Collecting Collection (artwork) Collections care Collection catalog Collections maintenance Collections management (museum) Collection Management Policy Collections management system Cultural heritage management Cultural resources management Deaccessioning (museum) Digital repository audit method based on risk assessment Display case Documentation of cultural property Emergency response (museum) Exhibition of cultural heritage objects Found in collection Inherent vice Inventory (museum) Museum integrated pest management Preservation metadata Preservation Metadata: Implementation Strategies Preservation of meaning Preservation survey Provenance Repatriation Restoration (cultural heritage) Storage of cultural heritage objects
Copies, replicas, reproductions and pastiches are often legitimate works, and the distinction between a legitimate reproduction and deliberate forgery is blurred. For example, Guy Hain used original molds to reproduce several of Auguste Rodin's sculptures. However, when Hain then signed the reproductions with the name of Rodin's original foundry, the works became deliberate forgeries.
A common narrative used by art scammers is to say their wife has been looking at your work and really enjoys it. Or, they have a new home and are looking for pieces to decorate it. At first glance, it may seem like a plausible story, but something about it seems abrupt or stunted. If they don’t use your name or any details about the works they are looking at, it is probably not legitimate.
French artist Orlan sued American pop star Lady Gaga for forgery after the release of the 2011 hit video “Born This Way,” but ultimately lost her case. Orlan pointed out similarities to her piece Bumpload (1989), in which she added prosthetic ridges to her face, and Woman With Head (1996), which featured a decapitated head on a table. After losing her $31.7 million lawsuit, Orlan was ordered to pay the singer and her record label €20,000 ($22,000)
Further complicating matters, following Man Ray's death, control of printing copyrights fell to his widow, Juliet Man Ray, and her brother, who approved production of a large number of prints that Man Ray himself had earlier rejected. While these reprints are of limited value, the originals, printed during Man Ray's lifetime, have skyrocketed in value, leading many forgers to alter the reprints, so that they appear to be original.
At Lowy, collectors interested in hiding their originals in the vault, whether for security purposes, to protect delicate works, or to lower the cost to insure them, can reproduce works without the help of a museum. The company employs both specially trained restoration artists and independent artists in need of a day job to conserve and replicate artworks. The process starts with an extremely high-quality print of a digital image, and then the painstaking application of clear conservators’ gel to simulate brushstrokes. Prices start at about $2,000, while frames tend to quadruple the amount.
This scam works for the scammer because the transaction will take time due to the distance involved for both parties. To the unwary artist, the credit card transaction will go through, the art is shipped, only for the artist to find out later that credit card number was stolen and or that the check was no good and that the artist will not be receiving their funds. Then as a consequence of all this, the artist is out of their art and the costs involved, plus the cost of the shipping.
Sylvia Dugan I started reading it, but found the main character to be too shallow and not very believable. I finally decided to stop reading it after the first 50+…moreI started reading it, but found the main character to be too shallow and not very believable. I finally decided to stop reading it after the first 50+ pages, too many other good books to read.(less)
In June, antiques dealers Laurent Kraemer, head of Paris’s venerable Kraemer Gallery, and chair specialist Bill Pallot, were arrested on suspicion of selling the Palace of Versailles four counterfeit medallion back chairs for €1.7 million ($1.9 million). Counted as “National Treasures,” the chairs were thought to be among a group of 13 created by Louis Delanois for the Palace living room in 1769, where they belonged to Louis XV’s last mistress, the countess du Barry.
A qualified authority is a difficult concept, because it’s more than claiming (or seeming) to be an expert. This individual needs to have significant background and experience with the artist. Such as published papers about the artist, or perhaps they teach courses, or have catalogued essays about this artist. Of course the artist themselves, relatives, employees and descendents of the artist are understood as a qualified authority. Once you have all of your documents corroborated and stored in your Artwork Archive account, you can have peace of mind.
"Katzen and Sack indicated to the undercover agent that they could resell the paintings overseas as part of the money-laundering scheme," said the U.S. Attorney for the District of Massachusetts, Michael J. Sullivan. The undercover sting investigation, apparently prompted by an informant's tip, was conducted by the U.S. Customs Service and the FBI.
Jack Flam should know. He is one of the world's top experts in Robert Motherwell and was friends with the artist for years. Robert Motherwell was the youngest of a group of famous American painters that included Jackson Pollock, Mark Rothko and Willem de Kooning, who pioneered a new style of American art known as abstract expressionism. After Robert Motherwell's death, Jack Flam became president of the foundation dedicated to his work, and was assembling a catalogue of all of Motherwell's paintings - what's known as a catalogue raisonne.
Based on a real life, still unsolved art heist at the Isabella Stewart Gardner Museum in Boston, The Art Forger manages to include more details about brush strokes and forgery techniques than I knew existed in a gripping story of artistic obsession. Claire Roth is a struggling young artist, blacklisted by the art establishment for a perceived crime against one of their darlings. She pays her bills by copying famous works of art for an above board online retailer. Then she makes a devil's bargain ...more
The potential role of high-end art and antiquities in money laundering schemes has attracted increasing attention over the last several years, particularly as the prices for such objects steadily rise and a tightening global enforcement and regulatory net has rendered other possible avenues for money laundering increasingly less attractive. The effort to subject U.S. dealers in art and antiquities to Anti-Money-Laundering (“AML”) obligations recently has gained new life. As we blogged, the House Financial Services Committee just released three proposed bills to codify many of the reform ideas that have been swirling around the Bank Secretary Act (“BSA”) and AML and Combating the Financing of Terrorism (“CFT”) laws. One of the bills — entitled as the “To make reforms to the Federal Bank Secrecy Act and anti-money laundering laws, and for other purposes” — catalogues various detailed provisions seeking to reform the BSA and AML laws. Nestled admist all of the other, generally higher-profile proposals (such as the creation of a BSA whistleblower program), one short section of this bill simply expands the list of defined “financial institutions” covered by the BSA to include “dealers in art or antiquities,” and then states that the Secretary of the Treasury shall issue implementing regulations within 180 days of the bill’s enactment.
And in response to Beijing’s strict capital controls which make it illegal for an individual move more than $50,000 out of China per year, wealthy folks from China are turning increasingly to smuggling art out of the country instead. "Items can be bought and sold relatively anonymously, and even when a transaction occurs, complex ownership schemes -- many with a degree of secrecy attached -- are widespread," Paul Tehan of TrackArt, a Hong Kong-based art risk consultancy, told CNN. According to Tehan, senior managers of an art shipping company based in China were arrested for allegedly forging the value of imported art in order to help buyers avoid paying millions in duties.
If a painting has been in private hands for an extended period and on display in a stately home, it may be recorded in an inventory – for example, the Lumley inventory. The painting may also have been noticed by a visitor who subsequently wrote about it. It may have been mentioned in a will or a diary. Where the painting has been bought from a dealer, or changed hands in a private transaction, there may be a bill of sale or sales receipt that provides evidence of provenance. Where the artist is known, there may be a catalogue raisonné listing all the artist's known works and their location at the time of writing. A database of catalogues raisonnés is available at the International Foundation for Art Research. Historic photos of the painting may be discussed and illustrated in a more general work on the artist, period or genre. Similarly, a photograph of a painting may show inscriptions (or a signature) that subsequently became lost as a result of overzealous restoration. Conversely, a photograph may show that an inscription was not visible at an earlier date. One of the disputed aspects of the "Rice" portrait of Jane Austen concerns apparent inscriptions identifying artist and sitter.
Of course, certain countries already impose AML regulations on the art world. The European Union Commission issued its 5th Anti-Money Laundering Directive in June 2018, which must be implemented by Member States by January 2020, and which in part expands its coverage of “obliged entities” to persons trading in art, acting as intermediaries in the trade of art, or storing art in freeports, if the value of the transaction or a group of linked transactions equals €10,000 or more. In the United States, although the BSA already applies to dealers in precious metals, stones and jewels, and thereby requires them to file Suspicious Activity Reports and comply with other AML obligations, no such rules currently apply to U.S. dealers in art.
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. Data models and serialisation formats for delivering provenance information typically reuse existing metadata models where possible to enable this. Both the OPM Vocabulary and the PROV Ontology 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.
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
Becky Those kind of questions are why the author wrote the book and we read it. Continue reading and you will discover the answers to your questions. If we…moreThose kind of questions are why the author wrote the book and we read it. Continue reading and you will discover the answers to your questions. If we answer those questions for you, it will spoil the reading.(less)
There are several maintained and open-source provenance capture implementation at the operating system level such as CamFlow,, Progger for Linux and MS Windows, and SPADE for Linux, MS Windows, and MacOS. Other implementations exist for specific programming and scripting languages, such as RDataTracker for R, and NoWorkflow for Python.
During the Renaissance, many painters took on apprentices who studied painting techniques by copying the works and style of the master. As a payment for the training, the master would then sell these works. This practice was generally considered a tribute, not forgery, although some of these copies have later erroneously been attributed to the master.
The 2,200 photographs by masters like Alfred Stieglitz, Edward Weston and Edward Steichen — more than could fit into an 18-wheeler — were paid for, court papers say, with some of the $78 million that the authorities say Mr. Rivkin got from defrauding oil companies like Shell, Exxon, and Mobil. Mr. Rivkin, who has not been charged with any crimes, was last thought to be in Spain and had arranged to have the photos shipped there.
Some forgers have created false paper trails relating to a piece, in order to make the work appear genuine. British art dealer John Drewe created false documents of provenance for works forged by his partner John Myatt, and even inserted pictures of forgeries into the archives of prominent art institutions. In 2016, Eric Spoutz plead guilty to one count of wire fraud related to the sale of hundreds of falsely attributed artworks to American masters accompanied by forged provenance documents. Spoutz was sentenced to 41 months in federal prison and ordered to forfeit the $1.45 million he made from the scheme and pay $154,100 in restitution.
Even though De Sole was appointed chairman of Sotheby’s in 2015 and, presumably, is art-savvy, Clarick points out that his being scammed speaks volumes. “To me,” says Clarick, “it says that the works were pretty good-looking and conveys the impeccable reputation that Knoedler and Ann Freedman had. People believed them. You don’t buy a really fancy diamond from Tiffany and have it checked out on 47th Street.”