Key Takeaways
- • Discovery Event: Connecticut auto mechanic Jared Whipple recovered hundreds of canvases from a dumpster at an abandoned barn in Watertown, Connecticut in September 2017, with each piece individually wrapped in plastic and in recoverable condition despite debris and mold exposure.
- • Artist Attribution & Valuation: The canvases were created by Francis Mattson Hines, a recognized New York art world figure who gained prominence for wrapping the Washington Square Arch in geometric fabric patterns in 1980; the recovered collection is now valued at millions of dollars.
- • Research Timeline: Whipple spent four years conducting research to identify the artist and authenticate the works, a process complicated by Hines' diminished public profile following his death in 2016, despite documented recognition in books and documentaries.
- • Asset Recovery: The artwork, featuring bold, colorful displays of car parts, survived potential destruction and landfill disposal, representing a significant recovery of undiscovered cultural and monetary assets.
Summary
In September 2017, Connecticut auto mechanic Jared Whipple received a call from an acquaintance regarding an abandoned barn in Watertown containing large canvases depicting automotive imagery. Recognizing alignment with his professional background and personal interest in vintage collectibles, Whipple traveled to the location, only to discover the entire collection had already been discarded into a dumpster destined for landfill. Despite initial disposal, each canvas remained individually wrapped in plastic, allowing for preservation of the works despite exposure to debris and mold.
Upon unwrapping several pieces to assess their condition, Whipple observed that the artworks demonstrated both exceptional technical quality and impeccable construction. This discovery prompted him to investigate the artist's identity, initiating a research effort that would ultimately span four years. The extended timeline reflected the obscurity of the creator's contemporary profile, despite historical significance within specialized art circles.
Whipple's research ultimately identified the collection as the work of Francis Mattson Hines, a notable figure in the New York art establishment whose career achieved prominence through large-scale public installation work, most notably the geometric fabric wrapping of the Washington Square Arch in 1980. While Hines' contributions had been documented in published books and documentaries, his public recognition had substantially diminished by the time of his death in 2016. According to the Mattatuck Museum, this erosion of contemporary awareness explained the initial difficulty in attribution. Upon final identification, Whipple observed that "not only was this artist a 'someone,' but he was even more well known in the New York art world than we could ever have imagined."
The recovered collection is now valued at millions of dollars, representing a substantial asset recovery from what would otherwise have constituted permanent loss to cultural and monetary value. The discovery underscores the persistence of undocumented artistic inventory and the market potential for works by established artists whose recognition has temporarily lapsed.
Upon unwrapping several pieces to assess their condition, Whipple observed that the artworks demonstrated both exceptional technical quality and impeccable construction. This discovery prompted him to investigate the artist's identity, initiating a research effort that would ultimately span four years. The extended timeline reflected the obscurity of the creator's contemporary profile, despite historical significance within specialized art circles.
Whipple's research ultimately identified the collection as the work of Francis Mattson Hines, a notable figure in the New York art establishment whose career achieved prominence through large-scale public installation work, most notably the geometric fabric wrapping of the Washington Square Arch in 1980. While Hines' contributions had been documented in published books and documentaries, his public recognition had substantially diminished by the time of his death in 2016. According to the Mattatuck Museum, this erosion of contemporary awareness explained the initial difficulty in attribution. Upon final identification, Whipple observed that "not only was this artist a 'someone,' but he was even more well known in the New York art world than we could ever have imagined."
The recovered collection is now valued at millions of dollars, representing a substantial asset recovery from what would otherwise have constituted permanent loss to cultural and monetary value. The discovery underscores the persistence of undocumented artistic inventory and the market potential for works by established artists whose recognition has temporarily lapsed.
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