix Vallotton's painted work in progress.

Alexander Katlan preparing a directory of New York City artist colormen and canvas preparers from 1830-1890.

Four twentieth-century paintings by modern masters, previously unknown and undocumented have been authenticated by IFAR: Fernand Léger: Cles et danseuses (1930); Nature morte (1929) and Composition au fusil (1929); and Georges Braque, Still Life.