Art forgery has long been a siren of the art world.
Dark yet beguiling, it ranges from misidentification of orphaned works to forgers deliberately passing off fakes on the market.
This spring the Center for Art Law hosted an evening on the topic, screening Orson Welles’ and featuring Aaron Crowell’s remarks about root causes for transactions involving fakes.
The key questions are: how should museums treat the subject of attribution and respond to allegations of forgery?According to Stewart, such can be associated with a rush to judgment and the imposition of one’s own ego on the object.According to Sharon Flescher, the Director of the International Foundation of Art Research (IFAR), art attributions can and do shift over time. Spencer’s 2004 book, was exhibiting a similar head, apparently originating from the Cathedral de Notre-Dame, and began investigating.This opinion appears to be shared throughout his field.In a 2011 publication, Professor Andrew Stewart of the University of California posits that the “sin” of accusing a genuine antiquity as fake is “much more heinous” than authenticating a forgery).