The Linseed Scent That Exposed a Seven‑Year Flemish Forgery
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The Linseed Scent That Exposed a Seven‑Year Flemish Forgery
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The linseed smell in a rented carriage house led a meter reader to photograph a small Flemish panel 18 by 24 inches and call it in - a single scent that would unspool a seven-year deception. The work had been recorded at the Kessler Foundation since 1961 as an oak‑panel Adriaan van der Steen; why was a poplar panel on a workbench smelling of fresh oil instead?
In this episode, we follow the discovery, the institutional records, and the investigators who tracked the mismatches in materials and paperwork to a workshop and two restorers. How did a painting logged in 1961, stored in a climate-controlled sub-basement, end up on poplar with fresh linseed and a rented lease across town?
Person: Michael Allen
Date: approximately April 3, 2019
Location: Kessler Foundation sub-basement; Fenwick Trace carriage house
Event: Photograph of an 18x24 inch painting found on a worktable
Person: Tracy Padgett
- The painting measured 18 by 24 inches and depicted a woman at a window with a ceramic ewer.
- The Kessler Foundation acquired Woman at Casement with Ewer in 1961 and last conservation review was in 1988.
- The most recent catalog photograph of the painting’s surface dated to 1994 and was digitized in 2015.
- Warren Burns purchased poplar panels, animal-hide glue, lead white, walnut oil, and linseed oil between 2013 and 2017 while recording no client billings.
- The crate’s 2019 seals were intact but the panel inside was poplar, while 1983 documentation specified oak.
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