Gentle Art of Faking
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112
1922
English
- Preface
- Part I: The Birth and Development of Faking – Greeks and Romans as Art Collectors
- Collectomania in Rome
- Rapacious Roman Collectors
- Rome as an Art Emporium
- Increase of Faking in Rome
- Decadence of Art and Consequent Changes
- The Renaissance Period
- Imitation, Plagiarism, and Faking
- Collectors of the Sixteenth Century
- Collecting in France and England
- Mazarin as a Collector
- Some Notable French Collectors
- Part II: The Collector and the Faker – Collectors and Collections
- The Collector's Friends and Enemies
- Imitators and Fakers
- The Artistic Qualities of Imitators
- Fakers, Forgers and the Law
- The Faked Atmosphere and Public Sales
- Part III: The Faked Article – The Make-up of Faked Antiques
- Faked Sculpture, Bas-reliefs and Bronzes
- Faked Pottery
- Metal Fakes
- Wood Work and Musical Instruments
- Velvets, Tapestries and Books
- Summing Up
IIn analysing the Faker one must dissociate him from the common forger; his semi-artistic vocation places him quite apart from the ordinary counterfeiter; he must be studied amid his proper surroundings, and with the correct local colouring, so to speak, and his critic may perchance find some slight modicum of excuse for him. Beside him stand the Imitator, from whom the faker often originates, the tempter who turns the clever imitator into a faker, and the middleman who lures on the unwary collector with plausible tales.
It is not the object of this volume to study the Faker by himself, but to trace his career through the ages in his appropriate surroundings, and compare the methods adopted by him at various periods of history, so far as they may be obtained. (from the Preface)
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