AiA Literature & Exhibitions
Below you find an overview of literature and exhibitions related to authentication that we have in our library. It is by no means comprehensive
You are kindly invited to contribute by suggesting other works, please contact us at: info@authenticationinart.org
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Abbing, Hans, Why are artists poor? The exceptional economy of the arts, Amsterdam: Amsterdam University Press, 2002.
Abu Dhabi Art Talks, The Global Circulation of Art and the New Markets, 2018.
Agosti, Giacomo (ed.) et al., Giovanni Morelli e la cultura dei conoscitori: atti del Convegno Internazionale Bergamo, 4-7 giugno 1987, Bergamo: Pierluigi Lubrina Editore, 1993.
Akinsha, Konstantin et al., ‘The Betrayal of the Russian Avant-Garde’, In Artnews, 95 (2), February 1996.
Akker, Paul van den, Looking for Lines: Theories on the Essence of Art and the Problem of Mannerism, Amsterdam: Amsterdam University Press, 2010.
Amineddoleh, Leila, ‘Are You Faux Real? An Examination of Art Forgery and the Legal Tools Protecting Art Collectors’, In Cardozo Arts & Entertainment Law Journal, 34 (1), Spring 2016.
Aldrich, Megan and Jos Hackforth-Jones (ed.), Art and Authenticity, Farnham: Lund Humphries/Sotheby’s Institute of Art, 2012.
Alexander Bailey, Gauvin and Fernando Guzmán, ‘The Rococo Altarpiece of St. Ignatius: Chile’s Grandest Colonial Retable Rediscovered’, In Burlington Magazine, 155, December 2013.
Art News, ‘Crime’, In Art News, 115 (2), Summer 2016.
Ashok, Roy (ed.), Artists’ Pigments: A Handbook of Their History and Characteristics volume 2, Washington: National Gallery of Art & Oxford University Press, 1993.
Aurnau, Frank, The Art of Faker: 3000 Year of Deception in Art and Antiquities, London: Little Brown & Co, 1961.
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Baldinucci, Fillipo, Vocabolario toscano dell’arte del disegno, Florence, 1681.
Bandle, Anne Laure, The Sale of Misattributed Artworks and Antiques at Auction, London: Edward Elgar Publishing, 2016.
Bartoll, Jens and Bärbel Jackisch, ‘Prussian Blue A Chronology of the Early Years’, In Zeitschrift für Kunsttechnologie und Konservierung, 23 (1), 2010.
Battista Fidanza, Giovan, ‘A Rediscovered Altarpiece by Pietro da Cortona and Insights into the Collaboration Between the Master and his Pupils’, In Burlington Magazine, 155, August 2013.
Baum, Katja von, Theresa Neuhoff, Caroline von Saint-George and Iris Schaefer, ‘Blattmetallauflagen, Verzierungstechniken und Farbauftrag: Der Künstlerische Handschrift aus Technologischer Sicht’, In Zeitschrift für Kunsttechnologie und Konservierung, 25 (1), 2012.
Beck, James, From Duccio to Raphael: Connoisseurship in Crisis, Florence: European Press Academic Publishing, 2006.
Beltracchi, Wolfgang and Helene, Selbstportrait, Reinbek: Rohwolt, 2014.
Benington, Jonathan, ‘The rediscovery of Paul Klee’s ‘Small harbor scene’ (1919)’, In Burlington Magazine, 153, September 2011.
Benjamin, Walter, The Work of Art in the Age of Mechanical Reproduction, Scotsdalle: AZ, 2012.
Berrie, Barbara H. (ed.), Artists’ Pigments: A Handbook of Their History and Characteristics volume 4, Washington: National Gallery of Art & Archetype Publications, 2007.
Beissel, S., Gefälschte Kunstwerke, Freiburg: I.B., 1909.
Bijl, Martijn and Wouter Kloek, ‘A painting Reattributed to Aelbert Cuyp: Connoisseurship and Technical Research’, In Burlington Magazine, 156, February 2014.
Binstock, Benjamin, Vermeer’s Family Secrets: Genius, Discovery, and the Unknown Apprentice, New York: Routledge, 2009.
Biesboer, Pieter (ed.), Frans Hals Re-discovered, Zwolle: Waanders, 2006.
Bloch, P., ‘Original – Kopie- Fälschung’, In Jahrbuch des Preussischen Kulturbesitz, 16, 1979.
Brachtert, T., ‘Gemäldefalschung, Möglichkeiten ihrer Bekämpfung’, In Schweizerisches Institut für Kunstwissenschaft, Jahresbericht und Jahrbuch, 1966.
Brainerd, Andrew W., The Infanta Adventure and the Lost Manet, Long Beach/Michigan City: Reichl Press, 1988.
Brainerd, Andrew W., On Connoisseurship and Reason in the Authentication of Art, Chicago: Prologue Press, 2007.
Bredius, A., ‘Iets over oude copieën’, In Oud Holland, 24, 1911.
Bredius A., ‘Copie of origineel in de 17de eeuw’, In Oud Holland, 42, 1925.
Bresler, Judith, ‘Expert Opinions and Liabilities’, In IFAR Journal, 9 (2), 2007.
Brewer, John, The American Leonardo: A Tale of Obsession, Art and Money, Oxford: Oxford University Press, 2009.
Briefel, Aviva, The Deceivers, Art Forgery and Identity in the Nineteenth Century, New York: Cornell University Press, 2006.
Brown, David Alan, Berenson and the Connoisseurship of Italian Painting: a Handbook to the Exhibition, Washington: National Gallery of Art, 1979.
Brühl, Friederike Gräfin von, Marktmacht von Kunstexperten als Rechtsproblem, Köln: Nomos Verlages, 2008.
Bucklow, Spike, ‘The Description of Craquelure Patterns’, In Studies in Conservation, 42 (3), 1997.
Bucklow, Spike, ‘The Description and Classification of Craquelure’, In Studies in Conservation, 44 (4), 1999.
Bucklow, Spike, The Alchemy of Paint: Art, Science and Secrets from the Middle Ages, London: Marion Boyars, 2009.
Bucklow, Spike, The Riddle of the Image: The Secret Science of Medieval Art, London: Reaktion Books, 2014.
Bucklow, Spike, Red: The Art and Science of a Colour, London: Reaktion Books, 2016.
Burlington Fine Arts Club, The Catalogue of a Collection of Counterfeits, Imitations and Copies of Works of Art, London, 1938.
Burnstock, Aviva and Karen Serres, ‘Seurat’s Hidden Self-Portrait’, In Burlington Magazine, 156, April 2014.
Buvelot, Quentin and Blaise Ducos, ‘A Rediscovered Portrait by Frans Hals’, In Burlington Magazine, 156, February 2014.
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Carroll, Elizabeth, ‘Consavari: Rediscovering an Altarpiece by Bartolomeo Montagna for the Parish Church of Sandrigo, Vicenza’, In Burlington Magazine, 153, June 2011.
Chaplin, Tracy, Nicholas Easthaugh, Ruth Siddall and Valentine Walsh, The Pigment Compendium: A Dictionary of Historical Pigments and Polarised Light Microscopy of Historical Pigments, Oxford: Elsevier, 2004.
Charney, Noah, The Art of Forgery: the Minds, Motives and Methods of Master Forgers, London: Phaidon Press, 2015.
Charney, Noah, Art & Crime: Exploring the Dark Side of the Art World, Santa Barbara: Praeger Press, 2009.
Christian, John, ‘Burne Jones’s ‘Tristan and Iseult’ rediscovered’, In Burlington Magazine, 154, August 2012.
Clarke, John R., ‘A Virtual Villa’, In Apollo: The International Art Magazine, February 2014.
Clarke, Mark, ‘A Nintheenth-Century Colourman’s Terminology’, In Studies in Conservation, 54 (3), September 2009.
Cohen, Rachel, Bernard Berenson: A Life in the Picture Trade, New Haven: Yale University Press, 2013.
Collier, Carly, ‘William Dyce’s ‘Lamentation over the dead Christ’ – a New Discovery’, In Burlington Magazine, 156, December 2014.
Conklin, John, Art Crime, Westport: Praeger Press, 1994.
Conte, Floriana, ‘Salvator Rosa’s ‘Marius Meditating Among the Ruins of Carthage’ Rediscovered’, In Burlington Magazine, 154, March 2012.
Coremans, P., Van Meegeren’s Faked Vermeers and De Hooghs: A Scientific Examination, Amsterdam: Meulenhoff, 1948.
Coremans, P., Van Meegeren’s Faked Vermeers and De Hooghs: A Scientific Examination, Amsterdam: Meulenhoff, 1949.
Cottrell Philip, ‘Parrasio Micheli’s ‘St Francis’: a Rediscovered Work from the Palazzo dei Camerlenghi, Venice’, In Burlington Magazine, 156, March 2014.
Cradock, Paul (ed.), Scientific Investigations of Copies, Fakes, and Forgeries, New York: Taylor & Francis, 2009.
Cumming, Laura, The Vanishing Velázquez: A 19th Century Bookseller’s Obsession with a Lost Masterpiece, New York: Scribner, 2016.
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Dantzig, M.M. van, ‘Barstvorming op Schilderijen’, In Maandblad voor Beeldende Kunsten, 12, 1935.
Dantzig, M.M. van, Works of Art: Hackwork, Forgeries, Amsterdam: H.J. Paris, 1936.
Dantzig, M.M. van, Frans Hals: Genuine or False, Amsterdam: H.J. Paris, 1937.
Dantzig, M.M. van, J. Vermeer: “Christ at Emmaus” and the Critics, Amsterdam: H.J. Paris, 1947.
Dantzig, M.M. van, Pictology, Leiden: E.J. Brill, 1973.
Dardes, Kathleen and Andrea Rothe (ed.), The structural conservation of panel paintings, Los Angeles: The Getty Conservation Institute, 1995.
Davies, Stephen, Kathleen Marie Higgins and Robert Hopkins, Authenticity and Art: A Companion to Aesthetics, New Jersey: John Wiley and Sons, 2009.
Debenedetti, Ana, ‘A Recently Identified Painting by Tintoretto in the Victoria and Albert Museum’, In Burlington Magazine, 155, January 2013.
Dempster, Anna, Risk and Uncertainty in the Art World, London: Bloomsbury Publishing, 2014.
Di David, A.S., Art: Authenticity, Restoration, Forgery, Los Angeles: UCLA Cotsen Institute of Archaeology, 2016.
Diependaal, Hannie, Klaas Jan van den Berg, Suzan de Groot, Matthijs de Keijzer, Henk van Keulen and Luc Megens, ‘Breitner’s Paintbox and the Colours of Standage’, In Zeitschrift für Kunsttechnologie und Konservierung, 26 (1), 2013.
Dirk, Carl W., Monica F. Delgado, Marco Olguin and James Druzik, ‘A Prism-Grating-Prism Spectral Imaging Approach’, In Studies in Conservation, 7 (3), July 2009.
Dirven, Ron and Kees Wouters, Verloren Vondsten, Breda: Breda’s Museum, 2003.
Dittus, Alexander, ‘Reflectance Transformation Imaging (RTI): Eine Methode zur Visualisierung Struktureller Oberflächenmerkmale’, In Zeitschrift für Kunsttechnologie und Konservierung, 5 (4), 2015.
Dolnick, Edward, The Forger’s Spell: A True Story of Vermeer, Nazis, and the Greatest Art Hoax of the Twentieth Century, New York: Harper Perennial,2012.
Donath, Adolf, Wie die Kunstfälscher arbeiten, Prague: Presser, 1937.
Dreyer, P,. ‘Tizianfälschungen des Sechtzehnten Jahrhunderts’, in Pantheon, 37, October-December 1979.
Dunkerton, Jill, ‘Titian’s ‘Music Piece’ Re-Emerges at the National Gallery London’, In Burlington Magazine, 155, October 2013.
Dunkerton, Jill and Marika Spring et al, ‘Titian’s Painting Technique from 1540’, In National Gallery Technical Bulletin, 36, 2015.
Dutton, Denis ed., The Forger’s Art: Forgery and the philosophy of Art, Berkley: Berkley University Press, 1983.
Dutton, Denis, ‘Authenticity in Art’, In Jerrold Levinson, The Oxford Handbook of Aesthetics, New York: Oxford University Press, 2003.
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Elgammal, A. and B. Saleh, ‘Quantifying Creativity in Art Networks’, In arXiv, 2 June 2015.
Ellison, Rebecca, Patricia Smithen and Rachel Turnbull, Mixing and Matching: Approaches to Retouching Paintings, London: Archetype, 2010.
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Feller, Robert L. (ed.), Artists’ Pigments: A Handbook of Their History and Characteristics volume 1, Washington: National Gallery of Art & Oxford University Press, 1986.
Featherstone, R. and L. Whitaker, ‘Two Newly Rediscovered Works by Caravaggio in the Royal Collection’, In Burlington Magazine, 151, 2009.
Finn, Clare, ‘The Devil in the Detail’, In Apollo: The International Art Magazine, January 2014.
Fitzhugh, Elisabeth West (ed.)., Artists’ Pigments: A Handbook of Their History and Characteristics volume 3, Washington: National Gallery of Art & Oxford University Press, 1997.
Fleming, Stuart, Authenticity in Art: The Scientific Detection of Forgery, London: Instiute of Physics, 1975.
Fleming, Stuart, ‘Science Detects the Forgeries’, In New Scientist, 68 (978), 1975.
Forgy, Mark, The Forger’s Apprentice: Life with the World’s Most Notorious Artist, Scotts Valley: CreateSpace Independent Publishing Platform, 2012.
Friedländer, M.J., Der Kunstkenner, Berlin: Bruno Cassirer, 1920.
Friedländer, M.J., Echt und Unecht. Aus den Erfahrungen des Kunstkenners, Berlin: Bruno Cassirer, 1929.
Friedländer, M.J., On Art and Connoisseurship, London: Bruno Cassirer, 1942.
Friedländer, M.J., Kunst en Kennerschap, Leiden: Stafleu, 1948.
Frimmel, Theodor, Handbuch der Gemäldekunde, Leipzig: J.J. Weber, 1904.
Fry, R., ‘The authenticity of the Renders Collection’, In The Burlington Magazin, 50, May 1927.
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Gaethgens, Thomas W. (ed.), ‘Kennerschaft: Kolloquium zum 150sten Geburstag von Wilhelm von Bode’, In Jahrbuch der Berliner Museen, 38 supplement, 1996.
Gallagher, Michael, ‘A New Painting by Perino del Vaga: Recent Cleaning and Technical Observations’, In Burlington Magazine, 153, October 2011.
Gettens, R.J. and G.L. Stout, Painting Materials, New York: Dover Publications, 1966.
Gibson-Wood, Carol, Studies in the Theory of Connoisseurship from Vasari to Morelli, New York/London: Garland Publishing, Inc., 1988.
Gisolfi, Diana, Paolo Veronese and the Practice of Painting in Late Renaissance Venice, New Haven: Yale University Press, 2018.
Godley, John, Van Meegeren: Master Forger, New York: Scribner, 1967.
Gombrich, E.H., Art and Illusion, Oxford: Phaidon Press, 1960.
Gordon, Dillian, ‘Two Newly Identified Panels from Mariotto di Nardo’s Altarpiece for the Da Filicaia Chapel in S. Maria degli Angeli, Florence’, In Burlington Magazine, 155, January 2013.
Graaf, J.A. van de., Het De Mayerne Manuscript als Bron voor de Schildertechniek van de Barok, Utrecht: University of Utrecht, 1958.
Greenhalgh, Shaun, A Forger’s Tale: Confessions Of The Bolton Forger, Crows Nest: Allen & Unwin, 2017.
Griffin, Amy and Antonio Mazzotta, ‘The Discovery and Conservation of a Nicolo di Pietro in the Cuming Museum London’, In Burlington Magazine, 156, March 2014.
Grossvogel, David, Behind the Van Gogh Forgeries: A Memoir, San Jose: Authors Choice Press, 2001.
Goll, J., Kunstfälscher, Leipzig: Seeman, 1962.
Graham, Ian, Fakes and Forgeries, Austin: Raintree Steck-Vaughn, 1995.
Grassi, Marco, ‘A New Holbein Erasmus Portrait: From Paris Auction to Rotterdam Exhibition’, In IFAR Journal, 11 (1), 2009.
Grimberg, Salomon, Jane C. H. Jacob and Laurent Sozzani, ‘Two Frida Kahlo Portraits: One Found, One Confirmed’, In IFAR Journal, 14 (3), 2013.
Grimm, C., ‘Kunst und Kopie’, In Maltechnik-Restauro, 2, 1974.
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Hanson, Katie, ‘Jean-Honoré Fragonard’s Lost ‘Little pilgrim’, In Burlington Magazine, 155, May 2013.
Harr, Jonathan, The Lost Painting, New York: Random House, 2005.
Harley, R.D., Artists’ Pigments c.1600-1835, London: Archetype Publications Ltd., 1982.
Haverkamp-Begemann, Egbert, Creative Copies, London: Sotheby’s Publications, 1988.
Hebborn, Eric, The Art Forger’s Handbook, New York: Overlook Press, 1997.
Herman, Nicholas, ‘A Newly Discovered Portrait of Louis XII by Jean Bourdichon’, In Burlington Magazine, 156, August 2014.
Hermens, Erma (ed.), Looking Through Paintings, London: Archetype Publications, 1998.
Hermens, Erma and Frances Robertson, Authenticity in Transition: Changing Practices in Contemporary Art Making and Conservation, Archetype Publications: London, 2016.
Hofstede de Groot, C., Echt of Onecht? Oog of Chemie?, The Hague: W.P. van Stockum & Zoon, 1925.
Hope, Charles, Giorgione or Titian? History of a Controversy, New York: The Frick Collection, 2003.
Horsin Déon, Simon, De la Conservation et de la Restauration des Tableux, Paris: Hector Bossagne, 1851.
Hoving, Thomas, False Impressions, New York: Simon Schuster, 1997.
Huiberts, Ard and Sander Kooistra, Zelf Kunst Kopen, Amsterdam/Antwerpen: L.J. Veen, 2004.
Hutchings, Jeremy, ‘Developing a competence map for the Conservation-Restoration Profession’, In Zeitschrift für Kunsttechnologie und Konservierung, 24 (1), 2011.
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IFAR, ‘Catalogues Raisonnés and the Authentication Process’ In IFAR Journal, 3 & 4, 2006.
Isnard, Guy, Les Pirates de la peinture, Paris 1955.
Irving, Clifford, Fake! The Story of Elmyr De Hory, the Greatest Art Forger of Our Time, New York: Mcgraw-Hill, 1969.
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Jaffé, H.L.C., J. Storm van Leeuwen and L.H. van der Tweel, Authentication in the Visual Arts, Amsterdam: B.M. Israël, 1979.
Jansen, Geert Jan, Avonturen van een meestervervalser, Amsterdam: Prometheus, 2004.
Jelley, Jane, Traces of Vermeer, Oxford: Oxford University Press, 2017.
Johnson, Richard C., Paul Messier, William A. Sethares, Andrew G. Klein, Christopher Brown, Anh Hoang Do, Philip Klausmeyer, Patrice Abry, Stephane Jaffard, Herwig Wendt, Stephane Roux, Nelly Pustelnik, Nanne Van Noord, Laurens Van Der Maaten, Eric Postma, James Coddington, Lee Ann Daffner, Hanako Murata, Henry Wilhelm, Sally Wood and Mark Messier, ‘Pursuing Automated Classification of Historic Photographic Papers From Raking Light Images’, In Journal of the American Institute for Conservation, 37 (3), 2014.
Jones, Mark ed., Fake? The Art of Detection, Berkley: Berkley University Press, 1990.
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Kapelouzou, Iris, ‘The inherent sharing of conservation decisions’, In Studies in Conservation, 12, July 2012.
Keating, Tom & Geraldine and Frank Norman, The Fake’s Progress: The Tom Keating Story, Londen: Hutchinsons, 1977.
Keats, Jonathon, Forged: Why Fakes are the Great Art of our Age, New York: Oxford University Press, 2013.
Keazor, Henry and Tina Öcal (eds.), Der Fall Beltracchi und die Folgen: Interdisziplinäre Fälschungsforschung heute, Berlin: De Gruyter, 2014.
Keazor, Henry, Täuschend echt! Eine Geschichte der Kunstfälschung, Darmstadt: Theiss, 2015.
Kemp, Martin and Pascal Cotte, La Bella Principessa: The Story of the New Masterpiece by Leonardo da Vinci, London: Hodder & Stoughton Ltd, 2010.
Kemp, Martin and Guiseppe Pallanti, Mona Lisa: The People and the Painting, Oxford: Oxford University Press, 2017.
Koldehoff, Stefan and Tobias Timm, Falsche Bilder Echtes Geld: Der Falschungscoup des Jahrhunderts, Berlin: Galiani, 2012.
Krämer, Felix, ‘A lion who painted lions’: Jean-Léon Gérome’s ‘St Jerome’ rediscovered’, In Burlington Magazine, 154, April 2012.
Kreuger, Frederik, De arrestatie van een meestervervalser, Diemen: Veen, 2006.
Kuo, Jason (ed.), Perspectives on Connoisseurship of Chinese Paintings, Washington: New Academia Publishing, 2008.
Kurz, Otto, Fakes, London: Faber and Faber, 1948.
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Larsen, Knut Einar (ed.), Conference on Authenticity, Japan: Proceedings UNESCO/ICCROM/ICOMOS, 1994.
Larsen, Knut Einar and Marstein, Nils (eds.), Conference on Authenticity in Relation to the World Heritage Convention, Preparatory Workshop, Bergen, Norway, 31 January – 2 February , Norwegian Directorate for Cultural Heritage, 1994.
Lammertse, Friso (ed.), Meesterwerk of kopie?, Rotterdam: Museum Boijmans van Beuningen, 2009.
Lammertse, Friso (ed.), De Vermeers van Van Meegeren, Rotterdam: Museum Boijmans van Beuningen, 2011.
Le Brun, Lily, ‘Genuine Concern’, In Apollo: The International Art Magazine, October 2014.
Lee, Simon, ‘A Newly Discovered Portrait of Napoleon by Jacques-Louis David’, In Burlington Magazine, 155, October 2013.
Leeflang, Micha and Maryan Ainsworth, Joos van Cleve: A sixteenth-century Antwerp artist and his workshop, Turnhout: Brepols, 2015.
Lenain, Thierry, Art Forgery: The History of a Modern Obsession, London: Reaktion Books, 2011.
Lejeune, Theodore, Guide théorique et pratique de l’amateur de tableaux: études sur les imitateurs et les copistes des maîtres de toutes les écoles, dont les oeuvres forment la base ordinaire des galeries, Paris: Gide, 1863.
Levi, Donata, Cavalcaselle: il pioniere della conservazione dell’arte Italiana, Torino: Einaudi, 1988.
Lopez, Jonatha, The Man who Made Vermeers, New York: Mariner, 2009.
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Magnusson, Magnus, Fakers, Forgers and Phoneys, Edingburgh: Mainstream Publishing, 2006.
Mancini, Giorgia, ‘History of a Fake: ‘The Virgin and Child with an Angel’ after Francesco Francia in the National Gallery, London’, In Burlington Magazine, 155, August 2013.
Marijnissen, R.H., Schilderijen, Echt, Fraude, Vals, Brussel/Amsterdam: Elsevier, 1985.
Mayer, Ralph, A Dictionary of Art Terms & Techniques, New York: Apollo Editions, 1969.
Mayer, Lance and Gay Myers, American Painters On Technique: The Colonial Period to 1860, Los Angeles: J. Paul Getty Museum, 2011.
Mayer, R., The Artist’s Handbook of Materials and Techniques, New York: Faber & Faber, 1938.
Mazzoni, Gianni, Falsi d’autore: Icilio Federico Joni e la cultura del falso tra Otto e Novecento: Catalogo della mostra, Siena: Protagon Editori Toscani, 2012.
McAndrew, Clare, Fine Art and High Finance: Expert Advice on the Economics of Ownership, Indianapolis: Bloomberg Press, 2010.
McBurney, Henrietta and Christine Slottved Kimbriel, ‘A Newly Discovered Variant at Eton College of the Queen Elizabeth I Sieve Portrait’, In Burlington Magazine, 156, October 2014.
http://www.metmuseum.org/
Meusnier, George, Traité pratique de la peinture à l’huile, Paris, 1878.
Mohrmann, Ivo, Die Kunst der Gemäldekopie, Bonn: Verband der Restauratoren, 2006.
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Orlofsky, Patsy and Mary Kaldany, ‘Henri Matisse’s Silkscreen on Linen Editions Océanie le Ciel and la Mer: Development of a Conservation Protocol’, In Journal of the American Institute for Conservation, 37 (4), 2014.
Os, H.W. van, ‘Op het spoor van een vervalser’, In Spiegel Historiae, 6 (2), 1971.
Overton, Tom, ‘A Personal View’, In Apollo: The International Art Magazine, May 2014.
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Pastoureau, Michel, Red: The History of a Color, New Yersey: Princton University Press, 2017.
Peñuelas, Lluis, The Authorship, Authentication and Falsification of Artworks (Arte, Mercado Y Derecho Collection), Madrid: Ediciones Polígrafa, 2018.
Perenyi, Ken, Caveat Emptor: The Secret Story of an American Art Forger, New York: Pegasus Books, 2012.
Phoenix Art Museum, Copper as Canvas, Two Centuries of Masterpiece Paintings on Copper, 1575-1775, New York: Oxford University Press, 1999.
Pinna, Daniela (ed.), Scientific Examination for the Investigation of Paintings: A Handbook for Conservator-Restorers, Florence: Centro Di Bene Culturale, 2009.
Phillips, David, Exhibiting authenticity, Manchester: Manchester University Press, 1997.
Previtali, G., ‘A propos de Morelli’, In Revue de l’Art, 42, 1978.
Pryor, Riah, Crime and the Art Market, London: Lund Humphries, 2016.
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Radnóti, Sándor, The Fake, Boston: Rowman & Littlefield Publishers, 1999.
Ragai, Jehane, The Scientist and the Forger: Probing a turbulent Art World second edition, World Scientific: New Jersey, 2017.
Rapp George and Christopher L. Hill, Geoarchaeology, The Earth Science Approach to Archaeological Interpretation second edition, New Jersey: Yale University Press, May 2006.
Reisner, R.G., Fakes and Forgeries in the Fine Arts: A Bibliography, New York: Special Libraries Association, 1950.
Reissner, Elisabeth, ‘Texture, Transparency ad Opacity in the writing of Art History: Approaches to materiality in the Study of Netherlandish Painting of the Seventeenth Century’, In Zeitschrift für Kunsttechnologie und Konservierung, 25 (2), 2012.
Rockmore, Daniel, Siwei Lyu, And Hany Farid, ‘A Digital technique for Authentication in the Visual Arts’, In IFAR Journal, 8 (2), 2005/2006.
Rosen, D. and J.S Held,‘ A Rubens discovery in Chicago’, In Journal of the Walters Art Gallery, 1950-1951.
Rosenauer, Artur, ‘An unknown early work by Titian’, In Burlington Magazine, 155, October 2013.
Rowell, Christopher, ‘Francois Lemoyne’s ‘Annunciation’ (1727) Rediscovered at Winchester College’, In Burlington Magazine, 154, March 2012.
Rowland, Ingrid D, The Scarith of Scornello: A Tale of Renaissance Forgery, Chicago/London: University of Chicago Press, 2004.
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Salisbury, Laney, Aly Sujo: Provenance, London: Penguin Books, 2010.
Salomon, Xavier, Veronese in Murano: Two Venetian Renaissance Masterpieces Restored, New York: The Frick Collection, 2018.
Samuels, Ernest, Bernard Berenson: The Making of a Connoisseur, London: Harvard University Press, 1979.
Sanderson, William, The Use of the Pen and Pensil: Or, The Most Excellent Art of Painting, London: R. Crofts, 1658.
Savage, George, Forgeries, Fakes, and Reproductions: A Handbook for the Art Dealer and Collector, New York: Frederick A. Prager, 1963.
Scallen, Catherine B., Rembrandt, Reputation, and the Practice of Connoisseurship, Amsterdam: Amsterdam University Press, 2004.
Schaefer, Iris. ‘Ein bislang unbekanntes Gemälde von Edouard Manet (?)’, In Wallraf-Richartz- Jahrbuch, 65, 2005.
Scaff, Julian H, Art and Authenticity in the age of Digital Reproduction, Digital Arts Institute, 2011.
Schefold, R, ‘Stylistic canon, imitation and faking: Authenticity in Mentawai art in Western Indonesia’, Anthropology Today, 18 (2), 2002.
Seybold, Dietrich, Das Schlaraffenleben der Kunst: Eine Biografie des Kunstkenners und Leonardo da Vinci-Forschers Jean Paul Richter (1847–1937), München/Paderborn: Wilhelm Fink Verlag, 2013.
Seybold Dietrich, The Giovanni Morelli Monograph, Internetsource.
Shanes, Eric, M.W. Turner: A Life In Art, Volume I: Young Mr Turner, The First Forty Years, 1775-1815, New Haven: Yale University Press, 2016.
Silva Maroto, Pilar and Manfred Sellink, ‘The Rediscovery of Pieter Brueghel the Elder’s ‘Wine of St Martin’s Day’ Acquired for the Museo Nacional del Prado, Madrid’, In Burlington Magazine, 153, December 2011.
Sitwell, Christine and Sarah Staniforth (ed.), Studies in the History of Painting Restoration, London: Archetype Publications, 1998.
Sox, David, Unmasking the Forger: The Dossena Deception, Londen: Universe Publishers, 1987.
Smith, Judith G. and Wen C. Fong (eds.), Issues of Authenticity in Chinese Painting, New York: The Metropolitan Museum of Art, 1999.
Snare, John, Proofs of the Authenticity of the Portrait of Prince Charles, afterwards Charles the First, painted at Madrid in 1623, by Velasquez, contained in observations on the remarks of Sir Edmund Head, Bart. [in his “Handbook of the History of the Spanish and French Schools of Painting”] … and William Stirling, Reading: Whittaker, 1848.
Soppa, Karolina, Tilly Laaser, Christopher Krekel, ‘Lokalisieriung von Konsolidierungsmitteln in Gemälden durch Fluoreszenzmarkierung’, In Zeitschrift für Kunsttechnologie und Konservierung, 26 (2), 2013.
Spencer, Ronald, The Expert versus the Object, Oxford: Oxford University Press, 2004.
Spiel Jr., Robert E., Art Theft and Forgery Investigation, The Complete Field Manual, Springfield: Charles C Thomas Publishers, 2000.
Spielmann, M.H., ‘Art Forgeries and Counterfeits. A General Survey’, in Magazine of Art, 27-28, 1903 & 1904.
Spinosa, Nicola, ‘Jusepe de Ribera’s ‘Portrait of the Count of Monterrey’ rediscovered’, In Burlington Magazine, 155, October 2013.
Stoner, J.H. and R. Rushfield, ‘Conservation of Easel Paintings‘, In Golden Artist Colors, 28, 2013.
Stork, David, ‘Optics and Realism in Renaissance Art’, In Scientific America, December 2004.
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Talbot, Ken, Enigma! The New Story of Elmyr de Hory, the Most Succesful Art Forger of Our Time, London: ONT, 1991.
Taylor, P., Condition: The Ageing of Art, London: Paul Holberton Publishing, 2015.
Taylor, Richard, ‘From Science to Art and Back Again!’, In Science, 2002.
Taylor, Richard,‘Order in Pollock’s Chaos’, In Scientific America, December 2002.
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AiA Exhibition List
from current to past
2010 – A Closer Look Deception And Discoveries, London, The National Gallery
1988 – Creative Copies: Interpretative Drawings from Michelangelo to Picasso, New York and London
1983 – Echt vals? Namaak door de eeuwen heen, Amsterdam, Allard Pierson Museum
1980 – La vie mystérieuse des chefs d’œuvre, Paris, Grand Palais
1980 – Original – Kopie- Replik- Paraphrase, Wenen, Akademie der Bildenden Künste
1978 – Gemälde im Licht der Naturwissenschaft, Braunschweig, Herzog Anton Ulrich-Museum
1976 – Fälschung und Forschung, Essen, Museum Folkwang
1973 – Fakes and Forgeries, Minneapolis, Institute of Arts
1973 – Problems of authenticity in 19th and 20th century art, Princeton University Art Museum, New Jersey
1973 – Mistaken Identity, New York, Huntington, Heckscher Museum
1971 – Bild und Vorbild, Stuttgart, Staatsgalerie
1970 – Know what you see, Chicago
1967 – Original und Kopie, Graz, Alte Galerie
1967 – Art: Authentic and Fake, New York
1955 – Le faux dans l’art et dans l’histoire, Paris, Grand Palais
1952 – Forgeries and Imitation, Oxford, Ashmolean Museum
1952 – Vals of echt?, Amsterdam, Stedelijk Museum
