Comments on: FRAUD: New Princeton Frida Kahlo Book Exposed as Fake http://www.transracial.net/2009/08/20/fraud-new-princeton-frida-kahlo-book-exposed-as-fake/ Color. Culture. Sex. Celebrity. Tue, 16 Mar 2010 06:21:00 +0000 hourly 1 http://wordpress.org/?v=3.0.1 By: Carlos Noyola Fuentes http://www.transracial.net/2009/08/20/fraud-new-princeton-frida-kahlo-book-exposed-as-fake/#comment-599 Carlos Noyola Fuentes Fri, 21 Aug 2009 12:47:30 +0000 http://www.transracial.net/?p=7222#comment-599 Due to the recent controversies regarding an archive of over 1,200 items attributable to Frida Kahlo we have decided to write a press statement concerning said archive. The collection consists mostly of hand-written documents, as well as drawings, watercolors, oils and personal belongings. It has been under studies for more than several years, and we wish to clarify the following matters. We are established art dealers, with more than 38 years of experience [in the Art Market]. This collection first came to our attention 5 years ago, and due to its magnitude and inherent importance, we decided to acquire it in its entirety in order to study the material. We have adhered to the established protocol for authenticating works of art, both through subjective and objective analyses and opinions. Among the people who have seen and studied the collection, are Frida Kahlo colleagues and students Arturo Garcia Bustos and Rina Lazo, graphologist Juan Rogelio Abraham Dergal and Chemical Engineer Javier Vazquez Negrete; all which are respectable and qualified professionals in their field; all which have concluded the archive is indeed authentic. These tasks had to be arranged and funded independently by us, due to the lack of interest expressed by the main organism dedicated to this in Mexico (Instituto Nacional de Bellas Artes). Provenance has also been officially documented and cross-referenced. Recently, a group of gallery owners, art critics and members of the Kahlo-Rivera trust fund at the Central Bank of Mexico, have dismissed the collection claiming the objects that comprise the archive “are not known by the trust and are in no way recognized as originals of Frida Kahlo”. Our main concern is that this group of people has not physically seen the material, even though we have publically invited them to view the material. It is also known that for the past few years we have made the collection available for anyone interested in studying, analyzing or simply viewing the material. Currently, there is no intention to sell the collection. Our objective was and will always be to make this collection available to the public, hence the publications in progress and the study center created by us in San Miguel de Allende. We feel that ultimately, the collection will speak for itself. Programmed publications are: Levine, Barbara and Jaycox, Stephen. Finding Frida Kahlo. Princeton Architectural Press, 2009. Church, Jennifer Et. Al. El laberinto de Frida Kahlo, Muerte Dolor y Ambivalencia. Poughkeepsie, NY,2008. Due to the recent controversies regarding an archive of over 1,200 items attributable to Frida Kahlo we have decided to write a press statement concerning said archive. The collection consists mostly of hand-written documents, as well as drawings, watercolors, oils and personal belongings. It has been under studies for more than several years, and we wish to clarify the following matters.

We are established art dealers, with more than 38 years of experience [in the Art Market]. This collection first came to our attention 5 years ago, and due to its magnitude and inherent importance, we decided to acquire it in its entirety in order to study the material. We have adhered to the established protocol for authenticating works of art, both through subjective and objective analyses and opinions. Among the people who have seen and studied the collection, are Frida Kahlo colleagues and students Arturo Garcia Bustos and Rina Lazo, graphologist Juan Rogelio Abraham Dergal and Chemical Engineer Javier Vazquez Negrete; all which are respectable and qualified professionals in their field; all which have concluded the archive is indeed authentic. These tasks had to be arranged and funded independently by us, due to the lack of interest expressed by the main organism dedicated to this in Mexico (Instituto Nacional de Bellas Artes). Provenance has also been officially documented and cross-referenced.

Recently, a group of gallery owners, art critics and members of the Kahlo-Rivera trust fund at the Central Bank of Mexico, have dismissed the collection claiming the objects that comprise the archive “are not known by the trust and are in no way recognized as originals of Frida Kahlo”. Our main concern is that this group of people has not physically seen the material, even though we have publically invited
them to view the material. It is also known that for the past few years we have made the collection available for anyone interested in studying, analyzing or simply viewing the material.

Currently, there is no intention to sell the collection. Our objective was and will always be to make this collection available to the public, hence the publications in progress and the study center created by us in San Miguel de Allende. We feel that ultimately, the collection will speak for itself.

Programmed publications are:
Levine, Barbara and Jaycox, Stephen. Finding Frida Kahlo. Princeton Architectural Press, 2009.
Church, Jennifer Et. Al. El laberinto de Frida Kahlo, Muerte Dolor y Ambivalencia. Poughkeepsie, NY,2008.

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