‘Fakes, Forgeries, Fascimilies’

Press, 23 July 1987, Page 22

‘Fakes, Forgeries, Fascimilies’

“Fakes, Forgeries Facsimilies.” An exhibition of curiosities at the Canterbury Museum until July 26. Reviewed by Pat Unger.

One of the more interesting shows in Christchurch at present is the “Fakes, Forgeries Facsimiles” exhibition at the Canterbury Museum. It presents diverse art styles, ideas and cons, with even a “who-done-it” as a quiz for the viewer. Contrasting works by artists and their immitators will give painting and drawing lessons for those who seek them. They are more entertaining and innovative than some of the repetitive art exhibitions seen about recently. Along with forged, reprinted and bogus stamps, fake coins, a late nineteenth century fac-

tory made violin labelled “Antonius Stradivarius Cremonenis Facieabat anno 1734” and pseudo seventeeth century Bohemian glass (1870) there are the genuine works of mainly New Zealand artist and a variety of simulations by a posse of more international forgers.

The latest exercise in deceit, and perhaps the best known, concerns the work “Psyche,” by Solomon J. Solomon, which was stolen from the Robert McDougall Art gallery in 1942. When a polariod of a painting recently turned up at the gallery — the reduction process having made an excellent likeness — it was declared the lost art work had been foundfor 5

minutes. In the best tradition of

tragi-comedy the conclusion of this drama was laughter for those on the outside and regrets and frustration for the principal players on stage. Contrary to “personal whim,” given as the reason for this hoax, a more suspect motive was ascribed to the Foxton wine shop owner, Karl Sim (alias C. F. Goldie), who actually saw himself as a bit of a philanthropist.

Rita Angus, J. Weeks, Margaret O. Stoddart, Frances Hodgkins, L. Richardson and Godfried Lindauer were artists he turned his hand to cophing. Not to mention works by C. F. Goldie, loaned to the exhibition by Karl Sim himself.

That he made such an indifferent job of it graphically shows his lack of

sensitivity to the nuances of colour and composition that these artists expressed, each in their unique way. Charges of forgery, altering documents and, even worse of “intending to defraud and cause concern and insecurity to the fine arts market” were crimes of which he was found guilty.

With minimalism’s popularity it is surprising that fakers have not attempted some canvases along those lines. “The invisible as subject matter,” paintings of ‘silence,” ‘tranquility’ or the ‘essence of landscape’ would seem easy but after study of Karl Sim’s forged ‘Rita Angus,’ the all-im-portant signature on such efforts would have to be real works of art. This is a provocative, entertaining exhibition.