Fabricating Value between Mint and Studio Maggie M. Cao (bio) in 1903, a cache of forged paintings was discovered during an investigation of an otherwise insignificant civil lawsuit. Although the group of canvases included imitations of works by such American greats as Winslow Homer and George Inness, it was the falsification of the name Ralph A. Blakelock that most captivated the public. Blakelock, the New York Times explained, was "a victim of incurable dementia, brought on by privation suffered in his struggle for recognition. His pictures once disposed of for a mere song, now fetch high prices, while his wife and several children are having a hard struggle for existence" (1903, 9). Adding insult to injury, the New York Tribune reported that among the forgeries apprehended were paintings by the artist's daughter, Marian Blakelock, which "have had 'R.A.' substituted … in the signature in order that they may seem to be genuine works" (1903, 9). This exposé was just the first of many discoveries of fraudulent Blakelocks that would surface time and again in the press until the artist's death in 1919. The forgeries became so rampant that they eventually prompted an investigation by the New York district attorney. Now largely forgotten, the name Ralph Blakelock was once legendary. Arguably the most famous artist in America during the first two decades of the twentieth century, Blakelock was, according to the print media, as "well known as Rembrandt and Da Vinci" (Atlanta Constitution 1919, 12O). The painter was so respected that when he died, it was reported that even President Woodrow Wilson sent his regrets for not being able to pay his respects in person (New York Times 1919, 11). Blakelock's signature works were nocturnes—dusky or moonlit [End Page 837] scenes executed with a dramatic palette of rich hues and shimmering brushwork. The best of these rose in value during the first years of the twentieth century to become the most expensive paintings by a living American artist ever sold. Brook by Moonlight (Fig. 1), for example, auctioned in 1916 for a record-breaking $20,000, which no doubt invigorated the already active counterfeiting attempts within the art world's criminal underground (Davidson 1996, 195–211). Click for larger view View full resolution Figure 1. Ralph Albert Blakelock, Brook by Moonlight, before 1891. Oil on canvas. Toledo Museum of Art, gift of Mr. and Mrs. Edward Drummond Libbey, 1916.4 [End Page 838] As perhaps the most counterfeited artist in American history, Ralph Blakelock has much to teach us about the history of cons and scams. He was a target for such crimes not because his paintings were necessarily worthy of Rembrandt or Leonardo as his fans proclaimed, but because of the public intrigue surrounding the rapidly changing monetary value of his work and its attendant implications. The case of Ralph Blakelock's brief celebrity is revealing of a period-specific fascination with the trustworthiness of representation, both artistic and monetary. Indeed, it would be impossible even to tell Blakelock's story without consideration of economic contexts—both the ways in which markets determined his fate and the ways in which the artist himself was obsessed with matters of money. Blakelock's tale of cons and scams offers a window into the intersection of artistic and economic duplicity that has long been with us. Blakelock's career as a landscape painter began in New York City in the mid-1860s. As a young man, he traveled to the American West in attempts to replicate the success of expeditionary painters who were making huge sums on their grand views of distant places. Unable to cash in on frontier pictures, Blakelock began painting eerie nocturnes, sometimes Western themed, but they received little attention from critics, leaving the artist with few buyers during his most productive years. In 1899, penniless and desperate with a large family to support, Blakelock suffered an emotional breakdown and committed himself to the Middletown Homeopathic Hospital in upstate New York, where he lived for the next 17 years. While confined, his reputation took a dramatic turn. He was branded the "American Van Gogh" (a shorthand for mad genius), and the National Academy of Design inaugurated...
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