ART SWINDLES.

Otago Witness, Issue 1899, 26 June 1890, Page 36

ART SWINDLES.

Probably it will be no fresh news to the artistic community — whether they be painters or dealers — to be reminded that few professions offer a greater scope for — not to put too fine a point on it — the practice of trickery than that of " pictures." We are inclined, however, to think that one or two little facts will startle the general public who hitherto have heard nothing concerning the young men who manufacture great artists' signatures or the enterprising individuals who copy valuable works and put them on the market.

Many people will not buy a picture unless it bears the name of the painter. Two courses are open to the unscrupulous dealer. The picture is very old ; he must either try it on another buyer, or else offer to have it cleaned, when possibly the name will be found under the dirt and dust.

He passes it on to the manufacturer of signatures, often an Italian, who excels in this peculiar line, and whose fee may be as much as half a guinea. This person has a book which contains fac-simile signatures of not only all the old masters, but the modern ones too. This occupation is really an art, for many of the autographs are only a dash or two of colour, most difficult to copy ; and on the occasion of a big " put up " sale he will have a score or more to provide with signatures. He may do his work very cleverly, but seldom succeeds in giving that " stiffness " to his copy which an experienced eye can at once detect.

This, however, pales before the enormous trade done in copying eminent men's works. At times there is a run after pictures by a certain artist. The tricky dealer will go round and buy up the pictures of other painters whose style is almost identical with those in demand. It is the simplest thing in the world to add the signature ; but, strange to say, the man who is just now being run after so much only signed one picture in his life. Stark, a very excellent painter, took this particular work home to his patron himself, who refused to accept it unless it bore the artist's name. Stark put it on to oblige his customer.

Pictures which make good copies are known as " breeders," and the writer has it on eminent authority that no fewer than 200 copies of a single work by a well-known artist are in circulation at the present moment. Some of the best private collectors have been so deceived. But a big; crash is inevitable, for one of them has decided to sell his collection, which he honestly consideis to be of fabulous value. Art critics will be sure to see through the canvas at the sale, and the whole thing will be exploded.

How are these bargain hunters so taken in with their purohases ? They think, like most folk, that if they bought a picture in the West End or from a responsible dealer they would pay a long price— far more than the work is worth — whereas they might pick up something good in a little bye-street, in a furniture store, pawnbroker's, or even a rag and bone shop.

So the clever dealer obliges them ; opens a shop in an out-of-the-way thoroughfare, and puts one or two " old masters" or modern gems in a corner where he knows the hunter's eye will look. In 19 cast's out of 20 he succeeds in getting £100 for a picture not worth a £5-note. Two streets in London have been a paradise for our worthy dealer, one man netting as much as £9000 in one year.

Yet another pomt — namely, the touchingup of pictures. There are poor artists only too glad to paint practically by the yard such pictures as those put up at so-called art sales, of which a word later. The best of these use extra care with their brush on a ceitain painting, and then a first-class artist is called in who is glad, being yet unknown, to " touch up " the picture for 15s or £1 Is. This will give the canvas character and style; and often the name of a great painter, to whose work it bears a resemblance, is added, and it sells for a big price.

Just an authentic little anecdote concerning the cleverness of your art auctioneer. One ingenious fellow's method of clearing his sale room when he could not induce people to buy was actually to exhibit a genuine Cooper worth about £300. A confederate would bid £o, and this being a high price in such a place, and Iheir being no advance, the picture would be knocked down to him. "Ladies and gentlemen," the auctioneer

■would cry, "the sale is closed until 2 o'clock."

The people would troop out and another company assemble.

But one day a worthy party saw the Cooper, and setting his heart on the picture he bid up to a high price until it was eventually knocked ('own to him. He paid a deposit, and on the delivery of the work would pay the balance. He received his Cooper ; but it was a copy. The Cooper exhibited was a " stock " picture, and a few imitation canvases were kept in the back-ground perchance the true one was sold.