28 O’Keeffe Paintings in Doubt as Experts Challenge Authenticity. n.d.
[1983] 1 W.L.R. 1315, *1315 Peco Arts Inc. v Hazlitt Gallery Ltd. ___.
[1985 L. No. 2051], *564 Harlingdon and Leinster Enterprises Ltd. v Christopher Hull Fine Art Ltd. ___.
1998 WL 1044211, Mansour Ojjeh v Mark Waller, Galerie Moderne Ltd ___.
[2003] EWHC 467 (Comm), 1 ___.
[2004] EWHC 1101, 1 ___.
A. Bredius. 1932. ‘An Unpublished Vermeer’. The Burlington Magazine for Connoisseurs 61 (355): 144–45. https://ezproxy.lib.gla.ac.uk/login?url=https://www.jstor.org/stable/865079.
Adam, Georgina. 2016. ‘Experts Shed Light on Modigliani’s Murky Market with New Research Project’. The Art Newspaper, July 22. https://www.theartnewspaper.com/2016/07/22/experts-shed-light-on-modiglianis-murky-market-with-new-research-project.
‘Affidavits Concerning the Wax Bust of Flora’. 1910. The Burlington Magazine for Connoisseurs 17 (87). http://ezproxy.lib.gla.ac.uk/login?url=http://www.jstor.org/stable/858253.
A.L. Bandle. n.d. ‘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.
ARCA’s Network Assists in Getting Two Fake de Hory Forgeries Withdrawn from Sale. n.d. https://art-crime.blogspot.co.uk/2014/10/arcas-network-assists-in-getting-two.html.
Art Forger Wolfgang Beltracchi’s Multimillion Dollar Scam. n.d. http://www.cbsnews.com/news/con-artist-wolfgang-beltracchi-on-multimillion-dollar-scam/.
Association for Research into Crimes against Art. 2016. Art Crime: Terrorists, Tomb Raiders, Forgers and Thieves. Edited by Noah Charney. Palgrave Macmillan. http://www.vlebooks.com/vleweb/product/openreader?id=GlasgowUni&isbn=9781137407573.
Baker, Christopher, David Howarth, Paul Stirton, Claudia Heide, and National Galleries of Scotland. 2009. The Discovery of Spain: British Artists and Collectors : Goya to Picasso. National Galleries of Scotland.
Bambach, Carmen. 1999. Drawing and Painting in the Italian Renaissance Workshop: Theory and Practice, 1300-1600. Cambridge University Press. http://www.loc.gov/catdir/samples/cam032/98051727.html.
Bandle, Anne Laure. 2015. ‘Fake or Fortune? Art Authentication Rules in the Art Market and at Court’. International Journal of Cultural Property 22 (2–3): 379–99. https://doi.org/10.1017/S0940739115000107.
Baudrillard, Jean. 1994. Simulacra and Simulation. The body, in Theory. University of Michigan Press.
Beckett, Alice. 1995. Fakes: Forgery and the Art World. Richard Cohen Books.
Bella Principessa and the Hazard of Expert Opinions. n.d. http://www.withersworldwide.com/news-publications/bella-principessa-and-the-hazard-of-expert-opinions--2.
Benhamou, Françoise, and Victor Ginsburgh. 2002. ‘Is There a Market for Copies?’ The Journal of Arts Management, Law, and Society 32 (1): 37–56. https://doi.org/10.1080/10632920209597333.
Bowden, Ross. 1999. ‘What Is Wrong with an Art Forgery?: An Anthropological Perspective’. The Journal of Aesthetics and Art Criticism 57 (3). https://ezproxy.lib.gla.ac.uk/login?url=https://www.jstor.org/stable/432198.
Bredius, Abraham. 1937. ‘A New Vermeer’. The Burlington Magazine for Connoisseurs 71 (416): 210–11. https://ezproxy.lib.gla.ac.uk/login?url=https://www.jstor.org/stable/867022.
Briefel, Aviva. 2006a. The Deceivers: Art Forgery and Identity in the Nineteenth Century. Cornell University Press.
Briefel, Aviva. 2006b. The Deceivers: Art Forgery and Identity in the Nineteenth Century. Cornell University Press.
Briefel, Aviva. 2006c. The Deceivers: Art Forgery and Identity in the Nineteenth Century. Cornell University Press.
Caplan, H. H. 1982. The Classified Directory of Artists’ Signatures, Symbols & Monograms. Enl. and rev. Ed. G. Prior.
Charles Stanish. 2009. ‘Forging Ahead’. Archaeology 62 (3). https://ezproxy.lib.gla.ac.uk/login?url=https://www.jstor.org/stable/41781288.
Cochrane, P. n.d. 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.
Cole, S. 2010. ‘Connoisseurship All the Way down: Art Authentication, Forgery, Fingerprint Identification, Expert Knowledge’. Journal of Art Crime, no. 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.
Copying the Expressionists: Germany’s Mega-Forgery Scandal Gets Even Bigger. n.d. https://www.spiegel.de/international/zeitgeist/copying-the-expressionists-germany-s-mega-forgery-scandal-gets-even-bigger-a-734798.html.
Copyright, Designs and Patents Act 1988.
Cornelius Holtorf. n.d. ‘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.
Cotte, P, and M Kemp. n.d. La Bella Principessa and the Warsaw Sforziad. https://www.lumiere-technology.com/news/Study_Bella_Principessa_and_Warsaw_Sforziad.pdf.
Craddock, P. T. and Dawson Books. 2009a. Scientific Investigation of Copies, Fakes and Forgeries. Butterworth-Heinemann. https://www.vlebooks.com/vleweb/product/openreader?id=GlasgowUni&isbn=9780080939001.
Craddock, P. T. and Dawson Books. 2009b. Scientific Investigation of Copies, Fakes and Forgeries. Butterworth-Heinemann. https://www.vlebooks.com/vleweb/product/openreader?id=GlasgowUni&isbn=9780080939001.
Craddock, P. T. and Dawson Books. 2009c. Scientific Investigation of Copies, Fakes and Forgeries. Butterworth-Heinemann. https://www.vlebooks.com/vleweb/product/openreader?id=GlasgowUni&isbn=9780080939001.
Craddock, P. T. and Dawson Books. 2009d. Scientific Investigation of Copies, Fakes and Forgeries. Butterworth-Heinemann. 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.
David Grann. n.d. ‘The Mark of a Masterpiece’. The New Yorker. http://ezproxy.lib.gla.ac.uk/login?url=http://go.galegroup.com/ps/retrieve.do?tabID=T003&resultListType=RESULT_LIST&searchResultsType=SingleTab&searchType=AdvancedSearchForm&currentPosition=5&docId=GALE%7CA232009193&docType=Article&sort=RELEVANCE&contentSegment=&prodId=EAIM&contentSet=GALE%7CA232009193&searchId=R2&userGroupName=glasuni&inPS=true.
De Balkany v Christie Manson and Woods Ltd.
Deleuze, Gilles, and Rosalind Krauss. 1983. ‘Plato and the Simulacrum’. October 27: 45–56. https://ezproxy.lib.gla.ac.uk/login?url=https://www.jstor.org/stable/778495.
Desperately Seeking Rubens. n.d. https://www.theguardian.com/artanddesign/2002/sep/02/art.artsfeatures.
‘Did Da Vinci or R.C. Lucas Create “Flora?”: The Question as to Who Made the Bust Agitates England and Germany.’ n.d. New York Times  (1857-1922). http://ezproxy.lib.gla.ac.uk/login?url=http://search.proquest.com/hnpnewyorktimes/docview/96903472/D5801C5851994BC0PQ/1?accountid=14540.
Directive 2004/48/EC of the European Parliament and of the Council of 29 April 2004 on the Enforcement of Intellectual Property Rights.
Dirty Digger Unearthed. n.d. http://www.trussel.com/prehist/news225.htm.
Discovery of Crosby Garrett Helmet in 2010. n.d. http://www.bbc.co.uk/news/uk-england-cumbria-11287093.
Dolnick, Edward. 2008. The Forger’s Spell: A True Story of Vermeer, Nazis, and the Greatest Art Hoax of the Twentieth Century. Harper Perennial.
Dutton, Denis, ed. 1983a. The Forger’s Art: Forgery and the Philosophy of Art. University of California Press.
Dutton, Denis, ed. 1983b. The Forger’s Art: Forgery and the Philosophy of Art. University of California Press.
Dutton, Denis, ed. 1983c. The Forger’s Art: Forgery and the Philosophy of Art. University of California Press.
Dutton, Denis, ed. 1983d. The Forger’s Art: Forgery and the Philosophy of Art. University of California Press.
Ebitz, David. 1988. ‘Connoisseurship as Practice’. Artibus et Historiae 9 (18). https://ezproxy.lib.gla.ac.uk/login?url=https://www.jstor.org/stable/1483344.
Ebooks Corporation Limited. 2015a. Cultural Property Crime: An Overview and Analysis on Contemporary Perspectives and Trends. Edited by Joris Kila and Marc Balcells. Heritage and Identity : issues in cultural heritage protection. Brill. https://ebookcentral.proquest.com/lib/gla/detail.action?docID=1823638.
Ebooks Corporation Limited. 2015b. Cultural Property Crime: An Overview and Analysis on Contemporary Perspectives and Trends. Edited by Joris Kila and Marc Balcells. Heritage and Identity : issues in cultural heritage protection. Brill. http://GLA.eblib.com/patron/FullRecord.aspx?p=1823638.
Eldredge, Charles C., Georgia O’Keeffe, Hayward Gallery, Museo del Palacio de Bellas Artes (Mexico City), and Yokohama Museum of Art. 1993. Georgia O’Keeffe: American and Modern. Yale University Press.
Elia, R. J. 1994. ‘The World Cannot Afford Many More Collectors with a Passion for Antiquitie’. The Art Newspaper, no. 41 (October).
Eliav-Feldon, Miriam. 2012. Renaissance Impostors and Proofs of Identity. Palgrave Macmillan.
Elmyr de Hory, Artist and Faker by Don Myers. n.d. https://issuu.com/donmyers/docs/final_dehory/1.
End of Exhibition of Crosby Garrett Helmet in 2014. n.d. http://www.itv.com/news/border/topic/crosby-garrett-helmet/.
Eve M. Kahn. n.d. ‘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.
Exhibition and Summary of Sale of Crosby Garrett Helmet. 5 AD. https://www.youtube.com/watch?v=2M8tOM1IlV8.
Factum Arte :: A Facsimile of the Wedding at Cana by Paolo Veronese. n.d. http://www.factum-arte.com/pag/38/A-facsimile-of-the-Wedding-at-Cana-by-Paolo-Veronese.
Fay, E. 2011. ‘Virtual Artifacts: eBay, Antiquities, and Authenticity’. Journal of Contemporary Criminal Justice 27 (4): 449–64. https://doi.org/10.1177/1043986211418887.
Fiechter, Jean-Jacques, and Susan Schneider. 2009. Egyptian Fakes: Masterpieces That Duped the Art World and the Experts Who Uncovered Them. English language ed. Flammarion.
Fine, Ruth, Georgia O’Keeffe, Barbara Buhler Lynes, et al. 2000. O’Keeffe on Paper. National Gallery of Art.
Fleming, Stuart J. 1975. Authenticity in Art: The Scientific Detection of Forgery. Institute of Physics.
Forger’s Forgeries Attributed To Elmyr de Hory Withdrawn From Auction. n.d. http://www.artlyst.com/articles/forgers-forgeries-attributed-to-elmyr-de-hory-withdrawn-from-auction.
Forgery | The Chicago School of Media Theory. n.d. https://lucian.uchicago.edu/blogs/mediatheory/keywords/forgery/.
Foster, Sally M., and Neil G.W. Curtis. 2016. ‘The Thing about Replicas—Why Historic Replicas Matter’. European Journal of Archaeology 19 (1): 122–48. https://doi.org/10.1179/1461957115Y.0000000011.
Fraud Act 2006.
Frey, Bruno S. 2003. Arts & Economics: Analysis & Cultural Policy. 2nd ed. Springer.
Gould, Charlotte, and Sophie Mesplède. 2012a. Marketing Art in the British Isles, 1700 to the Present: A Cultural History. Ashgate.
Gould, Charlotte, and Sophie Mesplède. 2012b. Marketing Art in the British Isles, 1700 to the Present: A Cultural History. Ashgate. http://content.talisaspire.com/glasgow/bundles/57fe03994469eedd088b4590.
HAHN v. DUVEEN, 133 Misc. 871 (N.Y. Misc. 1929).
Harris, Enriqueta, Nigel Glendinning, and Hilary Macartney. 2010. Spanish Art in Britain and Ireland, 1750-1920: Studies in Reception in Memory of Enriqueta Harris Frankfort. Colección Támesis. Tamesis.
Harris, Gareth. 2013. ‘Modigliani Institute President Arrested’. The Art Newspaper, January 24. https://web.archive.org/web/20150404042512/http://www.theartnewspaper.com/articles/Modigliani-Institute-president-arrested/28490.
Hebborn, Eric. 1993. Drawn to Trouble: Confessions of a Master Forger : A Memoir. 1st U.S. ed. Random House.
Hoving, Thomas. 1997. False Impressions: The Hunt for Big-Time Art Fakes. 1st Touchstone ed. Touchstone/Simon & Schuster.
If It’s Not an O’Keeffe, Exactly What Is It? n.d. https://www.nytimes.com/2000/03/07/arts/arts-in-america-if-it-s-not-an-o-keeffe-exactly-what-is-it.html.
Irvin, S. 2005. ‘Appropriation and Authorship in Contemporary Art’. The British Journal of Aesthetics 45 (2): 123–37. https://doi.org/10.1093/aesthj/ayi015.
‘“It’s Not a Da Vinci, It’s Sally from the Co-Op”’. n.d. Sunday Times (London, England). http://ezproxy.lib.gla.ac.uk/login?url=http://go.galegroup.com/ps/retrieve.do?tabID=T004&resultListType=RESULT_LIST&searchResultsType=SingleTab&searchType=AdvancedSearchForm&currentPosition=317&docId=GALE%7CA435850050&docType=Article&sort=RELEVANCE&contentSegment=&prodId=EAIM&contentSet=GALE%7CA435850050&searchId=R1&userGroupName=glasuni&inPS=true.
Janet Ulph. n.d. ‘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.
‘Japan Scandals - This Time It’s Archaeology: A Preliminary Report’ 17 November 2000. n.d. http://www.t-net.ne.jp/~keally/Hoax/pal-hoax-1.html.
Johnson, H. 2015. ‘Is It Authentic - Who May Say - A Fresh Look at Connoisseurship and Its Role in Art Attribution’. Journal of Art Crime, no. 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.
Johnson, Kathryn C. 1973. Fakes and Forgeries. [S.n.].
Jones, Mark and FAKE Symposium. 1992a. Why Fakes Matter: Essays on Problems of Authenticity. British Museum Press.
Jones, Mark and FAKE Symposium. 1992b. Why Fakes Matter: Essays on Problems of Authenticity. British Museum Press.
Jones, Mark and FAKE Symposium. 1992c. Why Fakes Matter: Essays on Problems of Authenticity. British Museum Press.
Jones, S. 2010. ‘Negotiating Authentic Objects and Authentic Selves: Beyond the Deconstruction of Authenticity’. Journal of Material Culture 15 (2): 181–203. https://doi.org/10.1177/1359183510364074.
Jones, Siân. 2009. ‘Experiencing Authenticity at Heritage Sites: Some Implications for Heritage Management and Conservation’. Conservation and Management of Archaeological Sites 11 (2): 133–47. https://doi.org/10.1179/175355210X12670102063661.
Julius, A. 22 AD. ‘The Lying Dutchman’. NYTimes. http://www.nytimes.com/2008/06/22/books/review/Julius-t.html?_r=1&.
Keats, Jonathon. 2013a. Forged: Why Fakes Are the Great Art of Our Age. Oxford University Press. https://www.vlebooks.com/vleweb/product/openreader?id=GlasgowUni&isbn=9780199311378.
Keats, Jonathon. 2013b. Forged: Why Fakes Are the Great Art of Our Age. Oxford University Press. https://www.vlebooks.com/vleweb/product/openreader?id=GlasgowUni&isbn=9780199311378.
Keats, Jonathon. 2013c. Forged: Why Fakes Are the Great Art of Our Age. Oxford University Press. http://www.vlebooks.com/vleweb/product/openreader?id=GlasgowUni&isbn=9780199311378.
Keats, Jonathon. 2013d. Forged: Why Fakes Are the Great Art of Our Age. Oxford University Press. https://www.vlebooks.com/vleweb/product/openreader?id=GlasgowUni&isbn=9780199311378.
Kemp, Martin, and Pascal Cotte. 2012. La Bella Principessa Di Leonardo Da Vinci: Ritratto Di Bianca Sforza. Edizione aggiornata e riveduta in lingua italiana. Mandragora.
Kleiner, E. n.d. 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/.
Kurz, Otto. 1948a. Fakes: A Handbook for Collectors and Students. Faber.
Kurz, Otto. 1948b. Fakes: A Handbook for Collectors and Students. Faber.
Kurz, Otto. 1948c. Fakes: A Handbook for Collectors and Students. Faber.
Kurz, Otto. 1948d. Fakes: A Handbook for Collectors and Students. Faber.
Kurz, Otto. 1948e. Fakes: A Handbook for Collectors and Students. Faber.
Lane, Jim. n.d. Artyfact. http://www.jimlaneart.com/Artyfacts/5-11-00.html.
Lenain, Thierry. 2011a. Art Forgery: The History of a Modern Obsession. Reaktion Books. http://ebookcentral.proquest.com/lib/gla/detail.action?docID=1127621.
Lenain, Thierry. 2011b. Art Forgery: The History of a Modern Obsession. Reaktion Books. https://ebookcentral.proquest.com/lib/gla/detail.action?docID=1127621.
Lenain, Thierry. 2011c. Art Forgery: The History of a Modern Obsession. Reaktion Books. https://ebookcentral.proquest.com/lib/gla/detail.action?docID=1127621.
Lenain, Thierry. 2011d. Art Forgery: The History of a Modern Obsession. Reaktion Books. http://ebookcentral.proquest.com/lib/gla/detail.action?docID=1127621.
Lenain, Thierry. 2011e. Art Forgery: The History of a Modern Obsession. Reaktion Books. https://ebookcentral.proquest.com/lib/gla/detail.action?docID=1127621.
Lenain, Thierry. 2011f. Art Forgery: The History of a Modern Obsession. Reaktion Books. http://ebookcentral.proquest.com/lib/gla/detail.action?docID=1127621.
Lenain, Thierry. 2011g. Art Forgery: The History of a Modern Obsession. Reaktion Books. http://ebookcentral.proquest.com/lib/gla/detail.action?docID=1127621.
Lessing, Alfred. 1965. ‘What Is Wrong with a Forgery?’ The Journal of Aesthetics and Art Criticism 23 (4). http://ezproxy.lib.gla.ac.uk/login?url=http://www.jstor.org/stable/427668.
Levinson, Jerrold. 2005. The Oxford Handbook of Aesthetics. Oxford University Press. Electronic resource. http://ezproxy.lib.gla.ac.uk/login?url=http://dx.doi.org/10.1093/oxfordhb/9780199279456.001.0001.
Limitation Act 1980.
Lisle, Laurie. 1986. Portrait of an Artist: A Biography of Georgia O’Keeffe. Rev. ed. Washington Square Press.
Litchfield, David R. L. n.d. Thyssen-Bornemisza Dürer A Fake. https://www.davidrllitchfield.com/2009/09/thyssen-bornemisza-durer-a-fake/.
Livorno Plans to Show Fake Modigliani Heads. n.d. https://www.thelocal.it/20140520/livorno-plans-to-show-fake-modigliani-heads.
Lynes, Barbara Buhler, Georgia O’Keeffe, National Gallery of Art (U.S.), and Georgia O’Keeffe Foundation. 1999. Georgia O’Keeffe: Catalogue Raisonné. Yale University Press.
Maloney, J. n.d. The Deep Freeze in Art Authentication. https://www.wsj.com/articles/SB10001424052702304279904579518093886991908.
Marchi, Neil D., and Hans J. Van Miegroet. n.d. ‘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.
Mark Stevenson Paper Conservation - Authentification - Canyon Suite Watercolors - Georgia O’Keefe. n.d. http://www.thepaperfixer.com/OKeeffe.htm.
Marnham, Patrick. 8 AD. ‘Showdown in Santa Fe’. The Telegraph. https://www.telegraph.co.uk/culture/4721533/Showdown-in-Santa-Fe.html.
Marshall, Kimball P., and P. J. Forrest. 2011. ‘A Framework for Identifying Factors That Influence Fine Art Valuations from Artist to Consumers’. Marketing Management Journal 21 (Issue 1): 111–23. http://ezproxy.lib.gla.ac.uk/login?url=http://search.ebscohost.com/login.aspx?direct=true&db=buh&AN=63616419&site=ehost-live.
Martin Kemp’s This and That: Attribution. Science and Judgement by Eye. n.d. http://martinkempsthisandthat.blogspot.co.uk/2015/04/attribution-science-and-judgement-by-eye.html.
Maxwell, Sir William Stirling. n.d. Annals of the Artists of Spain. https://archive.org/stream/annalsartistssp02maxwgoog#page/n100/mode/2up.
Misrepresentation Act 1967.
Misrepresentation Act 1967.
Modigliani Expert Promises New Catalogue Raisonné. n.d. https://news.artnet.com/market/death-threats-modigliani-expert-catalogue-raisonne-572093.
Modigliani Nude Fetches $68.9M at Auction. n.d. http://www.cbc.ca/beta/news/entertainment/modigliani-nude-fetches-68-9m-at-auction-1.893291.
Modigliani Nude Sells for a Record $68.9m. n.d. http://www.bbc.co.uk/news/entertainment-arts-11682850.
Modigliani’s Genuine Fake Heads. n.d. https://vimeo.com/ondemand/fakemodigliani.
Muscarella, Oscar White. 2000. The Lie Became Great: The Forgery of Ancient Near Eastern Cultures. Studies in the art and Archaeology of antiquity. Styx.
Naylor, R. T. 2008. ‘The Underworld of Art’. Crime, Law and Social Change 50 (4–5): 263–91. https://doi.org/10.1007/s10611-008-9140-6.
Neutral Citation No. [2002] EWHC 294 (QB), Richard Drake v Thos. Agnew & Sons Limited ___.
Niall, Brenda. 2013. True North: The Story of Mary and Elizabeth Durack. Text.
Olsburgh, Carolyn and Institute of Art and Law (Great Britain). 2005. Authenticity in the Art Market: A Comparative Study of Swiss, French and English Contract Law. Institute of Art and Law.
Parke, E, and N Jones. n.d. 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.
Patricia Cohen. 2014. ‘A Modigliani? Who Says So?’ The New York Times, February 2. https://ezproxy.lib.gla.ac.uk/login?url=https://www.proquest.com/hnpnewyorktimes/docview/1942681439/6D217BCA2414E9DPQ/1?accountid=14540.
Paul Z. Rotterdam. 1985. ‘Myth and Art’. Social Research 52 (2): 423–39. https://ezproxy.lib.gla.ac.uk/login?url=https://www.jstor.org/stable/40970379.
‘Portrait of the Artist as an Entrepreneur’. 2011. The Economist 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.
Prescription and Limitation (Scotland) Act 1973.
Robinson, Roxana. 1989. Georgia O’Keeffe: A Life. Bloomsbury.
Rogers v. Koons, 751 F. Supp. 474 (S.D.N.Y. 1990) :: Justia.
Roodt, Christa. n.d. ‘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.
Sagoff, Mark. 1978. ‘On Restoring and Reproducing Art’. The Journal of Philosophy 75 (9). http://ezproxy.lib.gla.ac.uk/login?url=http://www.jstor.org/stable/2025386.
Sale of Goods Act 1979.
Sander, Jochen, Katrin Dyballa, Albrecht Dürer, and Stadtische Galerie im Stadelschen Kunstinstitut Frankfurt am Main. 2013. Albrecht Dürer: His Art in the Context of Its Time. Prestel.
Schwartz, Gary. 1988. ‘Connoisseurship: The Penalty of Ahistoricism’. Artibus et Historiae 9 (18). https://ezproxy.lib.gla.ac.uk/login?url=https://www.jstor.org/stable/1483343.
SELTZER v. MORTON LLP.
The $7 Million Fake: Forgery Scandal Embarrasses International Art World. n.d. https://www.spiegel.de/international/zeitgeist/the-7-million-fake-forgery-scandal-embarrasses-international-art-world-a-768195.html.
The Consumer Protection from Unfair Trading Regulations 2008.
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