Notes on Lecture about Art Forgery and the Spanish Master

Introduction

• Discussion on the auction houses and their indifference towards authenticity in art sales.
• Mention of the Spanish Master, a mysterious super forger known in German art circles.

The Spanish Master

• Forger attributed to producing fakes of ancient bronze heads.
• Characteristics of the forgeries include emotional facial expressions uncommon in classical antiquity.
• The Spanish Master operates in a highly lucrative market, often selling to collectors and museums.

Examples of Forged Art

• Various bronze heads attributed to historical figures like Augustus Caesar and Alexander the Great.
• Auction houses and galleries are noted for selling these dubious pieces, often under suspicious claims of provenance.

Expert Opinions

• Stefan Layman, an archaeologist, leads investigations into dubious antique art.
• Claims up to 50% of antiques sold at auction may be forgeries.
• Kristoff Leon, a long-time art dealer, discusses the prevalence of forgeries in the market and the unethical practices within the art trade.

The Role of Museums

• Museums, including the Metropolitan Museum of Art, are critiqued for exhibiting works of dubious provenance without adequate scrutiny.
• Concerns about the potential financial and ethical implications of displaying and acquiring forgeries.
• Discussions on the reluctance of museum experts to provide assessments on artifacts due to the potential impact on value and marketability.

Case Studies

• Examination of a bronze bust of Alexander the Great that was displayed in a museum in Germany, later deemed a forgery by Layman.
• Legal disputes between Layman and the Vinland Society about the authenticity of displayed artifacts.
• Ongoing investigations into art pieces that have surfaced in private collections and museums, particularly in France and the US.

Scientific Investigation

• Use of scientific methods like CT scans to analyze the materials of suspected forgeries.
• The difficulty in conclusively proving forgeries due to the advanced techniques used by forgers.
• Studies indicate that certain artifacts may contain modern materials, suggesting they were crafted recently to look ancient.

Conclusion

• Stefan Layman emphasizes the need for rigorous academic scrutiny against the backdrop of a lucrative but ethically questionable art market.
• The ongoing challenge in differentiating between genuine ancient art and modern forgeries.
• Call to action for the academic community to confront the challenges posed by the market in a more assertive manner.