KAHLO NOYOLA COLLECTION REFERENCES - CONTENTS: Noyola's Frida Kahlo collection links to documents concerning the authenticity of the collection of art, letters, notes, papers, memorabilia, and ephemera attributed to Frida Kahlo, owned by Carlos & Leticia Noyola
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Documents of Interest about Claims of Fraud & Fakery of Certain Works Attributed to Frida Kahlo
Christopher Knight, LA Times, BLOG comments on the Fake Frida Dispute, follow-up on the article listed above. September 2009
Fighting over Frida Kahlo: - Christopher Knight, LA Times art critic
"In Mexico, the emergence of work said to be made by the artist has led to a very public debate about its authenticity. The Los Angeles Times' art critic has seen the pieces.
September 6 2009
MARCO Letter: [English Translation] Dolores Olmedo Patino, Rina Lazo, Arturo Estrada, and Arturo Bustos wrote to Fernando Trevino Lopez, Director of MARCO, discussing issues surrounding conflicts of interest and unprofessional conduct in assertions of the authenticity of certain works by Frida Kahlo, naming various troublemakers back in 1992.
Book: The Labyrinth of Frida Kahlo, Church, Friedman, CIAM 2008, provides a detailed look at selected components from the Noyola collection of more than 1200 items attributed to artist Frida Kahlo, Spanish language transcription, English translation, philosophical commentary on Kahlo's attitudes towards death, pain, and ambivalence, research footnotes on people and customs mentioned in the text.
A ver que les parece este Pequeño documental que habla de nuestra colección de F.K.
Book: Finding Frida Kahlo, Levine, Princeton Press 2009, presents a colorful look at the Noyola collection of more than 1200 items attributed to artist Frida Kahlo
Background on the Fake Frida - Noyola Dispute
OPINION - Daniel Friedman
This introduction and the documents listed above discuss the history, provenance, and authenticity of a large, important collection of more than 1200 paintings, drawings, letters, notebooks, notes, and personal mementos attributed to Mexican Artist Frida Kahlo and owned by Carlos Noyola and Leticia Fernandez.
The collection was purchased, studied, and tested by qualified art experts across multiple disciplines for more than four years before its existence was brought to the public by two books, "Finding Frida" (Princeton Press, 2009), and "The Labyrinth of Frida Kahlo" (CIAM Press, 2008).
The authenticity of the collection as well as the character of its owners have both been attacked aggressively and without technical support, studies, or professional analysis by two groups: a group of Frida Kahlo "experts" and gallery owners in New York who have named themselves the sole world authority on the authenticity of Kahlo's works, and the Fideicomiso, a Mexican trust that controls certain art interests in Mexico, and who also claims authority over Kahlo art authentication as well as rights to use of the name "Frida Kahlo" in Mexico.
Remarkably, to date not a single member of these groups has actually seen the collection, not a single member has examined technical authentication studies performed to date, nor has any of this group conducted their own studies that would follow well established procedures for art authentication.
Here we provide background references and information about the Noyola's collection in order to bring to public light a more accurate description of this important and personal material that is in many respects unlike the better-known Frida Kahlo works presently in museums and other private collections around the world.
The items in this collection were never intended by Kahlo for museum display, but rather, the collection is of archival notes, diary entries, drawings and very personal mementos that provide a new, important, and deeper insight into the life, thoughts, opinions, inspirations, and suffering of Frida Kahlo.
The material is replete with details about the life, friends, trips, and experiences of Frida Kahlo in her life with Diego Rivera, extending from early in her life to the time shortly before her death when Kahlo passed on this material to a close personal friend and wood-carver/sculptor Abraham Lopez Jiminez.
The owners have questioned the authority of the Fideicomiso and its qualifications to make any pronouncements about the authenticity of the Noyola/Fernandez discovery, and similarly questioned the pronouncements of the New York specialists who have not only failed to examine the collection, failed to follow any of the professionally accepted steps in art authentication, and who have failed to disclose their own economic conflicts of interest in art authentication.
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