{"id":68,"date":"2021-03-24T19:01:52","date_gmt":"2021-03-24T19:01:52","guid":{"rendered":"http:\/\/web.colby.edu\/copiesfakesforgeries\/?page_id=68"},"modified":"2022-01-07T22:14:19","modified_gmt":"2022-01-07T22:14:19","slug":"bibliography","status":"publish","type":"page","link":"https:\/\/web.colby.edu\/copiesfakesforgeries\/bibliography\/","title":{"rendered":"Bibliography"},"content":{"rendered":"\n

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.<\/h2>\n\n\n\n

Table of Contents<\/strong><\/h2>\n\n\n\n

Copies, Fakes, and Forgeries<\/a><\/strong><\/h2>\n\n\n\n

Copies: General<\/a><\/strong><\/h2>\n\n\n\n

Copies: Studying Art and Masters Copying Masters<\/a><\/strong><\/h2>\n\n\n\n

Copies: Reproductions<\/a><\/strong><\/h2>\n\n\n\n

Copies: Las Meninas<\/em><\/a><\/strong><\/h2>\n\n\n\n

Fakes: General<\/a><\/strong><\/h2>\n\n\n\n

Forgeries: General<\/a><\/strong><\/h2>\n\n\n\n

Forgeries: The Fortune Teller<\/em><\/a><\/strong><\/h2>\n\n\n\n

Forging and Archaeology: Arthur Evans and Heinrich Schliemann<\/a><\/strong><\/h2>\n\n\n\n

Forgeries: Attribution\/authorship<\/a><\/strong><\/h2>\n\n\n\n

Forgeries: Criminology and Legal Systems<\/a><\/strong><\/h2>\n\n\n\n

Determining Authenticity and Detecting Forgeries: General<\/a><\/strong><\/h2>\n\n\n\n

Determining Authenticity and Detecting Forgeries: Forensics Testing<\/a><\/strong><\/h2>\n\n\n\n

Determining Authenticity and Detecting Forgeries: Provenance<\/a><\/strong><\/h2>\n\n\n\n

Determining Authenticity and Detecting Forgeries: Connoisseurship<\/a><\/strong><\/p>\n\n\n\n

Films<\/a><\/strong><\/h2>\n\n\n\n

Podcasts<\/a><\/strong><\/h2>\n\n\n\n

Databases<\/a><\/strong><\/h2>\n\n\n\n

Exhibitions<\/a><\/strong><\/h2>\n\n\n\n
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Copies, Fakes, and Forgeries<\/strong><\/h2>\n\n\n\n

The Art Newspaper. \u201cDispatches from the Archive: Fakes and Forgeries<\/a>.\u201d The Art Newspaper<\/em>. Database.<\/h2>\n\n\n\n

Baines, Robert. The Copy Book of Copies: Fabulous Follies, Frauds and Fakes<\/em>. North Melbourne: Australian Scholarly Publishing, 2012.<\/h2>\n\n\n\n

Jackson, Penelope. Art Thieves, Fakers and Fraudsters: A New Zealand Story.<\/em> Wellington, New Zealand: AWA Books, 2016.<\/h2>\n\n\n\n

Moses, Nancy. Fakes, forgeries, and frauds<\/em>. Lanham, MD: Rowan & Littlefield, 2020.<\/h2>\n\n\n\n

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Copies<\/strong><\/h2>\n\n\n\n

Agence-France Presse in Rome, \u201cPolice find stolen Leonardo copy museum did not know was missing<\/a>.\u201d The Guardian<\/em>, 19 January 2021.<\/h2>\n\n\n\n

Ashley, Kathleen and V\u00e9ronique Plesch. \u201cThe Cultural Processes of Appropriation.\u201d The Cultural Processes of Appropriation<\/em>. Special issue of the Journal of Medieval and Early Modern Studies<\/em> 32.1 (2002): 1\u201315. <\/h2>\n\n\n\n

Baudrillard, Jean. Simulacra and Simulation<\/em>. Trans. Sheila Faria Glaser. Ann Arbor: University of Michigan Press, 1994.<\/h2>\n\n\n\n

Belting, Hans. Likeness and Presence: A History of Image Before the Era of Art<\/em>. Chicago: University of Chicago Press, 1993.<\/h2>\n\n\n\n

Bosker, Bianca. Original Copies: Architectural Mimicry in Contemporary China<\/em>. Hong Kong: Hong Kong University Press, 2013.<\/h2>\n\n\n\n

Holland, Oscar. \u201cMona Lisa for $60K? The curious market for Old Masters replicas<\/a>.\u201d CNN<\/em>, 24 January 2020.<\/h2>\n\n\n\n

Kinney, Dale. \u201cInstances of Appropriation in Late Roman and Early Christian Art,\u201d Essays in Medieval Studies<\/em> 28 (2012): 1-22. <\/h2>\n\n\n\n

Lin, Wei-Cheng. \u201cAuthentic Replicas: Buddhist Art in Medieval China,<\/em> by Hsueh-man Shen<\/a>.\u201d Review of Authentic Replicas: Buddhist Art in Medieval China, by Hsueh-man Shen. The<\/em> Art Bulletin<\/em> 102.3 (19 August 2020): 135\u201338.<\/h2>\n\n\n\n

Macioszek, Amelia. \u201cCopy, Imitation, Transformation, Translation or Adaptation? Terminological Entanglements Around Describing Derivative Works.\u201d Newest Art History: 18. Tagung des Verbandes \u00f6sterreichischer Kunsthistorikerinnen und Kunsthistoriker <\/em>(2017): 87\u2013104, 266\u2013267. <\/h2>\n\n\n\n

Miller, Rod. \u201cJens Fredrick Larson and Colonial Revival.\u201d In Richard Guy Wilson, Shaun Eyring, and Kenny Marotta, Re-creating the American Past: Essays on the Colonial Revival<\/em>. Charlottesville: University of Virginia Press, 2006. 52-66. <\/h2>\n\n\n\n

Nelson, Robert S. \u201cAppropriation.\u201d In Critical Terms for Art History. <\/em>Ed. Robert S. Nelson and Richard Shiff. Chicago: University of Chicago Press, 1996. 160\u201373.<\/h2>\n\n\n\n

Perry, Ellen. The Aesthetics of Emulation in the Visual Arts of Rome.<\/em> Cambridge: Cambridge University Press, 2005.<\/h2>\n\n\n\n

Plesch, V\u00e9ronique. \u201cThe Anxiety of the Copy: Uniqueness and Reproduction in Herg\u00e9\u2019s Le Sceptre d\u2019Ottokar.\u201d <\/em>In Reproducing Images and Texts \/ La reproduction des images et des textes<\/em><\/em>. Ed. Philippe Kaenel and Kirsty Bell. Amsterdam: Brill, 2021. 387-400.\u00a0<\/h2>\n\n\n\n

Plesch, V\u00e9ronique. \u201cOn Appropriations.\u201d<\/a> In Crossing Borders: Appropriations and Collaborations<\/em>. Special issue of Interfaces<\/em> 38 (2016\u201317). 7\u201338.<\/h2>\n\n\n\n

Schwartz, Hillel. The Culture of the Copy: Striking Likenesses, Unreasonable Facsimiles<\/em>. Revised and updated ed. New York: Zone Books, 2014. <\/h2>\n\n\n\n

Shen, Hsueh-man. Authentic Replicas: Buddhist Art in Medieval China<\/em>. Honolulu: University of Hawai’i Press, 2018.<\/h2>\n\n\n\n

Vikan, Gary. “Ruminations on Edible Icons: Originals and Copies in the Art of Byzantium.” Studies in the History of Art<\/em>, 20 (1989), 47-59. <\/h2>\n\n\n\n

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Copies: Studying Art and Masters Copying Masters<\/strong><\/h2>\n\n\n\n

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<\/em>. Brussels: Institut royal du Patrimoine artistique, 2012.<\/h2>\n\n\n\n

Freedberg, David. \u201cRubens and Titian: Art and Politics.\u201d In Titian and Rubens: Power, Politics and Style.<\/em> Ed. Hilliard T. Goldfarb, David Freedberg, and Manuela B. Mena Marqu\u00e9s. Boston: Isabella Stewart Gardner Museum, 1998. 29\u201366.<\/h2>\n\n\n\n

Hansen, Morten Steen. In Michelangelo\u2019s Mirror: Perino Del Vaga, Daniele Da Volterra, Pellegrino Tibaldi<\/em>. University Park, PA: Pennsylvania State U, 2013.<\/h2>\n\n\n\n

Morelli, Giovanni (Ivan Lermonlieff). Kunstkritische Studien \u00fcber italienische Malerei. I. Die Galerien Borghese und Doria Panfili in Rom<\/em>. Leipzig: F. A. Brockhaus, 1890. English: Italian Painters: Critical Studies of their Works. <\/em>Trans. Constance Jocelyn Ffoulkes. Vol. 1 The Borghese and Doria-Pamfili Galleries in Rome. London: J. Murray, 1893.<\/h2>\n\n\n\n

Piles, Roger de. 1699. Abr\u00e9g\u00e9 de la vie des peintres, avec des reflexions sur leurs ouvrages, et un Trait\u00e9 du peintre parfait; De la connoissance des desseins; De l’utilit\u00e9 des estampes. <\/em>English: The Art of Painting and the Lives of the Painters: Containing, a Compleat Treatise of Painting, Designing, and the Use of Prints.<\/em> London: J. Nutt, 1706.<\/h2>\n\n\n\n

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Copies: Reproductions<\/strong><\/h2>\n\n\n\n

Benjamin, Walter. \u201cThe Work of Art in the Age of its Technological Reproducibility: Third Version.\u201d In Walter Benjamin: Selected Writings, Volume 4: 1938<\/em>\u20131940. <\/em>Trans. Edmund Jephcott and Howard Eiland. Ed. Howard Eiland and Michael W. Jennings. Cambridge, MA: Harvard University Press, 2003. 251\u201383. <\/h2>\n\n\n\n

Benjamin, Walter.  \u201cThe Work of Art in the Age of Mechanical Reproduction,\u201d in Walter Benjamin, Illuminations<\/em>, ed. Hannah Arendt, trans. Harry Zohn, London, 1970, pp. 217-5. <\/h2>\n\n\n\n

Buskirk, Martha. \u201cHow Much Rodin Is Too Much?<\/a>\u201d Fooled by Art,<\/em> 5 September 2020.<\/h2>\n\n\n\n

Carrier, David. “The Work of Art in the Age of the Internet<\/a>.” Hyperallergic<\/em>, 16 May 2020.<\/h2>\n\n\n\n

David S. Areford, The Viewer and the Printed Image in Late Medieval Europe<\/em>, Aldershot, 2010, 9-10.<\/h2>\n\n\n\n

Emison, Patricia. \u201cThe Replicated Image in Florence, 1300-1600,\u201d in Renaissance Florence: A Social History<\/em>, ed. Roger J. Crum and John T. Paoletti, Cambridge, 2006. 431-53, 606-13.<\/h2>\n\n\n\n

Fawcett, Trevor. \u201cReproduction of Works of Art<\/a>.\u201d Grove Art Online<\/em>. 21 March 2000.<\/h2>\n\n\n\n

Kaenel, Philippe and Kirsty Bell. La reproduction des images et des textes<\/em>\/Images and texts reproduced<\/em>. Amsterdam: Brill. Forthcoming.<\/h2>\n\n\n\n

Karol, Peter. \u201cWhy Did the Guggenheim Decommission a Donald Judd?<\/a>\u201d Hyperallergic<\/em>, May 31, 2020. <\/h2>\n\n\n\n

Kraus, Rosalind. \u201c1977.\u201d In Hal Foster et al. Art Since 1900: Modernism, Antimodernism, Postmodernism<\/em>. 2nd<\/sup> ed. New York: Thames & Hudson, 2011. 624\u201327. <\/h2>\n\n\n\n

Lending, Mari. Plaster Monuments Architecture and the Power of Reproduction<\/em>, Princeton: Princeton University Press, 2017.<\/h2>\n\n\n\n

Peter Parshall, \u201cIntroduction: The Modern Historiography of Early Printmaking,\u201d in Peter Parshall (ed.), The Woodcut in Fifteenth-Century Europe<\/em>, New Haven, 2009, 9-15, 12-13.<\/h2>\n\n\n\n

Sansom, Anna. \u201cMus\u00e9e Rodin in Paris casts new bronzes to offset losses from Covid-19 crisis<\/a>.\u201d Art Newspaper,<\/em> 8 July 2020. <\/h2>\n\n\n\n

Saurl\u00e4nder, Willibald. \u201cFrom Stilus to Style: Reflections on the Fate of a Notion.\u201d Art History<\/em> 6.3 (1983): 253-70, 263. <\/h2>\n\n\n\n

Zchomelidse, Nino. \u201cThe Aura of the Numinous and Its Reproduction.\u201d Memoirs of the American Academy in Rome<\/em> 55 (2010): 221\u201362.<\/h2>\n\n\n\n

Fucci, Robert. Rembrandt\u2019s Changing Impressions<\/em>. With a foreword by David Freedburg. New York: Columbia University; Cologne: Verlag der Buchhandlung Walther K\u00f6nig, 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.<\/h2>\n\n\n\n

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Copies: <\/strong>Las Meninas<\/em><\/strong><\/h2>\n\n\n\n

Furmana, Monika. \u201cLas Meninas, after Diego Velazquez<\/a>\u201d oil and acrylic on canvas, 1656. Saatchi Art.<\/h2>\n\n\n\n

Museu Picasso de Barcelona. \u201cThe chronology of Las Meninas of Picasso<\/a>.\u201d El Blog de Museu Picasso de Barcelona (August 2015).<\/h2>\n\n\n\n

Witkin, Joel-Peter. \u201cLas Meninas (Self-Portrait after Vel\u00e1zquez)<\/a>\u201d gelatin silver print on paper, 1987. Museo Nacional Centro De Arte, Madrid, Spain.<\/h2>\n\n\n\n

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Fakes <\/strong><\/h2>\n\n\n\n

Bailey, Martin. \u201cArt Institute of Chicago Gauguin sculpture is fake: The Bolton fraud<\/a>.\u201d The Art Newspaper<\/em>, 1 January 2008.<\/h2>\n\n\n\n

\u2013\u2013\u2013\u2013 \u201cAt least 45 Van Goghs may well be fakes: The Art Newspaper investigates<\/a>.\u201d The Art Newspaper<\/em>, 1 July 1997.<\/h2>\n\n\n\n

\u2013\u2013\u2013\u2013 \u201cExpert warned Getty Museum that its newly purchased Gauguin sculpture was a fake, new article reveals<\/a>.\u201d The Art Newspaper<\/em>, 3 February 2021.<\/h2>\n\n\n\n

\u2013\u2013\u2013\u2013 \u201cThe Van Gogh fakes scandal: the tally one year later.<\/a>\u201d The Art Newspaper<\/em>, 30 June 1998.<\/h2>\n\n\n\n

\u2013\u2013\u2013\u2013 \u201cTwo trunkloads of fake Iraqi antiquities seized by UK customs.<\/a>\u201d The Art Newspaper<\/em>, 5 May 2020.<\/h2>\n\n\n\n

\u2013\u2013\u2013\u2013 \u201cTwo US Museums Plan to Investigate Their Gauguins after Amateur Art Sleuth Says They Are Fake<\/a>.\u201d The Art Newspaper<\/em>, July 31, 2020.<\/h2>\n\n\n\n

\u2013\u2013\u2013\u2013 \u201cTwo Van Gogh fakes in Washington? Strong evidence produced against early drawings at the National Gallery of Art<\/a>.\u201d The Art Newspaper<\/em>, 30 October 2020.<\/h2>\n\n\n\n

Brown, Mark. \u201c’Fake’ Rembrandt Came from Artist’s Workshop and Is Possibly Genuine.<\/a>\u201d The Guardian<\/em>, 30 August 2020.<\/h2>\n\n\n\n

Charney, Noah. \u201cYou avoid fake designer handbags and watches, but what about furniture?<\/a>\u201d The Washington Post<\/em>, 11 April 2017.<\/h2>\n\n\n\n

Chaucer, Geoffrey. \u201cThe Pardoner\u2019s Tale.\u201d In The Canterbury Tales.<\/em> Trans. Nevill Coghill. Baltimore: Penguin Books, 1960. 260-274. <\/h2>\n\n\n\n

Drayman-Weisser, Terry. \u201cFrom fake to fabulous: Redeeming fakes at the Walters Art Museum.\u201d Objects Specialty Group Postprint<\/em> 14 (2007): 90-109. <\/h2>\n\n\n\n

Foord, Roland, and Caleb Bompas. \u201cNo more knock off Eames<\/a>.\u201d Stephenson Harwood LLP<\/em>, 9 September 2016.<\/h2>\n\n\n\n

Geiger-Oneto, Stephanie. \u201cElite Brands and their Counterfeits: A Study of Social Motives for Purchasing Status Goods.\u201d Order No. 3257318 University of Houston. Proquest<\/em> (2007).<\/h2>\n\n\n\n

Hickley, Catherine. \u201cA Museum Puts Its Fakes on Show<\/a>.\u201d The New York Times<\/em>, 30 September 2020.<\/h2>\n\n\n\n

Holtorf, Cornelius, \u201cPerceiving the Past: From Age Value to Pastness.\u201d International Journal of Cultural Property<\/em> 24 (2017): 497\u2013515.<\/h2>\n\n\n\n

Huxtable, Ada Louise. The Unreal America: Architecture and Illusion<\/em>. New York: New Press, 1997.<\/h2>\n\n\n\n

Jacobs, Jennifer, Nick Wadhams, and Katya Kazakina. \u201cTrump Ended 2018 France Trip Having Art Loaded on Air Force One<\/a>\u201d Bloomberg<\/em> 6 September 2020.<\/h2>\n\n\n\n

Kanter, Daniel. \u201cReal vs. Fake: The Eames Lounge<\/a>.\u201d Daniel Kanter, <\/em>25 March 2013.<\/h2>\n\n\n\n

Malo, Robyn. \u201cThe Pardoner’s Relics (And Why They Matter the Most).\u201d The Chaucer Review<\/em> 43.1 (2008): 82-102. <\/h2>\n\n\n\n

Norton, Paul. \u201cLost Sleeping Cupid of Michelangelo.\u201d Art Bulletin<\/em> 39.4 (1957): 251\u201357. <\/h2>\n\n\n\n

OECD\/EUIPO, \u201cTrends in Trade in Counterfeit and Pirated Goods<\/a>.\u201d OECD\/EUIPO<\/em>, March 2019.<\/h2>\n\n\n\n

Orvell, Miles. The Real Thing: Imitation and Authenticity in American Culture, 1880<\/em>\u20131940. <\/em>Chapel Hill: University of North Carolina Press, 1989.<\/h2>\n\n\n\n

Stoilas, Helen. \u201cHistory\u2019s greatest forgers<\/a>.\u201d The Art Newspaper<\/em>, 4 September 2020.<\/h2>\n\n\n\n

Tartt, Donna. The Goldfinch<\/em>. New York, NY: Back Bay Books, 2015. <\/h2>\n\n\n\n

Thompson, Erin. \u201cThe True Cost of Museum Fakes<\/a>.\u201d Hyperallergic<\/em>. 26 March 2020.<\/h2>\n\n\n\n

Toews, Rob. “Deepfakes Are Going To Wreak Havoc On Society. We Are Not Prepared<\/a>.” Forbes<\/em>. May 25, 2020.<\/h2>\n\n\n\n

U.S. Department of Homeland Security: Combating Trafficking in Counterfeit and Pirated Goods<\/em> (2020). <\/h2>\n\n\n\n

van Os, Henk. \u201cFakes and their Significance for Cultural History.\u201d Studies in Early Tuscan Painting. <\/em>London: Pindar Press, 1992. 18\u201338. <\/h2>\n\n\n\n

Wagner, Kate. “How Normie Minimalism and Farmhouse Chic Took Over Contemporary Design.<\/a>” Hyperallergic<\/em>. May 31, 2020. <\/h2>\n\n\n\n

Zalewski, Daniel. \u201cThe Factory of Fakes: How a workshop uses digital technology to craft perfect copies of threatened art.\u201d The New Yorker<\/em>, 28 November 2016. <\/h2>\n\n\n\n

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Forgeries<\/strong><\/h2>\n\n\n\n

Alberge, Dalya. \u201cThe Art of Deception<\/a>.\u201d Financial Times<\/em>. 21 October 2016. <\/h2>\n\n\n\n

Artful Deception: The Craft of the Forger. <\/em>Walters Art Gallery, 1988.<\/h2>\n\n\n\n

Backhouse, Janet. \u201cThe \u2018Spanish Forger,\u2019\u201d British Museum Quarterly<\/em> 33.1\/2 (1968): 65\u201371. <\/h2>\n\n\n\n

Bailey, Martin. \u201c’The Biggest Contemporary Art Fraud of the Century’<\/a>.\u201d The Art Newspaper<\/em>, 1 March 1999.<\/h2>\n\n\n\n

Blakemore, Erin. \u201cThis Ancient Egyptian Masterpiece Might Be Fake<\/a>.\u201d Smithsonian, 1 April 2015. <\/h2>\n\n\n\n

Buffenstein, Alyssa. \u201c5 Things to Know About Britain\u2019s Most Notorious Art Forger.<\/a>\u201d Artsy<\/em>. 31 May 2017. <\/h2>\n\n\n\n

Catterson, Lynn. \u201cMichelangelo’s \u2018Laoco\u00f6n?\u2019 Artibus et Historiae<\/em> 26.52 (2005): 29\u201356. (see Kathryn Shattuck, \u201cIs ‘Laocoon’ a Michelangelo forgery?\u201d <\/strong>New York Times<\/em> 20 April 2005, http:\/\/www.nytimes.com\/2005\/04\/20\/arts\/is-laocoon-a-michelangelo-forgery.html<\/a> and Jonathan Jones, \u201cNest of vipers\u201d The Guardian <\/em>27 April 2005 https:\/\/www.theguardian.com\/culture\/2005\/apr\/27\/1<\/a>)<\/h2>\n\n\n\n

Charney, Noah. The Art of Forgery: The Minds, Motives and Methods of Master Forgers<\/em>. London: Phaidon, 2015.<\/h2>\n\n\n\n

Davis, Serena. \u201cThe Forger Who Fooled The World<\/a>.\u201d The Telegraph. <\/em>2016.<\/h2>\n\n\n\n

Dolnick, Edward. \u201cHow Mediocre Dutch Artist Cast ‘The Forger’s Spell.<\/a>\u201d NPR<\/em>, 12 July 2008. <\/h2>\n\n\n\n

\u201cFernand Legros, Dealer In Art<\/a>.\u201d Ny Times Archives. <\/em>1983.<\/h2>\n\n\n\n

Grafton, Anthony. Forgers and Critics: Creativity and Duplicity in Western Scholarship<\/em>. Princeton: Princeton University Press, 1990.<\/h2>\n\n\n\n

Hickey, Catherine. \u201cForgery, drugs and sex abuse in the Canadian art world exposed in new documentary<\/a>.\u201d The Art Newspaper<\/em>. 6 April 2020.<\/h2>\n\n\n\n

Hills, Ben. \u201cA brush with fame<\/a>.\u201d Internet Archive Wayback Machine. July 18, 1998. <\/h2>\n\n\n\n

Herg\u00e9. Tintin et l\u2019Alph-Art. <\/em>Tournai: Casterman, 1986. English: Tintin and Alph-Art<\/em>. Trans. Leslie Lonsdale-Cooper and Michael Turner. London: Methuen, 1990.<\/h2>\n\n\n\n

Horberry, Max. \u201cThe Artist Beneath The Art Forger.<\/a>\u201d New York Times, <\/em>21 February 2020. <\/h2>\n\n\n\n

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\/<\/a> <\/h2>\n\n\n\n

Janson, Jonathan. \u201cHan van Meegeren’s Fake Vermeers<\/a>.\u201d Essential Vermeer<\/em> 3.0. 8 May 8 2021. <\/h2>\n\n\n\n

\u201cJohn Myatt About.<\/a>\u201d John Myatt The Artist<\/em>. May 8, 2021. <\/h2>\n\n\n\n

Jones, Mark, ed. Fake? The Art of Deception<\/em>. Berkeley, CA: University of California Press, 1990.<\/h2>\n\n\n\n

Kaplan, Isaac. \u201cThe \u2018Getty Kouros\u2019 Was Removed From View At The Museum After It Was Officially Deemed To Be A Forgery.<\/a>\u201d Artsy.Net.,<\/em> 2018.<\/h2>\n\n\n\n

Kraus, Rosalind. \u201cThe Originality of the Avant-Garde: A Postmodernist Repetition.\u201d October<\/em> 18 (1981): 47\u201366.<\/h2>\n\n\n\n

Kuesel, Christy. \u201cThe prolific forger whose fake Old Masters fooled the art world.<\/a>\u201d CNN<\/em>. 24 October 2019. <\/h2>\n\n\n\n

Landesman, Peter. \u201cA 20th-Century Master Scam (Published 1999)<\/a>.\u201d New York Times. <\/em>(1999).<\/h2>\n\n\n\n

Lenain, Thierry. Art Forgery: The History of a Modern Obsession<\/em>. London: <\/em>Reaktion Books, 2011.<\/h2>\n\n\n\n

McGreevy, Nora. \u201cWhy Scholars Are Skeptical of Claimed Rediscovery of Lost Frida Kahlo Masterpiece.\u201d <\/a>Smithsonian.com. Smithsonian Institution<\/em>, July 6, 2020. <\/h2>\n\n\n\n

Neuendorf, Henri. \u201cNotorious Forger Wolfgang Beltracchi Is Making Millions since Going Legit.<\/a>\u201d Artnet<\/em>, 15 May 2015. <\/h2>\n\n\n\n

Noce, Vincent. \u201cSeller contests having to repay Sotheby\u2019s for allegedly forged Frans Hals<\/a>.\u201d The Art Newspaper<\/em>, 16 November 2020.<\/h2>\n\n\n\n

Perenyi, Ken. Caveat Emptor: The Secret Life of an American Art Forger<\/em>. Newy York, NY: Pegasus Books, 2013.<\/h2>\n\n\n\n

Pierce, Brienne. \u201cWolfgang Beltracchi The World’s Most Famous Art Forger<\/a>.\u201d The Culture Trip<\/em>. 28 December 2016. <\/h2>\n\n\n\n

Polsky, Richard. \u201cLooking to Buy a Masterpiece? You Might Want to Be Extra Careful With These 20 Forger-Friendly Bodies of Work by Famous Artists<\/a>.\u201d  Artnet<\/em>, 24 November 2020.<\/h2>\n\n\n\n

Schutten, Henk. \u201cMaster Forger Geert Jan Jansen on trial in France.<\/a>\u201d Internet Archive Wayback Machine<\/em>. 26 September 2000. <\/h2>\n\n\n\n

Vikan, Gary. “Illuminating the Tricks and Methods of the Art Forger.” The Chronicle of Higher Education<\/em>, 36\/24 (1990): End Paper. <\/h2>\n\n\n\n

Vikan, Gary. “A Group of Forged Byzantine Miniatures.” Aachener Kunstbl\u00e4tter<\/em>, 48 (1978\/1979): 53-70.<\/h2>\n\n\n\n

Voelkle, William and Roger S. Wieck. The Spanish Forger<\/em>. New York: Pierpont Morgan Library, 1978.<\/h2>\n\n\n\n

Winship, Frederick M. \u201cThe Art World: Fake bronzes flood market<\/a>.\u201d Internet Archive Wayback Machine<\/em>. 16 August 2002.<\/h2>\n\n\n\n

Yau, John. \u201cThe Original Forger of Magic<\/a>.\u201d Hyperallergic<\/em>, 1 August 2020.<\/h2>\n\n\n\n

Zapata, Mariana. \u201cHow a Forged Sculpture Boosted Michelangelo\u2019s Early Career.<\/a>\u201d Atlas Obscura<\/em>, 1 November 2016.  <\/h2>\n\n\n\n

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Forgeries: <\/strong>The Fortune Teller<\/em><\/strong><\/h2>\n\n\n\n

Glueck, Grace. \u201cThe Furor Over the Met’s La Tour: News Analysis<\/a>.\u201d New York Times<\/em>, 24 March 1982.<\/h2>\n\n\n\n

Metropolitan Museum of Art. \u201cMetropolitan Museum announces purchase of The Fortune Teller<\/em>, masterpiece by French 17th<\/sup> century painter Georges de La Tour<\/a>.\u201d Press release, 8 June 1960. <\/h2>\n\n\n\n

Wright, Christopher and Diana de Marly. \u201cFake?\u201d Connoisseur <\/em>205.823 (September 1980): 22\u201325. <\/h2>\n\n\n\n

Wright, Christopher. \u201cCheat? Connoisseur <\/em>205.826 (December 1980): 230\u201331. <\/h2>\n\n\n\n

\u2013\u2013\u2013. The Art of the Forger<\/em>. New York: Dodd Mead, 1985.<\/h2>\n\n\n\n

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Forging and Archaeology: Arthur Evans and Heinrich Schliemann<\/strong><\/h2>\n\n\n\n

Allen, Susan Heuck. Finding the Walls of Troy: Frank Calvert and Heinrich Schliemann at Hisarlik. <\/em>Berkeley: University of California Press, 1999.<\/h2>\n\n\n\n

Calder, William M., and David A. Traill ed. Myth, Scandal, and History: The Heinrich Schliemann Controversy and a First Edition of the Mycenaean Diary. <\/em>Detroit: Wayne State University Press, 1986.<\/h2>\n\n\n\n

Chi, Jennifer Y., ed. Restoring the Minoans: Elizabeth Price and Sir Arthur Evans. <\/em>New York: Institute for the Study of the Ancient World at New York University, 2017.<\/h2>\n\n\n\n

Fotiadis, Michael. \u201cAegean Prehistory without Schliemann.\u201d In Hesperia: The Journal of the American School of Classical Studies at Athens <\/em>85, no. 1 (2016): 91-119.<\/h2>\n\n\n\n

Gere, Cathy. Knossos and the Prophets of Modernism. <\/em>Chicago: The University of Chicago Press, 2009.  <\/em><\/h2>\n\n\n\n

Lowenthal, David. The Past is a Foreign Country. <\/em>Cambridge: Cambridge University Press, 1985.<\/h2>\n\n\n\n

Schoep, Ilse. \u201cBuilding the Labyrinth: Arthur Evans and the Construction of Minoan Civilization.\u201d American Journal of Archaeology <\/em>vo. 122, no. 1 (Jan. 2018): 5\u201332.<\/h2>\n\n\n\n

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Forgeries: Attribution\/authorship<\/strong><\/h2>\n\n\n\n

Castelnuovo, Enrico. \u201cAttribution.\u201d Encyclop\u00e6dia Universalis<\/em> 2 (1968): 780\u201383. <\/h2>\n\n\n\n

Lidova, Maria. \u201cManifestations of Authorship: Artist\u2019s signatures in Byzantium.\u201d Venezia Arti <\/em>26 (2017): 89-106. <\/h2>\n\n\n\n

van de Wetering, Ernst. A Corpus of Rembrandt Paintings VI: Rembrandt\u2019s Paintings Revisited \u2013 A Complete Survey<\/em>. Dordrecht: Springer, 2014. Concluding volume of A Corpus of Rembrandt Paintings<\/em> presents a revised, chronologically ordered survey of Rembrandt\u2019s entire oeuvre of 336 paintings; see, in particular the first two chapters: \u201cWhat is a Rembrandt? A personal account,\u201d 1\u201353 and \u201cWhat is a non-Rembrandt?\u201d 55\u201360. <\/h2>\n\n\n\n

Wright, Christopher. \u201cThe Rembrandt Research Project and its Denouement<\/a>.\u201d Burlington Magazine<\/em> 157.1343 (2015). <\/h2>\n\n\n\n

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Forgeries: Criminology and Legal Systems<\/strong><\/h2>\n\n\n\n

Cascone, Sarah. \u201cThe FBI Just Raided A Major Art-Forgery Ring Operating Out Of A Michigan Barn That Duped Top Experts<\/a>.\u201d Artnet News<\/em>. (2020).<\/h2>\n\n\n\n

Del Valle, Gaby. \u201cWhy Is Art So Expensive?<\/a>.\u201d Vox. <\/em>(2019).<\/h2>\n\n\n\n

Durney, Mark, and Blythe Proulx. \u201cArt Crime: A Brief Introduction.\u201d Crime, Law And Social Change<\/em> 56 (2). (2011): 115-132. <\/h2>\n\n\n\n

Durrani, Anayat. \u201cTaking On Art Fraud.<\/a>\u201d Plaintiff Magazine. <\/em>(2011).<\/h2>\n\n\n\n

Hardy, Peter D. \u201cArt And Money Laundering<\/a>.\u201d The National Law Review XI. <\/em><\/h2>\n\n\n\n

Kahn, David. \u201cMore Than Money: Inside The Knoedler Art Fakes Scandal.<\/a>\u201d Observer<\/em>. (2016).<\/h2>\n\n\n\n

\u201cOrganised Crime Infiltrates Art World.<\/a>\u201d YLE<\/em> (2013).<\/h2>\n\n\n\n

Osborne, Louise. \u201cMulti Million-Pound International Art Forgery Ring Busted, Say German Police.<\/a>\u201d The Guardian<\/em>. (2013).<\/h2>\n\n\n\n

Peltier, Elian, and Anna Codrea-Rado. \u201cFrench Museum Discovers More Than Half Its Collection Is Fake<\/a>.\u201d New York Times.<\/em> (2018).<\/h2>\n\n\n\n

Pilon, Mary. \u201cArt Forgery Is Easier Than Ever, And It’s A Great Way To Launder Money<\/a>.\u201d VICE. <\/em>(2017).<\/h2>\n\n\n\n

Shortland, Anja & Andrew. \u201cGovernance under the shadow of the law: trading high value fine art.\u201d Springer Link <\/em>(September 20, 2019): 157-174.<\/h2>\n\n\n\n

Thornton, Sarah. \u201cHow Has 2020 Impacted The Global Art Market?<\/a>\u201d BRINK \u2013 News And Insights On Global Risk<\/em>. (2020)<\/h2>\n\n\n\n

United States Department of Justice. \u201cArt Dealer Pleads Guilty In Manhattan Federal Court To $80 Million Fake Art Scam, Money Laundering, And Tax Charges.<\/a>\u201d United States Department of Justice.<\/em> (2013).<\/h2>\n\n\n\n

Wurtenbeger, Thomas. \u201cCriminal Damage To Art – A Criminological Study.\u201d Depaul University<\/em> 14 (1) (1964): 83-92.<\/h2>\n\n\n\n

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Determining Authenticity and Detecting Forgeries<\/strong><\/h2>\n\n\n\n

Gopnik, Blake. \u201cThe NFT craze encapsulates the absurdity of the art world\u2013\u2013and its obsession with authenticity<\/a>.\u201d The Art Newspaper<\/em>, 1 March 2021.<\/h2>\n\n\n\n

Lenain, Thierry. \u201cAuthenticity<\/a>.\u201d Grove Art Online<\/em>, 1 July 2019.<\/h2>\n\n\n\n

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Determining Authenticity and Detecting Forgeries: Forensics Testing<\/strong><\/h2>\n\n\n\n

Coles, Davis. \u201cThe surprisingly beautiful science behind how paint is made.<\/a>\u201d CNN<\/em>. 9 May 2019.<\/h2>\n\n\n\n

Feller, Robert L., ed. Artists\u2019 Pigments: A Handbook of Their History and Characteristics<\/em>. Vol. 1<\/a>. Washington, D.C.: National Gallery of Art Publishing Office, 1986.<\/h2>\n\n\n\n

FitzHugh, Elisabeth West., ed. Artists\u2019 Pigments: A Handbook of Their History and Characteristics<\/em>. Vol. 3<\/a>. Washington, D.C.: National Gallery of Art Publishing Office, 1997.<\/h2>\n\n\n\n

\u201cForensics Analysis of Artwork and other Documents<\/a>.\u201d Bruker<\/em>.<\/h2>\n\n\n\n

Hartin, Debra Daly. \u201cKnow Your Paintings \u2013 Structure, Materials and Aspects of Deterioration.<\/a>\u201d Canadian Conservation Institute<\/em>. 17 October 2002.<\/h2>\n\n\n\n

Hodgins, Gregory. \u201cIdentifying art forgeries by radiocarbon dating microgram quantities of artist\u2019 paints<\/a>.\u201d PNAS 116.27 (July 2019): 13158-13160.<\/h2>\n\n\n\n

\u201cHyperspectral Imaging for Art Conservation<\/a>.\u201d Surface Optics Corporation<\/em>. <\/h2>\n\n\n\n

Murray, Elizabeth. Forensic History<\/em>. Season 1, episode 8, \u201cFrauds and Forgeries,\u201d 2014.<\/h2>\n\n\n\n

Porter, Jon. \u201cGaze in wonder at this astonishingly high-res scan of an iconic painting.<\/a>\u201d The Verge<\/em>. 21 January 2021.<\/h2>\n\n\n\n

Roy, Ashok, ed. Artists\u2019 Pigments: A Handbook of Their History and Characteristics<\/em>. Vol. 2<\/a>. Washington, D.C.: National Gallery of Art Publishing Office, 1993.<\/h2>\n\n\n\n

Tite, M.S., Raymond White, Michael Duffett, R.W.A. Dallas, Graham Saxby, and Marion Kite. \u201cTechnical Examination<\/a>.\u201d Grove Art Online<\/em>. 2003.<\/h2>\n\n\n\n

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Determining Authenticity and Detecting Forgeries: Provenance<\/strong><\/h2>\n\n\n\n

Reed, Victoria. \u201cProvenance<\/a>.\u201d Grove Art Online<\/em>. 26 May 2016.<\/h2>\n\n\n\n

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Determining Authenticity and Detecting Forgeries: Connoisseurship <\/strong><\/h2>\n\n\n\n

Castelnuovo, Enrico, Jaynie Anderson, Stephen B. Little, Christine M. E. Guth, S. N. Chaturvedi, Anna Tummers. “Connoisseurship<\/a>.” Grove Art Online<\/em>, 9 November 2018.<\/h2>\n\n\n\n

Ginzburg, Carlo. \u201cMorelli, Freud and Sherlock Holmes: Clues and Scientific Method.\u201d History Workshop<\/em> 9 (1980): 5\u201336. <\/h2>\n\n\n\n

Gladwell, Malcolm. \u201cIntroduction: The Statue That Didn\u2019t Look Right.\u201d Blink: The Power of Thinking Without Thinking<\/em>. New York and Boston: Little, Brown and Company, 2005. 3\u201317. <\/h2>\n\n\n\n

Goodwin, Charles. \u201cProfessional Vision.\u201d American Anthropologist<\/em> 96.3 (1994): 606\u201333.<\/h2>\n\n\n\n

Lammertse, Friso. Van Meegeren\u2019s Vermeers: The Connoisseur\u2019s Eye and the Forger\u2019s Art<\/em>. Rotterdam: Museum Boijmans van Beuningen, 2011.<\/h2>\n\n\n\n

Shaw, Anny. \u201cRobert Indiana\u2019s LOVE at centre of new $150m fraud claim<\/a>.\u201d The Art Newspaper<\/em>. 29 April 2020.<\/h2>\n\n\n\n

Wind, Edgar. Art and Anarchy<\/em>, London: Faber and Faber, 1963.<\/h2>\n\n\n\n

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Films<\/strong><\/h2>\n\n\n\n

Avrich, Barry. Made You Look: A True Story About Fake Art<\/em>, 2020.<\/h2>\n\n\n\n

Birkenstock, Arne. Beltracchi: The Art of Forgery,<\/em> 2014.<\/h2>\n\n\n\n

Badham, John. Incognito<\/em>, 1997. <\/h2>\n\n\n\n

Crowley, John. The Goldfinch<\/em>. USA: WarnerBrothers, 2019. <\/h2>\n\n\n\n

Cullman, Sam and Jennifer Grausman. Art and Craft<\/em>, 2014<\/h2>\n\n\n\n

Martin, Philip. The Forger<\/em>, 2014.<\/h2>\n\n\n\n

Oppenheim, Jeff. Real Fake: The Art, Life, and Crimes of Elmyr de Hory<\/em>, 2017.<\/h2>\n\n\n\n

van der Berg, Rudolf. A Real Vermeer<\/em>, 2016.<\/h2>\n\n\n\n

Welles, Orson. F for Fake<\/em>, 1973.<\/h2>\n\n\n\n

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Podcasts<\/strong><\/h2>\n\n\n\n

Campbell-Johnston, Rachel. \u201cThe Leonardo Detectives<\/a>,\u201d BBC<\/em>. Podcast audio. 2011.<\/h2>\n\n\n\n

Matisse, Sophie. \u201cCan new tech recreate the hand of an Old Master? interview with Ben Luke.<\/a>\u201d The Art Newspaper<\/em>. Podcast audio. 1 May 2020. <\/h2>\n\n\n\n

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Databases<\/strong><\/h2>\n\n\n\n

Artwork Archive. \u201cBiggest Art Fakes and Forgeries Revealed in 2018.<\/a>\u201d Artwork Archives<\/em>.<\/h2>\n\n\n\n

The Art Newspaper. \u201cDispatches from the Archive: Fakes and Forgeries<\/a>.\u201d The Art Newspaper<\/em>.<\/h2>\n\n\n\n

The National Gallery. \u201cFakes<\/a>.\u201d The National Gallery of Art<\/em>.<\/h2>\n\n\n\n

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Exhibitions<\/strong><\/h2>\n\n\n\n

\u201cFakes and Forgeries<\/a>.\u201d Newport, RI: Spring Bull Gallery. (2020).<\/h2>\n\n\n\n

Jones, Chris, curator. \u201cIntent to Deceive: Fakes and Forgeries in the Art World.<\/a>\u201d Sarasota, FL: Ringling Museum. (2014). <\/h2>\n\n\n\n

\u201cMetropolitan Police Service’s Investigation of Fakes and Forgeries<\/a>.\u201d London: Victoria & Albert Museum. (2010).<\/h2>\n\n\n\n

\u201cRussian Avant-Garde at the Museum Ludwig: Original and Fake, Questions, Research, Explanation<\/a>.\u201d Cologne: Museum Ludwig. (2020-21).<\/h2>\n\n\n\n

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<\/p>\n","protected":false},"excerpt":{"rendered":"

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 Copies: General Copies: Studying Art and Masters Copying Masters Copies: Reproductions Copies: Las Meninas… Continue reading Bibliography<\/span><\/a><\/p>\n","protected":false},"author":9018,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"ngg_post_thumbnail":0,"footnotes":""},"_links":{"self":[{"href":"https:\/\/web.colby.edu\/copiesfakesforgeries\/wp-json\/wp\/v2\/pages\/68"}],"collection":[{"href":"https:\/\/web.colby.edu\/copiesfakesforgeries\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/web.colby.edu\/copiesfakesforgeries\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/web.colby.edu\/copiesfakesforgeries\/wp-json\/wp\/v2\/users\/9018"}],"replies":[{"embeddable":true,"href":"https:\/\/web.colby.edu\/copiesfakesforgeries\/wp-json\/wp\/v2\/comments?post=68"}],"version-history":[{"count":18,"href":"https:\/\/web.colby.edu\/copiesfakesforgeries\/wp-json\/wp\/v2\/pages\/68\/revisions"}],"predecessor-version":[{"id":1012,"href":"https:\/\/web.colby.edu\/copiesfakesforgeries\/wp-json\/wp\/v2\/pages\/68\/revisions\/1012"}],"wp:attachment":[{"href":"https:\/\/web.colby.edu\/copiesfakesforgeries\/wp-json\/wp\/v2\/media?parent=68"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}