1.
Kurz O. Fakes: A Handbook for Collectors and Students. Faber; 1948.
2.
Lenain T. Art Forgery: The History of a Modern Obsession. Reaktion Books; 2011. http://ebookcentral.proquest.com/lib/gla/detail.action?docID=1127621
3.
Jones M, FAKE Symposium. Why Fakes Matter: Essays on Problems of Authenticity. British Museum Press; 1992.
4.
Baudrillard J. Simulacra and Simulation. Vol The body, in theory. University of Michigan Press; 1994.
5.
Gould C, Mesplède S. Marketing Art in the British Isles, 1700 to the Present: A Cultural History. Ashgate; 2012.
6.
Deleuze G, Krauss R. Plato and the Simulacrum. October. 1983;27:45-56. https://ezproxy.lib.gla.ac.uk/login?url=https://www.jstor.org/stable/778495
7.
Lenain T. Art Forgery: The History of a Modern Obsession. Reaktion Books; 2011. https://ebookcentral.proquest.com/lib/gla/detail.action?docID=1127621
8.
Lessing A. What Is Wrong with a Forgery? The Journal of Aesthetics and Art Criticism. 1965;23(4). http://ezproxy.lib.gla.ac.uk/login?url=http://www.jstor.org/stable/427668
9.
Fiechter JJ, Schneider S. Egyptian Fakes: Masterpieces That Duped the Art World and the Experts Who Uncovered Them. English language ed. Flammarion; 2009.
10.
Kurz O. Fakes: A Handbook for Collectors and Students. Faber; 1948.
11.
Ulmer A. Quirky Matisse exhibit rekindles art mystery in Venezuela. http://www.reuters.com/article/us-venezuela-art-idUSKBN0IH1W820141028
12.
Irvin S. Appropriation and Authorship in Contemporary Art. The British Journal of Aesthetics. 2005;45(2):123-137. doi:10.1093/aesthj/ayi015
13.
Lenain T. Art Forgery: The History of a Modern Obsession. Reaktion Books; 2011. https://ebookcentral.proquest.com/lib/gla/detail.action?docID=1127621
14.
Factum Arte :: A facsimile of the Wedding at Cana by Paolo Veronese. http://www.factum-arte.com/pag/38/A-facsimile-of-the-Wedding-at-Cana-by-Paolo-Veronese
15.
Keats J. Forged: Why Fakes Are the Great Art of Our Age. Oxford University Press; 2013. https://www.vlebooks.com/vleweb/product/openreader?id=GlasgowUni&isbn=9780199311378
16.
Rogers v. Koons, 751 F. Supp. 474 (S.D.N.Y. 1990) :: Justia.
17.
Copyright, Designs and Patents Act 1988. Statute Law Database
18.
Fraud Act 2006. Statute Law Database
19.
Niall B. True North: The Story of Mary and Elizabeth Durack. Text; 2013.
20.
Cochrane P. Pastoral scions Mary and Elizabeth Durack were sisters of art and mercy. http://www.theaustralian.com.au/arts/review/pastoral-scions-mary-and-elizabeth-durack-were-sisters-of-art-and-mercy/story-fn9n8gph-1226411177765
21.
Parke E, Jones N. Outrage as judge refuses to award Indigenous artists. http://www.abc.net.au/news/2014-09-09/outrage-as-judge-refuses-to-award-indigenous-artists/5730274
22.
Beckett A. Fakes: Forgery and the Art World. Richard Cohen Books; 1995.
23.
Bambach C. Drawing and Painting in the Italian Renaissance Workshop: Theory and Practice, 1300-1600. Cambridge University Press; 1999. http://www.loc.gov/catdir/samples/cam032/98051727.html
24.
Benhamou F, Ginsburgh V. Is There a Market for Copies? The Journal of Arts Management, Law, and Society. 2002;32(1):37-56. doi:10.1080/10632920209597333
25.
Bowden R. What Is Wrong with an Art Forgery?: An Anthropological Perspective. The Journal of Aesthetics and Art Criticism. 1999;57(3). https://ezproxy.lib.gla.ac.uk/login?url=https://www.jstor.org/stable/432198
26.
Caplan HH. The Classified Directory of Artists’ Signatures, Symbols & Monograms. Enl. and rev. ed. G. Prior; 1982.
27.
Cole, S. Connoisseurship All the Way down: Art Authentication, Forgery, Fingerprint Identification, Expert Knowledge. Journal of Art Crime. 2010;(4):85-88. http://ezproxy.lib.gla.ac.uk/login?url=http://heinonline.org/HOL/Page?handle=hein.journals/jartcrim4&size=2&collection=journals&id=90
28.
Dutton D, ed. The Forger’s Art: Forgery and the Philosophy of Art. University of California Press; 1983.
29.
Levinson J. The Oxford Handbook of Aesthetics. Oxford University Press; 2005. http://ezproxy.lib.gla.ac.uk/login?url=http://dx.doi.org/10.1093/oxfordhb/9780199279456.001.0001
30.
Dutton D, ed. The Forger’s Art: Forgery and the Philosophy of Art. University of California Press; 1983.
31.
Eliav-Feldon M. Renaissance Impostors and Proofs of Identity. Palgrave Macmillan; 2012.
32.
Frey BS. Arts & Economics: Analysis & Cultural Policy. 2nd ed. Springer; 2003.
33.
Hebborn E. Drawn to Trouble: Confessions of a Master Forger : A Memoir. 1st U.S. ed. Random House; 1993.
34.
Hoving T. False Impressions: The Hunt for Big-Time Art Fakes. 1st Touchstone ed. Touchstone/Simon & Schuster; 1997.
35.
Association for Research into Crimes against Art. Art Crime: Terrorists, Tomb Raiders, Forgers and Thieves. (Charney N, ed.). Palgrave Macmillan; 2016. http://www.vlebooks.com/vleweb/product/openreader?id=GlasgowUni&isbn=9781137407573
36.
Johnson H. Is It Authentic - Who May Say - A Fresh Look at Connoisseurship and Its Role in Art Attribution. Journal of Art Crime. 2015;(14):47-54. http://ezproxy.lib.gla.ac.uk/login?url=http://heinonline.org/HOL/Page?handle=hein.journals/jartcrim14&size=2&collection=journals&id=52
37.
Johnson KC. Fakes and Forgeries. [s.n.]; 1973.
38.
Keats J. Forged: Why Fakes Are the Great Art of Our Age. Oxford University Press; 2013. https://www.vlebooks.com/vleweb/product/openreader?id=GlasgowUni&isbn=9780199311378
39.
Kurz O. Fakes: A Handbook for Collectors and Students. Faber; 1948.
40.
Lenain T. Art Forgery: The History of a Modern Obsession. Reaktion Books; 2011. http://ebookcentral.proquest.com/lib/gla/detail.action?docID=1127621
41.
Marchi ND, Van Miegroet HJ. Art, Value, and Market Practices in the Netherlands in the Seventeenth Century. The Art Bulletin. 76(3). http://ezproxy.lib.gla.ac.uk/login?url=http://search.proquest.com/docview/1296205593?pq-origsite=summon
42.
Marshall KP, Forrest PJ. A Framework for Identifying Factors that Influence Fine Art Valuations from Artist to Consumers. Marketing Management Journal. 2011;21(Issue 1):111-123. http://ezproxy.lib.gla.ac.uk/login?url=http://search.ebscohost.com/login.aspx?direct=true&db=buh&AN=63616419&site=ehost-live
43.
Sander J, Dyballa K, Dürer A, Stadtische Galerie im Stadelschen Kunstinstitut Frankfurt am Main. Albrecht Dürer: His Art in the Context of Its Time. Prestel; 2013.
44.
Lenain T. Art Forgery: The History of a Modern Obsession. Reaktion Books; 2011. https://ebookcentral.proquest.com/lib/gla/detail.action?docID=1127621
45.
Kurz O. Fakes: A Handbook for Collectors and Students. Faber; 1948.
46.
Portrait of the artist as an entrepreneur. The Economist. 2011;401(8764). https://ezproxy.lib.gla.ac.uk/login?url=https://go.galegroup.com/ps/i.do?p=AONE&u=glasuni&id=GALE|A274966562&v=2.1&it=r&sid=summon&userGroup=glasuni&authCount=1
47.
Litchfield DRL. Thyssen-Bornemisza Dürer A Fake. https://www.davidrllitchfield.com/2009/09/thyssen-bornemisza-durer-a-fake/
48.
Maxwell SWS. Annals of the Artists of Spain. https://archive.org/stream/annalsartistssp02maxwgoog#page/n100/mode/2up
49.
Harris E, Glendinning N, Macartney H. Spanish Art in Britain and Ireland, 1750-1920: Studies in Reception in Memory of Enriqueta Harris Frankfort. Vol Colección Támesis. Tamesis; 2010.
50.
Baker C, Howarth D, Stirton P, Heide C, National Galleries of Scotland. The Discovery of Spain: British Artists and Collectors : Goya to Picasso. National Galleries of Scotland; 2009.
51.
Wagner D. Why the Brooklyn Museum Can’t Get Rid of All This Fake Art. The Atlantic. Published online 15 January 2013. https://www.theatlantic.com/culture/archive/2013/01/brooklyn-museum-fake-art/319470/
52.
Naylor RT. The underworld of art. Crime, Law and Social Change. 2008;50(4-5):263-291. doi:10.1007/s10611-008-9140-6
53.
Keats J. Forged: Why Fakes Are the Great Art of Our Age. Oxford University Press; 2013. http://www.vlebooks.com/vleweb/product/openreader?id=GlasgowUni&isbn=9780199311378
54.
Dolnick E. The Forger’s Spell: A True Story of Vermeer, Nazis, and the Greatest Art Hoax of the Twentieth Century. Harper Perennial; 2008.
55.
A. Bredius. An Unpublished Vermeer. The Burlington Magazine for Connoisseurs. 1932;61(355):144-145. https://ezproxy.lib.gla.ac.uk/login?url=https://www.jstor.org/stable/865079
56.
Bredius A. A New Vermeer. The Burlington Magazine for Connoisseurs. 1937;71(416):210-211. https://ezproxy.lib.gla.ac.uk/login?url=https://www.jstor.org/stable/867022
57.
Craddock PT, Dawson Books. Scientific Investigation of Copies, Fakes and Forgeries. Butterworth-Heinemann; 2009. https://www.vlebooks.com/vleweb/product/openreader?id=GlasgowUni&isbn=9780080939001
58.
Ebooks Corporation Limited. Cultural Property Crime: An Overview and Analysis on Contemporary Perspectives and Trends. Vol Heritage and identity : issues in cultural heritage protection. (Kila J, Balcells M, eds). Brill; 2015. https://ebookcentral.proquest.com/lib/gla/detail.action?docID=1823638
59.
Lenain T. Art Forgery: The History of a Modern Obsession. Reaktion Books; 2011. http://ebookcentral.proquest.com/lib/gla/detail.action?docID=1127621
60.
Dutton D, ed. The Forger’s Art: Forgery and the Philosophy of Art. University of California Press; 1983.
61.
Julius A. The Lying Dutchman. 22 AD. http://www.nytimes.com/2008/06/22/books/review/Julius-t.html?_r=1&
62.
Forger’s Forgeries Attributed To Elmyr de Hory Withdrawn From Auction. http://www.artlyst.com/articles/forgers-forgeries-attributed-to-elmyr-de-hory-withdrawn-from-auction
63.
Elmyr de Hory, Artist and Faker by Don Myers. https://issuu.com/donmyers/docs/final_dehory/1
64.
Eve M. Kahn. Gleaning the true identity of an enigmatic forger. The New York Times. http://ezproxy.lib.gla.ac.uk/login?url=http://go.galegroup.com/ps/retrieve.do?tabID=T004&resultListType=RESULT_LIST&searchResultsType=SingleTab&searchType=BasicSearchForm&currentPosition=1&docId=GALE%7CA253476490&docType=Article&sort=RELEVANCE&contentSegment=&prodId=EAIM&contentSet=GALE%7CA253476490&searchId=R4&userGroupName=glasuni&inPS=true
65.
Briefel A. The Deceivers: Art Forgery and Identity in the Nineteenth Century. Cornell University Press; 2006.
66.
Dutton D, ed. The Forger’s Art: Forgery and the Philosophy of Art. University of California Press; 1983.
67.
Modigliani’s Genuine Fake Heads. https://vimeo.com/ondemand/fakemodigliani
68.
Livorno plans to show fake Modigliani heads. https://www.thelocal.it/20140520/livorno-plans-to-show-fake-modigliani-heads
69.
Ebitz D. Connoisseurship as Practice. Artibus et Historiae. 1988;9(18). https://ezproxy.lib.gla.ac.uk/login?url=https://www.jstor.org/stable/1483344
70.
Three Students and a Dockworker Put Their Heads Together and Confound the Art World. https://people.com/archive/three-students-and-a-dockworker-put-their-heads-together-and-confound-the-art-world-vol-22-no-15/
71.
Paul Z. Rotterdam. Myth and Art. Social Research. 1985;52(2):423-439. https://ezproxy.lib.gla.ac.uk/login?url=https://www.jstor.org/stable/40970379
72.
Schwartz G. Connoisseurship: The Penalty of Ahistoricism. Artibus et Historiae. 1988;9(18). https://ezproxy.lib.gla.ac.uk/login?url=https://www.jstor.org/stable/1483343
73.
Wieseman ME, National Gallery (Great Britain). A Closer Look: Deceptions and Discoveries. National Gallery Company; 2010.
74.
Adam G. Experts shed light on Modigliani’s murky market with new research project. The art newspaper. Published online 22 July 2016. https://www.theartnewspaper.com/2016/07/22/experts-shed-light-on-modiglianis-murky-market-with-new-research-project
75.
Harris G. Modigliani Institute president arrested. The art newspaper. Published online 24 January 2013. https://web.archive.org/web/20150404042512/http://www.theartnewspaper.com/articles/Modigliani-Institute-president-arrested/28490
76.
Modigliani nude sells for a record $68.9m. http://www.bbc.co.uk/news/entertainment-arts-11682850
77.
Modigliani Expert Promises New Catalogue Raisonné. https://news.artnet.com/market/death-threats-modigliani-expert-catalogue-raisonne-572093
78.
Modigliani nude fetches $68.9M at auction. http://www.cbc.ca/beta/news/entertainment/modigliani-nude-fetches-68-9m-at-auction-1.893291
79.
Patricia Cohen. A Modigliani? Who Says So? The New York Times. Published online 2 February 2014. https://ezproxy.lib.gla.ac.uk/login?url=https://www.proquest.com/hnpnewyorktimes/docview/1942681439/6D217BCA2414E9DPQ/1?accountid=14540
80.
Lisle L. Portrait of an Artist: A Biography of Georgia O’Keeffe. Rev. ed. Washington Square Press; 1986.
81.
Robinson R. Georgia O’Keeffe: A Life. Bloomsbury; 1989.
82.
Eldredge CC, O’Keeffe G, Hayward Gallery, Museo del Palacio de Bellas Artes (Mexico City), Yokohama Museum of Art. Georgia O’Keeffe: American and Modern. Yale University Press; 1993.
83.
Fine R, O’Keeffe G, Lynes BB, et al. O’Keeffe on Paper. National Gallery of Art; 2000.
84.
Udall SR, Marion Koogler McNay Art Museum. O’Keeffe and Texas. Marion Koogler McNay Art Museum; 1998.
85.
Lynes BB, O’Keeffe G, National Gallery of Art (U.S.), Georgia O’Keeffe Foundation. Georgia O’Keeffe: Catalogue Raisonné. Yale University Press; 1999.
86.
Marnham P. Showdown in Santa Fe. The telegraph. Published online 8 AD. https://www.telegraph.co.uk/culture/4721533/Showdown-in-Santa-Fe.html
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Mark Stevenson Paper Conservation - Authentification - Canyon Suite Watercolors - Georgia O’Keefe. http://www.thepaperfixer.com/OKeeffe.htm
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28 O’Keeffe Paintings in Doubt as Experts Challenge Authenticity.
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Washingtonpost.com: The Art That Went From Boon to Bust. https://www.washingtonpost.com/wp-srv/style/feed/a11324-1999dec3.htm
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If It’s Not an O’Keeffe, Exactly What Is It? https://www.nytimes.com/2000/03/07/arts/arts-in-america-if-it-s-not-an-o-keeffe-exactly-what-is-it.html
91.
Lane J. Artyfact. http://www.jimlaneart.com/Artyfacts/5-11-00.html
92.
Gould C, Mesplède S. Marketing Art in the British Isles, 1700 to the Present: A Cultural History. Ashgate; 2012. http://content.talisaspire.com/glasgow/bundles/57fe03994469eedd088b4590
93.
Maloney J. The Deep Freeze in Art Authentication. https://www.wsj.com/articles/SB10001424052702304279904579518093886991908
94.
Muscarella OW. The Lie Became Great: The Forgery of Ancient Near Eastern Cultures. Vol Studies in the art and archaeology of antiquity. Styx; 2000.
95.
Elia RJ. The world cannot afford many more collectors with a passion for antiquitie. The Art Newspaper. 1994;(41).
96.
Craddock PT, Dawson Books. Scientific Investigation of Copies, Fakes and Forgeries. Butterworth-Heinemann; 2009. https://www.vlebooks.com/vleweb/product/openreader?id=GlasgowUni&isbn=9780080939001
97.
Discovery of Crosby Garrett Helmet in 2010. http://www.bbc.co.uk/news/uk-england-cumbria-11287093
98.
Exhibition and summary of sale of Crosby Garrett Helmet. Published online 5 AD. https://www.youtube.com/watch?v=2M8tOM1IlV8
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End of exhibition of Crosby Garrett Helmet in 2014. http://www.itv.com/news/border/topic/crosby-garrett-helmet/
100.
‘Japan Scandals - This Time It’s Archaeology: A Preliminary Report’ 17 November 2000. http://www.t-net.ne.jp/~keally/Hoax/pal-hoax-1.html
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Dirty digger unearthed. http://www.trussel.com/prehist/news225.htm
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Jones M, FAKE Symposium. Why Fakes Matter: Essays on Problems of Authenticity. British Museum Press; 1992.
103.
Craddock PT, Dawson Books. Scientific Investigation of Copies, Fakes and Forgeries. Butterworth-Heinemann; 2009. https://www.vlebooks.com/vleweb/product/openreader?id=GlasgowUni&isbn=9780080939001
104.
Sagoff M. On Restoring and Reproducing Art. The Journal of Philosophy. 1978;75(9). http://ezproxy.lib.gla.ac.uk/login?url=http://www.jstor.org/stable/2025386
105.
forgery | The Chicago School of Media Theory. https://lucian.uchicago.edu/blogs/mediatheory/keywords/forgery/
106.
Desperately seeking Rubens. https://www.theguardian.com/artanddesign/2002/sep/02/art.artsfeatures
107.
Kleiner E. Infamous Piracy: How the Lucrative Market for Forgeries is Transforming the World of Fine Art. https://itsartlaw.com/2014/07/30/infamous-piracy-how-the-lucrative-market-for-forgeries-is-transforming-the-world-of-fine-art/
108.
ARCA’s network assists in getting two fake de Hory forgeries withdrawn from sale. https://art-crime.blogspot.co.uk/2014/10/arcas-network-assists-in-getting-two.html
109.
Ebooks Corporation Limited. Cultural Property Crime: An Overview and Analysis on Contemporary Perspectives and Trends. Vol Heritage and identity : issues in cultural heritage protection. (Kila J, Balcells M, eds). Brill; 2015. http://GLA.eblib.com/patron/FullRecord.aspx?p=1823638
110.
Roodt, Christa. Forgers, Connoisseurs, and the Nazi Past. Journal of Information Ethics. 24(2). https://www.questia.com/library/journal/1P3-4014579461/forgers-connoisseurs-and-the-nazi-past
111.
Copying the Expressionists: Germany’s Mega-Forgery Scandal Gets Even Bigger. https://www.spiegel.de/international/zeitgeist/copying-the-expressionists-germany-s-mega-forgery-scandal-gets-even-bigger-a-734798.html
112.
The $7 Million Fake: Forgery Scandal Embarrasses International Art World. https://www.spiegel.de/international/zeitgeist/the-7-million-fake-forgery-scandal-embarrasses-international-art-world-a-768195.html
113.
Art forger Wolfgang Beltracchi’s multimillion dollar scam. http://www.cbsnews.com/news/con-artist-wolfgang-beltracchi-on-multimillion-dollar-scam/
114.
Lenain T. Art Forgery: The History of a Modern Obsession. Reaktion Books; 2011. http://ebookcentral.proquest.com/lib/gla/detail.action?docID=1127621
115.
Keats J. Forged: Why Fakes Are the Great Art of Our Age. Oxford University Press; 2013. https://www.vlebooks.com/vleweb/product/openreader?id=GlasgowUni&isbn=9780199311378
116.
Foster SM, Curtis NGW. The Thing about Replicas—Why Historic Replicas Matter. European Journal of Archaeology. 2016;19(1):122-148. doi:10.1179/1461957115Y.0000000011
117.
Jones S. Experiencing Authenticity at Heritage Sites: Some Implications for Heritage Management and Conservation. Conservation and Management of Archaeological Sites. 2009;11(2):133-147. doi:10.1179/175355210X12670102063661
118.
Jones S. Negotiating Authentic Objects and Authentic Selves: Beyond the Deconstruction of Authenticity. Journal of Material Culture. 2010;15(2):181-203. doi:10.1177/1359183510364074
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Cornelius Holtorf. On pastness: a reconsideration of materiality in archaeological object authenticity. Anthropological Quarterly. https://ezproxy.lib.gla.ac.uk/login?url=https://go.galegroup.com/ps/i.do?p=AONE&u=glasuni&id=GALE|A330678660&v=2.1&it=r&sid=summon&userGroup=glasuni&authCount=1
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Charles Stanish. Forging Ahead. Archaeology. 2009;62(3). https://ezproxy.lib.gla.ac.uk/login?url=https://www.jstor.org/stable/41781288
121.
Fay E. Virtual Artifacts: eBay, Antiquities, and Authenticity. Journal of Contemporary Criminal Justice. 2011;27(4):449-464. doi:10.1177/1043986211418887
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Jones M, FAKE Symposium. Why Fakes Matter: Essays on Problems of Authenticity. British Museum Press; 1992.
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A.L. Bandle. Fakes, Fears, and Findings - Disputes over the Authenticity of Artworks. Transnational Dispute Management (TDM). https://www.transnational-dispute-management.com/journal-advance-publication-article.asp?key=498
124.
Bandle AL. Fake or Fortune? Art Authentication Rules in the Art Market and at Court. International Journal of Cultural Property. 2015;22(2-3):379-399. doi:10.1017/S0940739115000107
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Olsburgh C, Institute of Art and Law (Great Britain). Authenticity in the Art Market: A Comparative Study of Swiss, French and English Contract Law. Institute of Art and Law; 2005.
126.
Janet Ulph. Markets and responsibilities: forgeries and the Sale of Goods Act 1979. Journal of Business Law. https://signon.thomsonreuters.com/federation/UKF?entityID=https%3A%2F%2Fidp.gla.ac.uk%2Fshibboleth&returnto=https%3A%2F%2Fuk.practicallaw.thomsonreuters.com%2FDocument%2FI915D08C0434611E0BA68A00864A02571%2FView%2FFullText.html%3FskipAnonymous%3Dtrue
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Sale of Goods Act 1979. Statute Law Database
128.
Misrepresentation Act 1967. Statute Law Database
129.
Limitation Act 1980. Statute Law Database
130.
Prescription and Limitation (Scotland) Act 1973. Statute Law Database
131.
The Consumer Protection from Unfair Trading Regulations 2008. Queen’s Printer of Acts of Parliament
132.
High Court of Justice (Queen. 1998 WL 1044211. Mansour Ojjeh v Mark Waller, Galerie Moderne Ltd
133.
P. No. 1223Queen. [1983] 1 W.L.R. 1315. *1315 Peco Arts Inc. v Hazlitt Gallery Ltd.
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Slade ,  Nourse and  Stuart-Smith  L.JJ. 1989 Nov. 2; Dec. 15(c) Incorporated Council of Law Reporting for England & Wales. [1985 L. No. 2051]. *564 Harlingdon and Leinster Enterprises Ltd. v Christopher Hull Fine Art Ltd.
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High Court of Justice Queens Bench Division8  March  2002Before: The Honourable  Mr Justice Buckley Friday 8th March, 2002, Hearing dates : 30, and 31 January, 1, 4, 5, 6, 7, 8, 11 and 14 February 2002.Crown copyright. Neutral Citation No. [2002] EWHC 294 (QB). Richard Drake v Thos. Agnew & Sons Limited
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Jonathan Hirst Q.C.March 18, 2003 1. [2003] EWHC 467 (Comm). 1
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SELTZER v. MORTON LLP.
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HAHN v. DUVEEN, 133 Misc. 871 (N.Y. Misc. 1929).
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Directive 2004/48/EC of the European Parliament and of the Council of 29 April 2004 on the Enforcement of Intellectual Property Rights.
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Misrepresentation Act 1967.
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Martin Kemp’s This and That: Attribution. Science and Judgement by eye. http://martinkempsthisandthat.blogspot.co.uk/2015/04/attribution-science-and-judgement-by-eye.html
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Briefel A. The Deceivers: Art Forgery and Identity in the Nineteenth Century. Cornell University Press; 2006.
145.
Kurz O. Fakes: A Handbook for Collectors and Students. Faber; 1948.
146.
Fleming SJ. Authenticity in Art: The Scientific Detection of Forgery. Institute of Physics; 1975.
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Craddock PT, Dawson Books. Scientific Investigation of Copies, Fakes and Forgeries. Butterworth-Heinemann; 2009. https://www.dawsonera.com/guard/protected/dawson.jsp?name=https://idp.gla.ac.uk/shibboleth&dest=http://www.dawsonera.com/depp/reader/protected/external/AbstractView/S9780080939001
148.
Affidavits concerning the Wax Bust of Flora. The Burlington Magazine for Connoisseurs. 1910;17(87). http://ezproxy.lib.gla.ac.uk/login?url=http://www.jstor.org/stable/858253
149.
Did Da Vinci or R.C. Lucas Create ‘Flora?’: The Question as to Who Made the Bust Agitates England and Germany. New York Times  (1857-1922). http://ezproxy.lib.gla.ac.uk/login?url=http://search.proquest.com/hnpnewyorktimes/docview/96903472/D5801C5851994BC0PQ/1?accountid=14540
150.
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