How, why do you become one of the best art forgers in England ? Shaun Greenhalgh is an elite artist.
'I wasn’t ****-a-hoop that I’d fooled the experts': Britain's master forger tells all
Shaun Greenhalgh has turned his hand to everyone from Leonardo da Vinci to Lowry. He’s been to prison, but has never revealed the whole picture. Until now
Art forger Shaun Greenhalgh in his new studio. Photograph: Fabio De Paola for the Guardian
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Simon Parkin
Saturday 27 May 2017 18.00 AEST
In 2010, shortly after his release from prison, Shaun Greenhalgh walked into his parents’ house in Bromley Cross to find yet another fat package waiting for him on the dresser. Unsolicited parcels arrived often. They always bore a London postmark, but never a sender’s name; they always contained an art book.
On this occasion, Greenhalgh recognised the cover, a Renaissance-style painting of a girl, seen in profile. Snub-nosed, proud-eyed and with the hint of a double chin, she was not a handsome princess, as the book’s title, La Bella Principessa, suggested. Greenhalgh thought he knew her as an old acquaintance: Sally, a girl with whom he had worked in the late 70s at the Co-op butchery. The book, by the respected art historian
Martin Kemp, argued that the painting was a lost work by
Leonardo da Vinci. But Greenhalgh believed it to be one of his own: painted when he was 18 on to a piece of 16th-century vellum; he remembered buying the vellum from an antique shop close to his family’s council house in Bolton.
Greenhalgh, who is now 56, tells me he remembers the process clearly. After practising the drawing on cartridge paper, he had mounted the vellum on an oak board from an old Victorian school desk lid, pilfered from the storeroom of Bolton Industrial Tech, where his father, George, worked as a cleaner. He had used just three colours, black, white and red, gum arabic earth pigments that he then went over in oak gall ink. Leonardo was left-handed. Fearing a betrayal by his own dominant right hand, Greenhalgh had turned the painting clockwise, and hatched strokes from the profile outwards, suggesting the work of a left-handed artist.
When it was finished, Greenhalgh tells me, he took the picture to an art dealer in Harrogate, where he offered it for sale – not as a forgery, but as a homage. The dealer disparaged its quality and paid just £80, an amount that barely covered the materials, let alone the labour. Still, Greenhalgh took the money. Two decades later, at a New York auction, the same painting sold for $21,850.
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Is it La Bella Principessa by Leonardo da Vinci… or Sally, a girl Greenhalgh worked with at the Co-op? Photograph: VCG Wilson/Corbis via Getty Images
In 2007, while Greenhalgh was serving the first stretch of
a four-year-and-eight-month prison sentence for art forgery, the painting changed hands again for a similar amount, this time attracting the attention of a number of art historians, who suspected that the painting could, in fact, be the work of a master. Among them was Kemp, who in 2010 wrote that he had not “the slightest doubt” that the painting was “the rarest of rare things… a major new work by Leonardo”. Subsequent carbon dating of the vellum, and evidence of the hint of a fingerprint that appeared to match Leonardo’s, provided the almost-clinchers.
https://www.theguardian.com/artandd...oop-fooled-experts-britains-master-art-forger