„Elimar“ attributed to Vincent van Gogh, „Snowy Landscape with Ansgars Kirke in Aalborg“ attributed to Henning Elimar.

The following report describes the examination of the painting „Snowy Landscape with Ansgars Kirke in Aalborg“ attributed to Henning Elimar. Comparisons are drawn with the painting “Elimar” attributed to Vincent van Gogh in 2025.

On January 28th, 2025, the LMI Group published a press release announcing the discovery and authentication of a previously unknown painting by Vincent van Gogh. The painting depicting a fisherman was entitled “Elimar” after a literary reference to Hans Christian Andersen.

Attributed to Vincent van Gogh, Elimar (1889). Image courtesy LMI Group International, Inc.
The signature on the Fisherman. Image courtesy LMI Group International, Inc.

A 458-page expert report was craftetd to substantiate the authenticity. The Van-Gogh Museum, Amsterdam, has rejected the painting twice.

While I was researching the case, I discovered several other paintings that were also signed “Elimar”. These were attributed to the Dane Henning Elimar (Aarhus 1928-1989).

Another painting with a comparable signature by an “unknown painter” was auctioned at Dannenberg Auction House in September 2024. This painting was later on offered on a German online platform in January 2025. It is now in our collection.

Signed „Elimar, attributed to Henning Elimar, „Dorf im Winter, snowy landscape“, oil/canvas, ca. 56,5x 48,5 cm (Image: Dr. Pracher, 2025).

The church was identyfied in a „Post -Release Statement on Elimar“, on Feb. 25, 2025, by the LMI Group as „Ansgars Kirke in Aalborg“, which was completed in 1929.

Photo: The Ansgars Kirke in Aalborg, Photo by https://www.ansgarskirken.dk/

If we just look at the other landscape paintings signed „Elimar“, who are attributed to Henning Elimar, one can assume that the „Snowy Landscape with Ansgars Kirke in Aalborg“ is most likely also a work of Henning Elimar (1928-1989). Still, this work needs to be vetted too.

The question remains, whether there is a connection to the „Fisherman Elimar“, attributed to van Gogh. A clue – yet not a proof – could provide the comparison of the signatures. Both show an astonishing resemblance.

Signature on the „Snowy Landscape“ (Image: Dr. Pracher, 2025).
The signature on the „Fisherman“. Image courtesy LMI Group International, Inc.

The several other paintings with the signature “Elimar”, and of course the comments of the Van-Gogh-Museum, led to a heated discussion about the attribution of the „Fisherman“ to Vincent van Gogh among experts and in the press.

The media reportings on the painting

What now?

Several paintings signed “Elimar” are known currently. The “Snowy Landscape with Ansgars Kirke in Aalborg” is available for examination. The results of this examination may provide additional insights that are helpful in the process of attribution.

Let’s take a closer look at the “Snowy Landscape with Ansgars Kirke in Aalborg” attributed to Henning Elimar.

Starting from the so-called temple model (see below), I usually begin with a non-invasive technical examination using visible and raking light to identify the relief and the structure of the paint layer. UV-Fluorescence then is used to determine whether the work has been retouched, painted over or damaged. Infrared-Reflectography and Transmitted Infrared can be used to detect underdrawings in the paint layer and changes in composition. Lesser known non-invasive techniques are infrared fluorescence for the detection of cadmium yellow (after 1840ies) and cadmium red (after 1910) as timestamp. UV-Reflectography is used to distinguish lead white and lithophones from zinc and titanium white and to detect cobalt blue.

Technical examination of the painting „Snowy Landscape with Ansgars Kirke“, attributed to Henning Elimar (1928-1989) (all images: Dr. Pracher, 2025).


Signed „Elimar, attributed to Henning Elimar, „Snowy Landscape“.
Raking light, relief of the paintlayer.
Reverse of the painting „Snowy Landscape“.
Raking light, canvas, detail.
UV-Fluorescence, lightsource 160nm, the paintlayer appears not to be varnished with a recent resin.
Infrared-Reflectography, lightsource 850nm, shows underdrawings in the sky- and center area.
Transmitted Infrared, lightsource 850nm, shows underdrawings in the sky- and center area.
Visible Induced Infrared Fluorescence: Cadmium Yellow (after 1840ies), Cadmium Red (after 1910, here, not confirmed).
UV-Reflectography, it appears, no lead white was used. Used pigment most likely is Zinc- or Titatniumwhite.

Dr. Martin Pracher, Feb. 2025.

Addendum

The so-called Temple model for verification provides relevant aspects for verifying or falsifying an authorship. Various multidisciplinary methods of the Model are used to obtain additional information about the work.

The temple has 4 pillars:

1) Art historical techniques with stylistic criticism and connoisseurship to determine whether the work fits into the oeuvre of the assumed artist,
2) Material science to identify the material used and whether it was already available at the time of the presumed creation,
3) Provenance research to trace the sale history, if possible, and
4) Art technology, to understand the correspondence of the material use with comparable works of the period and the presumed artist. The temple is only stable if all the information from the 4 pillars fits together – if not, the other pillars have to carry more weight or the building will collapse.

MP