UPDATE: In follow up to our posts regarding the Peter Doig lawsuit, last month, a federal court in Illinois declared that the disputed work signed “Peter Doige 76” is not the work of famous Scottish born artist Peter Doig.  Among the many odd facts presented in this case was the glaring issue that “Doig” and “Doige” are two different names. This case demonstrates that authentication, even by the living artist himself, can prove to be a costly endeavor for all parties involved.

There may be some lessons learned from the Doig matter:

In this digital age, creating a definitive catalogue of work may be easier than ever for living artists, and artists that want to maintain control over their body of work should take advantage of innovative technologies that permit them to document their works.  The fact that the Doig matter went to trial demonstrates that the Visual Artists Rights Act of 1990 (VARA) is not the panacea for all of the legal issues facing artists. In particular, VARA provides artists rights for disavowing damaged or modified work but does not address when the art is misattributed.

In a recent interview, Doig commented on the time and money wasted on the lawsuit.  It is not clear whether the plaintiff will appeal the court’s decision.

Further to our post below regarding the trial over the authenticity of a painting alleged to have been made by the Scottish painter Peter Doig, some interesting notes regarding the waning days of the trial were captured by artnet.  Among them:

* The lawyers and the Judge differed as to the pronunciation of Doig’s name;

* During cross-examination, the attorney representing the plaintiffs asked whether the work in question was a painted by “Captain Butterknife.”

* The question of whether Doig was incarcerated at Thunder Bay as alleged by the plaintiffs appeared to have been left unanswered.

The final verdict is expected to be given orally in the coming weeks.

Read more here.

By Daniel Schnapp.

Scottish artist Peter Doig claims he didn’t paint the painting depicted below, and now he is forced to prove it at trial.  The New York Times recently reported on this strange case of art authentication, involving Doig’s disavowal of the painting and alleged mistaken identity.  Read full article here.



The owner of the painting is a former corrections officer who alleges that in 1975 he purchased the painting from Doig, who was incarcerated at a Canadian detention facility at that time.  Doig denies having ever been near the detention facility, or ever being incarcerated. The lawsuit is currently pending in the U.S. District Court for the Northern District of Illinois.

As recently reported by the New York Times, the spring art auction season continues in full swing in New York this time at Christie’s where Pablo Picasso’s 1955 painting entitled “Les Femmes d’Alger (Version ‘O’)” fetched $179.4 million (including fees) at the auction house’s “Looking Forward to the Past” sale of artworks from the 20th century yesterday evening.

According to Christie’s, the winning bid surpassed the auction house’s estimate of $140 million and was the highest on record for an artwork sold at auction.  The previous record setting auction high also occurred at Christie’s and included Francis Bacon’s “Three Studies of Lucian Freud” paid by Elaine Wynn, co-founder of the Wynn casino empire, in November 2013.

Shortly after the winning bid on the Picasso, Alberto Giacometti’s iconic 1947-51 bronze sculpture entitled “L’homme au doigt (Pointing Man)” sold for $141.3 million (including fees), which represented an auction high for any sculpture.

This was the first time that two artworks with estimates of over $120 million each were offered for sale at the same auction.

Spring art auction season has arrived in New York this month.  Earlier this week a Vincent van Gogh painting from 1888 entitled “L’Allée des Alyscamps” was sold to a private collector from Asia for $66.3 million as reported by the Los Angeles Times.  While the sale of van Gogh’s painting depicting an outdoor scene with people and trees surpassed Sotheby’s estimate of more than $40 million, it did not break the auction record for a van Gogh painting, which was set back in 1990 when the Dutch artist’s “Portrait of Dr. Gachet” fetched $82.5 million.

Sotheby’s auction of Impressionist and Modern Art earlier this week generated a total of $368.3 million in successful bids.

This spring’s art auction season in New York will highlight some other highly coveted works, such as Alberto Giacometti’s sculpture entitled “L’Homme au doigt” (Pointing Man), which will be up for auction at Christie’s on Monday.  The iconic sculpture is estimated to sell for around $130 million.

Not to be outdone by its rival, Sotheby’s, as reported here, last week Christie’s in New York surpassed its prior record of $745 million set back in May at Christie’s contemporary art auction and brought in the “highest-ever for an auction” at its recent contemporary art auction “grossing $852.9 million across 75 lots.”  Nearly all of the total 80 lots offered for sale had buyers for a sell-through rate by lot of 94 percent.

The two top lots of the evening were Andy Warhol’s Triple Elvis [Ferus Type] (1960) and Four Marlons (1966) fetching $81.9 million and $69.6 million, respectively.  The third highest lot of the evening, Cy Twombly’s Untitled (1970), sold to a phone bidder for $69.6 million.

Also notable at last week’s contemporary art auction, new artist records were set for 11 artists, including Cy Twombly, Ed Ruscha, Peter Doig, Martin Keppenberger, Sturtevant, and Seth Price.

Christie’s Chairman and International Head of Postwar and Contemporary Art, Brett Gorvy, noted at the press conference following the auction that there were some 500 bidders from 43 different countries and that this was a “collecting-buying pool tonight, rather than dealers.”

For a further recap of last Wednesday evening’s contemporary art auction at Christie’s, click here.