Art Forgery: The Case of the Lady of Elche

Table of contents

• Title Page ii
• Contents ix
• Illustrations xi
• Foreword the Situation of the Dama De Elche in Post-Franco Spain xv
• Preface xxiii
• Part One the Iberian Archaeological Context 1
• One the Archaeological and Cultural Significance of the Lady of Elche 3
• Two the Distinctive Characteristics of the Lady of Elche 15
• Three the Historical Emergence of Early Iberian Art 26
• Four a Survey of Iberian Sculpture in the Spanish Levant 40
• Five the Archaeological Site of La Alcudia 51
• Six the Dama De Baza and the Dama Del Cabezo Lucero 60
• Seven the Iberian Sculptures from Cerro De Los Santos and Llano De La Consolación 75
• Eight the Stylistic Anomalies of the Lady of Elche 93
• Part Two the Modernist Cultural Context 111
• Nine the Lady of Elche and Late-Nineteenth-Century Sculpture and Its Culture 113
• Ten Art Forgeries: Methodology and Identification 140
• Eleven Nineteenth-Century Spanish Art Forgeries and Forgers 157
• Twelve How the "Dama Master" Created the Lady of Elche 177
• Thirteen Who "Commissioned" the Lady of Elche? 196
• Fourteen Two Provocative Discoveries at La Alcudia 206
• Fifteen the Evidence Reviewed, with Observations on Historical Taste and the Syndrome of Modernist Fakes and Hoaxes 225
• Sixteen Artistic Aftermath: Constantin Brancusi, Pablo Picasso, and the Permanent Exhibition of Iberian Sculpture in the Louvre 242
• Notes 265
• Bibliography 297
• Index 317

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