Art and Archaeological Fakes on Display: Forty Years of Temporary Exhibitions (1915-1955)

Downloads

Published

2020-12-01

Issue

Section

Essays

DOI:

https://doi.org/10.13138/2039-2362/2341

Authors

Abstract

Since the second decade of the 20th century, ephemeral exhibitions on art and archaeological fakes and reproductions have appeared in museums, galleries and research institutes in Europe and America. Aiming to educate collectors and curators, to denounce and raise public awareness of the fraud, and eventually to disseminate the value of fakes as historical documents, these exhibitions are something of a litmus test for the perception of, and critic on, this phenomenon over time. Drawing upon an anthology of paramount exhibitions held during the first half of the century, this research provides an insight on display strategies, as well as the patterns, reasons and purposes for exposing fakes and reproductions, tracing back both commonalities, differences and changes over time.

Dal secondo decennio del ventesimo secolo, mostre temporanee su falsi e riproduzioni d’arte e archeologia sonoapparse in musei, gallerie e istituti di ricerca in Europa e in America. Con l’obiettivo di educare collezionisti e curatori, didenunciare e sensibilizzare l’opinione pubblica sui falsi e, infine, di diffondere il valore dei falsi come documenti storici,queste mostre rappresentano una sorta di cartina di tornasole per la percezione e la critica di questo fenomeno nel tempo.Basandosi su un’antologia di mostre importanti realizzate nella prima metà del secolo, questa ricerca fornisce unapanoramica sulle strategie espositive, nonché sui modelli, le ragioni e gli scopi dell’esporre falsi e riproduzioni, descrivendo sia i punti in comune, sia le differenze e i cambiamenti nel tempo.

References

A Fine Arts Police 1914, «New York Times», Jan. 25, sect. III, p. 3, co1. 4.

C. Albizzati (1932), Falsificazione, in Enciclopedia Italiana, Vol. 14.

J. Anderson (2015), Reception of Ancient Art: the Cast Collections of the University of Tartu Art Museum in the Historical, Ideological and Academic Context of Europe (1803–1918), Dissertationes Studiorum Graecorum Et Latinorum Universitatis Tartuensis 7, Tartu.

I. Andreoli (2014), ‘Pensare il falso’. Un percorso critico-bibliografico, «Penser le Faux, Studiolo. Revue d'histoire de l'art de l'Académie de France à Rome», 11, pp. 17-39.

An exhibition of forgeries and deceptive copies, held in the Department of Print (1961), exhibition catalogue, London.

G. Apollinaire (1903), Des Faux, «La Revue Blanche», pp. 553-555.

Art: Genuine or Counterfeit? (1940), exhibition catalogue (Cambridge, The Fogg Museum of Art, 1 May – 20 June 1940), Cambridge (MA).

Artistic Boston Fooled (1900), «New York Times», Nov. 27, p. 3, col. 4.

Art News (1929), 18 May, p. 12.

Ashmolean Museum. Report of the Visitors 1952 (1952), Oxford.

Aus Den Gerichtsfaale (1902), «Neue Freie Press», 25 August, p. 7.

Ausstellung gefälschter Kunstwerke (1937a), «Salzburger Chronik»,» 7 September, p. 3.

Ausstellung gefälschter Kunstwerke (1937b), «Das Interessante Blatt, 9 September, p. 22.

Ausstellung im Kunsihistorlschen. Gefälschte Kunstwerke (1937), «Salzburger Chronik», 18 September, p. 6.

Ausstellung von Kunstfälschungeni (1937), «Salzburger Volksblatt», 27 August, p. 6.

Author (2019). Lacking ‘Originalities’. The Cultural and Aesthetic Status of Classical Art Fakes and Copies. Manuscript in preparation.

E.A. Barber (1916), An Exhibition of ‘Fakes’ and Reproductions. Exhibition Catalogue: Philadelphia, Pennsylvania Musuem 1916, Philadelphia.

E. Bayard (1914), L'Art de Reconnaître les Fraudes. Peinture, Sculpture, Gravure, Meubles, Dentelles, Céramique, Etc., Paris.

C. R. Beard (1932), ‘Too Good to Be True’, a Famous 'Gothic Armour' at New York, «Connoisseur», 89, pp. 219-225.

C. Beard (1933), Vicissitudes of a Helmet, «Connoisseur», 91, pp. 245-248.

S. Beissel (1909), Gefälschte Kunstwerke, Freiburg im Breisgau.

C. Bell ([1913] 2005), Art.

C. Benjamin, The Secret of the Tiara: The work of the Goldsmith Israel Rouchomovsky, «The Israel Museum Journal», 15, pp. 95-114.

C. Blair, M. Campbell (2008), Louis Marcy: Oggetti d'arte della Galleria Parmeggiani di Reggio Emilia, Torino.

J. Boyer (1911), The counterfeiting of Objects of Art, «American Homes and Gardens», 8(8), pp. 307-309.

C. Brandi (1955), Falsari alla gogna, «Cronache della politica e del costume», 2, p. 28.

C. Brandi ([1958] 1987), Introduzione, s.v. Falsificazione, in Enciclopedia Universale dell’Arte, vol. V, pp. 312-315.

C. Brandi ([1963] 1977), Teoria del Restauro, Torino.

W.L. Brown, Exhibition of Forgeries and Imitations, «Museums Journal», 52, no. 6, p. 161.

E. Carrara, ‘Mon cher ami et frère d’armes’: Letters from Costantino Ressman to William Riggs, «Metropolitan Museum Journal», 47, pp. 169-182.

W. Casement (2015), Fakes on Display: Special Exhibitions of Counterfeit Art, «Curator: The Museum Journal», 58, no. 3, pp. 335-350.

Catalogue of a Collection of Counterfeits, Imitations and Copies of Works of Art. Exhibition Catalogue: London, The Burlington Fine Arts Club 1924 (1924), London.

J. Codell, L. Hughes, eds. (2018), Replication in the Long Nineteenth Century: Re-makings and Reproductions, Edinburgh.

S. Cole (1955), Counterfeit, London.

G.C. Conestabile della Staffa (1874), Scavi, monumenti, musei e insegnamento della scienza delle antichità in Italia. Lettera al comm. Ruggero Bonghi [con appendice: lettera del ch. Prof. G. R. Gamurrini a Giancarlo Conestabile], «Nuova Antologia», 27, pp. 345-385.

P.B. Coremans (1949), Van Meegeren's Faked Vermeers and de Hooghs, en. trans. A. Hardy, C. Hutt, London-Cassel.

H. Cürlis (1930), Der Bildhaue Alceo Dossena. Aus Dem Filmzyklus “Schaffende Hände”, Berlin.

M.M. van Datzing (1952), Vals of echt?, tentoonstelling catalogus (Amsterdam, Stedelijk Museum 1952), Amsterdam.

M.M. van Datzing, (1954). True or False?, exhibition catalogue (Corning, Museum of Glass 1953-1954), Corning.

Der berühmte Kunstfälscher Dossena gestorben (1937), «Innsbrucker Nachrichten», 13 Oktober, p. 5.

Der Meisterfälscher Dossena gestorben (1937), «Der Wiener Tag», 13 Oktober, p. 3.

Die Ausstellung gefälschter Kunstwerke (1937), «Salzburger Volksblatt», 1 September, p. 7.

Egyptian 'Fakes' (1924), « New York Times», June 8, sect. VII, p.12, col. 2.

Exhibition of Egyptian fakes at the Metropolitan Museum of Art, New York Times, sect.VII, p.12, co1.2.

Exhibition of Egyptian fakes at the Metropolitan Museum of Art

G. Doron, ed. (1989), Fakes and Forgeries from Collection in Israel, exhibition catalogue (Tel Aviv, Israel Eretz Museum 1989), Tel Aviv.

Ein Meisterfälscher Gestorben (1937), «Salzburger Volksblatt: die unabhängige Tageszeitung für Stadt und Land Salzburg», 13 Oktober, p. 9.

Esposizione di 28 capolavori di Alceo Dossena (1929), Milano.

P. Eudel ([1884] 1908), Le Truquage: álterations, fraudes et contrefaçons dévoilées, Paris.

P. Eudel ([1907] 1908), Trucs et truquers: álterations, fraudes et contrefaçons dévoilées, Paris.

P. Eudel (1909), Fälscher Künste, Leipzig.

J. Evans (1893), The Forgery of Antiquities, «Longman’s Magazine», 23, pp. 142-155.

Fakes and forgeries (1973), exhibition catalogue (Minneapolis, Minneapolis Institute of Arts, 11 July – 29 September 1973), Minneapolis.

Fakes & Forgeries: Yesterday and Today (2011), exhibition catalogue (Toronto, Royal Ontario Museum 2011) – online available.

‘Fakes and Reproductions’, The American Magazine of Art 7.8 (1916), p. 339.A. Furtwängler (1899), Neuere Fälschungen und Faksimiles von Kunstwerken des.19 Jahrunderts. VI Austellund im Oberen Belvedere (1926), Wien.

Fälschungen und Faksimiles von Kunstwerken des.19 Jahrunderts (1926), Vi. Ausstellung

im Oberen Beilvedere, Wien.

G. Fiorelli (1883), Sull'ordinamento del servizio archeologico: relazione del direttore generale delle antichità e belle arti a S. E. il Ministro della Istruzione Pubblica, Roma.

G. Fiorelli (1885), Sull'ordinamento del servizio archeologico: Seconda relazione del direttore generale delle antichità e belle arti a S. E. il Ministro della Istruzione Pubblica, Roma.

S.J. Fleming (1975), Authenticity in Art: The Scientific Detection of Forgery, London.

R. De Forest, H. Kent (1929). The Report of the Trustees for the Year 1929, «Annual Report of the Trustees of the Metropolitan Museum of Art», 60, pp. 1-32. Retrieved February 5, 2020, from www.jstor.org/stable/40303597.

Forged and Real at Metropolitan (1929), «New York Times», May 19, sect. IX, p. 21, col. 8.

A.M. Frankfurter, ed. (1933), Sculptures by Alceo Dossena, New York, pp. 86-90.

R. Frederiksen, E. Marchand, eds. (2010), Plaster Casts: Making, Collecting and Displaying from Classical Antiquity to the Present, Transformationen der Antike 18, Berlin.

M.J. Friedländer ([1942] 1955), Il conoscitore d'arte, Torino.

R. Fry (1927), The Authenticity of the Renders Collection, «The Burlington Magazine», 290(50), pp. 261-263, 267.

T. Gardner (1908), Fraudoloent Art, «Cosmopolitan», 46(1), pp. 3-14.

F. Gastaldello, Alceo Dossena before Alceo Dossena: The lawsuit against Alfredo Fasoli, M.S. Thesis, Università Ca’Foscari, Venezia, a.y. 2016/17.

Fälschungen von Antiken, Berlin.

M.J. Friedländer, On Forgeries, «The Burlington Magazine», 459(78), pp. 192-193, 195-197.

Gefälschte Kunstwerke. Eine Ausstellnng im Oberen Belvedere (1936), «Arbeiter Zeitung», 3 Februar, p. 8.

Gefälschte prähistorische Funde (1902), «Illustrirtes Wiener Extrablatt», 21 August, p. 10.

Gefälschte prähistorische Funde in Baden (1902), «Illustrirtes Wiener Extrablatt», 17 Juli, p. 7.

J. Godley (1951), Master Art Forger. The Story of Han van Meegeren, New York

N. Graf (2000), Velburger Bildsteine und Pottensteiner Fälschungen, «Jahresmitteilungen 1999 der Naturhistorischen Gesellschaft Nürnberg», 13-16.

S.V. Grancsay (1932), An Exhibition of Forgeries, «The Metropolitan Museum of Art Bulletin», 27, no. 2, pp.46-48.

J. Grivel (2003), La préhistoire chahutée: Glozel (1924-1941), Paris.

E. Hannover (1912), Methoden im Kunsthandel af gammelt københavnsk Porcellæn, København.

F.M. Haberditzl (1926), Fälschungen und Faksimiles von Kunstwerken des.19 Jahrunderts. VI Austellung im Oberen Belvedere, Wien.

E. Hannover (1915a), Fortrolig Fortegnelse over en Række Forfalskninger, København.

E. Hannover (1915b), Forsøg til en Bibliografi over Forfalskninger af Kunsthaandværk : Bilag til Forslag til Tilvejebringelse af en Bibliografi over Kunstforfalskninger : forelagt ved Skandinavisk Museumsforbunds Møde i København, September 1915, København.

E. Hannover (1916), Forfalskninger [Billedbilag], København.

T. Hardwick, ‘The sophisticated answer’: a recent display of forgeries held at the Victoria and Albert Museum’, «The Burlington Magazine», 152, no. 1287, pp. 406-408.

A. Holck (1920), Hannover, Emil, Salmonsens Konversationsleksikon, Vol. 10, København, p. 828.

M. Horak (2016), Alceo Dossena fra mito e realtà: vita e opere di un genio, Piacenza.

H. Hough (1928), Barber, Edwin Atlee, in Biography, Dictionary of American, Vol. I, New York.

M. Hours (1980), La vie Mystérieuse des chefs-d'ouevre. La science au service de l'art, catalogue d'exposition: Paris, Galeries Nationales du Grand Palais, 10 octobre – 5 janvier 1981, Paris.

Il “Quattrocento di Alceo Dossena” (1929), «Il Secolo Illustrato», 18(22), 25 May – 1 June, p. 10.

G. Isnard (1955), Les pirates de la peinture, Paris.

G. Isnard (1959), Faux et imitations dans l’art, Paris.

G. Isnard (1974), Vrai ou faux? Les Enquêtes du Sherlock Holmes de la peinture, Paris.

Journalistische Falschmünzerei (1937), «Die Stimme», 13 October, p. 4.

M. Jones, P.T. Craddock, N. Barker, eds. (1990), Fake? The art of deception, exhibition catalogue (London, British Museum 1990), Berkeley and Los Angeles.

W. Kaempffert (1914), The best-paying crime, «McClure’s Magazine», 44(19), pp. 69-79.

M.-A. Kaeser, ed. (2011), L’âge du Faux: l’authenticité en archéologie, catalogue d’exposition (Neuchȃtel, Laténium, 29 avril 2011 – 8 janvier 2012), Hauterive.

Kampf gegen Antiquitätenschwindel. ‘Gut erhaltene„ Funde sind verdhäctig’ (1938), «Mittagausgab», 25 August, p. 4.

J. Koobatian (1997), Faking it: An International Bibliography of Art and Literary Forgeries 1949-1986, New York.

E. Kris, O. Kurz (1934), Die Legende von Kunster: Ein geschicter Veresuch, Frankfurt/Main.

O. Kurz ([1946] 1961), Falsi e falsari, Venezia.

A. Lang (1901), An exhibition of ‘fakes’, «The Independent», 53(2759), pp. 2453-2455.

A. Lang (1912), Pittfalls for Collectors, «Blackwood’s Magazine», 191(1156), pp. 201-214.

L’arte non vera non può essere arte. Atti del ciclo di conferenze promosse dal Comando Carabinieri TPC, in collaborazione con il Consiglio Nazionale Anticontraffazione (CNAC-MiSE), il Ministero per i beni e le attività culturali e l’Università degli Studi (2018), Roma.

L’assassin de M. Bayle (1929), «Le Petit Parisien», 23 Novembre.

T. Lenain (2011), Art Forgery: The History of a Modern Obsession, London.

W. Le Quex (1904), The Making of Antiques, «American Architect and Building News», 84(1486), p. 98.

Les Faux dans l’Art et dans l’Histoire (Salon international de la Police) (1955), catalogue d’exposition (Paris, Galeries nationales du Grand Palais 1955), Paris.

A. Lessing (1965), What Is Wrong with a Forgery?, «The Journal oddìf Aesthetics and Art Criticism», 23(4), pp. 461-471.

Looting and Faking (1944), «Connoisseur», 114(493), p. 54.

A. Maskell (1906), Forgeries and Imitations of Works of Art, «Art Journal», 58. Pp. 289-295.

C. Mazzarelli, ed. (2010), La copia: connoisseurship, storia del gusto e della conservazione. Giornate di studio del 17 - 18 maggio 2007, Museo Nazionale Romano, Palazzo Massimo alle Terme, Persorsi di ricerca 3, San Casciano V. P.

G. Mazzoni, ed. (2004), Falsi d’autore. Icinio Federico Joni e la cultura del falso tra Otto e Novecento, catalogo della mostra (Siena, Santa Maria della Scala 2004), Siena.

G. Mazzoni, L'Italia, una ‘fabbrica di oggetti antichi’, in E. Pellegrini (ed.), Voglia d'Italia. Il collezionismo internazionale nella Roma del Vittoriano, catalogo della mostra ((Roma, Palazzo Venezia e Gallerie Sraceni al Vittoriano, 17 ottobre 2017 – 4 marzo 2018), Venezia, pp. 431--437

G. de Mortillet (1885), Les faux paléoethnogiques, «L’Homme. Journal illustré des Sciences Anthropologiques», 2, no. 17, pp. 513-526.

M. Bayle assassiné (1929), «L’action Francaise», 17 Septembre.

G. Mazzoni (2017), L'Italia, una ‘fabbrica di oggetti antichi’, in E. Pellegrini (ed.), Voglia d'Italia. Il collezionismo internazionale nella Roma del Vittoriano, Roma, pp. 431-437.

Meisterfälscher Dossena Gestorben (1937), «Kleine österreichische Volkszeitung», 13 Oktober, p. 5.

Methoden im Kunsthandel. Allerlei Fälschungen (1937), «Freie Stimmen», 28 Dezember, pp. 2-3.

E. Moench, ed. (2012), Primitifs Italiens: Le vrai, le faux, la fortune critique, catalogue d’exposition (Ajaccio, Palais Fesch 2012), Milan.

M. Moiseiwitsch (1964), The Van Meegeren mystery. A biographical study, London.

Mostra personale dello scultore Alceo Dossena (1931), Roma.

S. Müller (1892), Hannover, Emil Viggo in Danish biographical encyclopedia, Vol. 6, København, 1892, p. 562

R. Munro (1905), Archaeology and false antiquities, London.

Musée des faux artistiques (1954), catalogue du 2e Salon Artistique de la Police de France et d'Outre-Mer (Paris, 13-27 fèvrier 1954), Paris.

M. Natale, C. Ritschard, eds. (1997), L’art d’imiter. Images de la Renaissance italienne au Musée d'art et d'histoire: Falsifications, manipulations, pastiches, catalogue d’exposition (Genève, Musée d'art et d'histoire, 14 march – 28 septembre1997), Genéve.L.P. Nicoletti, O. Rossi Pinelli (2018), Argan e l'Einaudi. La storia dell'arte in casa editrice, Macerata.

Nuovi accertamenti viennesi a proposito delle sculture del Dossena. Dichiarazione del dott. Planiscig (1928), «Corriere della Sera», 28 Novembre, p. 2.

Of Arms and Men: Arms and Armor at the Metropolitan, 1912–2012. (2012), «The Metropolitan Museum of Art Bulletin», 70, no. 1, p. 13.

A. Patterson, M. Trusted (2018), The Cast Courts, London.

E. Pellegrini, ed. (2017), Voglia d’Italia. Il collezionismo internazionale all’ombra del Vittoriano, catalogo della mostra (Roma, Palazzo Venezia e Gallerie Sraceni al Vittoriano, 17 ottobre 2017 – 4 marzo 2018), Venezia.

L. Planiscig, E. Kris, eds. (1937), Gefälschte Kunstwerke. Austellungkatalog: Wien, Kunsthistorisches Museum, Sammlungen für Plastik und Kunstgewerte, Wien.

H.J. Plenderleith (1952), Fakes and Forgeries in Museums, «Museums Journal», 52, no. 6, pp. 143-148.

A.U. Pope (1935), An Alleged "Bactrian" Forgery, 387(66), pp. 288-289, 293.

G. Prisco (2019), Two Exhibitions and the Project of a Museum dedicated to Forgery. A History between France and Italy (1930-1955), in M. Baggio, E. Bernard, M. Salvadori, L. Zamparo (eds.), Anthropology of Forgery. A Multidisciplinary Approach to the Study of Archaeological Fakes, Antenor Quaderni 46, Padua, pp. 269-285.

Promises inquiry into museum pieces (1923), «New York Times», June 6, p. 23, col. 3.

S.W. Pyhrr, Armor for America: The Duc de Dino Collection, «The Metropolitan Museum Journal», 47, pp. 183-230.

E.H. Rainalter (1937), Gefalschte Kunstwerke 1937, «InnsbruckerNachrichten», 28 September, p. 10.

R.G. Reisner (1950), Fakes and Forgeries in the Fine Arts: A Bibliography, New York.

J.C. Robinson (1891), On Spurious Works of Art, «Nineteeth Century», 30(177), pp. 677-698.

F.G. Roe (1922), Some Nineteenth Century Forgeries in Armour, «Connoisseur» 63, pp. 210-213.

F.G. Roe, C.R. Beard (1930), Genuine of forgery?, «Connoisseur«, 86, pp. 75-86.

A. Roessler (1910), Einiges über Fälscherkünste, «Kunst für Alle», 25(17-18), pp. 305-404, 425-430.

A. Roessler (1937), Aus Dem Kunstleben, «Radio Wien», 24 September, p. 7.

G. de Rorthays (1903a), The Tiara of Saitapharne, «The Burlington Magazine», 1(1), pp. 1-5.

G. de Rorthays (1903b), The Tiara of Saitapharnes (May 1903), «The Burlington Magazine», 2(1), pp. 37-38.

G. de Rorthays (1903c), Paris Notes (June 1903), «The Burlington Magazine», 3(1), pp. 94-96.

G. de Rorthays (1903d), Notes From France. Paris. The Tiara of Saitapharnes (July 1903), «The Burlington Magazine», 4(1), pp. 103-104.

M.B. de Ruggieri (2002), Laboratoire de recherche des Musées de France. Parigi, Musée du Louvre, in M. Cardinali, M.B. de Ruggieri, C. Falcucci (eds.), Diagnostica artistica. Tracce materiali per la storia dell’arte e la conservazione, Roma, pp. 66-69.

E. De Ruggiero (1874), Lo stato e i monumenti dell'antichità in Italia, Roma.

A. Salinas (1874), Del Museo Nazionale di Palermo e del suo avvenire, Palemo.

A. Salinas (1866), Dello stato attuale degli studi archeologici in Italia e del loro avvenire, Prolusione letta addì 12 dicembre 1865 nella R. Università di Palermo, Rivista Nazionale, pp. 195-212.

G. Savage ([1963] 1976), Forgeries, Fakes and Reproduction: A Handbook for the Collector, London.

H. Schedelmann (1948), Konrad Fecit: the Story of a Remarkable Forger, «Connoisseur», 122, pp. 8-13.

Show up you fakes (1901), «New York Times», October 27, p. 45, col. 2.

D. Sox (1987), Unmasking the forger: The Dossena deception, New York.

Special Exhibition of ‘Fakes and Reproductions (1916), «Bulletin of the Pennsylvania Museum», 14, no. 54, pp. 20-23.

M.H. Spielmann (1903-1904), Art Forgeries and Counterfeits, «Magazine of Art», 27-28 n.s., pp. 403-410, 441-447, 498-504, 549-553, 599-606, 77-82, 190-194.

J. Spier, ed. (2009), Carvers and Collectors: The Lasting Allure of Ancient Gems, exhibition catalogue (Malibu, Getty Villa 19 March – 7 September 7 2009), Los Angeles.

Teilnahme österreichischer Fachleute am internationalen (1926), «Tages Post. Linz, Freitag», 17 September, p. 3.

Tentative List of Objects desirable for a Collection of Casts, Sculptural and Architectural, intended to illustrate the history of plastic art (1891), New York.

Test reveals age of writing by ink action on paper (1933), «Popular Mechanics Magazine», 25 August.

The Validity of Fakes as Works of Art (1946), «Connoisseur », 117(499), pp. 32-37.

H. Tietze (1934), The Psychology and Aesthetics of Forgery in Art, «Metropolitan Museum Studies in Art, Science and Technology», 5, no. 1, pp. 1-19.

H. Tietze (1948), Genuine and False. Copies, Imitations, Forgeries, London.

S. Türkel (1927), Prähistorische Fâlschungen: eine Rundfrage, Graz.

S. Türkel (1930), Fälschungen. Beiträge zur Phänomenologie, Symptomatologie und Diagnostik. Wissenschaftliche Veröffentlichungen des Kriminalistischen Laboratoriums der Polizeidirektion Wien, Wien.

Chemistry Vs. Forgery; Dr. Turkel's Way of Telling if a Check Has Been Raised (1933), «New York Times», 28 May, p. 7.

S. Türkel (1933), Schrift, Schriftexpertise und Schriftexperten, Aus dem Kriminalistischen Labor um der Bundespolizeidirektion, Wien.

A. Vaysonne de Predenne (1932), Les fraudes en archéologie préhistorique: avec quelques exemples de comparaison en archéologie générale et sciences naturelles, Paris.

Veri, falsi e ritrovati (2008), catalogo della mostra (Venezia, 17 giugno – 7 settembre 2008), Venezia.

G. Vikan (1987), Artful Deception: The Craft of the Forger, exhibition catalogue (Baltimore, Walters Art Gallery 1988), Baltimore.

Vrai ou faux? Copier, imiter, falsifier (1988), catalogue de’exposition (Paris, Bibliothèque nationale, Cabinet des médailles et des antiques, 6 mai – 29 octobre 1988), Paris.

W. White (1910), The Turner Bequest. The Repudiated Authenticity of Drawings in the National Gallery, «The Burlington Magazine», 92(18), pp. 120-122.

R. de Zerbi (1875), L'archeologia e gli scavi in Italia, «L'Illustrazione Universale», 2(21), pp. 166-167.

G. Zuchtriegel, ed. (2016), Possessione. Trafugamenti e falsi di antichità a Paestum, catalogo della mostra (Capaccio, 2 luglio – 31 dicembre 2016), Napoli.

Author Biography

Elisa Bernard, IMT School for Advanced Studies Lucca

PhD Researcher

How to Cite

Bernard, E. (2020). Art and Archaeological Fakes on Display: Forty Years of Temporary Exhibitions (1915-1955). Il Capitale Culturale. Studies on the Value of Cultural Heritage, (22), 275–314. https://doi.org/10.13138/2039-2362/2341