venerdì 21 dicembre 2012
Ecco il dispositivo della sentenza emessa dal Tribunale di Cambridge i 31 maggio 2012 con la quale alcuni "disegni italiani di Francis Bacon", riconducibili al suo sedicente amante Cristiano Lovatelli Ravarino, sono dichiarati FALSI e del conseguente valore di 50 sterline circa (!!!) l'uno.
IN THE CAMBRIDGE COUNTY COURT Claim No. 2CB00067
197 East Road
Thursday, 31st May 2012
DISTRICT JUDGE PELLY
20. Both the respondent and the bankrupt argue that the applicant has not proved that the Bacon drawings were not genuine. Of course, if they are or were genuine, then the damages in those two actions would probably be nil. However, neither the respondent nor the bankrupt are experts in Bacon’s work.
21. Mr Harrison, in his evidence to me, went rather further than he did in his letters, to which I have previously referred. In his evidence to me, he said this of these drawings: “They are fakes of his work, (Bacon’s work). The style is in every wayconsistent with Ravarino.” Now, Ravarino is an Italian, as far as I am told, of somewhat dubious reputation, who originally supplied all the twelve drawings to the bankrupt.
22. In his statement, Andrew Acquier refers to Martin Harrison as “the eminent Bacon scholar”, and of course, Mr Harrison is the chairman of the Bacon Authentication Committee.
23. In his own statement, Mr Acquier says this on page 211, paragraph 15: “None of the drawings that I examined display the characteristics for which Bacon’s work is so highly prised, namely the portrayal of human nature as twisted flesh. These pencil drawings are placid and non-eventful. They lack any feeling of movement or controlled emotion. They are clearly sketches and not finished works. They use elements such as plain ovals, which are present in authenticated Bacon works, but here they are merely decorative. They are, in my opinion, not of the first order. They appear to be pastiches by someone working within their understanding of the style used by Francis Bacon without capturing any of the elements that prompt collectors of the artist’s work to buy his oils and colour lithographs.
I note from the two letters sent to Richard Thompson and Edward Bigden respectively on 20th October 2007, that Martin Harrison writing on behalf of the Bacon Catalogue Raisonné notes:
‘The draftsmanship is in a style which is inconsistent with all the sketches and paintings currently securely attributed to Bacon.’
***I particularly note the inclusion of all. I am in complete agreement with Mr Harrison’s observation.
In conclusion the two groups of six pencil drawings are, both in my opinion and taking in to account the current expert opinion of the world’s specialist at the Bacon Catalogue Raisonné, not the work of Francis Bacon.
Indeed, I would be most surprised if that world expert opinion were to alter to allow a positive identification at any time in the future.***
As to valuation, I have attached market valuations of the two groups of six drawings and the collection each as a separate document. These represent my true opinion of the value and of the collection. I should add that there are not any recorded sales of similar drawings at auction which I could find.
In my opinion, the actual value of Thompson drawings totals £300. The Bigden drawings, in my opinion, I total value at £180.