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Local scam artist dupes the Queen’s Royal Art Collection Steve Kretzmann If you want to make money off art and don’t have the patience to invest in promising up-and-coming artists and then possibly waiting decades for them to make a name for themselves, you could just buy an unknown dead artist’s work. With photographs of work in hand (and any diaries, clippings or other documents gleaned from the bargain lot you’ve bought) you can then fabricate a biography which explains why the artist was so great, yet reclusive (hints of mental, emotional or sexual abuse explain a lot). Drop several names of calibre and high profile collections which are difficult to check up on and, voila! You can now make thousands of Pounds buy putting a limited number of the works on auction through a reputable auction house. It’s easier than forgery or theft, and it is what a local entrepreneur known as Glenn Strutt is accused of having done with the works of unknown and recently deceased artist Helen Anne Petrie. The TimesOnline in London reported that he recently coined £15,000 when the Queen’s art collection bought four of Petrie’s works on a Bonham’s of London auction. The subsequent discovery that Petrie’s work is mediocre and her biography inflated has put a lot of noses out of joint, although some have been delighted by the escapade, pointing out it out as proof of the fallibility of art speculators who put references above artistic talent. Biographies to be found on the internet say she was born in 1933 and died in 2006, and all appear to stem from the same source, outlining a modest character of substantial independent means who was
HELEN ANNE PETRIE Friday, 27 June 2008 ANNE (HELEN) PETRIE 1933 – 2006 Introduction Biographical Overview Her parents kept their rather comfortable “Summer House” in Fish Hoek (The “Hamptons” equivalent in USA) and were Johannesburg socialites of the day, regular guests at Admiralty House when in the Cape or attending luncheons with Count Labia. Simonstown, the neighbouring village was the Naval Headquarters for the British Navy and at that time South Africa was a jewel Colony of The Empire. In 1938 a relative, who noted the great potential Anne had shown already at a tender age of 5, cut out an article from the Huisgenoot, a local magazine, dated 18 August, entitled” Hoekom ek skilder” (”Why I Paint”) by now renowned artist Maggie Loubser, on a particularly hot summers day while on holiday from Boarding School this article was translated from Afrikaans into English for Anne by her multilingual nanny. A diary entry records Anne was truly mesmerised at the contents and thus her eventual admiration for Maggie and passion to paint was unknowingly (or unwittingly) set. Anne had a privileged education and completed High School with excellent results, merits and awards; she went on to study further. During this tertiary period Anne made 2 trips to Europe touring the leading galleries of Europe, taking down some 2300 pages of handwritten notes. Florence was her favourite, then Rome. Returning to South Africa she began painting oils on her own, and with tuition soon began to
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most upset at the activities of the apartheid government. There are numerous factual errors though. She was supposed to have met the artist Jan Vermeiren in Antwerp in 1954 ‘who assisted her in mastering her least favourite mediums, acrylics and pastels’. But Vermeiren said he would have been six years old at the time. He said Petrie’s work was sold on auction in Fish Hoek “for nothing” - which is where Strutt could have picked it up – and was “amateurish”. “As far as I know I never met that woman,” he said. The biographies cite her works as being housed in numerous galleries, as well as in the private collections of celebrities such as Madonna, the Beckhams, Mike Myers, and in the estates of Frank Sinatra, John F Kennedy, Dr Christiaan Barnard amongst others, and in various European Royal Houses. Terry Flynn, assistant curator at the Anne Bryant art gallery, says he can state “categorically” that the gallery has none of her works. “I don’t even know her,” said Flynn. And in 1961 Petrie apparently ‘spent a few weeks in private tuition with Gillian Ayres at the Bath Academy of Art’. But Ayres was quoted by TimesOnline as saying: “I never gave private tuition to any pupil and I don’t know her.” It appears Strutt, who has been fingered as the man behind the scam, may have hit upon a clever way of manipulating the arts business. And the best thing is, while it may be unethical, the jury seems to be out on whether it’s illegal or not.
The opening of Harold Voigt and Reshada Crouse Exhibition, at the impressive White River Gallery, Mpumalanga Staff writer: The begining of hi tech art fraud has started feuled by the fast rising prices in SA art. Although Helen Anne Patrie did exist as a small time Fish Hoek artist, those who don’t know their art history, and rely on lax art and history website editors for their information, - for them things can go horribly wrong, when ficticious seed profiling of artists gets scattered throughout web pages, facebook and professional profile
websites. In this regard most art dealers locally are careful in taking on unfamiliar artists and art pieces. Strauss and Co are the first Auction house to stand by their guarantee for a full year on all their sales (see page 7 Auction Page) But what about the poor dead artist, the real Helen Anne Petrie, perhaps she may be the biggest victim, an artist who enjoyed making paintings, only to live into eternity associated with a scam.
Websites containing The Helen Anne Patrie profile include: South African Websites: www.southafricanartists.com www.sahistory.org.za www.arcyart.com International Websites: Incredible Art News, www.askart. com, wikibin.org, www.the-artworld.com, ilovesouthafrica.org www.scribd.com, www.hubpages. com, www.the-art-world.com
Photo: Gavin Smithdorp
Scam in a nutshell: 1. Purchase a deceased artist estate, with paintings and documents for next to nothing. 2. Together with a semi literate art writer create highly inflated profile that includes associations with long dead important artists, as well as claim work in important collections. 3. For over two years, upload in flated profile/s and associations onto
numerous lax, public edited artist and history profile websites
5. Get inflated prices published on auction results sites
4. Get work onto an auction, push up the price on auction - maybe pay this hefty price yourself (or better still in this case dupe The Queen’s art collection into accepting paintings from an unknown South African, giving the artist the credibility to fetch up to £15,000 at auction say Richard Brooks and Georgia Warren from the Times of London.) in order to push up the overall value of your stock.
6. Sell remaining work quickly for a fortune, before scam breaks
For further reading see www.paarlpost.com entertainment.timesonline.co.uk Further careful searching Google: Helen Anne Petrie
The Big Dupe, written by a certain: Sebastian L.S Schwagele – Fan Moniz
Good Morning from Genève, Switzerland, I have just completed 3 years of research on a leading philanthropist and Anti Apartheid female South African artist. How do I submit a biography for you to review and consider adding to your website? Please see the attached biography Many Thanks Sebastian L.S Schwagele – Fan Moniz lay the foundation of what was to mature distinctive into her own style. Anne felt that at the time the taste of small art-public was extremely backward and that there were too few discerning collectors and buyers, especially in South Africa, at that point still an Empire Colony. In 1954 she spent a short period of time sitting in on lectures at the Kunsakedemie van Mechelen, Sint Niklaas and Antwerp, where she met artist Jan Vermeiren who assisted her in mastering her least favourite mediums, acrylic and pastels. During her many foreign travels especially during the early years of her life after finishing school many important people of the day sat for portraits for which she was well paid… funding further visits to galleries and the odd art class at the Byam Shaw Goldsmith’s School of Art in London and under Sickert’s (Royal Academy School) own school in Camden Town. Here she struck up a friendship with Cecil Higgs. At the same time Anne met Mary (May) Ellen Hillhouse, who like Anne had Scottish Heritage (and acquaintance to her parents), together they consulted on what they both declared was “soul destroying commercial work” also resulting in Anne becoming (like May) an illustrator for various local and foreign companies, excelling in her graphic design for pottery, pattern design for Garlicks and Greatermans and Butterick Dress patterns, to name just a few. At the same time she made, thanks to her Fathers intervention, occasional visits to the “Platteland” farm of Maggie Loubser father in at Klipheuwel near Malmesbury. Anne spent many hours brooding over the vision Maggie had acquired during
her trip to London, so, just Like Maggie, Anne spent some time in Germany where she experienced the works of Marc and Nolde. The bud of interest, observing and consulting had slowly germinated and soon blossomed spectacularly. In 1955 upon meeting Marjorie Wallace and husband Jan Rabie they ended up in a heated debate on politics and thus was cemented her lifelong interest in humanitarian causes in South Africa. Anne could be very opinionated and outspoken. In 1960 Anne was infuriated by the countrywide protests, demonstrations and strikes against the Pass Laws and Police brutality in response to the anti-Pass Laws campaign that she wished to return to Scotland, her Ancestral home indefinitely. This fase passed. In 1961 Anne spent a few weeks in private tuition with Gillian Ayres at the Bath Academy of Art, Corsham and again at St. Martin’s School of art in London. In the few surviving works by Anne of this period one can clearly note that she did not look to the raw expressionism of the New York School but to the school of Paris with its painterly cuisine and basic figuration. A year later Anne wrote to Gillian indicating that in her opinion there was still a continent left to explore in the direction of colour when it came to painting and that although proportion and balance are essential aspects to remember, both artist and viewer have to experience it. For Anne it appeared that in general amongst her British contemporaries the size of their canvass was increasing, the paint was fattening and forms were becoming more and more abstract. Though in many of Anne’s work of this period one notes disciplined serene, contenmplative work in hard-edge idioms. Her work in this faze of artistic
experimentation is very much concerned with balance, harmony, tension, pleasure, movement, beauty and mental fragility. In 1965 during a brief encounter at Stellenbosch University while attending a lesson on graphic design at the department of Creative Art she briefly met Jogen Bergen and took hand written notes… describing him in her diary as a man with” limited talents”. In 1967 Mr. Albert Wert (Then Curator of the Pretoria Art Museum) together with Matthys Bokhorst (Director of the S.A.National Gallery) enquired to Anne Petrie being willing to participate in the SANLAM Art Collection Exhibition, which at that point contained in excess of 166 works of art, she declined to participate as the collection did not possess that degree of inner unity it would have had if the collection had from the beginning been built up for the purpose of exhibition, and that the initial intention of the SANLAM collection was merely to build up a collection of attractive South African paintings and sketches to hang in the offices of the Directors and staff and to let the public only share in the collection by means of printing the paintings (Including hers) on SANLAM’S CALENDARS. Diary entries indicate that she also declined an offer from Rembrandt Van Rijn Art Foundation to purchase her works privately. Anne did however exhibit in South Africa twice in 1967, the most important exhibition being from 30th October till 11th November at the South African Association of Artists Annual Exhibition at 63 Burg Street, Cape Town, where leading art Critic of the day, Johan van Rooyen stated her 3 works titled – Indian Girl, Bantu Boy and Late Afternoon, Kommetjie
should be hailed as proving the standard that is expected at an exhibition of this calibre, which included works by fellow artists I.Roworth, S.Butler, V.Volschenk and L. Mears. In 1971 Anne declined an invitation from Gunther van der Reis to participate in the “1971 Republic Festival Exhibition” which was organised by the S.A.Association of Artists, however decided to exhibit in Tel Aviv that year instead. Anne’s works were exhibited in the late 60’s early 70’s at various galleries in RSA where she obtained critical acclaim (often relenting and allowing a portrait or landscape to be exhibited without a credit being published on the Program), however, shy and disillusioned at the politics involved in favouritism towards Afrikaans artists, predominantly males she stopped exhibiting at most major galleries of the day, and rudely declined many invitations to sell her art to Insurance or Banking related Institutions on many occasions. Anne noted in her personal diary in 1972 that 2 major schools of thought were apparent in the South African art world amongst contemporary artists. One, where they identified themselves with various aspects of their Social and Geographical environmental conditions. The other identify in itself with International trends which could often be related to Colonialism and the Empire environment. Both trends appeared at that time to be the natural result of a “Nation” maturing and divorcing itself from its old rural and Colonial character. Anne felt that Nations were becoming more and more involved, inter-active and demanded greater effort from the viewer.
During the 1970’s 80’s and 1990’s Anne never tried to idealise her subjects. S he always strove for the accurate representation of everyday, apparently casual or overlooked subjects. Her devotion to her art, especially during her latter years was so great that she also infected her fellow artists, resulting in anti - art people being able to view art with greater respect and admiration and she mentally and emotionally lived in many worlds. By this time Anne was mentally very fragile to the point of institutionalisation. She never managed to deal mentally with the death of her Parents. In the Transvaal and in the Western Cape she discovered the destruction caused by the introduction of the Group Areas Act that stimulated her imagination. In In Europe; mainly Italy and Scotland she sought the dream world for which she deeply yearned. Finally, there was her own private inner world, to which very few were ever admitted, but, from which she derived her wonderful creative and inspired powers. Of these worlds for Anne Cape Town was certainly not the most important. Anne’s works already belong to the Art history of South Africa, Royal Courts of Europe and Asia , Private Collectors and various Museums globally. Even so it meant much to her, not only because she found relief there for her bodily ills, but in the autumns and winters there she re-discovered her homeland and thus her identity. Amongst her friends, fellow artists and local Inhabitants especially the Cape Coloured and Cape Malay people Anne felt she could be who she truly felt she was, a woman who seldom made preparatory cause of her impulsive nature.
The South African Print Gallery is proud to present in collaboration with:
Artthrob Editions Until 28 September 2009. prints by the following important South African artists: Jane Alexander | Willem Boshoff | Lisa Brice | Nontsikelelo ‘Lolo’ Veleko | Guy Tillim | Mikhael Subotzky | Peet Pienaar | Penny Siopis | David Goldblatt | Hentie vd Merwe | Tracey Rose | William Kentridge | Robert Hodgins | Zwelethu Mthethwa. In addition, we will be launching a brand new print by Robert Hodgins. Hot off the presses at Mark Attwood’s studio For more info see Artthrob: www.artthrob.co.za Or The South African Print Gallery: www.printgallery.co.za
This was Anne Petrie, the woman, the benefactor, the pacifist, the friend… The TRUE Matriarch of South African Female Artists Anne’s works exhibited in the following Solo and Group Exhibitions · Anne Bryant Gallery, East London (1958) · Lidchi Gallery, Durban (1962) · Martin Melck Gallery, Cape Town (1963) · Belgium, Paris and Scotland (1965) · Gallery 21, Johannesburg, (1966) · Belgium and Paris(1969) · Israel (1971) · Athens (1974) · London and Paris (1976) · Frenchmen, West Germany (1978) · Seoul (1984) · Athens (1987) · Norway (1989) · New York (1994) Private Collectors / Patrons include (d) · Estate Wallace Simpson · Estate P.W. Botha · Estate John F. Kennedy · Estate David Botha · Estate Frank Sinatra · Estate Dr.Christiaan Barnard · Estate Maria Callas · Bill Clinton · Madonna · Mike Myers · David & Victoria Beckham · Mariah Carey · Carmen Elektra · James Brown · Vanessa Redgrave… to name just a few. Various European Royal Courts owning works by Anne in their Private Collections · Her Majesty Queen Elizabeth II & H.R.H. Phillip, the Prince Consort of The
United Kingdom · H.M. King Juan Carlos I & Queen Sofia of Spain · H.M. Kong Harald & H.M. Dronning Sonja of Norway · H.M. King Carl XVI Gustaf & H.M. Queen Silvia of Sweden · Her Majesty Queen Anne-Marie & H.R.H. Henrik, the Prince Consort of Denmark · Emperor Akihito and Empress Michiko of Japan · Her Majesty Queen Beatrix of The Netherlands · H.R.H King Constantine & H.M. Queen Anne-Marie of Greece · H.R.H Charles, Prince of Wales & Duchess of Cornwall Represented in the following Public National / International Collections · National Museum of Art, Architecture and Design, Oslo · TATE Modern, London · National Gallery, Denmark · National Museum of Western Art, Tokyo · The Smithsonian Institute, Washington DC · Singapore Art Museum, Singapore · National Gallery, Finland · The Rijksmuseum, Amsterdam · The Guggenheim, Bilbao · The Museum Moderner Kunst Stiftung Ludwig, Vienna · National Portrait Gallery, London · Dr. Shirley Sherwood Collection Posted by The Mayfair Colletion (Suisse) SA at 08:27 0 comments