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Elizabeth Frink
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Posted
On Tuesday Sept. 26th, on Fiona Bruce's and Philip Mould's programme - of course I've forgotten the title - the provenance of a Frink figurine was discussed, with tantalizing glimpses of Frink herself in her studio. If you haven't seen it, do take a look - I won't spoil the dénouement.
It was of particular interest to me for several reasons. One, my late landlady, Pat Mann, then known to the world as Pat Morris, was at art school with Elizabeth Frink, and had an original, though unsigned work, entitled "dog man", by her - now in Australia with Pat's daughter. If only this programme had been made ten years ago, when Pat was still well, she could have offered many insights into Frink. I have a print of this work, though reduced in size - I could show it, but I think better not; for reasons I won't bore you with, though it's a good print, the nature of the work made it very difficult to represent as Frink would have wished it to be seen. But I also have a good print of one of Pat's very few surviving works, which I will show when I can photograph it.
The other reason the programme interested me is the format of the show itself - Fiona and Philip get to travel about the country - and abroad sometimes - to establish the genuineness and provenance of various previously unknown paintings (sculpture in this case). All fine and dandy, but that's not telling us much about the pieces themselves; a little, but not enough. It's part of the trend - once, we would have programmes in which Elizabeth Frink, and L S Lowry, let people into their studios and showed them working. Now, it's all about detective work, establishing value, "following the Monet" - a title I remember because it was so crass. Either that, or painters who can't really paint but are positive geniuses at flogging product.... naming no names for fear of tedious repetition...
Posted
I've watched a few of those programs. What they're doing is interesting enough, but it's as though they feel they're on a drama show. The formulaic element of the show can be tedious. I've watched because it's interesting despite their theatricals. Much time is spent looking at the presenters faces, much less looking at the art. (Or maybe I'm a miserable old grouch who just wants the facts).
I'll catch up on this one sometime.
Posted
Fake or Fortune?
Thanks, I’ve just downloaded it and put a series link on it…didn’t realise it had started again…
I like the programme in general - in particular the more forensic type of analysis that they do, now that aspect fascinates me.
But also the painstakingly detailed and skilled work that is done in the Factum Arti studios in France, namely restoration but also many other aspects of art research and restoration that they undertake.
Posted
Another program which is slightly better - in parts, is Britain's Lost Masterpieces. Bendor Grosvenor searches out unattributed pictures from the Art UK website.
With Simon Gillespie, the restorer supreme, they clean them up and through examining paint handling they attempt to ascertain they are by whichever artist Bendor had a hunch about. Some digging into provenance is required.
However, I find the social historian with her ever changing hairstyle and outfits from scene to scene, incredibly annoying.
Posted
I regularly watch the Fame or Fortune series and, like Alan, enjoy the more forensic type of analysis it shows. (This week it was particularly interesting.) Even if the painting or artwork doesn’t appeal, the process used to try to authenticate it is always interesting - although at the end of the day, the decision often comes down to the opinion of the ‘current expert’ in that field. We’ve seen a ‘no’ verdict overturned in a later series when a different ‘current expert’ is involved!
Edited
by Jenny Harris