The Expert versus the Object: Judging Fakes and False Attributions in the Visual Arts

Table of contents

• The Expert versus the Object *
• Title Page *
• Acknowledgments *
• Contents vii
• Foreword ix
• Introduction xi
• Notes xviii
• Part I - Authentication and Connoisseurship 1
• 1 - Connoisseurship and the Law in the Judging of Forgeries, Copies, and False Attributions 3
• Notes *
• 2 - Rembrandt and a Brief History of Connoisseurship 29
• Works Cited and Select Bibliography *
• 3 - On Forgeries 39
• Notes *
• 4 - Issues of Authenticity in the Auction House 45
• Notes *
• 5 - The Catalogue Raisonné 55
• Notes *
• 6 - The Role of the Catalogue Raisonné in the Art Market 63
• 7 - The Authentic Will Win Out 73
• 8 - Attributing Old Master Drawings 79
• 9 - From Pen Stroke to Brush Stroke 89
• 10 - The International Foundation for Art Research 95
• 11 - Museums and Authenticity Issues 103
• 12 - Examining the Techniques and Materials of Paintings 111
• Notes *
• 13 - Preservation and Authenticity in Contemporary Art 125
• Notes *
• Part II - Authentication and the Law 133
• 14 - The Art Expert, the Law, and Real Life 135
• Notes *
• 15 - The Risk of Legal Liability for Attributions of Visual Art 143
• Notes *
• 16 - Factors Considered and Standards Proposed 189
• Notes *
• 17 - A Legal Decision in New York Gives Experts Protection for Their Opinions on Authenticity 217
• Notes *
• 18 - Establishing Authenticity in French Law 227
• Notes *
• Index 235

Work saved from this book