The world of forensics is both fascinating and potentially confusing to non-scientists. Since Martin de Wiild first used forensic examination to authenticate van Gogh paintings in the first decades of the 20th century, science has been one of the key means of distinguishing fakes from originals in the art world. The complexity of the science employed by conservators and specialists means that non-scientists are confronted with processes and terms about which they know very little. While a true understanding of these techniques and terms requires intensive study, the following glossary offers a quick-reference for those who would like to know more about the forensic techniques used in the study of art.

Giles Waterfield, director of the Dulwich Picture Gallery in London, was supposed to be relaxing. He woke up in Scotland on his first holiday that year, excited about attending the Edinburgh International Festival—music, poetry, literature. He hadn’t even left a telephone number where he could be contacted by staff.

Waterfield was out of bed by 9 AM and strolled from the art dealer’s apartment where he was staying to nearby Waverley train station, where he bought a copy of The Times. He scanned the front page of the most venerated newspaper in England. The date was August 15, 1981. “It was right there in bold letters: ‘Rembrandt Stolen for Third Time,’” remembered Waterfield.

To trick the art world has been the primary motivation of nearly all of history’s known forgers. The financial gains aside, forgers often seek to fool the art community as revenge for having dismissed their own original creations. Traditionally, this takes two forms: first, forgers demonstrate their ability to equal renowned artists, by passing their work off as that of a famous master; and second, they show the so-called experts to be foolish, by thinking that the forgers’ work is authentic. Money has been only a secondary concern for many of history’s known forgers — an added bonus after the initial thrill of success at having fooled the art community. But one very unusual forger, the subject of an exhibition called “Faux Real” at the University of Cincinnati that opened on April Fools’ Day of this year, is an exception to just about every rule.

In 1983 the USA ratified the 1970 Unesco Convention on the Means of Prohibiting and Preventing the Illicit Import, Export and Transfer of Ownership of Cultural Property (Paris, 14 November 1970). Article 7 includes the statement,

To take the necessary measures, consistent with national legislation, to prevent museums and similar institutions within their territories from acquiring cultural property originating in another State Party which has been illegally exported after entry into force of this Convention, in the States concerned.

In 2002 the Princeton University Art Museum agreed to return the fragmentary pediment of a Roman funerary relief that it had acquired in 1985 from New York dealer Peter Sharrer with funds provided by Mr. and Mrs. Leon Levy (inv. 85-34: Princeton University Art Museum 1986, 38, 39 [ill.]; Padgett 2001b, 47-51, no. 11). It turned out that the fragment had been discovered in 1981-82 at Colle Tasso near Tivoli and had been published by Zaccaria Mari. Michael Padgett, the then curator at Princeton and who was preparing a catalogue of the Roman sculptures, notified the museum’s acting director who in turn contacted the Italian authorities (Anon. 2002). Susan M. Taylor, the museum’s newly appointed director, was quoted in the press release about the return: “We are proud to be an active partner in the ongoing international effort to resolve ownership claims for stolen objects and in discouraging the illegal trade of art and cultural artifacts.” 

This was not to be the end of the museum’s return of antiquities.

The Museum Security Network (www.museum-security.org) has been on line since December 1996. In the past fifteen years over 40,000 reports have been disseminated about incidents with cultural property, such as thefts, fakes and forgeries, vandalism, and embezzlement. The number of thefts of sculptures from gardens and towns has grown tremendously, so much so that we have stopped trying to record all of them.

This year alone (and this is just a brief summary, far from complete) Stone Age axes were stolen from the Yorkshire Museum, a number of Lord Nelson artifacts were stolen from the Norwich Museum, as well as Buddhas from Ulster Folk and Transport Museum, artifacts worth £1.8m from Durham University’s Oriental Museum, watches from Silverton Country Historical Society museum, a lifeboat from RNLI’s museum; Museum Gouda (in The Netherlands) was robbed of a 17th century religious object, after the museum door was forced open using explosives; the National Gallery in Athens suffered a theft of Picasso and Mondrian paintings; and the Olympia Museum in Greece lost over 70 objects, after a early morning robbery. Thieves have wrenched the horns off stuffed rhinoceroses in European museums: Bamberg, Germany, Florence, Italy, Haslemere Educational Museum, Ritterhaus Museum Offenburg, Germany, Sworders Auctioneers, Stansted Mountfitchet, and more. Officials at Europol, the European Union’s criminal intelligence agency, claim the number of thefts of rhinoceros horns has increased sharply in Europe during the past year. Since 2011, the agency has recorded 56 successful, and 10 attempted, thefts.

According to a U.K. report 75,000 heritage crimes were committed in one year (experts warn that the “alarming” figures show that Britain’s history is being destroyed in an “insidious and often irreversible way” for future generations): the study found nearly a fifth of the country’s 31,000 Grade I or II* buildings were subject to criminal acts, while more than 63,000 Grade II buildings were targeted. The report, compiled by the Council for British Archaeology and Newcastle and Loughborough universities, found that crimes such as metal theft were more likely to occur in the north, while at least 750 sites were hit by “devastating” arson attacks.

All together an alarming development, or is this just business as usual?

In an earlier Art Law and Policy column (Spring 2011), I looked at the question of whether a state can declare subject matter off-limits to photographers. In that case, the subject matter was farms: the state of Florida was considering a bill that would have made it illegal to take photographs of a farm without consent. I argued that such a statute would be clearly unconstitutional. “[As] a general matter,” the Supreme Court has said, “the First Amendment means that government has no power to restrict expression because of its message, its ideas, its subject matter, or its content.” Ashcroft v. American Civil Liberties Union, 535 U.S. 564, 573 (2002) (internal quotation marks omitted; emphasis added). 

Texas Penal Code § 21.15(b)(1) presents a related question. What if it’s not the subject matter that’s off-limits, but the subject matter combined with the photographer’s intent in taking the photograph? The statute makes it a crime to photograph someone “without the person’s consent” and “with intent to arouse or gratify the sexual desire of any person.” Late last year, a Texas appellate court upheld the statute. Ex parte Nyabwa (Tex. Ct. App. Dec. 13, 2011). The Court acknowledged that “[photography] is a form of speech normally protected by the First Amendment,” but accepted the State’s argument that “the statute is not a regulation of speech at all, but instead is a regulation of the photographer’s or videographer’s intent.” Just as a statute criminalizing harassment by telephone (which will typically involve speech) does not violate the First Amendment because it focuses on the actor’s intent (in that case, “to inflict emotional distress”), this statute regulates “a person’s intent in creating a visual record,” as distinct from “the contents of the record itself.” On this basis, the Court concluded that the statute “is not a regulation of speech” and therefore does not violate the First Amendment.

Abstract: Adopting an interpretative perspective aiming to shed light on the forger’s point of view – the ideas he has of the art, of its history and of his own practice – implies an initial paradox. By definition, the forger would not attribute his productions to any other but himself without concealing his own artistic subjectivity. This is why only failure on the forger’s part or a discovery of the fake can lead to an understanding of his point of view. Under this condition, two pathways open up to the hermeneutic inquiry. It can first be based on the examination of the works themselves. The stylistic distortions and, more importantly, the way of combining the iconographic borrowings betray the imaginary of the forger, working with the intention of deceiving. Their study most often shows a figurative spirit torn between literal imitation and the paradoxical desire to invent what the imitated artists could have created. But beyond that, the words and writings of the forgers also call for interpretation. Whether it means, for them, to revive the destabilizing power of their practice or, in contrast, to legitimize it, their discourse assumes a “theory” of the history of art that inscribes itself as well in the realm of tension and paradox. We see them, indeed, dismiss the historicist reason while at the same time relying on it. On the one hand, they rely upon an aesthetic of the expressive trace according to which all original work translates the spirit of its author as a historically placed subject. On the other, they like to imagine that the spirit of the imitated masters comes to visit them across time (spiritualism), unless they refer to eternal laws of art (idealism), whose notion leaves no room to the difference between the fake and the authentic.

Abstract: The state of Israel has numerous historically and culturally significant archaeological sites. Some of these date back to as early as 8000-7000 B.C, and are important to three of the world’s great religious traditions (Judaism, Christianity, and Islam). Unfortunately, many of these sites are targeted by looters who illegally excavate the sites and, in doing so, erase history. This paper is an overview of the antiquities looting problem in Israel. It discusses Israel’s existing laws regarding the antiquities trade, describes the effects that Israel’s wars have had on the illicit antiquities trade, and the different motivations and attitudes of the looters in Israel. The paper also discusses the market players in this trade, analysing the roles the middlemen, the dealers, and the collectors play. It discusses who the looters are, why they engage in their illicit activities, and how they go about their business. The paper discusses ways in which the Israeli government has tried to stop the trade in illicit antiquities, and the debates that surround these and other proposed solutions. The paper concludes by analysing three alternative solutions that Israel could consider implementing in order to curb the looting.

Abstract: Most industries in the United States are regulated by law. The world of art, although regulated in a general framework, is not regulated when it comes to selling that which is authentic (Mccullough, 2012). Million dollar allegedly authentic works of fine and decorative art are vetted and sold by art “experts” with little or unrelated education, questionable training, non-mentored or no specific expert work experience, hyped commendations, bloated resumes and unreferenced mass media professional status. With the help of the mass media, such individuals achieve expert status without satisfying the standards of that which the law or scholarship requires (Briefel, 2006). In the recent Wolfgang Beltracchi forgery case, 47 million dollars of paintings from the “hand of various artists” were authenticated with the note made by the experts that “...using science was a waste of time” (Wright, 2012). Science entered with the result that the material make-up of the works precluded that they were created during the period of artist involvement. Out of 44 paintings, not one survived the scalpel of scientific analysis. This article addresses the conditions associated with the proliferation of wrong calls by so-called art experts and examines how scholarship, Daubert rulings, and Federal Rules of Evidence standards may assist in reducing the bad calls and consequentially art scamming, forgery and fraud.