Bibliography for Forgeries, False Attributions and the Art Market

( Jack, J.):May 19, 20041. [2004] EWHC 1101. N.p. Print.

‘28 O’Keeffe Paintings in Doubt as Experts Challenge Authenticity’. n. pag. Print.

A. Bredius. ‘An Unpublished Vermeer’. The Burlington Magazine for Connoisseurs 61.355 (1932): 144–145. Web. <https://ezproxy.lib.gla.ac.uk/login?url=https://www.jstor.org/stable/865079>.

Adam, Georgina. ‘Experts Shed Light on Modigliani’s Murky Market with New Research Project’. The art newspaper (2016): n. pag. Web. <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’. The Burlington Magazine for Connoisseurs 17.87 (1910): n. pag. Web. <http://ezproxy.lib.gla.ac.uk/login?url=http://www.jstor.org/stable/858253>.

A.L. Bandle. ‘Fakes, Fears, and Findings - Disputes over the Authenticity of Artworks’. Transnational Dispute Management (TDM) n. pag. Web. <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‘ARCA’s Network Assists in Getting Two Fake de Hory Forgeries Withdrawn from Sale’.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. pag. Web. <https://art-crime.blogspot.co.uk/2014/10/arcas-network-assists-in-getting-two.html>.

‘Art Forger Wolfgang Beltracchi’s Multimillion Dollar Scam’. n. pag. Web. <http://www.cbsnews.com/news/con-artist-wolfgang-beltracchi-on-multimillion-dollar-scam/>.

Association for Research into Crimes against Art. Art Crime: Terrorists, Tomb Raiders, Forgers and Thieves. Ed. Noah Charney. Basingstoke, Hampshire: Palgrave Macmillan, 2016. Web. <http://www.vlebooks.com/vleweb/product/openreader?id=GlasgowUni&isbn=9781137407573>.

Baker, Christopher et al. The Discovery of Spain: British Artists and Collectors : Goya to Picasso. Edinburgh: National Galleries of Scotland, 2009. Print.

Bambach, Carmen. Drawing and Painting in the Italian Renaissance Workshop: Theory and Practice, 1300-1600. Cambridge: Cambridge University Press, 1999. Web. <http://www.loc.gov/catdir/samples/cam032/98051727.html>.

Bandle, Anne Laure. ‘Fake or Fortune? Art Authentication Rules in the Art Market and at Court’. International Journal of Cultural Property 22.2–3 (2015): 379–399. Web.

Baudrillard, Jean. Simulacra and Simulation. The body, in theory. Ann Arbor: University of Michigan Press, 1994. Print.

Beckett, Alice. Fakes: Forgery and the Art World. London: Richard Cohen Books, 1995. Print.

‘Bella Principessa and the Hazard of Expert Opinions’. n. pag. Web. <http://www.withersworldwide.com/news-publications/bella-principessa-and-the-hazard-of-expert-opinions--2>.

Benhamou, Françoise, and Victor Ginsburgh. ‘Is There a Market for Copies?’ The Journal of Arts Management, Law, and Society 32.1 (2002): 37–56. Web.

Bowden, Ross. ‘What Is Wrong with an Art Forgery?: An Anthropological Perspective’. The Journal of Aesthetics and Art Criticism 57.3 (1999): n. pag. Web. <https://ezproxy.lib.gla.ac.uk/login?url=https://www.jstor.org/stable/432198>.

Bredius, Abraham. ‘A New Vermeer’. The Burlington Magazine for Connoisseurs 71.416 (1937): 210–211. Web. <https://ezproxy.lib.gla.ac.uk/login?url=https://www.jstor.org/stable/867022>.

Briefel, Aviva. The Deceivers: Art Forgery and Identity in the Nineteenth Century. Ithaca, N.Y.: Cornell University Press, 2006. Print.

---. The Deceivers: Art Forgery and Identity in the Nineteenth Century. Ithaca, N.Y.: Cornell University Press, 2006. Print.

---. The Deceivers: Art Forgery and Identity in the Nineteenth Century. Ithaca, N.Y.: Cornell University Press, 2006. Print.

Caplan, H. H. The Classified Directory of Artists’ Signatures, Symbols & Monograms. Enl. and rev. ed. London, England: G. Prior, 1982. Print.

Charles Stanish. ‘Forging Ahead’. Archaeology 62.3 (2009): n. pag. Web. <https://ezproxy.lib.gla.ac.uk/login?url=https://www.jstor.org/stable/41781288>.

Cochrane, P. ‘Pastoral Scions Mary and Elizabeth Durack Were Sisters of Art and Mercy’. n. pag. Web. <http://www.theaustralian.com.au/arts/review/pastoral-scions-mary-and-elizabeth-durack-were-sisters-of-art-and-mercy/story-fn9n8gph-1226411177765>.

Cole, S. ‘Connoisseurship All the Way down: Art Authentication, Forgery, Fingerprint Identification, Expert Knowledge’. Journal of Art Crime 4 (2010): 85–88. Web. <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. pag. Web. <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. Statute Law Database. Print.

Cornelius Holtorf. ‘On Pastness: A Reconsideration of Materiality in Archaeological Object Authenticity’. Anthropological Quarterly n. pag. Web. <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. ‘La Bella Principessa and the Warsaw Sforziad’. n. pag. Web. <https://www.lumiere-technology.com/news/Study_Bella_Principessa_and_Warsaw_Sforziad.pdf>.

Craddock, P. T. and Dawson Books. Scientific Investigation of Copies, Fakes and Forgeries. Oxford: Butterworth-Heinemann, 2009. Web. <https://www.vlebooks.com/vleweb/product/openreader?id=GlasgowUni&isbn=9780080939001>.

---. Scientific Investigation of Copies, Fakes and Forgeries. Oxford: Butterworth-Heinemann, 2009. Web. <https://www.vlebooks.com/vleweb/product/openreader?id=GlasgowUni&isbn=9780080939001>.

---. Scientific Investigation of Copies, Fakes and Forgeries. Oxford: Butterworth-Heinemann, 2009. Web. <https://www.vlebooks.com/vleweb/product/openreader?id=GlasgowUni&isbn=9780080939001>.

---. Scientific Investigation of Copies, Fakes and Forgeries. Oxford: Butterworth-Heinemann, 2009. Web. <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. ‘The Mark of a Masterpiece’. The New Yorker n. pag. Web. <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. N.p. Print.

Deleuze, Gilles, and Rosalind Krauss. ‘Plato and the Simulacrum’. October 27 (1983): 45–56. Web. <https://ezproxy.lib.gla.ac.uk/login?url=https://www.jstor.org/stable/778495>.

‘Desperately Seeking Rubens’. n. pag. Web. <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.’ New York Times (1857-1922) n. pag. Web. <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. N.p. Print.

‘Dirty Digger Unearthed’. n. pag. Web. <http://www.trussel.com/prehist/news225.htm>.

‘Discovery of Crosby Garrett Helmet in 2010’. n. pag. Web. <http://www.bbc.co.uk/news/uk-england-cumbria-11287093>.

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, 2008. Print.

Dutton, Denis, ed. The Forger’s Art: Forgery and the Philosophy of Art. Berkeley, California: University of California Press, 1983. Print.

---, ed. The Forger’s Art: Forgery and the Philosophy of Art. Berkeley, California: University of California Press, 1983. Print.

---, ed. The Forger’s Art: Forgery and the Philosophy of Art. Berkeley, California: University of California Press, 1983. Print.

---, ed. The Forger’s Art: Forgery and the Philosophy of Art. Berkeley, California: University of California Press, 1983. Print.

Ebitz, David. ‘Connoisseurship as Practice’. Artibus et Historiae 9.18 (1988): n. pag. Web. <https://ezproxy.lib.gla.ac.uk/login?url=https://www.jstor.org/stable/1483344>.

Ebooks Corporation Limited. Cultural Property Crime: An Overview and Analysis on Contemporary Perspectives and Trends. Ed. Joris Kila and Marc Balcells. Heritage and identity : issues in cultural heritage protection. Leiden: Brill, 2015. Web. <https://ebookcentral.proquest.com/lib/gla/detail.action?docID=1823638>.

---. Cultural Property Crime: An Overview and Analysis on Contemporary Perspectives and Trends. Ed. Joris Kila and Marc Balcells. Heritage and identity : issues in cultural heritage protection. Leiden: Brill, 2015. Web. <http://GLA.eblib.com/patron/FullRecord.aspx?p=1823638>.

Eldredge, Charles C. et al. Georgia O’Keeffe: American and Modern. New Haven, Conn: Yale University Press, 1993. Print.

Elia, R. J. ‘The World Cannot Afford Many More Collectors with a Passion for Antiquitie’. The Art Newspaper 41 (1994): n. pag. Print.

Eliav-Feldon, Miriam. Renaissance Impostors and Proofs of Identity. Basingstoke: Palgrave Macmillan, 2012. Print.

Elmyr de Hory, Artist and Faker by Don Myers. N.p. Web. <https://issuu.com/donmyers/docs/final_dehory/1>.

‘End of Exhibition of Crosby Garrett Helmet in 2014’. n. pag. Web. <http://www.itv.com/news/border/topic/crosby-garrett-helmet/>.

Eve M. Kahn. ‘Gleaning the True Identity of an Enigmatic Forger’. The New York Times n. pag. Web. <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. Web. <https://www.youtube.com/watch?v=2M8tOM1IlV8>.

‘Factum Arte :: A Facsimile of the Wedding at Cana by Paolo Veronese’. Web. <http://www.factum-arte.com/pag/38/A-facsimile-of-the-Wedding-at-Cana-by-Paolo-Veronese>.

Fay, E. ‘Virtual Artifacts: eBay, Antiquities, and Authenticity’. Journal of Contemporary Criminal Justice 27.4 (2011): 449–464. Web.

Fiechter, Jean-Jacques, and Susan Schneider. Egyptian Fakes: Masterpieces That Duped the Art World and the Experts Who Uncovered Them. English language ed. Paris: Flammarion, 2009. Print.

Fine, Ruth et al. O’Keeffe on Paper. Washington, D.C.: National Gallery of Art, 2000. Print.

Fleming, Stuart J. Authenticity in Art: The Scientific Detection of Forgery. London: Institute of Physics, 1975. Print.

‘Forger’s Forgeries Attributed To Elmyr de Hory Withdrawn From Auction’. n. pag. Web. <http://www.artlyst.com/articles/forgers-forgeries-attributed-to-elmyr-de-hory-withdrawn-from-auction>.

‘Forgery | The Chicago School of Media Theory’. Web. <https://lucian.uchicago.edu/blogs/mediatheory/keywords/forgery/>.

Foster, Sally M., and Neil G.W. Curtis. ‘The Thing about Replicas—Why Historic Replicas Matter’. European Journal of Archaeology 19.1 (2016): 122–148. Web.

Fraud Act 2006. Statute Law Database. Print.

Frey, Bruno S. Arts & Economics: Analysis & Cultural Policy. 2nd ed. Berlin: Springer, 2003. Print.

Gould, Charlotte, and Sophie Mesplède. Marketing Art in the British Isles, 1700 to the Present: A Cultural History. Farnham, Surrey: Ashgate, 2012. Print.

---. Marketing Art in the British Isles, 1700 to the Present: A Cultural History. Farnham, Surrey: Ashgate, 2012. Web. <http://content.talisaspire.com/glasgow/bundles/57fe03994469eedd088b4590>.

HAHN v. DUVEEN, 133 Misc. 871 (N.Y. Misc. 1929). N.p. Print.

Harris, Enriqueta, Nigel Glendinning, and Hilary Macartney. Spanish Art in Britain and Ireland, 1750-1920: Studies in Reception in Memory of Enriqueta Harris Frankfort. Colección Támesis. Woodbridge, Suffolk: Tamesis, 2010. Print.

Harris, Gareth. ‘Modigliani Institute President Arrested’. The art newspaper (2013): n. pag. Web. <https://web.archive.org/web/20150404042512/http://www.theartnewspaper.com/articles/Modigliani-Institute-president-arrested/28490>.

Hebborn, Eric. Drawn to Trouble: Confessions of a Master Forger : A Memoir. 1st U.S. ed. New York: Random House, 1993. Print.

High Court of Justice (Queen. 1998 WL 1044211. N.p. Print.

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). N.p. Print.

Hoving, Thomas. False Impressions: The Hunt for Big-Time Art Fakes. 1st Touchstone ed. New York: Touchstone/Simon & Schuster, 1997. Print.

‘If It’s Not an O’Keeffe, Exactly What Is It?’ n. pag. Web. <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. ‘Appropriation and Authorship in Contemporary Art’. The British Journal of Aesthetics 45.2 (2005): 123–137. Web.

‘“It’s Not a Da Vinci, It’s Sally from the Co-Op”’. Sunday Times (London, England) n. pag. Web. <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. ‘Markets and Responsibilities: Forgeries and the Sale of Goods Act 1979’. Journal of Business Law n. pag. Web. <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. pag. Web. <http://www.t-net.ne.jp/~keally/Hoax/pal-hoax-1.html>.

Johnson, H. ‘Is It Authentic - Who May Say - A Fresh Look at Connoisseurship and Its Role in Art Attribution’. Journal of Art Crime 14 (2015): 47–54. Web. <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. Fakes and Forgeries. Minneapolis: [s.n.], 1973. Print.

Jonathan Hirst Q.C.March 18, 2003 1. [2003] EWHC 467 (Comm). N.p. Print.

Jones, Mark and FAKE Symposium. Why Fakes Matter: Essays on Problems of Authenticity. London: British Museum Press, 1992. Print.

---. Why Fakes Matter: Essays on Problems of Authenticity. London: British Museum Press, 1992. Print.

---. Why Fakes Matter: Essays on Problems of Authenticity. London: British Museum Press, 1992. Print.

Jones, S. ‘Negotiating Authentic Objects and Authentic Selves: Beyond the Deconstruction of Authenticity’. Journal of Material Culture 15.2 (2010): 181–203. Web.

Jones, Siân. ‘Experiencing Authenticity at Heritage Sites: Some Implications for Heritage Management and Conservation’. Conservation and Management of Archaeological Sites 11.2 (2009): 133–147. Web.

Julius, A. ‘The Lying Dutchman’. NYTimes, 22 AD. Web. <http://www.nytimes.com/2008/06/22/books/review/Julius-t.html?_r=1&>.

Keats, Jonathon. Forged: Why Fakes Are the Great Art of Our Age. New York: Oxford University Press, 2013. Web. <https://www.vlebooks.com/vleweb/product/openreader?id=GlasgowUni&isbn=9780199311378>.

---. Forged: Why Fakes Are the Great Art of Our Age. New York: Oxford University Press, 2013. Web. <https://www.vlebooks.com/vleweb/product/openreader?id=GlasgowUni&isbn=9780199311378>.

---. Forged: Why Fakes Are the Great Art of Our Age. New York, N.Y.: Oxford University Press, 2013. Web. <http://www.vlebooks.com/vleweb/product/openreader?id=GlasgowUni&isbn=9780199311378>.

---. Forged: Why Fakes Are the Great Art of Our Age. New York: Oxford University Press, 2013. Web. <https://www.vlebooks.com/vleweb/product/openreader?id=GlasgowUni&isbn=9780199311378>.

Kemp, Martin, and Pascal Cotte. La Bella Principessa Di Leonardo Da Vinci: Ritratto Di Bianca Sforza. Edizione aggiornata e riveduta in lingua italiana. Firenze: Mandragora, 2012. Print.

Kleiner, E. ‘Infamous Piracy: How the Lucrative Market for Forgeries Is Transforming the World of Fine Art’. n. pag. Web. <https://itsartlaw.com/2014/07/30/infamous-piracy-how-the-lucrative-market-for-forgeries-is-transforming-the-world-of-fine-art/>.

Kurz, Otto. Fakes: A Handbook for Collectors and Students. London: Faber, 1948. Print.

---. Fakes: A Handbook for Collectors and Students. London: Faber, 1948. Print.

---. Fakes: A Handbook for Collectors and Students. London: Faber, 1948. Print.

---. Fakes: A Handbook for Collectors and Students. London: Faber, 1948. Print.

---. Fakes: A Handbook for Collectors and Students. London: Faber, 1948. Print.

Lane, Jim. ‘Artyfact’. n. pag. Web. <http://www.jimlaneart.com/Artyfacts/5-11-00.html>.

Lenain, Thierry. Art Forgery: The History of a Modern Obsession. London: Reaktion Books, 2011. Web. <http://ebookcentral.proquest.com/lib/gla/detail.action?docID=1127621>.

---. Art Forgery: The History of a Modern Obsession. London: Reaktion Books, 2011. Web. <https://ebookcentral.proquest.com/lib/gla/detail.action?docID=1127621>.

---. Art Forgery: The History of a Modern Obsession. London: Reaktion Books, 2011. Web. <https://ebookcentral.proquest.com/lib/gla/detail.action?docID=1127621>.

---. Art Forgery: The History of a Modern Obsession. London: Reaktion Books, 2011. Web. <http://ebookcentral.proquest.com/lib/gla/detail.action?docID=1127621>.

---. Art Forgery: The History of a Modern Obsession. London: Reaktion Books, 2011. Web. <https://ebookcentral.proquest.com/lib/gla/detail.action?docID=1127621>.

---. Art Forgery: The History of a Modern Obsession. London: Reaktion Books, 2011. Web. <http://ebookcentral.proquest.com/lib/gla/detail.action?docID=1127621>.

---. Art Forgery: The History of a Modern Obsession. London: Reaktion Books, 2011. Web. <http://ebookcentral.proquest.com/lib/gla/detail.action?docID=1127621>.

Lessing, Alfred. ‘What Is Wrong with a Forgery?’ The Journal of Aesthetics and Art Criticism 23.4 (1965): n. pag. Web. <http://ezproxy.lib.gla.ac.uk/login?url=http://www.jstor.org/stable/427668>.

Levinson, Jerrold. The Oxford Handbook of Aesthetics. Oxford: Oxford University Press, 2005. Web. <http://ezproxy.lib.gla.ac.uk/login?url=http://dx.doi.org/10.1093/oxfordhb/9780199279456.001.0001>.

Limitation Act 1980. Statute Law Database. Print.

Lisle, Laurie. Portrait of an Artist: A Biography of Georgia O’Keeffe. Rev. ed. New York, N.Y.: Washington Square Press, 1986. Print.

Litchfield, David R. L. ‘Thyssen-Bornemisza Dürer A Fake’. n. pag. Web. <https://www.davidrllitchfield.com/2009/09/thyssen-bornemisza-durer-a-fake/>.

‘Livorno Plans to Show Fake Modigliani Heads’. n. pag. Web. <https://www.thelocal.it/20140520/livorno-plans-to-show-fake-modigliani-heads>.

Lynes, Barbara Buhler et al. Georgia O’Keeffe: Catalogue Raisonné. New Haven, Mass: Yale University Press, 1999. Print.

Maloney, J. ‘The Deep Freeze in Art Authentication’. n. pag. Web. <https://www.wsj.com/articles/SB10001424052702304279904579518093886991908>.

Marchi, Neil D., and Hans J. Van Miegroet. ‘Art, Value, and Market Practices in the Netherlands in the Seventeenth Century’. The Art Bulletin 76.3 n. pag. Web. <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. pag. Web. <http://www.thepaperfixer.com/OKeeffe.htm>.

Marnham, Patrick. ‘Showdown in Santa Fe’. The telegraph (8 AD): n. pag. Web. <https://www.telegraph.co.uk/culture/4721533/Showdown-in-Santa-Fe.html>.

Marshall, Kimball P., and P. J. Forrest. ‘A Framework for Identifying Factors That Influence Fine Art Valuations from Artist to Consumers’. Marketing Management Journal 21.Issue 1 (2011): 111–123. Web. <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’. Web. <http://martinkempsthisandthat.blogspot.co.uk/2015/04/attribution-science-and-judgement-by-eye.html>.

Maxwell, Sir William Stirling. ‘Annals of the Artists of Spain’. N.p. Web. <https://archive.org/stream/annalsartistssp02maxwgoog#page/n100/mode/2up>.

Misrepresentation Act 1967. Statute Law Database. Print.

---. Statute Law Database. Print.

‘Modigliani Expert Promises New Catalogue Raisonné’. n. pag. Web. <https://news.artnet.com/market/death-threats-modigliani-expert-catalogue-raisonne-572093>.

‘Modigliani Nude Fetches $68.9M at Auction’. n. pag. Web. <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. pag. Web. <http://www.bbc.co.uk/news/entertainment-arts-11682850>.

‘Modigliani’s Genuine Fake Heads’. Web. <https://vimeo.com/ondemand/fakemodigliani>.

Muscarella, Oscar White. The Lie Became Great: The Forgery of Ancient Near Eastern Cultures. Studies in the art and archaeology of antiquity. Groningen: Styx, 2000. Print.

Naylor, R. T. ‘The Underworld of Art’. Crime, Law and Social Change 50.4–5 (2008): 263–291. Web.

Niall, Brenda. True North: The Story of Mary and Elizabeth Durack. Melbourne, Victoria: Text, 2013. Print.

Olsburgh, Carolyn and Institute of Art and Law (Great Britain). Authenticity in the Art Market: A Comparative Study of Swiss, French and English Contract Law. Leicester: Institute of Art and Law, 2005. Print.

P. No. 1223Queen. [1983] 1 W.L.R. 1315. N.p. Print.

Parke, E, and N Jones. ‘Outrage as Judge Refuses to Award Indigenous Artists’. n. pag. Web. <http://www.abc.net.au/news/2014-09-09/outrage-as-judge-refuses-to-award-indigenous-artists/5730274>.

Patricia Cohen. ‘A Modigliani? Who Says So?’ The New York Times (2014): n. pag. Web. <https://ezproxy.lib.gla.ac.uk/login?url=https://www.proquest.com/hnpnewyorktimes/docview/1942681439/6D217BCA2414E9DPQ/1?accountid=14540>.

Paul Z. Rotterdam. ‘Myth and Art’. Social Research 52.2 (1985): 423–439. Web. <https://ezproxy.lib.gla.ac.uk/login?url=https://www.jstor.org/stable/40970379>.

‘Portrait of the Artist as an Entrepreneur’. The Economist 401.8764 (2011): n. pag. Web. <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. Statute Law Database. Print.

Robinson, Roxana. Georgia O’Keeffe: A Life. London: Bloomsbury, 1989. Print.

Rogers v. Koons, 751 F. Supp. 474 (S.D.N.Y. 1990) :: Justia. N.p. Print.

Roodt, Christa. ‘Forgers, Connoisseurs, and the Nazi Past’. Journal of Information Ethics 24.2 n. pag. Web. <https://www.questia.com/library/journal/1P3-4014579461/forgers-connoisseurs-and-the-nazi-past>.

Sagoff, Mark. ‘On Restoring and Reproducing Art’. The Journal of Philosophy 75.9 (1978): n. pag. Web. <http://ezproxy.lib.gla.ac.uk/login?url=http://www.jstor.org/stable/2025386>.

Sale of Goods Act 1979. Statute Law Database. Print.

Sander, Jochen et al. Albrecht Dürer: His Art in the Context of Its Time. Munich: Prestel, 2013. Print.

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Bibliography for Forgeries, False Attributions and the Art Market BETA