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Gentle Art of Faking

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) (10 hr 49 min)

Chapters

Preface

Part I: The Birth and Development of Faking – Greeks and Romans as Art Collecto…

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