Forgery Books
University of Washington Press Not Native American Art
Book Synopsis
£43.25
Cornell University Press The Deceivers
Book SynopsisThe nineteenth century witnessed an unprecedented increase in art forgery, caused both by the advent of national museums and by a rapidly growing bourgeois interest in collecting objects from the past. This rise had profound repercussions on notions...Trade ReviewBriefel's concise and elegant study is... about the 'rich rhetoric of forgery' that arose in the literature of that period in England, France, and the United States. Briefel sets out to identify the various identities created by this literature and to show how they reflected biases relating to 'categories of gender, class, race, and nationality.'... The Deceivers presents many original ideas on the complexities of fakery and identity, as well as an authoritative overview of previous scholarship. The text is enriched with a number of black and white illustrations from contemporaneous publications. Briefel's writing is as lively and humorous as that from Punch, making this book a pleasure to read. * Journal of British Studies *The book reads like a fascinating collection of obscure items, yet it is deceptively relevant. It tells a coherent story of the allure and impenetrability of artworks that are neither true nor false. * Times Literary Supplement *
£46.75
Reaktion Books Art Theft and the Case of the Stolen Turners
Book SynopsisThe theft of high-profile works of art is not new and recurs on a fairly regular basis. In 1994 two important paintings by J.M.W. Turner (then valued at 24 million) were stolen from a public gallery in Frankfurt while on loan from the Tate in London. Sandy Nairne, who was then Director of Programmes at the Tate, became centrally involved in the pursuit of the pictures and in the negotiation for their return. In Art Theft and the Case of the Stolen Turners he relates for the first time this complex, cloak-and-dagger story of the theft, the many efforts to regain the paintings and the final return of the pictures in 2002 to public display at the Tate. In addition to this story, Nairne examines other high-value art thefts, trying to resolve the puzzle of why thieves steal well-known works of art that cannot be sold, even on the black market. Nairne also discusses the theft and recovery of works of art, acknowledging that they form part of a much broader field of theft, looting and illicit dealings with art and antiquities around the world. He debates how different concepts of value can be understood by examining episodes of art theft, questions of motivation and surrounding ethical issues. How art theft is depicted in fiction is also considered, including the construction of the image of the art thief, the specialist detective and the mysterious figure of the hidden, criminal collector. Art Theft and the Case of the Stolen Turners is the culmination of eight and a half years of pursing the missing paintings, and a further period of research and interviews with key players in the drama. It is a vivid and personal account of a hidden art world and a compelling real-life detective story that will keep both art and mystery lovers eagerly turning pages.Trade Review'I was gripped by Sandy Nairne's matter-of-fact but hair-raising account of the efforts to reclaim the two Turners' - -- Phillip Hensher The Spectator 'In Art Theft and the Case of the Stolen Turners, Sandy Nairne describes going underground to help recover the booty of a daring heist. Superheroes all.' - -- Elaine Showalter TLS 'a fascinating read, delving into some of the important moral issues associated with the paying of recovery fees.' - -- Alexander McCall Smith The Scotsman
£18.00
Boydell & Brewer Ltd The Carabinieri Command for the Protection of
Book SynopsisFirst comprehensive study of Italy's "art police", an organisation devoted to protecting cultural artefacts. Renowned for their rigorous investigative approach, the dedicated officers of the Carabinieri Command for the Protection of Cultural Property (Carabinieri TPC) have recovered thousands of objects and built legal cases resulting inhigh profile repatriations of cultural property. Their actions have effectively changed an art market that previously depended upon theft and criminal behaviour. Italy is a nation that greatly values its ancient past alongside its artistic present, and it is this appreciation that has led to the creation of the world's premier police force dedicated to law enforcement in the arts, heritage and archaeology. As the TPC's dedicated officers work to protect every aspect of Italy's rich cultural heritage, their organisation, training, approach, missions and successes offer valuable lessons for all who share the goal of protecting and recovering cultural property. Laurie Rushis a Board Member of the US Committee of the Blue Shield, and employed as an archaeologist by the US army; Luisa Benedettini Millington is a Faculty member of the Community College of Vermont, US.Trade ReviewThe illicit trafficking of works of art and antiquities is not a problem solely for the police and art experts. It affects us all...It is better to educate and forestall than to pursue and prosecute after the event: public information campaigns are needed. Such campaigns might usefully draw on the many instances highlighted in this important, timely chronicle and celebration of the work of the Carabinieri * TPC. TRANSACTIONS OF THE ANCIENT MONUMENTS SOCIETY *Should be required reading not just for public authorities, but for collectors, curators, archaeologists and art historians concerned by the current ramifications of crimes against art and hoping to implement practical solutions to combat them. * THE BURLINGTON MAGAZINE *Table of ContentsForeword The Carabinieri TPC: an Introduction and Brief History. Perche' l'Italia? Why Italy? Headquarters, the Databank and Operative Department in Rome Carabinieri Public Outreach and Education Central Italy and the Adriatic: Lazio, Florence, Bologna and Ancona Activities in the North: Genova, Monza, Torino and Venezia The Regional Offices: Naples, Bari and the South The Challenges of the Island Regions: Sicily, Sardinia and the Palermo, Siracusa and Sassari Nuclei Investigation Techniques Repatriation of Works of Art to Italy: From Siviero to the Medici Conspiracy Fakes, Forgeries and Money Laundering Who Are the Officers of the Carabinieri TPC? The Carabinieri, Peacekeeping and Foreign Relations: The Carabinieri Mission to Iraq 'The Italian Model' Bibliography and References About the Authors
£23.74
Edward Elgar Publishing Ltd Research Handbook on Art and Law
Book SynopsisFeaturing international contributions from leading and emerging scholars, this innovative Research Handbook presents a panoramic view of how law sees visual art, and how visual art sees law. It resists the conventional approach to art and law as inherently dissonant - one a discipline preoccupied with rationality, certainty and objectivity; the other a creative enterprise ensconced in the imaginary and inviting multiple, unique and subjective interpretations. Blending these two distinct disciplines, this unique Research Handbook bridges the gap between art and law. This highly original Research Handbook provides stimulating and provocative discussions that bring together multiple perspectives on how art and law relate to each other in all of their various manifestations, across diverse legal regimes, fields, contexts, and times. With the objective of starting an interdisciplinary dialogue on visual art and the law, this Research Handbook reflects the varied voices of lawyers, artists, criminologists and curators, and engages with broad notions of the two fields, exploring established themes alongside new areas and unfamiliar questions. Wide-ranging and accessible, the Research Handbook on Art and Law will be of interest to law students and scholars engaged with the fields of law and the visual arts, as well as copyright lawyers, art historians and socio-legal scholars.Trade Review‘The collection of essays edited by Jani McCullen and Fiona McGaughey is a welcome contribution to the thorny relationship between law and the arts. This volume offers diversified perspectives on law and art, both through the examination of copyright and the various laws presiding the protection of the work of art. The examination of how law permeates art and, conversely, how art can be instrumental in exposing the miscarriages of law, makes this critical work a milestone in the studies concerning the interrelation between law and art, going well beyond the way law and art have been connected and compared so far.’ -- Daniela Carpi, Pólemos: Law, Literature & Culture‘This volume offers diversified perspectives on law and art, both through the examination of copyright and the various laws presiding the protection of the work of art. The examination of how law permeates art and, conversely, how art can be instrumental in exposing the miscarriages of law, makes this critical work a milestone in the studies concerning the interrelation between law and art, going well beyond the way law and art have been connected and compared so far.’ -- Daniela Carpi, Pólemos'In an age where imaginative thinking is needed more than ever, this lively meeting of minds is a most welcome endeavor. Moving beyond registers of opposition, this wide-ranging collection addresses the intersection of art and law as a necessary provocation for thinking more deeply about what it means to live fully and justly. Lawyers, judges, legal theorists, philosophers, curators and artists are deftly brought together, making this Research Handbook invaluable for anyone invested in the intersection of law and culture.' --Joan Kee, University of Michigan, US'In a world increasingly dominated by the visual - a world also in which ''the law'' and its promise of justice absorb giant and global political and interdisciplinary challenges - there is no more timely book than this one investigating the relationships between visual art and law.' --Jessica Silbey, Northeastern University, USTable of ContentsContents: Foreword xiv Introduction to the Research Handbook on Art and Law 1 Jani McCutcheon and Fiona McGaughey PART I COPYRIGHT’S RIGHTS IN ART 1 Making art from words: the picturisation adaptation right in copyright law 11 Jani McCutcheon 2 The fine art of rummaging: successors and the life cycle of copyright 26 Eva E Subotnik PART II COPYRIGHT’S REGULATION OF ART 3 Regulating the artist: laws, norms and practices 42 Chris Dent 4 Copying artistic works: copyright, aesthetics, and artistic practice 59 Jonathan Barrett 5 The Prince and the President’s daughter: a tale of copyright and contemporary art 77 Julian R Murphy and Nicholas Modrzewski PART III THE OUTER BOUNDARIES OF ART IN LAW 6 The curator’s copyright 95 Alana Kushnir 7 Patentability and fine art 114 Michael Blakeney 8 Untangling copyright and trade marks in art and advertising 129 Amanda Scardamaglia 9 Demystifying colour regulation in art – protecting substances, appearances and beyond 142 Ema Denby, Paul Green-Armytage and Jani McCutcheon PART IV REGULATING ‘BAD’ ART 10 Preventing art forgery and fraud through emerging technology: application of a regulatory pluralism model 160 Jade Lindley 11 The effectiveness of Australia’s legal system in addressing problematic artwork 177 Dan Mossenson PART V ART, LAW AND THE PUBLIC INTEREST 12 Preserving street art and graffiti: can the law reconcile the (often conflicting) rights of artists, property owners and local communities? 194 Enrico Bonadio 13 Classifying art in diverse legal regimes: the function-aesthetic divide and the public interest 209 Marta Iljadica PART VI ART CRITIQUING OR GIRDING LEGAL SYSTEMS 14 The exorcist: law’s crimes and art’s super powers 225 Desmond Manderson 15 Lady injustice: inequality and legal iconography 239 Ben Wardle PART VII LAW IN ART 16 Intellectual property law as artistic medium 259 Shane Burke 17 On The Nullians 278 Jani McCutcheon 18 Thinking through seeing: legal minds and images 286 Ruth Herz PART VIII MULTIPLICITY OF INTERPRETATIONS 19 The public good in poetic justice: on the art (and law) of Felix Gonzalez-Torres 302 Sonia K Katyal 20 The decommission of I See Red : a case study in the relations between art and law 318 Lee Harrop and Nicolas J Bullot PART IX ART, LAW, VIOLENCE AND CRIME 21 A law unto themselves: murals in the Northern Ireland conflict 335 Fiona McGaughey 22 Breaking the frame: abortion under arrest in contemporary visual art? 353 Natalie Linda Jones 23 The artist turned criminal: emotional obstacles to severing the body from the body of work 368 Gregory Dale PART X ART IN INTERNATIONAL LAW 24 Art and human rights law 389 Sarah Joseph 25 Image and art in the Whaling in the Antarctic case 408 Alice Palmer Index 427
£203.00
Edward Elgar Publishing Ltd Research Handbook on Art and Law
Book SynopsisFeaturing international contributions from leading and emerging scholars, this innovative Research Handbook presents a panoramic view of how law sees visual art, and how visual art sees law. It resists the conventional approach to art and law as inherently dissonant - one a discipline preoccupied with rationality, certainty and objectivity; the other a creative enterprise ensconced in the imaginary and inviting multiple, unique and subjective interpretations. Blending these two distinct disciplines, this unique Research Handbook bridges the gap between art and law. This highly original Research Handbook provides stimulating and provocative discussions that bring together multiple perspectives on how art and law relate to each other in all of their various manifestations, across diverse legal regimes, fields, contexts, and times. With the objective of starting an interdisciplinary dialogue on visual art and the law, this Research Handbook reflects the varied voices of lawyers, artists, criminologists and curators, and engages with broad notions of the two fields, exploring established themes alongside new areas and unfamiliar questions. Wide-ranging and accessible, the Research Handbook on Art and Law will be of interest to law students and scholars engaged with the fields of law and the visual arts, as well as copyright lawyers, art historians and socio-legal scholars.Trade Review‘The collection of essays edited by Jani McCullen and Fiona McGaughey is a welcome contribution to the thorny relationship between law and the arts. This volume offers diversified perspectives on law and art, both through the examination of copyright and the various laws presiding the protection of the work of art. The examination of how law permeates art and, conversely, how art can be instrumental in exposing the miscarriages of law, makes this critical work a milestone in the studies concerning the interrelation between law and art, going well beyond the way law and art have been connected and compared so far.’ -- Daniela Carpi, Pólemos: Law, Literature & Culture‘This volume offers diversified perspectives on law and art, both through the examination of copyright and the various laws presiding the protection of the work of art. The examination of how law permeates art and, conversely, how art can be instrumental in exposing the miscarriages of law, makes this critical work a milestone in the studies concerning the interrelation between law and art, going well beyond the way law and art have been connected and compared so far.’ -- Daniela Carpi, Pólemos'In an age where imaginative thinking is needed more than ever, this lively meeting of minds is a most welcome endeavor. Moving beyond registers of opposition, this wide-ranging collection addresses the intersection of art and law as a necessary provocation for thinking more deeply about what it means to live fully and justly. Lawyers, judges, legal theorists, philosophers, curators and artists are deftly brought together, making this Research Handbook invaluable for anyone invested in the intersection of law and culture.' --Joan Kee, University of Michigan, US'In a world increasingly dominated by the visual - a world also in which ''the law'' and its promise of justice absorb giant and global political and interdisciplinary challenges - there is no more timely book than this one investigating the relationships between visual art and law.' --Jessica Silbey, Northeastern University, USTable of ContentsContents: Foreword xiv Introduction to the Research Handbook on Art and Law 1 Jani McCutcheon and Fiona McGaughey PART I COPYRIGHT’S RIGHTS IN ART 1 Making art from words: the picturisation adaptation right in copyright law 11 Jani McCutcheon 2 The fine art of rummaging: successors and the life cycle of copyright 26 Eva E Subotnik PART II COPYRIGHT’S REGULATION OF ART 3 Regulating the artist: laws, norms and practices 42 Chris Dent 4 Copying artistic works: copyright, aesthetics, and artistic practice 59 Jonathan Barrett 5 The Prince and the President’s daughter: a tale of copyright and contemporary art 77 Julian R Murphy and Nicholas Modrzewski PART III THE OUTER BOUNDARIES OF ART IN LAW 6 The curator’s copyright 95 Alana Kushnir 7 Patentability and fine art 114 Michael Blakeney 8 Untangling copyright and trade marks in art and advertising 129 Amanda Scardamaglia 9 Demystifying colour regulation in art – protecting substances, appearances and beyond 142 Ema Denby, Paul Green-Armytage and Jani McCutcheon PART IV REGULATING ‘BAD’ ART 10 Preventing art forgery and fraud through emerging technology: application of a regulatory pluralism model 160 Jade Lindley 11 The effectiveness of Australia’s legal system in addressing problematic artwork 177 Dan Mossenson PART V ART, LAW AND THE PUBLIC INTEREST 12 Preserving street art and graffiti: can the law reconcile the (often conflicting) rights of artists, property owners and local communities? 194 Enrico Bonadio 13 Classifying art in diverse legal regimes: the function-aesthetic divide and the public interest 209 Marta Iljadica PART VI ART CRITIQUING OR GIRDING LEGAL SYSTEMS 14 The exorcist: law’s crimes and art’s super powers 225 Desmond Manderson 15 Lady injustice: inequality and legal iconography 239 Ben Wardle PART VII LAW IN ART 16 Intellectual property law as artistic medium 259 Shane Burke 17 On The Nullians 278 Jani McCutcheon 18 Thinking through seeing: legal minds and images 286 Ruth Herz PART VIII MULTIPLICITY OF INTERPRETATIONS 19 The public good in poetic justice: on the art (and law) of Felix Gonzalez-Torres 302 Sonia K Katyal 20 The decommission of I See Red : a case study in the relations between art and law 318 Lee Harrop and Nicolas J Bullot PART IX ART, LAW, VIOLENCE AND CRIME 21 A law unto themselves: murals in the Northern Ireland conflict 335 Fiona McGaughey 22 Breaking the frame: abortion under arrest in contemporary visual art? 353 Natalie Linda Jones 23 The artist turned criminal: emotional obstacles to severing the body from the body of work 368 Gregory Dale PART X ART IN INTERNATIONAL LAW 24 Art and human rights law 389 Sarah Joseph 25 Image and art in the Whaling in the Antarctic case 408 Alice Palmer Index 427
£41.75
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
£11.77
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.
£999.99
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
Oxford University Press Forged
Book SynopsisAccording to Vasari, the young Michelangelo often borrowed drawings of past masters, which he copied, returning his imitations to the owners and keeping originals. Half a millennium later, Andy Warhol made a game of forging the Mona Lisa, questioning the entire concept of originality.Forged explores art forgery from ancient times to the present. In chapters combining lively biography with insightful art criticism, Jonathon Keats profiles individual art forgers and connects their stories to broader themes about the role of forgeries in society. From the Renaissance master Andrea del Sarto who faked a Raphael masterpiece at the request of his Medici patrons, to the Vermeer counterfeiter Han van Meegeren who duped the avaricious Hermann Göring, to the frustrated British artist Eric Hebborn, who began forging to expose the ignorance of experts, art forgers have challenged legitimate art in their own time, breaching accepted practices and upsetting the status quo. They have also provocativeTrade ReviewKeats provides a succinct, intelligent, and very readable summary. * New York Review of Books *A compelling look at six forgers, their cunning techniques, and how the art world was fooled by them ... The ability of fake art to humble the experts is irresistible. It's why fakes have spawned so many exhibitions and TV programmes, and why the critic and artist Jonathon Keats's collection of six tales of great 20th-century forgers is so enjoyable. * The Sunday Times *This book is a surprising fortean treat * Andrew Brearley, Fortean Times *Table of ContentsTABLE OF CONTENTS ; Part One ; The Art of Forgery ; Part Two ; Forgers: Six Modern Masters ; Lothar Malskat: What is Belief? ; Alceo Dossena: What is Authenticity? ; Han van Meegeren: What is Authority? ; Eric Hebborn: What is Heritage? ; Elmyr de Hory: What is Identity? ; Tom Keating: What is Culture? ; Part Three ; Forging a New Art ; Further Reading
£15.19
Cambridge University Press Art as Plunder
a huge range and FREE tracked UK delivery on ALL orders.
£37.04
Palgrave Macmillan Stealing Rembrandts
Book SynopsisArt theft is one of the most profitable criminal enterprises in the world. Stealing Rembrandts reveals the actors behind the major art heists of the Dutch Master in the last century, tracking daring entries into and escapes from the world's most renowned museums, and robbers who coolly walk off with multimillion dollar paintings.Table of ContentsAuthors' Forewords Introduction: Why Rembrandt? There Is No 'Dr. No' Smeared with Blood: The 1972 Worcester Heist The Take-Away Rembrandt Snafu in Cincinnati: 1973 Wolves at the Door: Heists from Homes Devil's Bargain: The MFA Heist 2000: The Stockholm Blitz The Rembrandt That Wasn't Rembrandt's Stolen Etchings Epilogue: Our Debt to Rembrandt Target Rembrandt: The List of Thefts Acknowledgements Notes Selected Bibliography Index
£15.17
Johns Hopkins University Press Literary Forgery in Early Modern Europe 14501800
Book SynopsisWhy was the Renaissance also the golden age of forgery?Forgery is an eternal problem. In literature and the writing of history, suspiciously attributed texts can be uniquely revealing when subjected to a nuanced critique. False and spurious writings impinge on social and political realities to a degree rarely confronted by the biographical criticism of yesteryear. They deserve a more critical reading of the sort far more often bestowed on canonical works of poetry and prose fiction. The first comprehensive treatment of literary and historiographical forgery to appear in a quarter of a century, Literary Forgery in Early Modern Europe, 14501800 goes well beyond questions of authorship, spotlighting the imaginative vitality of forgery and its sinister impact on genuine scholarship. This volume demonstrates that early modern forgery was a literary tradition in its own right, with distinctive connections to politics, Greek and Roman classics, religion, philosoTable of ContentsList of IllustrationsAcknowledgmentsIntroduction. Forgery's ValhallaWalter Stephens and Earle A. Havens1. Hoax and Forgery, Whimsy and Fraud: Taxonomic Reflections on the Bibliotheca FictivaArthur Freeman2. Babelic Confusion: Literary Forgery and the Bibliotheca FictivaEarle A. Havens3. Forgery, Misattribution, and a Case of Secondary Pseudonymity: Aethicus Ister's Cosmographia and Its Early Modern MultiplicationsFrederic Clark4. Marvelous History: Authority and Credibility in Medieval Histories of TroyE. R. Truitt5. Forging Relations between East and West: The Invented Letters of Sultan Mehmed IIJames K. Coleman6. Fashioning Noah: How a Forger Turned an Etruscan God into a Biblical FigureShana D. O'Connell7. Annius of Viterbo as a Student of the Jews: The Sources of His InformationAnthony Grafton8. Exposing the Archforger: Annius of Viterbo's First Master CriticWalter Stephens9. Inventing Gallic Antiquities in Renaissance FranceRichard Cooper10. Material and Textual Forgery in the Lead Books of GranadaA. Katie Harris11. Melchior Inchofer, S.J., and the Letter of the Virgin Mary to the Citizens of MessinaIngrid D. Rowland12. "Make Way for the Ghost!" Forgery, Patriotic Mythology, and the Living DeadKate E. Tunstall13. England's Ireland, Ireland's England: William Henry Ireland's National OffenseJack LynchContributorsIndex
£47.50
Getty Trust Publications Letters to Miranda and Canova on the Abduction of
Book SynopsisThis is the first English translation of French art critic Quatermere de Quincy's controversial series of letters about the removal of antiquities from Rome and Athens. In the 1790s and early 1800s, the art world experienced two big events: First came the military confiscation of masterpieces from Italy and northern Europe in order to build a universal museum in Paris' Louvre. Then famous marble sculptures were prised from the Parthenon and sent to London. These events provoked reactions ranging from enthusiastic applause to enraged condemnation. The French art critic, architectural theoretician, and political conservative Quatremere de Quincy was at the centre of the European debates. In his pamphlet "Letters to Miranda", he condemns the revolutionary hubris of putting "Rome in Paris" and urges the return of the works. In the "Letters to Canova", however, Quatremere celebrates the British Museum for making the Parthenon sculptures accessible. Quatremere's writing was highly controversial in its time. This book offers the first English translation of the two series of letters, as well as a new critical introduction.
£999.99
Archetype Publications Ltd Trade in Antiquities: Reducing Destruction and
Book Synopsis
£999.99
Bohlau Verlag Hitlers Sonderauftrag Ostmark: Kunstraub und
Book Synopsis
£55.29
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.
£57.65
Prestel Publishing The Atlas of Art Crime
Book Synopsis
£24.61
V&R Unipress Verstossene Werke: Rechtliche Moglichkeiten Der
Book Synopsis
£49.72
