Bibliography – Copies, Fakes, & Forgeries

For further information on the fascinating world of copies, fakes, and forgeries, explore this bibliography. Just click a category in the table of contents to be taken directly to that section of the bibliography.

Copies, Fakes, and Forgeries

Copies: General

Copies: Studying Art and Masters Copying Masters

Copies: Reproductions

Copies: Las Meninas

Fakes: General

Forgeries: General

Forgeries: The Fortune Teller

Forging and Archaeology: Arthur Evans and Heinrich Schliemann

Forgeries: Attribution/authorship

Forgeries: Criminology and Legal Systems

Determining Authenticity and Detecting Forgeries: General

Determining Authenticity and Detecting Forgeries: Forensics Testing

Determining Authenticity and Detecting Forgeries: Provenance

Determining Authenticity and Detecting Forgeries: Connoisseurship

Films

Podcasts

Databases

Exhibitions

Copies, Fakes, and Forgeries

The Art Newspaper. “Dispatches from the Archive: Fakes and Forgeries.” The Art Newspaper. Database.

Baines, Robert. The Copy Book of Copies: Fabulous Follies, Frauds and Fakes. North Melbourne: Australian Scholarly Publishing, 2012.

Jackson, Penelope. Art Thieves, Fakers and Fraudsters: A New Zealand Story. Wellington, New Zealand: AWA Books, 2016.

Moses, Nancy. Fakes, forgeries, and frauds. Lanham, MD: Rowan & Littlefield, 2020.

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Copies

Agence-France Presse in Rome, “Police find stolen Leonardo copy museum did not know was missing.” The Guardian, 19 January 2021.

Ashley, Kathleen and Véronique Plesch. “The Cultural Processes of Appropriation.” The Cultural Processes of Appropriation. Special issue of the Journal of Medieval and Early Modern Studies 32.1 (2002): 1–15.

Baudrillard, Jean. Simulacra and Simulation. Trans. Sheila Faria Glaser. Ann Arbor: University of Michigan Press, 1994.

Belting, Hans. Likeness and Presence: A History of Image Before the Era of Art. Chicago: University of Chicago Press, 1993.

Bosker, Bianca. Original Copies: Architectural Mimicry in Contemporary China. Hong Kong: Hong Kong University Press, 2013.

Holland, Oscar. “Mona Lisa for $60K? The curious market for Old Masters replicas.” CNN, 24 January 2020.

Kinney, Dale. “Instances of Appropriation in Late Roman and Early Christian Art,” Essays in Medieval Studies 28 (2012): 1-22.

Lin, Wei-Cheng. “Authentic Replicas: Buddhist Art in Medieval China, by Hsueh-man Shen.” Review of Authentic Replicas: Buddhist Art in Medieval China, by Hsueh-man Shen. The Art Bulletin 102.3 (19 August 2020): 135–38.

Macioszek, Amelia. “Copy, Imitation, Transformation, Translation or Adaptation? Terminological Entanglements Around Describing Derivative Works.” Newest Art History: 18. Tagung des Verbandes österreichischer Kunsthistorikerinnen und Kunsthistoriker (2017): 87–104, 266–267.

Miller, Rod. “Jens Fredrick Larson and Colonial Revival.” In Richard Guy Wilson, Shaun Eyring, and Kenny Marotta, Re-creating the American Past: Essays on the Colonial Revival. Charlottesville: University of Virginia Press, 2006. 52-66.

Nelson, Robert S. “Appropriation.” In Critical Terms for Art History. Ed. Robert S. Nelson and Richard Shiff. Chicago: University of Chicago Press, 1996. 160–73.

Perry, Ellen. The Aesthetics of Emulation in the Visual Arts of Rome. Cambridge: Cambridge University Press, 2005.

Plesch, Véronique. “The Anxiety of the Copy: Uniqueness and Reproduction in Hergé’s Le Sceptre d’Ottokar.” In Reproducing Images and Texts / La reproduction des images et des textes. Ed. Philippe Kaenel and Kirsty Bell. Amsterdam: Brill, 2021. 387-400.

Plesch, Véronique. “On Appropriations.” In Crossing Borders: Appropriations and Collaborations. Special issue of Interfaces 38 (2016–17). 7–38.

Schwartz, Hillel. The Culture of the Copy: Striking Likenesses, Unreasonable Facsimiles. Revised and updated ed. New York: Zone Books, 2014.

Shen, Hsueh-man. Authentic Replicas: Buddhist Art in Medieval China. Honolulu: University of Hawai’i Press, 2018.

Vikan, Gary. “Ruminations on Edible Icons: Originals and Copies in the Art of Byzantium.” Studies in the History of Art, 20 (1989), 47-59.

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Copies: Studying Art and Masters Copying Masters

Currie, Christina, Dominique Allart, The Brueg[H]el Phenomenon: Paintings by Pieter Bruegel the Elder and Pieter Brueghel the Younger with a Special Focus on Technique and Copying Practice. Brussels: Institut royal du Patrimoine artistique, 2012.

Freedberg, David. “Rubens and Titian: Art and Politics.” In Titian and Rubens: Power, Politics and Style. Ed. Hilliard T. Goldfarb, David Freedberg, and Manuela B. Mena Marqués. Boston: Isabella Stewart Gardner Museum, 1998. 29–66.

Hansen, Morten Steen. In Michelangelo’s Mirror: Perino Del Vaga, Daniele Da Volterra, Pellegrino Tibaldi. University Park, PA: Pennsylvania State U, 2013.

Morelli, Giovanni (Ivan Lermonlieff). Kunstkritische Studien über italienische Malerei. I. Die Galerien Borghese und Doria Panfili in Rom. Leipzig: F. A. Brockhaus, 1890. English: Italian Painters: Critical Studies of their Works. Trans. Constance Jocelyn Ffoulkes. Vol. 1 The Borghese and Doria-Pamfili Galleries in Rome. London: J. Murray, 1893.

Piles, Roger de. 1699. Abrégé de la vie des peintres, avec des reflexions sur leurs ouvrages, et un Traité du peintre parfait; De la connoissance des desseins; De l’utilité des estampes. English: The Art of Painting and the Lives of the Painters: Containing, a Compleat Treatise of Painting, Designing, and the Use of Prints. London: J. Nutt, 1706.

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Copies: Reproductions

Benjamin, Walter. “The Work of Art in the Age of its Technological Reproducibility: Third Version.” In Walter Benjamin: Selected Writings, Volume 4: 1938–1940. Trans. Edmund Jephcott and Howard Eiland. Ed. Howard Eiland and Michael W. Jennings. Cambridge, MA: Harvard University Press, 2003. 251–83.

Benjamin, Walter. “The Work of Art in the Age of Mechanical Reproduction,” in Walter Benjamin, Illuminations, ed. Hannah Arendt, trans. Harry Zohn, London, 1970, pp. 217-5.

Buskirk, Martha. “How Much Rodin Is Too Much?” Fooled by Art, 5 September 2020.

Carrier, David. “The Work of Art in the Age of the Internet.” Hyperallergic, 16 May 2020.

David S. Areford, The Viewer and the Printed Image in Late Medieval Europe, Aldershot, 2010, 9-10.

Emison, Patricia. “The Replicated Image in Florence, 1300-1600,” in Renaissance Florence: A Social History, ed. Roger J. Crum and John T. Paoletti, Cambridge, 2006. 431-53, 606-13.

Fawcett, Trevor. “Reproduction of Works of Art.” Grove Art Online. 21 March 2000.

Kaenel, Philippe and Kirsty Bell. La reproduction des images et des textes/Images and texts reproduced. Amsterdam: Brill. Forthcoming.

Karol, Peter. “Why Did the Guggenheim Decommission a Donald Judd?” Hyperallergic, May 31, 2020.

Kraus, Rosalind. “1977.” In Hal Foster et al. Art Since 1900: Modernism, Antimodernism, Postmodernism. 2^nd ed. New York: Thames & Hudson, 2011. 624–27.

Lending, Mari. Plaster Monuments Architecture and the Power of Reproduction, Princeton: Princeton University Press, 2017.

Peter Parshall, “Introduction: The Modern Historiography of Early Printmaking,” in Peter Parshall (ed.), The Woodcut in Fifteenth-Century Europe, New Haven, 2009, 9-15, 12-13.

Sansom, Anna. “Musée Rodin in Paris casts new bronzes to offset losses from Covid-19 crisis.” Art Newspaper, 8 July 2020.

Saurländer, Willibald. “From Stilus to Style: Reflections on the Fate of a Notion.” Art History 6.3 (1983): 253-70, 263.

Zchomelidse, Nino. “The Aura of the Numinous and Its Reproduction.” Memoirs of the American Academy in Rome 55 (2010): 221–62.

Fucci, Robert. Rembrandt’s Changing Impressions. With a foreword by David Freedburg. New York: Columbia University; Cologne: Verlag der Buchhandlung Walther König, 2015. Published in conjunction with the exhibition of the same name, shown at the Miriam & Ira D. Wallach Gallery, Columbia University in the City of New York.

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Copies: Las Meninas

Furmana, Monika. “Las Meninas, after Diego Velazquez” oil and acrylic on canvas, 1656. Saatchi Art.

Museu Picasso de Barcelona. “The chronology of Las Meninas of Picasso.” El Blog de Museu Picasso de Barcelona (August 2015).

Witkin, Joel-Peter. “Las Meninas (Self-Portrait after Velázquez)” gelatin silver print on paper, 1987. Museo Nacional Centro De Arte, Madrid, Spain.

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Fakes

Bailey, Martin. “Art Institute of Chicago Gauguin sculpture is fake: The Bolton fraud.” The Art Newspaper, 1 January 2008.

–––– “At least 45 Van Goghs may well be fakes: The Art Newspaper investigates.” The Art Newspaper, 1 July 1997.

–––– “Expert warned Getty Museum that its newly purchased Gauguin sculpture was a fake, new article reveals.” The Art Newspaper, 3 February 2021.

–––– “The Van Gogh fakes scandal: the tally one year later.” The Art Newspaper, 30 June 1998.

–––– “Two trunkloads of fake Iraqi antiquities seized by UK customs.” The Art Newspaper, 5 May 2020.

–––– “Two US Museums Plan to Investigate Their Gauguins after Amateur Art Sleuth Says They Are Fake.” The Art Newspaper, July 31, 2020.

–––– “Two Van Gogh fakes in Washington? Strong evidence produced against early drawings at the National Gallery of Art.” The Art Newspaper, 30 October 2020.

Brown, Mark. “’Fake’ Rembrandt Came from Artist’s Workshop and Is Possibly Genuine.” The Guardian, 30 August 2020.

Charney, Noah. “You avoid fake designer handbags and watches, but what about furniture?” The Washington Post, 11 April 2017.

Chaucer, Geoffrey. “The Pardoner’s Tale.” In The Canterbury Tales. Trans. Nevill Coghill. Baltimore: Penguin Books, 1960. 260-274.

Drayman-Weisser, Terry. “From fake to fabulous: Redeeming fakes at the Walters Art Museum.” Objects Specialty Group Postprint 14 (2007): 90-109.

Foord, Roland, and Caleb Bompas. “No more knock off Eames.” Stephenson Harwood LLP, 9 September 2016.

Geiger-Oneto, Stephanie. “Elite Brands and their Counterfeits: A Study of Social Motives for Purchasing Status Goods.” Order No. 3257318 University of Houston. Proquest (2007).

Hickley, Catherine. “A Museum Puts Its Fakes on Show.” The New York Times, 30 September 2020.

Holtorf, Cornelius, “Perceiving the Past: From Age Value to Pastness.” International Journal of Cultural Property 24 (2017): 497–515.

Huxtable, Ada Louise. The Unreal America: Architecture and Illusion. New York: New Press, 1997.

Jacobs, Jennifer, Nick Wadhams, and Katya Kazakina. “Trump Ended 2018 France Trip Having Art Loaded on Air Force One” Bloomberg 6 September 2020.

Kanter, Daniel. “Real vs. Fake: The Eames Lounge.” Daniel Kanter, 25 March 2013.

Malo, Robyn. “The Pardoner’s Relics (And Why They Matter the Most).” The Chaucer Review 43.1 (2008): 82-102.

Norton, Paul. “Lost Sleeping Cupid of Michelangelo.” Art Bulletin 39.4 (1957): 251–57.

OECD/EUIPO, “Trends in Trade in Counterfeit and Pirated Goods.” OECD/EUIPO, March 2019.

Orvell, Miles. The Real Thing: Imitation and Authenticity in American Culture, 1880–1940. Chapel Hill: University of North Carolina Press, 1989.

Stoilas, Helen. “History’s greatest forgers.” The Art Newspaper, 4 September 2020.

Tartt, Donna. The Goldfinch. New York, NY: Back Bay Books, 2015.

Thompson, Erin. “The True Cost of Museum Fakes.” Hyperallergic. 26 March 2020.

Toews, Rob. “Deepfakes Are Going To Wreak Havoc On Society. We Are Not Prepared.” Forbes. May 25, 2020.

U.S. Department of Homeland Security: Combating Trafficking in Counterfeit and Pirated Goods (2020).

van Os, Henk. “Fakes and their Significance for Cultural History.” Studies in Early Tuscan Painting. London: Pindar Press, 1992. 18–38.

Wagner, Kate. “How Normie Minimalism and Farmhouse Chic Took Over Contemporary Design.” Hyperallergic. May 31, 2020.

Zalewski, Daniel. “The Factory of Fakes: How a workshop uses digital technology to craft perfect copies of threatened art.” The New Yorker, 28 November 2016.

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Forgeries

Alberge, Dalya. “The Art of Deception.” Financial Times. 21 October 2016.

Artful Deception: The Craft of the Forger. Walters Art Gallery, 1988.

Backhouse, Janet. “The ‘Spanish Forger,’” British Museum Quarterly 33.1/2 (1968): 65–71.

Bailey, Martin. “’The Biggest Contemporary Art Fraud of the Century’.” The Art Newspaper, 1 March 1999.

Blakemore, Erin. “This Ancient Egyptian Masterpiece Might Be Fake.” Smithsonian, 1 April 2015.

Buffenstein, Alyssa. “5 Things to Know About Britain’s Most Notorious Art Forger.” Artsy. 31 May 2017.

Catterson, Lynn. “Michelangelo’s ‘Laocoön?’ Artibus et Historiae 26.52 (2005): 29–56. (see Kathryn Shattuck, “Is ‘Laocoon’ a Michelangelo forgery?” New York Times 20 April 2005, http://www.nytimes.com/2005/04/20/arts/is-laocoon-a-michelangelo-forgery.html and Jonathan Jones, “Nest of vipers” The Guardian 27 April 2005 https://www.theguardian.com/culture/2005/apr/27/1)

Charney, Noah. The Art of Forgery: The Minds, Motives and Methods of Master Forgers. London: Phaidon, 2015.

Davis, Serena. “The Forger Who Fooled The World.” The Telegraph. 2016.

Dolnick, Edward. “How Mediocre Dutch Artist Cast ‘The Forger’s Spell.” NPR, 12 July 2008.

“Fernand Legros, Dealer In Art.” Ny Times Archives. 1983.

Grafton, Anthony. Forgers and Critics: Creativity and Duplicity in Western Scholarship. Princeton: Princeton University Press, 1990.

Hickey, Catherine. “Forgery, drugs and sex abuse in the Canadian art world exposed in new documentary.” The Art Newspaper. 6 April 2020.

Hills, Ben. “A brush with fame.” Internet Archive Wayback Machine. July 18, 1998.

Hergé. Tintin et l’Alph-Art. Tournai: Casterman, 1986. English: Tintin and Alph-Art. Trans. Leslie Lonsdale-Cooper and Michael Turner. London: Methuen, 1990.

Horberry, Max. “The Artist Beneath The Art Forger.” New York Times, 21 February 2020.

International Arts and Artists. “Elmyr de Hory.” Intent to Deceive: Fakes and Forgeries in the Art World. http://www.intenttodeceive.org/forger-profiles/elmyr-de-hory/

Janson, Jonathan. “Han van Meegeren’s Fake Vermeers.” Essential Vermeer 3.0. 8 May 8 2021.

“John Myatt About.” John Myatt The Artist. May 8, 2021.

Jones, Mark, ed. Fake? The Art of Deception. Berkeley, CA: University of California Press, 1990.

Kaplan, Isaac. “The ‘Getty Kouros’ Was Removed From View At The Museum After It Was Officially Deemed To Be A Forgery.” Artsy.Net., 2018.

Kraus, Rosalind. “The Originality of the Avant-Garde: A Postmodernist Repetition.” October 18 (1981): 47–66.

Kuesel, Christy. “The prolific forger whose fake Old Masters fooled the art world.” CNN. 24 October 2019.

Landesman, Peter. “A 20th-Century Master Scam (Published 1999).” New York Times. (1999).

Lenain, Thierry. Art Forgery: The History of a Modern Obsession. London: Reaktion Books, 2011.

McGreevy, Nora. “Why Scholars Are Skeptical of Claimed Rediscovery of Lost Frida Kahlo Masterpiece.” Smithsonian.com. Smithsonian Institution, July 6, 2020.

Neuendorf, Henri. “Notorious Forger Wolfgang Beltracchi Is Making Millions since Going Legit.” Artnet, 15 May 2015.

Noce, Vincent. “Seller contests having to repay Sotheby’s for allegedly forged Frans Hals.” The Art Newspaper, 16 November 2020.

Perenyi, Ken. Caveat Emptor: The Secret Life of an American Art Forger. Newy York, NY: Pegasus Books, 2013.

Pierce, Brienne. “Wolfgang Beltracchi The World’s Most Famous Art Forger.” The Culture Trip. 28 December 2016.

Polsky, Richard. “Looking to Buy a Masterpiece? You Might Want to Be Extra Careful With These 20 Forger-Friendly Bodies of Work by Famous Artists.” Artnet, 24 November 2020.

Schutten, Henk. “Master Forger Geert Jan Jansen on trial in France.” Internet Archive Wayback Machine. 26 September 2000.

Vikan, Gary. “Illuminating the Tricks and Methods of the Art Forger.” The Chronicle of Higher Education, 36/24 (1990): End Paper.

Vikan, Gary. “A Group of Forged Byzantine Miniatures.” Aachener Kunstblätter, 48 (1978/1979): 53-70.

Voelkle, William and Roger S. Wieck. The Spanish Forger. New York: Pierpont Morgan Library, 1978.

Winship, Frederick M. “The Art World: Fake bronzes flood market.” Internet Archive Wayback Machine. 16 August 2002.

Yau, John. “The Original Forger of Magic.” Hyperallergic, 1 August 2020.

Zapata, Mariana. “How a Forged Sculpture Boosted Michelangelo’s Early Career.” Atlas Obscura, 1 November 2016.

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Forgeries: The Fortune Teller

Glueck, Grace. “The Furor Over the Met’s La Tour: News Analysis.” New York Times, 24 March 1982.

Metropolitan Museum of Art. “Metropolitan Museum announces purchase of The Fortune Teller, masterpiece by French 17^th century painter Georges de La Tour.” Press release, 8 June 1960.

Wright, Christopher and Diana de Marly. “Fake?” Connoisseur 205.823 (September 1980): 22–25.

Wright, Christopher. “Cheat? Connoisseur 205.826 (December 1980): 230–31.

–––. The Art of the Forger. New York: Dodd Mead, 1985.

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Forging and Archaeology: Arthur Evans and Heinrich Schliemann

Allen, Susan Heuck. Finding the Walls of Troy: Frank Calvert and Heinrich Schliemann at Hisarlik. Berkeley: University of California Press, 1999.

Calder, William M., and David A. Traill ed. Myth, Scandal, and History: The Heinrich Schliemann Controversy and a First Edition of the Mycenaean Diary. Detroit: Wayne State University Press, 1986.

Chi, Jennifer Y., ed. Restoring the Minoans: Elizabeth Price and Sir Arthur Evans. New York: Institute for the Study of the Ancient World at New York University, 2017.

Fotiadis, Michael. “Aegean Prehistory without Schliemann.” In Hesperia: The Journal of the American School of Classical Studies at Athens 85, no. 1 (2016): 91-119.

Gere, Cathy. Knossos and the Prophets of Modernism. Chicago: The University of Chicago Press, 2009.

Lowenthal, David. The Past is a Foreign Country. Cambridge: Cambridge University Press, 1985.

Schoep, Ilse. “Building the Labyrinth: Arthur Evans and the Construction of Minoan Civilization.” American Journal of Archaeology vo. 122, no. 1 (Jan. 2018): 5–32.

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Forgeries: Attribution/authorship

Castelnuovo, Enrico. “Attribution.” Encyclopædia Universalis 2 (1968): 780–83.

Lidova, Maria. “Manifestations of Authorship: Artist’s signatures in Byzantium.” Venezia Arti 26 (2017): 89-106.

van de Wetering, Ernst. A Corpus of Rembrandt Paintings VI: Rembrandt’s Paintings Revisited – A Complete Survey. Dordrecht: Springer, 2014. Concluding volume of A Corpus of Rembrandt Paintings presents a revised, chronologically ordered survey of Rembrandt’s entire oeuvre of 336 paintings; see, in particular the first two chapters: “What is a Rembrandt? A personal account,” 1–53 and “What is a non-Rembrandt?” 55–60.

Wright, Christopher. “The Rembrandt Research Project and its Denouement.” Burlington Magazine 157.1343 (2015).

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Forgeries: Criminology and Legal Systems

Cascone, Sarah. “The FBI Just Raided A Major Art-Forgery Ring Operating Out Of A Michigan Barn That Duped Top Experts.” Artnet News. (2020).

Del Valle, Gaby. “Why Is Art So Expensive?.” Vox. (2019).

Durney, Mark, and Blythe Proulx. “Art Crime: A Brief Introduction.” Crime, Law And Social Change 56 (2). (2011): 115-132.

Durrani, Anayat. “Taking On Art Fraud.” Plaintiff Magazine. (2011).

Hardy, Peter D. “Art And Money Laundering.” The National Law Review XI.

Kahn, David. “More Than Money: Inside The Knoedler Art Fakes Scandal.” Observer. (2016).

“Organised Crime Infiltrates Art World.” YLE (2013).

Osborne, Louise. “Multi Million-Pound International Art Forgery Ring Busted, Say German Police.” The Guardian. (2013).

Peltier, Elian, and Anna Codrea-Rado. “French Museum Discovers More Than Half Its Collection Is Fake.” New York Times. (2018).

Pilon, Mary. “Art Forgery Is Easier Than Ever, And It’s A Great Way To Launder Money.” VICE. (2017).

Shortland, Anja & Andrew. “Governance under the shadow of the law: trading high value fine art.” Springer Link (September 20, 2019): 157-174.

Thornton, Sarah. “How Has 2020 Impacted The Global Art Market?” BRINK – News And Insights On Global Risk. (2020)

United States Department of Justice. “Art Dealer Pleads Guilty In Manhattan Federal Court To $80 Million Fake Art Scam, Money Laundering, And Tax Charges.” United States Department of Justice. (2013).

Wurtenbeger, Thomas. “Criminal Damage To Art – A Criminological Study.” Depaul University 14 (1) (1964): 83-92.

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Determining Authenticity and Detecting Forgeries

Gopnik, Blake. “The NFT craze encapsulates the absurdity of the art world––and its obsession with authenticity.” The Art Newspaper, 1 March 2021.

Lenain, Thierry. “Authenticity.” Grove Art Online, 1 July 2019.

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Determining Authenticity and Detecting Forgeries: Forensics Testing

Coles, Davis. “The surprisingly beautiful science behind how paint is made.” CNN. 9 May 2019.

Feller, Robert L., ed. Artists’ Pigments: A Handbook of Their History and Characteristics. Vol. 1. Washington, D.C.: National Gallery of Art Publishing Office, 1986.

FitzHugh, Elisabeth West., ed. Artists’ Pigments: A Handbook of Their History and Characteristics. Vol. 3. Washington, D.C.: National Gallery of Art Publishing Office, 1997.

“Forensics Analysis of Artwork and other Documents.” Bruker.

Hartin, Debra Daly. “Know Your Paintings – Structure, Materials and Aspects of Deterioration.” Canadian Conservation Institute. 17 October 2002.

Hodgins, Gregory. “Identifying art forgeries by radiocarbon dating microgram quantities of artist’ paints.” PNAS 116.27 (July 2019): 13158-13160.

“Hyperspectral Imaging for Art Conservation.” Surface Optics Corporation.

Murray, Elizabeth. Forensic History. Season 1, episode 8, “Frauds and Forgeries,” 2014.

Porter, Jon. “Gaze in wonder at this astonishingly high-res scan of an iconic painting.” The Verge. 21 January 2021.

Roy, Ashok, ed. Artists’ Pigments: A Handbook of Their History and Characteristics. Vol. 2. Washington, D.C.: National Gallery of Art Publishing Office, 1993.

Tite, M.S., Raymond White, Michael Duffett, R.W.A. Dallas, Graham Saxby, and Marion Kite. “Technical Examination.” Grove Art Online. 2003.

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Determining Authenticity and Detecting Forgeries: Provenance

Reed, Victoria. “Provenance.” Grove Art Online. 26 May 2016.

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Determining Authenticity and Detecting Forgeries: Connoisseurship

Castelnuovo, Enrico, Jaynie Anderson, Stephen B. Little, Christine M. E. Guth, S. N. Chaturvedi, Anna Tummers. “Connoisseurship.” Grove Art Online, 9 November 2018.

Ginzburg, Carlo. “Morelli, Freud and Sherlock Holmes: Clues and Scientific Method.” History Workshop 9 (1980): 5–36.

Gladwell, Malcolm. “Introduction: The Statue That Didn’t Look Right.” Blink: The Power of Thinking Without Thinking. New York and Boston: Little, Brown and Company, 2005. 3–17.

Goodwin, Charles. “Professional Vision.” American Anthropologist 96.3 (1994): 606–33.

Lammertse, Friso. Van Meegeren’s Vermeers: The Connoisseur’s Eye and the Forger’s Art. Rotterdam: Museum Boijmans van Beuningen, 2011.

Shaw, Anny. “Robert Indiana’s LOVE at centre of new $150m fraud claim.” The Art Newspaper. 29 April 2020.

Wind, Edgar. Art and Anarchy, London: Faber and Faber, 1963.

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Films

Avrich, Barry. Made You Look: A True Story About Fake Art, 2020.

Birkenstock, Arne. Beltracchi: The Art of Forgery, 2014.

Badham, John. Incognito, 1997.

Crowley, John. The Goldfinch. USA: WarnerBrothers, 2019.

Cullman, Sam and Jennifer Grausman. Art and Craft, 2014

Martin, Philip. The Forger, 2014.

Oppenheim, Jeff. Real Fake: The Art, Life, and Crimes of Elmyr de Hory, 2017.

van der Berg, Rudolf. A Real Vermeer, 2016.

Welles, Orson. F for Fake, 1973.

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Podcasts

Campbell-Johnston, Rachel. “The Leonardo Detectives,” BBC. Podcast audio. 2011.

Matisse, Sophie. “Can new tech recreate the hand of an Old Master? interview with Ben Luke.” The Art Newspaper. Podcast audio. 1 May 2020.

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Databases

Artwork Archive. “Biggest Art Fakes and Forgeries Revealed in 2018.” Artwork Archives.

The Art Newspaper. “Dispatches from the Archive: Fakes and Forgeries.” The Art Newspaper.

The National Gallery. “Fakes.” The National Gallery of Art.

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Exhibitions

“Fakes and Forgeries.” Newport, RI: Spring Bull Gallery. (2020).

Jones, Chris, curator. “Intent to Deceive: Fakes and Forgeries in the Art World.” Sarasota, FL: Ringling Museum. (2014).

“Metropolitan Police Service’s Investigation of Fakes and Forgeries.” London: Victoria & Albert Museum. (2010).

“Russian Avant-Garde at the Museum Ludwig: Original and Fake, Questions, Research, Explanation.” Cologne: Museum Ludwig. (2020-21).

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For further information on the fascinating world of copies, fakes, and forgeries, explore this bibliography. Just click a category in the table of contents to be taken directly to that section of the bibliography.

Table of Contents

Copies, Fakes, and Forgeries

The Art Newspaper. “Dispatches from the Archive: Fakes and Forgeries.” The Art Newspaper. Database.

Baines, Robert. The Copy Book of Copies: Fabulous Follies, Frauds and Fakes. North Melbourne: Australian Scholarly Publishing, 2012.

Jackson, Penelope. Art Thieves, Fakers and Fraudsters: A New Zealand Story. Wellington, New Zealand: AWA Books, 2016.

Moses, Nancy. Fakes, forgeries, and frauds. Lanham, MD: Rowan & Littlefield, 2020.

Copies

Agence-France Presse in Rome, “Police find stolen Leonardo copy museum did not know was missing.” The Guardian, 19 January 2021.

Ashley, Kathleen and Véronique Plesch. “The Cultural Processes of Appropriation.” The Cultural Processes of Appropriation. Special issue of the Journal of Medieval and Early Modern Studies 32.1 (2002): 1–15.

Baudrillard, Jean. Simulacra and Simulation. Trans. Sheila Faria Glaser. Ann Arbor: University of Michigan Press, 1994.

Belting, Hans. Likeness and Presence: A History of Image Before the Era of Art. Chicago: University of Chicago Press, 1993.

Bosker, Bianca. Original Copies: Architectural Mimicry in Contemporary China. Hong Kong: Hong Kong University Press, 2013.

Holland, Oscar. “Mona Lisa for $60K? The curious market for Old Masters replicas.” CNN, 24 January 2020.

Kinney, Dale. “Instances of Appropriation in Late Roman and Early Christian Art,” Essays in Medieval Studies 28 (2012): 1-22.

Lin, Wei-Cheng. “Authentic Replicas: Buddhist Art in Medieval China, by Hsueh-man Shen.” Review of Authentic Replicas: Buddhist Art in Medieval China, by Hsueh-man Shen. The Art Bulletin 102.3 (19 August 2020): 135–38.

Macioszek, Amelia. “Copy, Imitation, Transformation, Translation or Adaptation? Terminological Entanglements Around Describing Derivative Works.” Newest Art History: 18. Tagung des Verbandes österreichischer Kunsthistorikerinnen und Kunsthistoriker (2017): 87–104, 266–267.

Miller, Rod. “Jens Fredrick Larson and Colonial Revival.” In Richard Guy Wilson, Shaun Eyring, and Kenny Marotta, Re-creating the American Past: Essays on the Colonial Revival. Charlottesville: University of Virginia Press, 2006. 52-66.

Nelson, Robert S. “Appropriation.” In Critical Terms for Art History. Ed. Robert S. Nelson and Richard Shiff. Chicago: University of Chicago Press, 1996. 160–73.

Perry, Ellen. The Aesthetics of Emulation in the Visual Arts of Rome. Cambridge: Cambridge University Press, 2005.

Plesch, Véronique. “The Anxiety of the Copy: Uniqueness and Reproduction in Hergé’s Le Sceptre d’Ottokar.” In Reproducing Images and Texts / La reproduction des images et des textes. Ed. Philippe Kaenel and Kirsty Bell. Amsterdam: Brill, 2021. 387-400.

Plesch, Véronique. “On Appropriations.” In Crossing Borders: Appropriations and Collaborations. Special issue of Interfaces 38 (2016–17). 7–38.

Schwartz, Hillel. The Culture of the Copy: Striking Likenesses, Unreasonable Facsimiles. Revised and updated ed. New York: Zone Books, 2014.

Shen, Hsueh-man. Authentic Replicas: Buddhist Art in Medieval China. Honolulu: University of Hawai’i Press, 2018.

Vikan, Gary. “Ruminations on Edible Icons: Originals and Copies in the Art of Byzantium.” Studies in the History of Art, 20 (1989), 47-59.

Copies: Studying Art and Masters Copying Masters

Currie, Christina, Dominique Allart, The Brueg[H]el Phenomenon: Paintings by Pieter Bruegel the Elder and Pieter Brueghel the Younger with a Special Focus on Technique and Copying Practice. Brussels: Institut royal du Patrimoine artistique, 2012.

Freedberg, David. “Rubens and Titian: Art and Politics.” In Titian and Rubens: Power, Politics and Style. Ed. Hilliard T. Goldfarb, David Freedberg, and Manuela B. Mena Marqués. Boston: Isabella Stewart Gardner Museum, 1998. 29–66.

Hansen, Morten Steen. In Michelangelo’s Mirror: Perino Del Vaga, Daniele Da Volterra, Pellegrino Tibaldi. University Park, PA: Pennsylvania State U, 2013.

Copies: Reproductions

Benjamin, Walter. “The Work of Art in the Age of Mechanical Reproduction,” in Walter Benjamin, Illuminations, ed. Hannah Arendt, trans. Harry Zohn, London, 1970, pp. 217-5.

Buskirk, Martha. “How Much Rodin Is Too Much?” Fooled by Art, 5 September 2020.

Carrier, David. “The Work of Art in the Age of the Internet.” Hyperallergic, 16 May 2020.

David S. Areford, The Viewer and the Printed Image in Late Medieval Europe, Aldershot, 2010, 9-10.

Emison, Patricia. “The Replicated Image in Florence, 1300-1600,” in Renaissance Florence: A Social History, ed. Roger J. Crum and John T. Paoletti, Cambridge, 2006. 431-53, 606-13.

Fawcett, Trevor. “Reproduction of Works of Art.” Grove Art Online. 21 March 2000.

Kaenel, Philippe and Kirsty Bell. La reproduction des images et des textes/Images and texts reproduced. Amsterdam: Brill. Forthcoming.

Karol, Peter. “Why Did the Guggenheim Decommission a Donald Judd?” Hyperallergic, May 31, 2020.

Kraus, Rosalind. “1977.” In Hal Foster et al. Art Since 1900: Modernism, Antimodernism, Postmodernism. 2nd ed. New York: Thames & Hudson, 2011. 624–27.

Lending, Mari. Plaster Monuments Architecture and the Power of Reproduction, Princeton: Princeton University Press, 2017.

Peter Parshall, “Introduction: The Modern Historiography of Early Printmaking,” in Peter Parshall (ed.), The Woodcut in Fifteenth-Century Europe, New Haven, 2009, 9-15, 12-13.

Sansom, Anna. “Musée Rodin in Paris casts new bronzes to offset losses from Covid-19 crisis.” Art Newspaper, 8 July 2020.

Saurländer, Willibald. “From Stilus to Style: Reflections on the Fate of a Notion.” Art History 6.3 (1983): 253-70, 263.

Zchomelidse, Nino. “The Aura of the Numinous and Its Reproduction.” Memoirs of the American Academy in Rome 55 (2010): 221–62.

Copies: Las Meninas

Furmana, Monika. “Las Meninas, after Diego Velazquez” oil and acrylic on canvas, 1656. Saatchi Art.

Museu Picasso de Barcelona. “The chronology of Las Meninas of Picasso.” El Blog de Museu Picasso de Barcelona (August 2015).

Witkin, Joel-Peter. “Las Meninas (Self-Portrait after Velázquez)” gelatin silver print on paper, 1987. Museo Nacional Centro De Arte, Madrid, Spain.

Fakes

Bailey, Martin. “Art Institute of Chicago Gauguin sculpture is fake: The Bolton fraud.” The Art Newspaper, 1 January 2008.

–––– “At least 45 Van Goghs may well be fakes: The Art Newspaper investigates.” The Art Newspaper, 1 July 1997.

–––– “Expert warned Getty Museum that its newly purchased Gauguin sculpture was a fake, new article reveals.” The Art Newspaper, 3 February 2021.

–––– “The Van Gogh fakes scandal: the tally one year later.” The Art Newspaper, 30 June 1998.

–––– “Two trunkloads of fake Iraqi antiquities seized by UK customs.” The Art Newspaper, 5 May 2020.

–––– “Two US Museums Plan to Investigate Their Gauguins after Amateur Art Sleuth Says They Are Fake.” The Art Newspaper, July 31, 2020.

–––– “Two Van Gogh fakes in Washington? Strong evidence produced against early drawings at the National Gallery of Art.” The Art Newspaper, 30 October 2020.

Brown, Mark. “’Fake’ Rembrandt Came from Artist’s Workshop and Is Possibly Genuine.” The Guardian, 30 August 2020.

Charney, Noah. “You avoid fake designer handbags and watches, but what about furniture?” The Washington Post, 11 April 2017.

Chaucer, Geoffrey. “The Pardoner’s Tale.” In The Canterbury Tales. Trans. Nevill Coghill. Baltimore: Penguin Books, 1960. 260-274.

Drayman-Weisser, Terry. “From fake to fabulous: Redeeming fakes at the Walters Art Museum.” Objects Specialty Group Postprint 14 (2007): 90-109.

Foord, Roland, and Caleb Bompas. “No more knock off Eames.” Stephenson Harwood LLP, 9 September 2016.

Geiger-Oneto, Stephanie. “Elite Brands and their Counterfeits: A Study of Social Motives for Purchasing Status Goods.” Order No. 3257318 University of Houston. Proquest (2007).

Hickley, Catherine. “A Museum Puts Its Fakes on Show.” The New York Times, 30 September 2020.

Holtorf, Cornelius, “Perceiving the Past: From Age Value to Pastness.” International Journal of Cultural Property 24 (2017): 497–515.

Huxtable, Ada Louise. The Unreal America: Architecture and Illusion. New York: New Press, 1997.

Jacobs, Jennifer, Nick Wadhams, and Katya Kazakina. “Trump Ended 2018 France Trip Having Art Loaded on Air Force One” Bloomberg 6 September 2020.

Kanter, Daniel. “Real vs. Fake: The Eames Lounge.” Daniel Kanter, 25 March 2013.

Malo, Robyn. “The Pardoner’s Relics (And Why They Matter the Most).” The Chaucer Review 43.1 (2008): 82-102.

Norton, Paul. “Lost Sleeping Cupid of Michelangelo.” Art Bulletin 39.4 (1957): 251–57.

OECD/EUIPO, “Trends in Trade in Counterfeit and Pirated Goods.” OECD/EUIPO, March 2019.

Orvell, Miles. The Real Thing: Imitation and Authenticity in American Culture, 1880–1940. Chapel Hill: University of North Carolina Press, 1989.

Stoilas, Helen. “History’s greatest forgers.” The Art Newspaper, 4 September 2020.

Tartt, Donna. The Goldfinch. New York, NY: Back Bay Books, 2015.

Thompson, Erin. “The True Cost of Museum Fakes.” Hyperallergic. 26 March 2020.

Toews, Rob. “Deepfakes Are Going To Wreak Havoc On Society. We Are Not Prepared.” Forbes. May 25, 2020.

U.S. Department of Homeland Security: Combating Trafficking in Counterfeit and Pirated Goods (2020).

van Os, Henk. “Fakes and their Significance for Cultural History.” Studies in Early Tuscan Painting. London: Pindar Press, 1992. 18–38.

Wagner, Kate. “How Normie Minimalism and Farmhouse Chic Took Over Contemporary Design.” Hyperallergic. May 31, 2020.

Zalewski, Daniel. “The Factory of Fakes: How a workshop uses digital technology to craft perfect copies of threatened art.” The New Yorker, 28 November 2016.

Forgeries

Kraus, Rosalind. “1977.” In Hal Foster et al. Art Since 1900: Modernism, Antimodernism, Postmodernism. 2^nd ed. New York: Thames & Hudson, 2011. 624–27.