Title: The gentle art of faking: a history of the methods of producing imitations & spurious works of art from the earliest times up to the present day
Author: Riccardo Nobili
Publisher: Seeley Service & Co.
Year: 1922
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Link: http://www.archive.org/...
Note: Resource kindly indicated by Goran Budija
From the Preface:
In 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.
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.
Table of Contents:
Part I. The Birth and Development of Faking
I. Greeks and Romans as Art collectors
II. Collectomania in Rome
III. Rapacious Roman Collectors
IV. Rome as an Art Emporium
V. Increase of Faking in Rome
VI. Decadence of Art and consequent Changes
VII. The Renaissance Period
VIII. Imitation, Plagiarism, and Faking
IX.Collectors in the Sixteenth Century
X. Collecting in France and England
XI. Mazarin as a Collector
XII. Some notable French Collectors
Part II. The Collector and the Faker
XIII. Collectors and Collections
XIV. The Collector's Friends and Enemies
XV. Imitators and Fakers
XVI.The Artistic Qualities of Imitators
XVII. Fakers, Forgers and the Law
XVIII. The Faked Atmosphere and Public Sales
Part III. The Faked Article
XIX. The Make-UP of Faked Antiques
XX. Faked Sculpture, Bas-relef and Bronzes
XXI. Faked Pottery
XXII. Metal Fakers
XXIII. Wood Work and Musical Instruments
XXIV. Velvets, Tapestries and Books
XXV. Summing Up
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