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Provenance: How a Con Man and a Forger Rewrote the History of Modern Art, by Laney Salisbury
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About the Author
Laney Salisbury, a graduate of the Columbia University Graduate School of Journalism, has reported from Africa, the Middle East, and New York. She lives in Brooklyn, New York.Aly Sujo was an investigative reporter, part of a husband-and-wife team with Laney Salisbury. He covered arts and entertainment for Reuters, the Associated Press, and the New York Daily News. He died in 2008.
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Excerpt. © Reprinted by permission. All rights reserved.
The grand moment in the reception finally arrived. Two white-gloved Tate conservators entered the room with a pair of paintings, each about five feet tall. There was a moment of respectful silence. Myatt was stunned.“Ahh, the Bissières, how lovely,”someone in the room whispered.Myatt cringed as the group praised the paintings and Drewe’s taste and generosity. The two works were carried around the room, and long before they reached Myatt, he recognized the faint but acrid smell of the varnish he had sprayed on them when he’d finished them a few weeks earlier.Myatt gripped his chair. If they so much as touched the canvas with a fine brush, the paint would give way and the game would be up. A little further investigative work would reveal that the pieces—purportedly painted more than forty years earlier—had been made with modern, ordinary house paint.The reception over, the Tate brass escorted Drewe and Myatt down the winding staircase. Stopping at a landing, one of the officials pointed at a place on the wall and said: “This is where we’ll hang these two wonderful pieces.”Placing a work at the Tate was a remarkable achievement for any artist—forger or not—but Myatt could see only one possible end to what had transpired. He had survived many low points in his past, but none as low as this. Surely he would end up in prison.Once in the taxi, Myatt, usually deferential toward Drewe, exploded. “You have to get them back.”Drewe argued that if they were to ask for the paintings back, it would involve a terrible loss of credibility, putting at risk all the time he had put into cultivating the confidence of the Tate’s archivists. But he also saw that as long as the twoc arelessly done forgeries remained in the hands of museum curators, Myatt would remain paralyzed by the fear that they would be his undoing.The following day Drewe was back at the Tate to withdraw the Bissières. There was a problem with their provenance, questions having to do with the previous owners. In place of the two works, he was prepared to offer a sizable cash donation to the Tate’s archives.Within days the Tate received a check for twenty thousand pounds (forty thousand dollars) to help catalog the archives, along with a promise of half a million more to come. With this donation, Drewe established himself as a respected donor for whom the doors of the heavily guarded archival department would stand open. The historical records of one of the world’s great museums, and its cherished credibility, were about to become irreparably compromised.
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Product details
Paperback: 352 pages
Publisher: Penguin Books (May 25, 2010)
Language: English
ISBN-10: 0143117408
ISBN-13: 978-0143117407
Product Dimensions:
5.5 x 0.9 x 8.4 inches
Shipping Weight: 10.4 ounces (View shipping rates and policies)
Average Customer Review:
4.5 out of 5 stars
152 customer reviews
Amazon Best Sellers Rank:
#74,218 in Books (See Top 100 in Books)
A large number of books have been published in recent years on the subject of fraudulent art. A few are autobiographical accounts, some are biographies, and many are academic studies on what motivates fakers, their techniques, and how they inject their phony works into the market. John Drewe, the central figure around whom the story of this book is built, is a uniquely clever and industrious con-man. As the title suggests, his complex swindle involved creating a bogus provenance for the fraudulent works he had commissioned. He insinuated himself into museum archives where he secretly inserted the forged documentation. It was a scheme that fooled much of the art establishment for years. Worse, he so debased the archives that they could never be entirely relied upon again. Provenance is a real life thriller and detective yarn, a factual account of a singular and elaborate scam. It provides a knowledgeable glimpse into the shady machinations, the greed and dangers of a secretive art world in which huge amounts of money change hands daily. It also delves into the strange world of John Drewe, a highly intelligent, inventive, but totally corrupt figure, a sociopath and pathological liar whose life is driven by falsehoods and fantasy. Provenance is a smoothly written and well researched book, a true account of remarkable events, one that is both instructive and pleasurable to read.
Wow! This is as good as any Tom Clancey or Grisham novel I have read!Although I had heard this was non-fiction, I was compelled in the middle of reading this book, to go online to see if Drewe and Myatt were, indeed, real people! And--they are real people!A fun and thought-provoking book!Kim BurdickStanton, Delaware
Published in 2009 after the death of one of the couple of authors this in depth presentation of an extraordinary series of art and documentation forgeries ever.Years of research were required to effectively present the deeds or misdeeds of John Drewe who seem to become the characters he pretended to be - a physicist, an heir to a remarkable art collection, a Mossad agent, a consultant to the British Atomic Energy Commission and the list goes on. All the while cleverly documenting and selling "modern masterpieces" to the leading dealers in London and elsewhere.John Myatt - failed painter is swept into this whirlwind of activity and doing a reasonably good job of creating masterpieces by Ben Nicholson, Roger Bissiere, Braques and Giacometti, Graham Sutherland et al.Drewe prepared an "authentic" provenance for each work and then used "runners" to present and sell them to the likes of Leslie Waddington, Daniel Stern, Peter Nahum among many others. Upwards of 200 works were made and sold.Drewe parlayed each meeting and relationship into a probable sale.Eventually he was caught and convicted but it took hard work, chance and luck to bring him down. He was never repentant and was also not out to embarrass the art world. Rather his success was aided by the lax standards where greed is involved.Although it is a tale related to the modern art world it seems more a story of the disintegration of moral and ethical standards in our world. The authors simply and clearly describe the facts and the events but the take away for me seems much more tragic and universal.
I very much enjoyed this book. I learned quite a lot about how the "art world" works. The story is a compelling one, the research seems solid, the writing is fluent and engaging, and the book is a remarkably easy read when you consider how much technical material is covered in it. The authors have a real knack for descriptive writing, making things that the reader cannot see real and solid in the mind's eye.However, there were three things that I found frustrating about the book. First, the lack of illustrations -- it seems as if the book would have been stronger if there had been images to help the non-expert understand the ways in which the forged pieces were good and the ways in which they fell short. Second, I was left with real curiosity about what Drewe had been doing prior to this scheme. I wish that the authors had managed to uncover this information. it seems odd to me that where they are willing to make educated guesses (always identified as such!) about other things, they had no theories to advance about this particular point. And finally, I find myself wondering where the painting Myatt says he did not do came from.These are minor quibbles, and should in no way stop anyone with an interest in art, in confidence games, or in interesting well-told stories from picking this book up and getting a great deal of enjoyment out of it.
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