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Book
264 pages, 8 unnumbered pages of plates : illustrations (chiefly color) ; 25 cm
  • The forger
  • The broker
  • The art Ponzi scheme
  • The trusting artist
  • The inheritor
  • The captor
  • The double dealer
  • The bait and switch
  • The printmaker
  • The telescam
  • The Internet.
Art scams are today so numerous that the specter of a lawsuit arising from a mistaken attribution has scared a number of experts away from the business of authentication, and with good reason. Art scams are increasingly convincing and involve incredible sums of money. The cons perpetrated by unscrupulous art dealers and their accomplices are proportionately elaborate. The Art of the Con tells the stories of some of history's most notorious yet untold cons. They involve stolen art hidden for decades; elaborate ruses that involve the Nazis and allegedly plundered art; the theft of a conceptual prototype from a well-known artist by his assistant to be used later to create copies; the use of online and television auction sites to scam buyers out of millions; and other confidence scams incredible not only for their boldness but more so because they actually worked. Using interviews and newly released court documents, The Art of the Con will also take the reader into the investigations that led to the capture of the con men, who oftentimes return back to the world of crime. For some, it's an irresistible urge because their innocent dupes all share something in common: they want to believe.
(source: Nielsen Book Data)
  • The forger
  • The broker
  • The art Ponzi scheme
  • The trusting artist
  • The inheritor
  • The captor
  • The double dealer
  • The bait and switch
  • The printmaker
  • The telescam
  • The Internet.
Art scams are today so numerous that the specter of a lawsuit arising from a mistaken attribution has scared a number of experts away from the business of authentication, and with good reason. Art scams are increasingly convincing and involve incredible sums of money. The cons perpetrated by unscrupulous art dealers and their accomplices are proportionately elaborate. The Art of the Con tells the stories of some of history's most notorious yet untold cons. They involve stolen art hidden for decades; elaborate ruses that involve the Nazis and allegedly plundered art; the theft of a conceptual prototype from a well-known artist by his assistant to be used later to create copies; the use of online and television auction sites to scam buyers out of millions; and other confidence scams incredible not only for their boldness but more so because they actually worked. Using interviews and newly released court documents, The Art of the Con will also take the reader into the investigations that led to the capture of the con men, who oftentimes return back to the world of crime. For some, it's an irresistible urge because their innocent dupes all share something in common: they want to believe.
(source: Nielsen Book Data)
SAL3 (off-campus storage)
Status of items at SAL3 (off-campus storage)
SAL3 (off-campus storage) Status
In process Request
N8790 .A46 2015 Available
Book
231 pages : illustrations ; 29 cm
The Commissar Vanishes offers a chilling look at how Joseph Stalin manipulated the science of photography to advance his own political career and to erase the memory of his victims. On Stalin's orders, purged rivals were airbrushed from group portraits, and crowd scenes were altered to depict even greater legions of the faithful. For example, a 1919 photograph showing a large crowd of Bolsheviks clustered around Lenin, became, with the aid of the retoucher, an intimate portrait of Lenin and Stalin sitting alone, and then, in a later version, of Stalin by himself. In each case, the juxtaposition of the original and the doctored images yields a fascinating - and often terrifying and tragic - insight into one of the darkest chapters of modern history.
(source: Nielsen Book Data)
The Commissar Vanishes offers a chilling look at how Joseph Stalin manipulated the science of photography to advance his own political career and to erase the memory of his victims. On Stalin's orders, purged rivals were airbrushed from group portraits, and crowd scenes were altered to depict even greater legions of the faithful. For example, a 1919 photograph showing a large crowd of Bolsheviks clustered around Lenin, became, with the aid of the retoucher, an intimate portrait of Lenin and Stalin sitting alone, and then, in a later version, of Stalin by himself. In each case, the juxtaposition of the original and the doctored images yields a fascinating - and often terrifying and tragic - insight into one of the darkest chapters of modern history.
(source: Nielsen Book Data)
Art & Architecture Library
Status of items at Art & Architecture Library
Art & Architecture Library Status
Stacks
TR85 .K55 2014 Unknown
Book
xiv, 276 pages ; 24 cm
  • Law enforcement's still evolving role in art crime : some introductory remarks / Duncan Chappell and Saskia Hufnagel
  • The antiquities trade : four case studies / Neil Brodie
  • The peculiar problem of art theft / Duncan Chappell and Kenneth Polk
  • Case studies on art fraud : European and Antipodean perspectives / Duncan Chappell and Saskia Hufnagel
  • A tale of two cities, a tale of two art thefts / Vicki Oliveri
  • An Australian art dealer's perspective on art crime / Stephen Nall
  • Considering evidence in art fraud / Robyn Sloggett
  • UNESCO's influence on the development of international criminal law / Lyndel V. Prott
  • Difficulties in investigating art crime and recovering its proceeds : an international perspective / Patrick J. O'Keefe
  • Immunity from seizure for works of art on loan : the criminal context / Craig Forrest
  • Policing art crime in the European Union / Ludo Block
  • Art crime in North America / Noah Charney
  • Perspectives on the investigation, prosecution, and prevention of art crime in Asia / Stefan Gruber
  • Protecting cultural heritage : a review of some contemporary developments in Australia and near environs / Duncan Chappell and Damien Huffer
  • Interpol and advancements in international police cooperation on art crime / Saskia Hufnagel.
In the world of law enforcement art and antiquity crime has in the past usually assumed a place of low interest and priority. That situation has now slowly begun to change on both the local and international level as criminals, encouraged in part by the record sums now being paid for art treasures, are now seeking to exploit the art market more systematically by means of theft, fraud and looting. In this collection academics and practitioners from Australasia, Europe and North America combine to examine the challenges presented to the criminal justice system by these developments. Best practice methods of detecting, investigating, prosecuting and preventing such crimes are explored. This book will be of interest and use to academics and practitioners alike in the areas of law, crime and justice.
(source: Nielsen Book Data)
  • Law enforcement's still evolving role in art crime : some introductory remarks / Duncan Chappell and Saskia Hufnagel
  • The antiquities trade : four case studies / Neil Brodie
  • The peculiar problem of art theft / Duncan Chappell and Kenneth Polk
  • Case studies on art fraud : European and Antipodean perspectives / Duncan Chappell and Saskia Hufnagel
  • A tale of two cities, a tale of two art thefts / Vicki Oliveri
  • An Australian art dealer's perspective on art crime / Stephen Nall
  • Considering evidence in art fraud / Robyn Sloggett
  • UNESCO's influence on the development of international criminal law / Lyndel V. Prott
  • Difficulties in investigating art crime and recovering its proceeds : an international perspective / Patrick J. O'Keefe
  • Immunity from seizure for works of art on loan : the criminal context / Craig Forrest
  • Policing art crime in the European Union / Ludo Block
  • Art crime in North America / Noah Charney
  • Perspectives on the investigation, prosecution, and prevention of art crime in Asia / Stefan Gruber
  • Protecting cultural heritage : a review of some contemporary developments in Australia and near environs / Duncan Chappell and Damien Huffer
  • Interpol and advancements in international police cooperation on art crime / Saskia Hufnagel.
In the world of law enforcement art and antiquity crime has in the past usually assumed a place of low interest and priority. That situation has now slowly begun to change on both the local and international level as criminals, encouraged in part by the record sums now being paid for art treasures, are now seeking to exploit the art market more systematically by means of theft, fraud and looting. In this collection academics and practitioners from Australasia, Europe and North America combine to examine the challenges presented to the criminal justice system by these developments. Best practice methods of detecting, investigating, prosecuting and preventing such crimes are explored. This book will be of interest and use to academics and practitioners alike in the areas of law, crime and justice.
(source: Nielsen Book Data)
Law Library (Crown)
Status of items at Law Library (Crown)
Law Library (Crown) Status
Basement
K5219 .C66 2014 Unknown
Book
xiv, 276 pages : illustrations ; 25 cm
  • Contents: Preface-- Law enforcement's still evolving role in art crime: some introductory remarks, Duncan Chappell and Saskia Hufnagel. Part I Case Studies: The antiquities trade: four case studies, Neil Brodie-- The peculiar problem of art theft, Duncan Chappell and Kenneth Polk-- Case studies on art fraud: European and Antipodean perspectives, Duncan Chappell and Saskia Hufnagel-- A tale of two cities, a tale of two art thefts, Vicki Oliveri-- An Australian art dealer's perspective on art crime, Stephen Nall. Part II Criminal Law and Procedure in Art Crime: Considering evidence in art fraud, Robyn Sloggett-- UNESCO's influence on the development of international criminal law, Lyndel V. Prott-- Difficulties in investigating art crime and recovering its proceeds: an international perspective, Patrick J. O'Keefe-- Immunity from seizure for works of art on loan: the criminal context, Craig Forrest. Part III International and Regional Overviews: Policing art crime in the European Union, Ludo Block-- Art crime in North America, Noah Charney-- Perspectives on the investigation, prosecution and prevention of art crime in Asia, Stefan Gruber-- Protecting cultural heritage: a review of some contemporary developments in Australia and near environs, Duncan Chappell and Damien Huffer-- INTERPOL and advancements in international police cooperation on art crime, Saskia Hufnagel-- Index.
  • (source: Nielsen Book Data)
In the world of law enforcement art and antiquity crime has in the past usually assumed a place of low interest and priority. That situation has now slowly begun to change on both the local and international level as criminals, encouraged in part by the record sums now being paid for art treasures, are now seeking to exploit the art market more systematically by means of theft, fraud and looting. In this collection academics and practitioners from Australasia, Europe and North America combine to examine the challenges presented to the criminal justice system by these developments. Best practice methods of detecting, investigating, prosecuting and preventing such crimes are explored. This book will be of interest and use to academics and practitioners alike in the areas of law, crime and justice.
(source: Nielsen Book Data)
  • Contents: Preface-- Law enforcement's still evolving role in art crime: some introductory remarks, Duncan Chappell and Saskia Hufnagel. Part I Case Studies: The antiquities trade: four case studies, Neil Brodie-- The peculiar problem of art theft, Duncan Chappell and Kenneth Polk-- Case studies on art fraud: European and Antipodean perspectives, Duncan Chappell and Saskia Hufnagel-- A tale of two cities, a tale of two art thefts, Vicki Oliveri-- An Australian art dealer's perspective on art crime, Stephen Nall. Part II Criminal Law and Procedure in Art Crime: Considering evidence in art fraud, Robyn Sloggett-- UNESCO's influence on the development of international criminal law, Lyndel V. Prott-- Difficulties in investigating art crime and recovering its proceeds: an international perspective, Patrick J. O'Keefe-- Immunity from seizure for works of art on loan: the criminal context, Craig Forrest. Part III International and Regional Overviews: Policing art crime in the European Union, Ludo Block-- Art crime in North America, Noah Charney-- Perspectives on the investigation, prosecution and prevention of art crime in Asia, Stefan Gruber-- Protecting cultural heritage: a review of some contemporary developments in Australia and near environs, Duncan Chappell and Damien Huffer-- INTERPOL and advancements in international police cooperation on art crime, Saskia Hufnagel-- Index.
  • (source: Nielsen Book Data)
In the world of law enforcement art and antiquity crime has in the past usually assumed a place of low interest and priority. That situation has now slowly begun to change on both the local and international level as criminals, encouraged in part by the record sums now being paid for art treasures, are now seeking to exploit the art market more systematically by means of theft, fraud and looting. In this collection academics and practitioners from Australasia, Europe and North America combine to examine the challenges presented to the criminal justice system by these developments. Best practice methods of detecting, investigating, prosecuting and preventing such crimes are explored. This book will be of interest and use to academics and practitioners alike in the areas of law, crime and justice.
(source: Nielsen Book Data)
Art & Architecture Library
Status of items at Art & Architecture Library
Art & Architecture Library Status
Stacks
K5219 .C66 2014 Unknown
Video
1 videodisc (88 min.) : sound, color ; 4 3/4 in. + 1 folded plate. Sound: digital; optical. Digital: video file; Blu-Ray.
Trickery. Deceit. Magic. In this free-form documentary, the legendary filmmaker gleefully engages the central preoccupation of his career - the tenuous line between truth and illusion, art and lies. This edition includes many special features.
Trickery. Deceit. Magic. In this free-form documentary, the legendary filmmaker gleefully engages the central preoccupation of his career - the tenuous line between truth and illusion, art and lies. This edition includes many special features.
Green Library
Status of items at Green Library
Green Library Status
Media & Microtext Center (Lower level) Find it
ZDVD 33951 BLU-RAY Unknown
Book
120 p. : ill. ; 24 cm
Art & Architecture Library
Status of items at Art & Architecture Library
Art & Architecture Library Status
Stacks
NB621 .F6 C38 2014 Unknown
Book
viii, 197 pages ; 22 cm
  • TABLE 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.
  • (source: Nielsen Book Data)
According 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 Goring, 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 provocatively confronted many of the present-day cultural anxieties that are major themes in the arts. Keats uncovers what forgeries-and our reactions to them-reveal about changing conceptions of creativity, identity, authorship, integrity, authenticity, success, and how we assign value to works of art. The book concludes by looking at how artists today have appropriated many aspects of forgery through such practices as street-art stenciling and share-and-share-alike licensing, and how these open-source "copyleft" strategies have the potential to make legitimate art meaningful again. Forgery has been much discussed-and decried-as a crime. Forged is the first book to assess great forgeries as high art in their own right.
(source: Nielsen Book Data)
  • TABLE 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.
  • (source: Nielsen Book Data)
According 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 Goring, 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 provocatively confronted many of the present-day cultural anxieties that are major themes in the arts. Keats uncovers what forgeries-and our reactions to them-reveal about changing conceptions of creativity, identity, authorship, integrity, authenticity, success, and how we assign value to works of art. The book concludes by looking at how artists today have appropriated many aspects of forgery through such practices as street-art stenciling and share-and-share-alike licensing, and how these open-source "copyleft" strategies have the potential to make legitimate art meaningful again. Forgery has been much discussed-and decried-as a crime. Forged is the first book to assess great forgeries as high art in their own right.
(source: Nielsen Book Data)
Art & Architecture Library
Status of items at Art & Architecture Library
Art & Architecture Library Status
Stacks
N8790 .K43 2013 Unknown
Book
xvi, 172 p., [91] p. of plates : ill. ; 31 cm.
Art & Architecture Library
Status of items at Art & Architecture Library
Art & Architecture Library Status
Stacks
NB623 .B368 M67 2013 F Unknown
Book
383 p. : ill. ; 24 cm.
The obsession with art forgery appears to be a relatively recent phenomenon. In Art Forgery, the author's aim is not to suggest new methods of detection, but rather to look at the genealogy of faking and to interrogate the anxious, sometimes neurotic, reactions triggered in the modern world of art by these clever frauds. Thierry Lenain considers the idea of authenticity in the Middle Ages, when the issue of false relics and miracles often arose: if a relic gave rise to a cult, it would be considered as genuine even if it had evidently been 'forged'. Similarly, the seventeenth and eighteenth centuries were comparatively untroubled by the idea of forgery. The book charts the changing status of art forgery from the time of its appearance in the Renaissance, when it was initially hailed as a true artistic feat, to its condemnation as the art crime par excellence. The Renaissance admired the masterly art of simulating stylistic expression and signs of age in artworks. Michelangelo, the most revered artist of the time, used to make deceitful copies of drawings by other masters, which he managed to have lent to himself by unsuspecting collectors, only to keep the originals and return the copies in their place. With the advent in the twentieth century of more scientific attribution, of archaeology, graphology, medical science and, later, criminology, the detection of forgery became increasingly possible. The science of accurately deciphering the artist's characteristic traces has since reached a level of forensic sophistication only matched by the forger's skill and the art world's paranoia. Thierry Lenain examines the work of master forgers including Eric Hebborn, Thomas Keating and Han van Meegeren whose productions baffled the art world.
(source: Nielsen Book Data)
The obsession with art forgery appears to be a relatively recent phenomenon. In Art Forgery, the author's aim is not to suggest new methods of detection, but rather to look at the genealogy of faking and to interrogate the anxious, sometimes neurotic, reactions triggered in the modern world of art by these clever frauds. Thierry Lenain considers the idea of authenticity in the Middle Ages, when the issue of false relics and miracles often arose: if a relic gave rise to a cult, it would be considered as genuine even if it had evidently been 'forged'. Similarly, the seventeenth and eighteenth centuries were comparatively untroubled by the idea of forgery. The book charts the changing status of art forgery from the time of its appearance in the Renaissance, when it was initially hailed as a true artistic feat, to its condemnation as the art crime par excellence. The Renaissance admired the masterly art of simulating stylistic expression and signs of age in artworks. Michelangelo, the most revered artist of the time, used to make deceitful copies of drawings by other masters, which he managed to have lent to himself by unsuspecting collectors, only to keep the originals and return the copies in their place. With the advent in the twentieth century of more scientific attribution, of archaeology, graphology, medical science and, later, criminology, the detection of forgery became increasingly possible. The science of accurately deciphering the artist's characteristic traces has since reached a level of forensic sophistication only matched by the forger's skill and the art world's paranoia. Thierry Lenain examines the work of master forgers including Eric Hebborn, Thomas Keating and Han van Meegeren whose productions baffled the art world.
(source: Nielsen Book Data)
Art & Architecture Library
Status of items at Art & Architecture Library
Art & Architecture Library Status
Stacks
N8790 .L46 2011 Unknown
Book
372 p. ; 24 cm.
In the early hours of a Saturday morning, a body is discovered in Piazza de' Renzi. If it was just a simple fall that killed him, why is a senior Carabiniere officer so interested? Commissioner Alec Blume is immediately curious and the discovery of the dead man's notebooks reveals that there is a great deal more at stake than the unfortunate death of a down-and-out...What secrets did he know that might have made him a target? What is the significance of the Galleria Orpiment? And why are the authorities so intent on blocking Blume's investigations?
(source: Nielsen Book Data)
In the early hours of a Saturday morning, a body is discovered in Piazza de' Renzi. If it was just a simple fall that killed him, why is a senior Carabiniere officer so interested? Commissioner Alec Blume is immediately curious and the discovery of the dead man's notebooks reveals that there is a great deal more at stake than the unfortunate death of a down-and-out...What secrets did he know that might have made him a target? What is the significance of the Galleria Orpiment? And why are the authorities so intent on blocking Blume's investigations?
(source: Nielsen Book Data)
Green Library
Status of items at Green Library
Green Library Status
Stacks Find it
PR9120.9 .F58 F37 2011 Unknown
Book
1 online resource (2 unnumbered pages) : color illustrations
Book
1 folded sheet (6 unnumbered pages) : color illustrations ; 22 x 10 cm
Green Library
Status of items at Green Library
Green Library Status
US Federal Documents Find it
I 1.84:IN 2/3 Unknown
Book
xviii, 488 p. : ill. ; 23 cm.
Art & Architecture Library
Status of items at Art & Architecture Library
Art & Architecture Library Status
Stacks
K3778 .C94 2010 Unknown
Book
xi, 230 p. ; 25 cm.
  • Art and crime?
  • Art theft
  • Art theft continued : selected cases
  • Art forgeries and fakes
  • Art theft and destruction : the perils of wars and civil/religious unrest
  • Stealing the past : the looting of cultural-heritage objects
  • White-collar crime in the art world
  • Vandalism and malicious destruction
  • Responding to art crime
  • Security and prevention : the best response to art crime.
Forgeries, fakes, fencing, and felony theft-all are pervasive problems in the world of art, where the stakes are high, the networks wide, and the consequences profound. In recent years, suspicious acquisitions, unreliable provenances, and shady dealers have found their way into the headlines as museums and private collections have been confronted with everything from fake pieces to stolen antiquities to plain old theft and vandalism. Crimes of the Art World captures the full scope of this staggeringly lucrative field of criminal conduct, showing how its impact reaches well beyond the walls of the museum. Filled with fascinating stories of crime and greed, this revealing volume looks at case after case of thefts, forgeries, fakes, and illicit trafficking, as well as the political/religious victimization of art, white-collar art crime, and vandalism. The book examines each type of crime in terms of frequency, losses, and characteristics of victims and criminals. Concluding chapters focus on preventive measures, art crime investigation, and security issues.
(source: Nielsen Book Data)
  • Art and crime?
  • Art theft
  • Art theft continued : selected cases
  • Art forgeries and fakes
  • Art theft and destruction : the perils of wars and civil/religious unrest
  • Stealing the past : the looting of cultural-heritage objects
  • White-collar crime in the art world
  • Vandalism and malicious destruction
  • Responding to art crime
  • Security and prevention : the best response to art crime.
Forgeries, fakes, fencing, and felony theft-all are pervasive problems in the world of art, where the stakes are high, the networks wide, and the consequences profound. In recent years, suspicious acquisitions, unreliable provenances, and shady dealers have found their way into the headlines as museums and private collections have been confronted with everything from fake pieces to stolen antiquities to plain old theft and vandalism. Crimes of the Art World captures the full scope of this staggeringly lucrative field of criminal conduct, showing how its impact reaches well beyond the walls of the museum. Filled with fascinating stories of crime and greed, this revealing volume looks at case after case of thefts, forgeries, fakes, and illicit trafficking, as well as the political/religious victimization of art, white-collar art crime, and vandalism. The book examines each type of crime in terms of frequency, losses, and characteristics of victims and criminals. Concluding chapters focus on preventive measures, art crime investigation, and security issues.
(source: Nielsen Book Data)
Law Library (Crown)
Status of items at Law Library (Crown)
Law Library (Crown) Status
Basement
N8795 .B39 2010 Unknown
Book
256 p. : ill. ; 24 cm.
  • Introduction
  • The secret lies of fakes
  • Forgery is not new
  • The nine lives of fakes
  • A rogues' gallery of forgers, fakers, and facilitators
  • Escaping de Landa's bonfire of the vanities
  • Between a rock and a hard fake
  • Feat of clay
  • The lapidary's lament
  • Skullduggery
  • Wooden men, golden gods, and tales on the wall.
Crystal skulls, imaginative codices, dubious Olmec heads and cute Colima dogs. Fakes and forgeries run rampant in the Mesoamerican art collections of international museums and private individuals. Authors Nancy Kelker and Karen Bruhns examine the phenomenon in this eye-opening volume. They discuss the most commonly forged classes and styles of artifacts, many of which were being duplicated centuries ago. More important, they describe the system whereby these objects get made, purchased, authenticated, and placed in major museums as well as the complicity of forgers, dealers, curators, and collectors in this system. Unique to this volume are biographies of several of the forgers, who describe their craft and how they are able to effectively fool connoisseurs and specialists. There is an important, accessible introduction to pre-Columbian art fraud for archaeologists, art historians, and museum professionals alike. This is a parallel volume by the same authors that discusses fakes in Andean archaeology.
(source: Nielsen Book Data)
  • Introduction
  • The secret lies of fakes
  • Forgery is not new
  • The nine lives of fakes
  • A rogues' gallery of forgers, fakers, and facilitators
  • Escaping de Landa's bonfire of the vanities
  • Between a rock and a hard fake
  • Feat of clay
  • The lapidary's lament
  • Skullduggery
  • Wooden men, golden gods, and tales on the wall.
Crystal skulls, imaginative codices, dubious Olmec heads and cute Colima dogs. Fakes and forgeries run rampant in the Mesoamerican art collections of international museums and private individuals. Authors Nancy Kelker and Karen Bruhns examine the phenomenon in this eye-opening volume. They discuss the most commonly forged classes and styles of artifacts, many of which were being duplicated centuries ago. More important, they describe the system whereby these objects get made, purchased, authenticated, and placed in major museums as well as the complicity of forgers, dealers, curators, and collectors in this system. Unique to this volume are biographies of several of the forgers, who describe their craft and how they are able to effectively fool connoisseurs and specialists. There is an important, accessible introduction to pre-Columbian art fraud for archaeologists, art historians, and museum professionals alike. This is a parallel volume by the same authors that discusses fakes in Andean archaeology.
(source: Nielsen Book Data)
Green Library
Status of items at Green Library
Green Library Status
Stacks Find it
F1219.3 .A7 K455 2010 Unknown
Book
220 p. : ill. ; 24 cm.
  • Imagined histories : the problem of fakes
  • Artisans, ateliers, and their faux works
  • All that glitters is not old
  • All slipped up and everywhere to go
  • Clay-mates or imagination run riot
  • Hard cheese for hard rocks
  • Pocket candy : lapidary arts and objets de vertu in the Andes
  • Woodcarvers, weavers, and fake mummies?
  • Phoenicians and dinosaurs : the squirrely side of forgery.
Nasca pots, Quimbaya figurines, Moche porn figures, stone shamans. Fakes and forgeries run rampant in the Andean art collections of international museums and private individuals. Authors Karen Bruhns and Nancy Kelker examine the phenomenon in this eye-opening volume. They discuss the most commonly forged classes and styles of artifacts, many of which were being duplicated centuries ago. More important, they describe the system whereby these objects get made, purchased, authenticated, and placed in major museums as well as the complicity of forgers, dealers, curators, and collectors in this system. Unique to this volume are biographies of several of the forgers, who describe their craft and how they are able to effectively fool connoisseurs and specialists. This book provides an important, accessible introduction to pre-Columbian art fraud for archaeologists, art historians, and museum professionals alike. A parallel volume by the same authors discusses fakes in Mesoamerican archaeology.
(source: Nielsen Book Data)
  • Imagined histories : the problem of fakes
  • Artisans, ateliers, and their faux works
  • All that glitters is not old
  • All slipped up and everywhere to go
  • Clay-mates or imagination run riot
  • Hard cheese for hard rocks
  • Pocket candy : lapidary arts and objets de vertu in the Andes
  • Woodcarvers, weavers, and fake mummies?
  • Phoenicians and dinosaurs : the squirrely side of forgery.
Nasca pots, Quimbaya figurines, Moche porn figures, stone shamans. Fakes and forgeries run rampant in the Andean art collections of international museums and private individuals. Authors Karen Bruhns and Nancy Kelker examine the phenomenon in this eye-opening volume. They discuss the most commonly forged classes and styles of artifacts, many of which were being duplicated centuries ago. More important, they describe the system whereby these objects get made, purchased, authenticated, and placed in major museums as well as the complicity of forgers, dealers, curators, and collectors in this system. Unique to this volume are biographies of several of the forgers, who describe their craft and how they are able to effectively fool connoisseurs and specialists. This book provides an important, accessible introduction to pre-Columbian art fraud for archaeologists, art historians, and museum professionals alike. A parallel volume by the same authors discusses fakes in Mesoamerican archaeology.
(source: Nielsen Book Data)
Green Library
Status of items at Green Library
Green Library Status
Stacks Find it
F2230.1 .A7 B78 2010 Unknown
Book
v. ; 24 cm.
Green Library
Status of items at Green Library
Green Library Status
US Federal Documents Find it
Y 1.1/8:111-397/ Unknown
Y 1.1/8:111-397/PT.1 Unknown

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