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Aging (artwork) Anastylosis Arrested decay Architecture Cradling (paintings) Detachment of wall paintings Desmet method Historic paint analysis Imaging of cultural heritage Inpainting Kintsugi Leafcasting Lining of paintings Mass deacidification Mold control and prevention in libraries Overpainting Paper splitting Radiography of cultural objects Reconstruction (architecture) Rissverklebung Textile stabilization Transfer of panel paintings UVC-based preservation
Governments around the world have stepped up their efforts to combat money laundering in recent decades, with regulations that require financial institutions to put systems in place to detect and report suspicious activity. The amount of money involved is substantial: According to a 2018 survey from PwC, global money laundering transactions account for roughly $1 trillion to $2 trillion annually, or some 2% to 5% of global GDP .
One of the best things about Goodreads is keeping a TBR list...that list that gets longer every month and nags at you when you start reading the new hot book instead. It's that nagging (just like a mother's "sit up straight!") that makes you really take a second look at the books you've been meaning to read forever and realize from reviews that you really should.
These pesky forgers don’t limit their scams to painting, and are capable of turning their hands to many types of fakery. In the case of this set of six Louis XIV chairs—sold by highly-respected Parisian antiques dealer Kraemer Gallery to the Palace of Versailles itself—it emerged after the sale was made public that there just were not as many chairs in the court of Versailles as there are currently in circulation. The natural conclusion would be that some of the presumed authentic chairs must indeed be fakes.
“The biggest [problem] is that . . . Rosales kept walking in [to Knoedler] with unknown works that had no documentation. This should have signaled that the works were fake,” he tells The Post. “It was too good to be true — this heir selling 31 unseen masterpieces by the greatest artists for fractions of their market prices? It happens, but the idea of 31 works going — unnoticed — out of these artists’ studios to a collector is like winning the lottery 31 times.”
Forgery most often occurs with works of painting, sculpture, decorative art, and literature; less often with music. Plagiarism is more difficult to prove as fraud, since the possibility of coincidence must be weighed against evidence of stealing. Piracy is more often a business than an artistic fraud; it frequently occurs in the publication of editions of foreign books in countries that have no copyright agreement with the nation in which the work was copyrighted. A stage production, the reproduction of a painting, the performance of a musical composition, and analogous practices of other kinds of works without authorization and royalty payments also fall into this category.
Founded in 1901, the Toledo Museum of Art holds a collection of extraordinary artworks. We are a free museum that had nearly half-a-million visitors last year and is nationally renowned for its focus on art education. Even with those distinctions, the Museum is most notable for the quality of its collection. Aside from its comprehensive collection of glass—Toledo is known in America as the Glass City—TMA has never sought to be comprehensive in its approach to collecting—the institution’s focus has been and remains on singular artworks by singular artists. Quality has always been the outstanding attribute of our collection, and the objects being sold are not of the quality of our permanent display collection; have been on display rarely; have not been sought out by scholars; or have not been published in recent decades. In short, these objects were not working to fulfill our mission.
New England Glass Works (American, 1818-1888), Black-Amethyst Sinumbra Lamp, 1830-1835, Translucent dark amethyst glass appearing black, pressed, with patinated copper alloy (brass) fittings and iron alloy lamp mechanism, a blown transparent colorless glass shade, ground and wheel-cut, and a transparent blown glass chimney (replaced), 17 1/2 in., 2016.214.
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The second essay (Purchase Price Paid Over Time: “Title Does Not Pass Until Payment in Full”) addresses a very common provision in contracts for the sale of art with installment payments. But, surprising to many art sellers, the Uniform Commercial Code probably makes this provision unenforceable, with consequences for the seller getting his art back.
“Deaccessioning” is defined as the process by which an artwork (or other object) is permanently removed from a museum’s collection. Proceeds received from the sale of deaccessioned artworks must be used by art museums for the acquisition of other artworks. As such, U.S. and international professional organizations have long upheld the role of deaccessioning as vital to the care of collections. Some nationally funded museums do not allow deaccessioning under any circumstances, and internationally it is not as prevalent as it is in America, where many museums are privately funded. The Toledo Museum of Art respects that there are different points of view, but American art museums have upheld the practice of judiciously managing collections.
James Martin’s expert report shows the signatures from four Knoedler paintings that were purported Jackson Pollocks. The top two signatures are quite similar. The bottom right signature shows signs that the name was first traced onto the canvas using a sharp tool, and is very similar to the signature on the bottom left, which is misspelled “Pollok.” Courtesy of James Martin.

* Get full names and contact information for all galleries or auction houses that the seller claims previously owned the art. If these galleries are still in business, contact them in order to confirm that the information provided by the seller is correct. If none of the galleries or auction houses are traceable, then this may be cause for concern.
* Get full names and contact information for all private parties who the seller claims previously owned the art, or other forms of proof that they indeed owned it. Confirm that these people actually exist (or existed) and, when possible, contact them or their descendants directly to confirm all claims. Or have the seller do it for you. Simply being given a list of names with no other accompanying or verifiable information is not enough.

In recent weeks, the art world has been rocked by perhaps the biggest forgery scandal to hit the art world since Van Meegeren’s unmasking. The extent of the Old Master forgery ring is as of yet unknown, but Sotheby’s has already issued a refund to the buyer of a $10 million Frans Hals portrait, sold in 2011 in a private sale through London dealer Mark Weiss. James Martin’s Orion Analytical, a Williamstown, Massachusetts-based company which investigates artworks, found modern-day materials in the canvas, proving it to be a forgery.
Money obtained illegally—from fraud, embezzlement, bribery, etc.—needs a hiding place. A huge deposit into a bank account, with no clear indication of where that money came from, is a red flag for the IRS. So instead of depositing dirty money, or holding onto it as cash, disreputable people will often turn the money into something else (cars, mansions) or filter it through a business so it comes out the other side looking like the profits of a legitimate enterprise.

The fundamental consideration in determining forgery is “intent to deceive.” The act of copying a painting or other work of art is in itself not forgery, nor is the creation of a work “in the style” of a recognized painter, composer, or writer or of a particular historical period. Forgery may be the act not of the creator himself but of the dealer who adds a fraudulent signature or in some way alters the appearance of a painting or manuscript. Restoration of a damaged painting or manuscript, however, is not considered forgery even if the restorer in his work creates a significant part of the total work. Misattributions may result either from honest errors in scholarship—as in the attribution of a work to a well-known artist when the work was in fact done by a painter in his workshop, a pupil, or a later follower—or from a deliberate fraud.
Interoperability is a design goal of most recent computer science provenance theories and models, for example the Open Provenance Model (OPM) 2008 generation workshop aimed at "establishing inter-operability of systems" through information exchange agreements.[38] Data models and serialisation formats for delivering provenance information typically reuse existing metadata models where possible to enable this. Both the OPM Vocabulary[39] and the PROV Ontology[40] make extensive use of metadata models such as Dublin Core and Semantic Web technologies such as the Web Ontology Language (OWL). Current practice is to rely on the W3C PROV data model, OPM's successor.[41]
The 20th-century art market has favored artists such as Salvador Dalí, Pablo Picasso, Klee and Matisse and works by these artists have commonly been targets of forgery. These forgeries are typically sold to art galleries and auction houses who cater to the tastes of art and antiquities collectors; at time of the occupation of France by German forces during World War II, the painting which fetched the highest price at Drouot, the main French auction house, was a fake Cézanne.[4]
At any point in a work of art's history, its authenticity can come into question. Often, art is accompanied by documentation, commonly known as provenance, that confirms its authenticity mainly through ownership history. Good provenance (ownership history) leaves no doubt that a work of art is genuine and by the artist who it is stated to be by or whose signature it bears. Unfortunately, numerous forged or otherwise misrepresented works of art are offered for sale with fake or questionable provenance at online auctions, at fixed-price art websites, and at bricks-and-mortar establishments. But nowhere is the proliferation of art with problematic provenance more pervasive than at online auctions.
While the US art market remains relatively unregulated, organizations across the globe are taking steps to hold dealers accountable for reporting illegal activity. In February of 2013, the European Commission passed ordinances that require European galleries to report sales above 7,500 euros paid in cash, as well as file suspicious-transaction reports. And in the beginning of this year, a forum was held at the World Economic Forum in Davos, Switzerland in which economist Nouriel Roubini, among others, spoke on the art market’s susceptibility to laundering and other economic crimes like tax avoidance and evasion. “Anybody can walk into a gallery and spend half a million dollars and nobody is going to ask any questions," said Roubini according to Swiss Info.
An important strategy for combating that type of art fraud is research into the history of ownership of the work (called provenance) and the mention of the work in archival records. Genuine works of art appear in historical records and are owned by individuals, and one way to determine the authenticity of a work is to establish that kind of history. Marks of ownership, such as owners’ stamps, may be found on the object itself, or dates signifying change in ownership may be written on the object. Needless to say, historical marks on a work can also be forged, so provenance research alone is not sufficient to determine authenticity.