In these circumstances, the existence of two different authenticators sharing the Picasso name has generated unnecessary and harmful confusion.“Maya is Picasso’s daughter, but the art world has changed, and we all know how serious this issue has become,” Bernard told in a telephone interview from Brussels, where he lives.
“People have been asking why they have to go to two places just to have a work authenticated.
According to her son Olivier, she is “really not into authentifications these days.” Several dealers and auctioneers contacted by welcomed the announcement of the new Picasso authentication procedure, although they did so cautiously.“Does this clarify things?
Picasso was, by some estimates, one of the wealthiest men in the world when he died, in 1973.
In the early 1980s, after years of legal wrangling and well-publicized squabbling over the settlement of his estate, his heirs established a committee to officially authenticate his works.
But whether her certificates from before this will be honored . Roque died in 1986, and Picasso’s son Paulo (his only legitimate child, born to his first wife, Olga Khokhlova, in 1921) died in 1975.
The surviving heirs are Picasso’s three other children—Maya (born 1935), the daughter of Marie-Thérèse Walter, with whom the artist had a long relationship; Claude (born 1947) and Paloma (born 1949), the children of another long-time mistress, the painter and writer Françoise Gilot; and two grandchildren, Marina (born 1950) and her half-brother, Bernard (born 1959), the children of Paulo.
These revenues, she pointed out, are offset by high legal costs, particularly those incurred in pursuing frequent cases of unauthorized reproduction.
The right to authenticate Picasso’s work, however, is considered an inherited moral right, or to authenticate works by his father, he does so as an individual heir (as does Maya), not in his capacity as the estate administrator.
These five blood relatives span several generations, were raised in different households, and have frequently been estranged from one another and from Picasso himself.
Today, they constitute the Succession Picasso (the estate).
Under French law, an artist’s descendants are presumed to have an innate understanding of—or at least a privileged firsthand familiarity with—the art created by their progenitor, and are thus entitled to issue certificates of authenticity.