In recent decades, chaos and disorder have reigned in the Russian art market in Western Europe and America, as massive disinformation and falsification of historical facts have been carried out. A narrow circle of insiders and well-known art dealers control everything. Their goal is to control and manipulate this specific market. These individuals have become the leading players: they have managed to secure the support of the Russian artistic elite and attract Western “experts” whose aim was to “promote Russian art and Russian culture.”
To achieve this, the information vacuum in the field of Russian decorative arts that had arisen for certain reasons was filled with pseudo-scientific books and articles, as well as dubious exhibitions and auctions. Far from Russia—and therefore cut off from its historical context and archival materials—these “experts” caused irreparable damage to Russia’s cultural heritage by questioning the authenticity of the most important works and, conversely, passing off fakes as masterpieces. This could only be done with the support of such powerful organizations as the insurance giant “Lloyd’s” and the UK judicial system. These “experts” continue to act with impunity to this day. Every possible measure to preserve the status quo was demonstrated during the trial held at the Royal Courts of Justice in London (2008). It concerned an insurance claim related to the Fabergé Imperial Easter egg clock “Bouquet of Yellow Lilies”.
The trial, known as “Kamidian v Holt (Lloyd’s),” vividly illustrates the claim to a monopoly over Russian art by a narrow circle of insiders. Along with other controversial cases described below, it makes clear what connections have been established between leading auction houses, “experts,” prominent art dealers, and the largest insurance companies. This article traces nearly forty years of auction sales and exhibitions in Europe and the United States involving the egg clock “Bouquet of Yellow Lilies” and other key Fabergé works. You will see how decades-long schemes created an atmosphere of bias against Russian art and distrust among buyers, thereby harming Russia’s cultural heritage. Unfortunately, the trade in significant Fabergé works is only the tip of the iceberg.
→ Continue to read the full article by Michel Kamidian in Russian (PDF 2.1 MB)
→ Switch to its English translation
© 2013 Michel Kamidian (Mikhail Kamidian).
All rights reserved, which includes the right to reproduce this article or portions thereof in any form whatsoever, except as provided by the copyright law of the European Union.