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Table of Contents
Setting the scene : approach and methodology
Peculiarities of the art market
Fraud, forgery and authentication
Remedies : regulation and new initiatives
Conclusions and recommendations.
Intro
Preface
Acknowledgements
Contents
About the Author
Chapter 1: Setting the Scene: Approach and Methodology
1.1 The Unregulated Nature of the Art Market
1.1.1 The Concepts of Trust and Confidentiality in Art Transactions
1.1.2 The Impact of Digitisation and Technology
1.1.3 Authentication and Attribution: The Unique Role of Art Experts
1.2 Current Discussions About Regulation
1.2.1 Recent Initiatives of Self-Regulatory Measures
1.3 The Research Task Emerging from Recent Developments
1.4 Methodology and Delimitation
1.5 Structure of the Analysis
2.2.2 Art Advisors and Wealth Managers
2.2.3 Auction Houses: Guarantees and Third-Party Arrangements
2.2.4 Galleries
2.2.5 Museums
2.2.6 Practices of Dealers as Illustrated by Cases
2.2.6.1 Larry Gagosian v Jan Cowles: Lichtensteinś Girl in Mirror
2.2.6.2 Larry Gagosian v Ronald Perelman: Koonś Popeye
2.2.6.3 Larry Gagosian v Pelham Europe Ltd.: Pablo Picassoś Bust of a Woman (Marie Thérèse)
2.2.6.4 Yves Bouvier v Dmitri Rybolovlev: Da Vinciś Salvator Mundi and Modiglianiś Nu Couché au Coussin Bleu
2.2.6.5 Helge Achenbach v Babette Albrecht: Unauthorised Markups and Falsified Invoices
2.2.6.6 Helge Achenbach v Christian Boehringer: More Hidden Premiums
2.2.7 Interim Conclusion from Case Studies
2.3 Valuation
2.4 Value, Money and Price Mechanisms: The Lack of a General Pricing Methodology
2.4.1 The Threat of Price Manipulation
2.4.2 The Role of the Panama Papers
2.5 Art as a Financial Asset
2.5.1 Risks and Threats
2.5.2 The Role of Art Indices
2.5.3 Art-Secured Lending: When Art Becomes Collateral
References
Untitled
Chapter 3: Fraud, Forgery and Authentication
3.1 Introduction
3.2 Lessons from the Past: An Overview of Some of the Most Important Forgery Cases in Art History
3.2.1 Han van Meegeren
3.2.2 Tom Keating
3.2.3 Eric Hebborn
3.2.4 Elmyr de Hory
3.2.5 Geert Jan Jansen
3.2.6 Ely Sakhai
3.2.7 John Myatt
3.2.8 Interim Conclusion
3.3 No End in Sight: The Most Recent Forgery Cases
3.3.1 Wolfgang Beltracchi: The Worldś Most Famous Art Forger
3.3.1.1 Details of the Case: The Sammlung Werner Jägers
3.3.1.2 Details of the Proceedings: The Forgeries
Peculiarities of the art market
Fraud, forgery and authentication
Remedies : regulation and new initiatives
Conclusions and recommendations.
Intro
Preface
Acknowledgements
Contents
About the Author
Chapter 1: Setting the Scene: Approach and Methodology
1.1 The Unregulated Nature of the Art Market
1.1.1 The Concepts of Trust and Confidentiality in Art Transactions
1.1.2 The Impact of Digitisation and Technology
1.1.3 Authentication and Attribution: The Unique Role of Art Experts
1.2 Current Discussions About Regulation
1.2.1 Recent Initiatives of Self-Regulatory Measures
1.3 The Research Task Emerging from Recent Developments
1.4 Methodology and Delimitation
1.5 Structure of the Analysis
2.2.2 Art Advisors and Wealth Managers
2.2.3 Auction Houses: Guarantees and Third-Party Arrangements
2.2.4 Galleries
2.2.5 Museums
2.2.6 Practices of Dealers as Illustrated by Cases
2.2.6.1 Larry Gagosian v Jan Cowles: Lichtensteinś Girl in Mirror
2.2.6.2 Larry Gagosian v Ronald Perelman: Koonś Popeye
2.2.6.3 Larry Gagosian v Pelham Europe Ltd.: Pablo Picassoś Bust of a Woman (Marie Thérèse)
2.2.6.4 Yves Bouvier v Dmitri Rybolovlev: Da Vinciś Salvator Mundi and Modiglianiś Nu Couché au Coussin Bleu
2.2.6.5 Helge Achenbach v Babette Albrecht: Unauthorised Markups and Falsified Invoices
2.2.6.6 Helge Achenbach v Christian Boehringer: More Hidden Premiums
2.2.7 Interim Conclusion from Case Studies
2.3 Valuation
2.4 Value, Money and Price Mechanisms: The Lack of a General Pricing Methodology
2.4.1 The Threat of Price Manipulation
2.4.2 The Role of the Panama Papers
2.5 Art as a Financial Asset
2.5.1 Risks and Threats
2.5.2 The Role of Art Indices
2.5.3 Art-Secured Lending: When Art Becomes Collateral
References
Untitled
Chapter 3: Fraud, Forgery and Authentication
3.1 Introduction
3.2 Lessons from the Past: An Overview of Some of the Most Important Forgery Cases in Art History
3.2.1 Han van Meegeren
3.2.2 Tom Keating
3.2.3 Eric Hebborn
3.2.4 Elmyr de Hory
3.2.5 Geert Jan Jansen
3.2.6 Ely Sakhai
3.2.7 John Myatt
3.2.8 Interim Conclusion
3.3 No End in Sight: The Most Recent Forgery Cases
3.3.1 Wolfgang Beltracchi: The Worldś Most Famous Art Forger
3.3.1.1 Details of the Case: The Sammlung Werner Jägers
3.3.1.2 Details of the Proceedings: The Forgeries