Chapter 26

Jean Michaud placed the golden portrait on an easel. He sat on a stool a few feet away, adjusted his glasses and unscrewed his Mont Blanc. Before writing anything he stared at the picture. His eyes squinted, as he looked closely at all corners.

He walked up to the painting and peered through a giant magnified glass. He ran his fingers across the surface then turned it around and ran his fingers over the back. He made notes at each step. He noticed a small red letter 'x' on the back of the frame. He made a note. He lifted the framed canvass and examined it in the light. He checked the way the canvass was fastened to the stretcher and he wrote quickly. He examined the signature then went back to his writing.

After a considerable time he settled back in his easy chair, facing the painting. Finally he took the painting over to a long table and submitted it to an ultraviolet light. All the time he made notes. With the strong light still on he looked through his magnifying glass and again made a note. Finally he sat at his desk and wrote the following report.

January 14, 1947

From: Dr Jean Michaud
TO: Miss Betty Curry, Curator Metropolitan Museum, New York City.
Subject: Picasso, Portrait of Gertrude Stein, 1906
From the Estate of Miss Gertrude Stein

After careful examination of this portrait, oil on canvass stretcher, 48 x 60 inches, both visually and with the use of ultraviolet light, I came to the conclusion that this Picasso original was in excellent condition and required no restoration whatsoever.

I was surprised to notice feint images below the surface but
concluded that since Picasso was very poor at the time of the painting
he could easily have used canvass that had been used before and
cleaned in a haphazard way.

The images below the surface do not indicate a known shape or color which defeats the notion that the artist could have tried something on this canvass that he later returned to. In essence, the under-painting or what remains of it tells us nothing.

I found a letter 'x' on the back of the stretcher, probably done with crayon. This might have been placed there by almost anyone. I know of no other painting by this artist that contains such markings.
The signature looks authentic based on facsimiles on file.

The paint thickness and brushwork are in keeping with Picasso's style.
In general it appeared to be a creditable work but even though hundreds of people may have seen the painting, there is no provenance. This painting has never been owned by anyone except Miss Stein, nor was it ever on public view.

The documentation that arrived with the painting is from Maitre Pierre Beaude, (Barrister) of Lyons who bears witness that the affidavit of ownership and authenticity is perfectly in order.
I therefore, came to the conclusion that this was indeed the
Picasso portrait of Miss Gertrude Stein painted in 1906 in
Paris, France.

However: Over the years that I have been examining works of art for their authenticity I have had on occasion certain feelings of anxiety. I have had 'hunches' to use a word you know best and these hunches have often proven well-founded.

In this case I was moved by the fact that Miss Stein did live in a gas lit apartment and while there may be traces of soot, I found the painting to be too clean. My examination by auto-radiography showed the pigment to indeed be free of the residues of a gas lit room, although Miss Stein's atelier was very large and with high ceilings.

I was surprised to find the absence of a traditional substance used by this painter, according to our records. For the first few years of Picasso's life in Paris he was in the habit of using a color which is referred to as SPANISH BLACK. This is made from charcoal produced by burning cork; also known as cork black.

He also used SPANISH RED which is a course red iron oxide pigment found in cheap Spanish paints. Picasso, as I said, was very poor at this time yet the background of this painting utilizes much red but only red paint sold in many shops in Paris in the years after World War I.
I conclude the same about the black. These paints were applied to linen canvass that was very expensive in 1906.

I question the use of this material although it IS possible that the artist did acquire this material by finding a discarded painting done by another artist. This would also explain the under painting, dim as it is.
Finally, I noticed that the vice grip marks on the back were the type used later than 1906. These may have been made by Miss Stein but were certainly NOT made by Picasso.

CONCLUSION:

It is my conclusion that this painting could have been done by Picasso and the possibilities far outweigh the reasons that I hesitate. I recommend that the painting be returned to Europe for authentication by the painter or the last person to see it before it was crated and shipped.

My research tells me that that person is Miss Stein's constant companion, Miss Alice Babette Toklas who resides at 5 rue Christine in the 6th arrondissement of Paris.

Respectfully submitted,
Dr. Jean M Michaud
Dept of Authentication.

Michaud reread the report, placed it in an envelope and reached for the phone. "Dr Michaud calling Betty Curry, please "
After a moment's delay a voice said," Miss Curry speaking."

Dr Michaud cleared his throat. "Miss Curry, I would like to meet with you as soon as possible. It is a matter of some urgency."
"I see, "replied the curator. Her emotions could not be detected.
"I believe the Director should be present."
"Bad news?" she asked.
"Possibly," the good doctor replied.
"I'll get back to you immediately," came the reply. Then the phone went dead.

The meeting was in the director's office at precisely 2 PM. There were handshakes and the director's secretary brought in both hot and cold drinks which she left on a side table.
"Will there be anything else?" she inquired.
"No thank you," he replied. "Please hold all my calls."
Betty Curry began immediately.

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