10.01.2012
Rathgen-Forschungslabor
Experts from the Rathgen Research Laboratory have been working with other experts from the Prussian Cultural Heritage Foundation in exposing forgeries in the Beltracchi case. Findings from elaborate scientific tests conducted by the Rathgen Research Laboratory were used in the trial surrounding the alleged art collection of Werner Jägers that led to Beltracchi's sentencing in December 2011. The laboratory's findings substantiated suspicions that the works in question were indeed forgeries and were used in the conviction of Wolfgang Beltracchi as an art forgerer. Beltracchi's confession led to his subsequent sentencing on 27 October 2011.
In September and October 2010, seven paintings confiscated by the art crime division of the Berlin police as part of their investigation were examined as to their authenticity. The paintings, supposedly dating from a period between 1905 and 1927, were scientifically examined by restorers at the laboratory. Innovative microscopic and multispectral image sensing processes were used in the tests. Advanced micro-X-ray fluorescence, FTIR and micro-Raman spectroscopy tests and mircrochemical analyses were also conducted to identify the pigments used.
The presence of certain pigments allows scientists to date works. Detection of pigments or binding agents in the 'original' layers of paint which were only available after the supposed date of the painting raises serious doubts as to its authenticity. The use of titanium white and organic phthalocyanine pigments in the works in question was a clear indication that they were in fact fakes. The team at the Rathgen Research Laboratory, led by professor Stefan Simon, were able to refute beyond a shadow of a doubt the alleged dating of nearly all the paintings. In addition, innovative, non-destructive dendrochronological tests were carried out in close cooperation with the Federal Institute for Materials Research and Testing and the German Archaeological Institute to establish the age of the canvas frames.
Experts from other institutions at the Prussian Cultural Heritage Foundation were also involved in the extensive examinations: a provenance researcher from the SMB Central Archives studied the reverse of the paintings, comparing their markings with those on authentic works by the same artists supposedly sold by the same art dealers and galleries, while the Gemäldegalerie produced X-ray, UV and IRA images of the paintings. The Foundation's legal department were also involved in the proceedings, as was the provenance department at the Institute for Museum Research.
Hermann Parzinger, president of the Prussian Cultural Heritage Foundation, had this to say on the matter:
'Scientists and experts from the SPK, and above all from the Rathgen Research Laboratory, have played a vital role in attaining hard evidence that clearly shows the paintings were forged. It is a reflection that in trials of this kind, the scientific analysis of art objects and provenance research are of equal importance as the opinions of art experts as to a work's style.'
The Rathgen Research Laboratory was founded in 1888 and now serves as the specialist institute that oversees all conservational, technological and archaeological concerns at the National Museums. Its expertise in matters concerning the conservation and preservation of movable and non-transportable works of art and cultural artefacts is sought after by organizations from all over the world.