Forgery Books
Lund Humphries Publishers Ltd Restitution: The Return of Cultural Artefacts
Book SynopsisDebates about the restitution of cultural objects have been ongoing for many decades, but have acquired a new urgency recently with the intensification of scrutiny of European museum collections acquired in the colonial period. Alexander Herman’s fascinating and accessible book provides an up-to-date overview of the restitution debate with reference to a wide range of current controversies. This is a book about the return of cultural treasures: why it is demanded, how it is negotiated and where it might lead. The uneven relationships of the past have meant that some of the greatest treasures of the world currently reside in places far removed from where they were initially created and used. Today we are witnessing the ardent attempts to put right those past wrongs: a light has begun to shine on the items looted from Asia, Africa, the Middle East, the Americas and the Pacific, and the scales of history, according to some, are in need of significant realignment. This debate forces us to confront an often dark history, and the difficult application of our contemporary conceptions of justice to instances from the past. Should we allow plundered artefacts to rest where they lie – often residing there by the imbalances of history? This book asks whether we are entering a new 'restitution paradigm', one that could have an indelible impact on the cultural sector - and the rest of the world - for many years to come. It provides essential reading for all those working in the art and museum worlds and beyond.Table of ContentsIntroduction; 1. The Never-Ending Dispute: The Parthenon Marbles; 2. Models for Return: Repatriation of Indigenous Material; 3. Legacies of Conflict: Museums and Imperial Violence; 4. The 75-Year Shadow: Restitution of Art Looted During the Holocaust; 5. Stopping Traffic: Ending the Illicit Artefact Trade; Conclusion; Notes; Bibliography; Index
£18.99
National Gallery Company Ltd A Closer Look: Deceptions and Discoveries
Book SynopsisHow do experts spot masterpieces? Paintings are not always signed or noted in historical records, so how can we tell an obscure gem from an altered image? Scientists, conservators and art historians use a range of methods to examine the physical nature of pictures and unravel their hidden histories. Through a series of intriguing examples and clearly explained processes, this new addition to the National Gallery’s popular Closer Look series will draw the reader into the complex issues—not all of them fully resolved—confronted by gallery professionals.Published by the National Gallery Company/Distributed by Yale University Press
£9.99
Archetype Publications Ltd Trade in Antiquities: Reducing Destruction and
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£46.97
Unicorn Publishing Group Lost Art: The Art Loss Register Casebook Volume
Book SynopsisCountless dollars of art are stolen or looted every year, yet governments often consider art theft a luxury problem. With limited public law enforcement, what prevents thieves, looters and organised criminal gangs from flooding the market with stolen art? How can theft victims get justice – even decades after their loss? What happens if the legal definition of a good title is at odds with what is morally right? Enter the Art Loss Register, a private database dedicated to tracking down stolen artworks. Blocking the sale of disputed artworks creates a space for private resolutions – often amicable and sometimes entertainingly adversarial. This book is based on ten cases from the Art Loss Register’s archive, showing how restitutions were negotiated, how priceless objects were retrieved from the economic underworld and how thieves and fences end up in court and behind bars. A fascinating guide to the dark side of the global art market.
£20.00
Les Enluminures, Limited Holy Hoaxes: A Beautiful Deception
Book SynopsisThis fascinating book tells the story of the building of William M. Voelkle’s collection of fakes and forgeries of manuscript illumination. With thorough essays and beautiful illustrations, Voekle tells the story of nearly seventy fakes and forgeries.The book takes the reader on a journey that sheds light on the nature and detection of forgery of manuscript illumination. An engaging introduction by Christopher de Hamel raises tantalizing questions that touch on the very meaning of authenticity and our continuing fascination with forgery. Scientific analysis of pigments, the identification of sources, and the scrutiny of the materials all come into play in the unfolding story of the collection.An illustrated catalogue presents the group of nearly seventy fakes and forgeries that display astonishing breadth. They include not only the Spanish Forger and other Western European miniatures by Ernesto Sprega, Caleb William Wing, and Germano Prosdocimi, and others, but fascinating examples from the Christian East, from Ethiopia, from Mexico, and from Persia and India. Published here in its entirety for the first time, the Voelkle Collection is the only comprehensive one of fakes and forgeries of manuscript painting in private hands.Voelkle’s fifty-year career at the Morgan Library& Museum was inextricably interwoven with the construction of the collection, which is detailed in the foreword. The personal narrative reveals the author as a collector and a scholar. As an enthusiastic collector, he pursues examples of forgery, marveling at the range of skills of deception. As a scholar, he disentangles the sources that served forgers and the chains of provenance that sometimes led to their exposure. Included also in the book is a comprehensive list of William M. Voelkle’s publications.
£24.00
Springer International Publishing AG Art Crime in Context
Book SynopsisThis book brings together empirical and theoretical case-study research on art and heritage crime. Drawn from a diverse group of researchers and professionals, the work presented explores contemporary conceptualisations of art crime within broader contexts. In this volume, we see ‘art’ in its usual forms for art crime scholarship: in paintings and antiquities. However, we also see art in fossils and in violins, chairs and jewellery, holes in the ground and even in the institutions meant to protect any, or all, of the above. And where there is art, there is crime. Chapters in this volume, alternatively, zoom in on specific objects, on specific locations, and on specific institutions, considering how each interact with the various conceptions of crime that exist in those contexts. This volume challenges the boundaries of what we understand as “art and heritage crimes” and displays that both art, and criminality related to art, is creative and unpredictable.Table of ContentsIntroduction.- Assay-ssination: Reflections on the Cost of Jewellery and Gem Crime.- Design crime in context: Mass-manufactured design, design-as-art, and Chandigarh’s modernist furniture.- The Evolution of the Belgian Art and Antiques Unit.- Fossil trafficking, fraud, and fakery.- Illicit Excavations and Trade in Antiquities.- New Security Challenges at Museums and Historic Sites: The Case of Spain.- Revisiting the Looting of Site Q through Lidar: A Case Study of Illicit Digging in La Corona, Guatemala.- Securing Borders and Restraining the Illegal Movement of Cultural Property to, from, and within, the Island of Ireland.- Stealing Heritage in Canada.- The Theft of Your Soulmate: Motivations for the Theft of Rare Violins.- UNESCO Emergency Response “First-Aid” Heritage Interventions in Syria during Armed Conflict.- Yellow Journalism: Neutralisation techniques, media validation, and the Rothko vandal.
£113.99
Scheidegger und Spiess AG, Verlag Psychoanalyst Meets Helene and Wolfgang
Book SynopsisWolfgang Beltracchi is a phenomenon of the international art world. His name is inextricably entwined with one of the greatest upheavals in the global art market. Emulating numerous world-famous artists, he developed and painted new paintings, continued their narrations and biography, and concluded them with a forged signature. His wife Helene Beltracchi then smuggled them onto the art market. Many experts were deceived by Beltracchi’s stupendous skill and auctioneers cast many doubts aside in the interests of insatiable market demand, selling the paintings as authentic works by the purported artists. Reading the artistic handwriting of a painting requires an exceptional willingness and ability to be able to empathise and identify with the artist, until you “can feel what the other feels” (Wolfgang Beltracchi). Through extensive discussions with the painter and his wife, the psychoanalyst Jeannette Fischer explored this capability that is so pronounced for Beltracchi. In her new book, she places this in relation to the disappearance of Beltracchi’s own signature. As with her previous highly successful book about the performance artist Marina Abramović, Jeannette Fischer has created an exceptionally insightful portrait of a fascinating artist personality.Trade Review"The story of how their operation worked has been exhaustively detailed in news reports, a documentary and the couple's 2011 trial. But in a recently published book, psychoanalyst Jeannette Fischer digs into the why. Through a series of in-depth conversations, carried out over coffee and wine at the pair's studio in Switzerland following their release from prison, she explores their motives, artistic processes and family histories." - CNN
£17.00
De Gruyter Kunst und Profit: Museen und der französische
Book SynopsisNot only Adolf Hitler and Hermann Göring utilized the occupation of France during the Second World War to procure artworks for their collections — German museums also made acquisitions at the time. The advantageous foreign exchange rate and the large range of artworks, for instance, from seized Jewish property, afforded favorable opportunities. French museums like the Louvre also expanded their holdings during this time. Many purchases by German museums were restituted to France in the postwar period, while some have remained in the collections until today and are first now becoming a focus of research. The essays in the volume from German and French perspectives analyze the similarities and differences in the activities of museums on the French art market during the occupation for the first time. Adolf Hitler et Hermann Göring ne sont pas les seuls à avoir profité de l'Occupation de la France par l’Allemagne pendant la Seconde Guerre mondiale pour acquérir des œuvres d'art pour leurs collections - les musées allemands y ont également fait des acquisitions. Le taux de change avantageux et l'offre importante d'œuvres d'art provenant par exemple de propriétés juives spoliées ont offert des opportunités favorables. Les musées français, comme le Louvre, ont également élargi leurs collections à cette époque. De nombreuses acquisitions de musées allemands ont été restituées à la France dans l'après-guerre, mais certaines sont restées dans les collections jusqu'à ce jour et n'ont attiré l'attention des chercheurs que récemment. Les contributions de ce volume analysent pour la première fois, des points de vue français et allemand, les points communs et les différences entre les activités des musées sur le marché de l'art français pendant l'Occupation.
£40.95
De Gruyter Kunst, Konflikt, Kollaboration: Hildebrand
Book SynopsisHildebrand Gurlitt zählte zu jenen Kunsthändlern, die sich an dem Verkauf der 1937 in deutschen Museen als „entartet" beschlagnahmten Kunstwerke beteiligten. Rund 400 Kunstwerke aus dem Kontext der Einziehung verblieben in seinem Besitz. Sie befinden sich heute als Legat Cornelius Gurlitt im Kunstmuseum Bern. Der Band basiert auf umfangreichen Forschungen zur Entstehung des Kunstbesitzes Hildebrand Gurlitts. Die Beiträge thematisieren die Positionierung des Museumsleiters und Kurators Gurlitt zur deutschen Moderne und seine Rolle als Kunsthändler während des Nationalsozialismus und in der Nachkriegszeit. Die Autor:innen analysieren Gurlitts Rolle im Kontext des Kunsthandels, der nationalsozialistischen Kunst- und Verfolgungspolitik und problematisieren die Strategien des Kunstbetriebs nach 1945. Der Katalog enthält alle Kunstwerke im Legat Cornelius Gurlitt mit belegtem Bezug zur Aktion „Entartete Kunst" sowie Reproduktionen zentraler Dokumente.
£46.55
De Gruyter Kunstraub für den Sozialismus: Zur rechtlichen
Book SynopsisWhat should be done about cultural property confiscated in the Soviet Occupation Zone and the GDR? This legal appraisal commissioned by the Deutsches Zentrum Kulturgutverluste (German Lost Art Foundation) enables public institutions and their funding providers to assess the legal position of collection items seized in the Soviet Occupation Zone and the GDR, and identifies legal options for action. Thomas Finkenauer and Jan Thiessen present a compendium classifying 13 case groups along with the historical circumstances of their confiscation and the legal consequences. The report also serves provenance research through this overview, which has not been available in such a form before. First legal compendium on the confiscation of cultural property in the Soviet Occupation Zone and the GDR Legal analysis and regulatory options for action Reference work for provenance research
£31.95
De Gruyter Gerecht und fair
Book SynopsisIm Jahr 1998 unterzeichnen 42 Staaten die Washingtoner Prinzipien. Es werden gerechte und faire Lösungen gefordert und dazu die Schaffung innerstaatlicher Verfahren zur Umsetzung dieser Richtlinien als notwendig ausgemacht. In Deutschland, Österreich, den Niederlanden, Frankreich und dem Vereinigten Königreich wurden entsprechende Verfahren eingerichtet. Die Studie vergleicht die fünf Verfahren umfassend aus funktional rechtsvergleichender Perspektive und entwickelt aus einer anschließenden Kontextualisierung und Evaluierung im Lichte der Washingtoner Prinzipien 13 konkrete Verfahrensbausteine eines Idealverfahrens. Diese sind als Beitrag zum öffentlichen Diskurs, aber auch als Angebot an die Praxis zur Schaffung neuer oder zur Stärkung bestehender Kommissionen zu verstehen.
£81.00
Bohlau Verlag Hitlers Sonderauftrag Ostmark: Kunstraub und
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£54.33
Bohlau Verlag Raub Und Rettung: Russische Museen im Zweiten
Book SynopsisDie Zerstörung von Kulturdenkmälern und das Ausrauben von Museen waren Teil des Vernichtungskrieges, den das nationalsozialistische Deutschland in der Sowjetunion führte. Hunderttausende von Objekten werden bis heute vermisst, viele Fragen sind unbeantwortet. Und doch fehlt das Verständnis für die immensen Zerstörungen und Verluste an russischen Kulturgütern im Zweiten Weltkrieg in Deutschland weitgehend.Erstmals wird in diesem Buch aus russischer und deutscher Sicht der NS-Kunstraub anhand von detaillierten Fallstudien beschrieben. Betrachtet werden die Zarenschlösser bei St. Petersburg sowie die Städte Pskov und Novgorod. Der Blick auf einzelne russische Museen erlaubt es, eine Geschichte der Kunst im Krieg zu erzählen. Neu erschlossenes Quellenmaterial gibt authentische Einblicke in das Kriegsgeschehen. So treten die Personen in den Vordergrund, die auf NS-Seite für Kunstschutz und Raub, auf sowjetischer Seite für die Rettung der Kunstsammlungen verantwortlich waren.
£56.80
De Gruyter Der Raub der kleinen Dinge: Belastetes Erbe aus
Book SynopsisSpektakuläre Restitutionen hochpreisiger Kunstwerke haben in der Öffentlichkeit den Eindruck erweckt, bei den in der NS-Zeit den jüdischen Bürger/-innen geraubten Gegenstände handele es sich nahezu ausschließlich um Kunstgegenstände und Objekte von hohem Wert. Das Gegenteil ist der Fall: Die meisten entzogenen Besitztümer waren Dinge des täglichen Lebens, Möbel, Wäsche oder banale Haushaltsgegenstände. Und sie landeten nicht nur in Behörden oder Museen, sondern auch in privaten Haushalten. Wie sollen Museen mit Gegenständen umgehen, die – angeblich – aus jüdischem Eigentum stammen und die ihnen nun oft von Nachkommen der Erwerberinnen und Erwerber angeboten werden? Stimmt die Familienüberlieferung? Kann man sie überprüfen? Und sollen Museen solche belasteten Gegenstände überhaupt annehmen?
£16.20
Hatje Cantz Castaway Modernism: Basel’s Acquisitions of
Book SynopsisTorn Modernism illuminates an important moment in the history of the Kunstmuseum Basel's collection. In 1937 the Nazi cultural policy denounced thousands of works as “degenerate” and forcibly removed from German museums. The Third Reich’s Ministry of Propaganda correctly assumed that a portion of such works would find buyers abroad, in this way certain artworks deemed “internationally exploitable” reached the art market via various channels. Georg Schmidt (1896–1966), the museum’s director at the time, managed in 1939 to acquire the Painting Animal Destinies by Franz Marc (1880–1916) and twenty avant-garde masterpieces all at once. In the catalogue, renowned experts trace the events based on the seizures in German museums and explain the historical contexts. The actors of the institutions and the art market are presented, and the Nazi regime's act of cultural violence is revealed, which resulted in an artificial fragmentation of Modernism into art that was "exploitable" on the one hand, and art that had been destroyed or forgotten on the other. Contributions on the auction of the Galerie Fischer in Lucerne, on Georg Schmidt's approach, and on the classification of the acquisitions in the context of Basel's collection history bring specific Swiss aspects into focus.
£52.20
Prestel Atlas of Art Crime Thefts Vandalism and Forgeries
Book SynopsisMapping out the world's infamous art thefts, forgeries, and acts of vandalism, this unique and visually striking reference illuminates the prevalence, motivations, and consequences of art crime in every corner of the globe. Art history is filled with stories of art crime-but the depth and breadth of these incidents is not generally understood. The first book of its kind, this atlas illustrates and contextualizes nearly one hundred incidents in a unique format that allows readers to visualize the geography of art crime from the past two centuries. While the most famous crimes have occurred in Europe, this book includes malfeasance and scandals that took place in dozens of countries, including Egypt, Mexico, China, Australia, and Brazil. Divided into sections on thefts, vandalism, and forgeries, the chapters are sub-divided by continent with maps of the regions. Each crime is profiled with an absorbing narrative and images of the artworks, perpetrators, and scenes of the crime. Additio
£22.10
Prestel Publishing The Atlas of Art Crime
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£24.61
Transcript Verlag Faking, Forging, Counterfeiting – Discredited
Book SynopsisForgeries are an omnipresent part of our culture and closely related to traditional ideas of authenticity, legality, authorship, creativity, and innovation. Based on the concept of mimesis, this volume illustrates how forgeries must be understood as autonomous aesthetic practices - creative acts in themselves - rather than as mere rip-offs of an original work of art. The proceedings bring together research from different scholarly fields. They focus on various mimetic practices such as pseudo-translations, imposters, identity theft, and hoaxes in different artistic and historic contexts. By opening up the scope of the aesthetic implications of fakes, this anthology aims to consolidate forging as an autonomous method of creation.
£33.14
V&R Unipress Verstossene Werke: Rechtliche Moglichkeiten Der
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£48.81
Brill Faking It!: The Performance of Forgery in Late
Book SynopsisFaking It! collects eleven chapters which explore the question of forgery from different disciplinary angles: literary historical and art historical contributions share space with discussions of jewels, architecture and coinage. The various case studies take as their focus developments in Renaissance Italy and early modern England as well as in France, Germany, Malta, Denmark, Sweden, Iceland, Russia and Australia. While each chapter contributes to a better understanding of the local context of cultural production, together they suggest new answers to how we can understand forgery. The concept of performance allows us to see beyond normative approaches and gain insight into some of the ambiguities concerning the nature of forgery. Contributors to this volume: Brian J. Boeck, Federica Boldrini, Patricia Pires Boulhosa, Laurent Curelly, Helen Hughes, Jacqueline Hylkema, Philip Lavender, Lorenzo Paoli, Ingrid Rowland, Camilla Russo and Ksenija Tschetschik-Hammerl.Table of ContentsAcknowledgements List of Figures Notes on the Editors Notes on the Contributors 1 Introduction: The Performance of Forgery Philip Lavender and Matilda Amundsen Bergström 2 Forgery, Audience and Authentication: Icelandic Agreements of the Fifteenth Century Patricia Pires Boulhosa 3 All That Glitters Is Not Gold: False Jewellery and Its Juridical Regulation in Italy between the Late Middle Ages and the Early Modern Period Federica Boldrini 4 Re-Forging a Forgery: The French Editions of Annius of Viterbo’s Antiquitates Lorenzo Paoli 5 Prenatal Prophecies and Linguistic Ciphers: A Russian Political Forgery Devoted to the Autocratic Evil of Ivan the Terrible Brian J. Boeck 6 Girolamo Baruffaldi as a Forger: The Case of Barbara Torelli Camilla Russo 7 The Deceptive Power of a Monogram: Appropriating Dürer’s Identity in the Sixteenth and Early Seventeenth Centuries Ksenija Tschetschik-Hammerl 8 Mind Your U’s and V’s!: Counterfeiting Newspapers in Civil War Britain Laurent Curelly 9 The Theatre of Forgery: Curzio Inghirami (Volterra, 1614–1655) and Giorgio Grognet de Vassé (Malta, 1774–1862) Ingrid Rowland 10 Sailing and Sinking on the Sea of Forgery: The Tradition of Fake Sagas in Seventeenth- and Eighteenth-Century Sweden and Denmark Philip Lavender 11 Of Theatrical Illusion and Fake Advertisements: George Bickham the Younger, Samuel Foote and the Great Bottle Hoax of 1749 Jacqueline Hylkema 12 Counterfeiting Coins and Convict Transportation from England to Australia in the Eighteenth Century Helen Hughes Index Nominum
£120.84
