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The Gentle Art of Faking - Riccardo NOBILI

IIn analysing the Faker one must dissociate him from the common forger; his semi-artistic vocation places him quite apart from the ordinary counterfeiter; he must be studied amid his proper surroundings, and with the correct local colouring, so to speak, and his critic may perchance find some slight modicum of excuse for him. Beside him stand the Imitator, from whom the faker often originates, the tempter who turns the clever imitator into a faker, and the middleman who lures on the unwary collector with plausible tales.It is not the object of this volume to study the Faker by himself, but to trace his career through the ages in his appropriate surroundings, and compare the methods adopted by him at various periods of history, so far as they may be obtained. (from the Preface)
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PrefacePart I: The Birth and Development of Faking – Greeks and Romans as Art CollectorsCollectomania in RomeRapacious Roman CollectorsRome as an Art EmporiumIncrease of Faking in RomeDecadence of Art and Consequent ChangesThe Renaissance PeriodImitation, Plagiarism, and FakingCollectors of the Sixteenth CenturyCollecting in France and EnglandMazarin as a CollectorSome Notable French CollectorsPart II: The Collector and the Faker – Collectors and CollectionsThe Collector's Friends and EnemiesImitators and FakersThe Artistic Qualities of ImitatorsFakers, Forgers and the LawThe Faked Atmosphere and Public SalesPart III: The Faked Article – The Make-up of Faked AntiquesFaked Sculpture, Bas-reliefs and BronzesFaked PotteryMetal FakesWood Work and Musical InstrumentsVelvets, Tapestries and BooksSumming Up
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