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...Harry J. Hahn of Kansas City had been unable to prove that her heirloom painting was a Leonardo, or that Sir Joseph was guilty of slander when he pronounced it only a graceless copy of Leonardo's La Belle Ferroniére in the Louvre (TIME, Feb. 18 et seq.). Therefore she could not extract $500,000 damages from Sir Joseph. He, on the other hand, had failed to impress the jury with his opinions. Therefore he could not feel the pride appropriate to an international art tycoon...

Author: /time Magazine | Title: Art: Duveen on Da Vinci | 3/11/1929 | See Source »

...Museum here an X-ray picture of the Louvre copy of the disputed painting. Supreme Court Justice Black, desiring to hasten the conclusion of the case, urged that an air-plane be dispatched to bring the negative to New York, where, by a comparison with Mrs. Andree Lardoux Hahn's copy, it might decide which is the original...

Author: NO WRITER ATTRIBUTED | Title: FOGG MUSEUM X-RAY EXPERT MAY DECIDE NEW YORK TRIAL | 3/1/1929 | See Source »

...Hahn Lawyer, stalwart S. Lawrence Miller, grinned. "In short," he suggested, "she has a face like a mask and the rest of her is like a balloon...

Author: /time Magazine | Title: Art: Duveen on da Vinci | 2/25/1929 | See Source »

...Into the courtroom came J. Conrad Hug, the Kansas City art dealer who has twice mortgaged his home to obtain money to combat Sir Joseph. A withered, white, frail little old gentleman, he told how he had arranged the sale of the Hahn painting to the Kansas City museum for $250,000, how the Duveen dictum had quashed the bargain. He said that he dealt in picture frames, paintings and etchings. Sir Joseph's lawyer, Louis S. Levy, was quick, acid. "The picture frames are a very big part of your business, aren't they...

Author: /time Magazine | Title: Art: Duveen on da Vinci | 2/25/1929 | See Source »

Chernoff. The next witness for the plaintiff was Vadim Chernoff, a blond Russian expatriate, a painter of ikons. Excitedly, with an accent like a musical comedian, he dilated for an hour on Renaissance pigmentation, explained both how and what colors were used. He called the Hahn painting "translucent," and the Louvre painting "dirty." Technically he was wise, but Lawyer Levy confounded him with questions on art history and showed that M. Chernoff's advice had rarely, if ever, been sought in weighty controversy. Sir Joseph chuckled as the Chernoff lecture began. Later he gazed into a newspaper with obvious...

Author: /time Magazine | Title: Art: Duveen on da Vinci | 2/25/1929 | See Source »

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