Authentication in Art: Philippe Koutouzis on T'ang Haywen's Signatures

Authentication in Art (AiA) is a platform that brings together professionals from the art world to promote best practices in the authentication of artworks. During the 2016 AiA congress, Philippe Koutouzis delivered a lecture on the expertise of T'ang Haywen's signatures. In June 2018, AiA announced the creation of a Court of Arbitration for Art to facilitate the resolution of art-related disputes, particularly those concerning authenticity. Below is an account of Koutouzis's speech, titled Expertise of the Signatures of T'ang Haywen (1927–1991).

T'ang Haywen was a Chinese painter who belonged to the second generation of Chinese artists in post-WWII Paris. Born in Fujian Province in 1927, he moved to Paris in 1948, where he lived until his death in 1991. Koutouzis began studying T'ang's work in 1992-1993 and, in 1994, decided to compile the catalogue raisonné of his oeuvre. Unlike his contemporaries Chu Teh-Chun and Zao Wou-Ki, T'ang did not seek fame, fortune, or the revival of Chinese painting. Instead, he pursued a life of artistic freedom, breaking away from societal and familial pressures. Officially in Paris to study medicine, T'ang taught himself to paint, drawing inspiration from his early training in calligraphy with his grandfather. Koutouzis illustrated T'ang's artistic evolution through several key works:

• A hesitant depiction of Paris's Pont Neuf, influenced by Albert Marquet.

• A small oil painting on newspaper, blending Chinese aesthetics with the humility of Paul Klee.

• A bold self-portrait showcasing T'ang's confident use of color.

• An Homage to Cézanne, capturing the "moment in the eye of the painter."

• A reinterpretation of Gauguin's group of women, imbued with a religious dimension.

• A self-portrait inspired by Van Gogh, with a horizontally flipped composition.

These works marked T'ang's early exploration of oil painting, but he soon transitioned to ink and watercolor on standardized formats, particularly the 70x100 cm diptychs made from two 70x50 cm sheets. T'ang's commitment to artistic freedom and his rejection of commercial success positioned him as a modern-day hermit painter, akin to Shitao or Bada Shanren.

However, this freedom also posed challenges for the study and authentication of his work. When T'ang died without a will or known heirs, the French State ordered the chaotic auction of his belongings in 1992–1993. These sales were conducted without catalogues, images, or documentation, creating significant confusion. Many works, including diptychs and triptychs, were sold incomplete, and some dealers later created a "studio stamp" to establish provenance. While well-intentioned, this stamp lacked legal oversight and further muddied the waters.

To address this disorder, Koutouzis adopted a scientific and methodical approach. He located T'ang's family in China, re-established the succession line, and secured the copyright to T'ang's work. He compiled extensive documentation, including dated paintings, postcards, administrative records, and correspondence, to trace the evolution of T'ang's signature over four decades. This research revealed inconsistencies in certain signatures, leading to the identification of forgeries.

Collaborating with handwriting expert Suzanne Schmitt and forensic scientist Dr. Jaap Boon, Koutouzis used advanced tools like the Hirox microscope to analyze signatures. Key differences between authentic and apocryphal signatures included:

1.    The continuity between Roman letters and Chinese characters.

2.    The positioning of "'ang" relative to the base of the "T."

3.    The pause in the top part of the character "hay."

4.    The correct inclusion of a dot in the character "wen."

5.    The overall balance and movement of the signature.

These findings underscored the forger's lack of understanding of Chinese calligraphy and T'ang's unique style. Recent attempts to forge signatures on artificially aged paper have also been clumsy and easily detectable.

Koutouzis emphasized that a work bearing a fake signature, even if the painting itself is authentic, is legally considered a forgery. Removing a fake signature often damages the artwork, especially when the signature is integral to the composition.

In conclusion, Koutouzis reflected on the challenges of compiling a catalogue raisonné, describing it as a "thankless job" but one that is essential for preserving an artist's legacy. Despite the difficulties, he remains committed to the pursuit of accuracy and the discovery of T'ang Haywen's hidden masterpieces.