Fakebusters II: Scientific Detection Of Fakery In Art And Philately (Series in Popular Science)

Table of Contents......Page 8
1. Preface......Page 12
2. R. W. WOOD: FAKEBUSTER EXTRAORDINAIRE......Page 13
3. Art Fakes and the Statue of Limitations......Page 36
1. Statue of limitation in general.......Page 37
2. Application to sales of fake art.......Page 40
3. Evaluation......Page 44
4. Determination of Authenticity of Engraved Scrimshaw......Page 46
LIDDY'S THEORY OF ENGRAVED SCRIMSHAW......Page 47
MATERIAL......Page 49
TOOTH SURFACE......Page 52
TOOTH EXTREMITIES AND CAVITY......Page 53
ENGRAVING......Page 54
PIGMENTS......Page 56
TWO FRAUDULENT TEETH......Page 57
SOME FRAUDULENT TUSKS......Page 58
ACKNOWLEDGEMENTS......Page 59
Public Information Bulletin......Page 60
PHOTO CAPTIONS DETERMINATION OF AUTHENTICITY… RIDLEY......Page 63
AUTHORS BIO......Page 67
5. SCIENTIFIC DETECTION OF PHILATELIC FORGERIES......Page 86
6. Insurability of Art......Page 97
7. DNA as a Security Marker......Page 117
A BRIEF INTRODUCTION TO DNA......Page 118
DNA AS AN AUTHENTICATION MARK......Page 119
DNA TECHNOLOGIES RESEARCH AND DEVELOPMENT PROGRAM......Page 120
Design of Secure DNA Mark......Page 122
DNA Mark Construction......Page 123
Formulation of DNA Marks in Print Vehicles......Page 124
Accelerated Stability Testing......Page 126
Improving Detection Sensitivity......Page 127
New Fluorescent Dyes and Phosphors......Page 128
Development of Nanobarcodes......Page 129
Synthesis and Assembly of Microbead Nanobarcodes Using DNA Templates......Page 130
Construction of Nanobarcodes Using Photolithography......Page 131
THE DEVELOPMENT OF DIRECT READING DNA MARKS AND HYBRID SYSTEMS......Page 132
8. Authentication at a Small Museum: the Kindness of Strangers......Page 136
ABSTRACT......Page 137
ACKNOWLEDGMENTS......Page 138
9. ART IN TRANSIT: INTERNATIONAL TRANSPORTATION OF FINE ART......Page 157
A Complex and Exotic World......Page 159
Defining Fine Arts......Page 160
Travel Plans......Page 161
Assessing the Risk—Can the Object Travel?......Page 162
The Condition Report......Page 163
Object ID......Page 164
Packing......Page 165
Getting the Right Packer......Page 166
National Gallery of Art Guidelines......Page 167
Freight Forwarders......Page 170
Specialist Services......Page 171
Recovery of Stolen Fine Arts......Page 172
Policy Exclusions......Page 173
Couriers......Page 174
Endnotes......Page 175
Author’s Note......Page 176
10. The Use of Raman Spectroscopy in the Art World......Page 177
Introduction......Page 178
Egyptian Papyri Fakes......Page 180
Book of Frames......Page 182
Other Examples......Page 183
Conclusion......Page 184
References......Page 185
Figure 3 Raman Spectra......Page 188
11. Fakes, Forgeries, and Experts (FFE)......Page 193
1. Mass-Spectrographic Examination......Page 194
2. Energy-Dispersive X-Ray Fluorescence (ED-XRF) Method......Page 196
3. Infrared Radiation......Page 197
4. Color Alterations of Stamps......Page 198
NOTE......Page 199
12. Madame Curie......Page 204
Madame Curie......Page 205
13. Non-Destructive Analysis of Artifacts by Using XRF, FTIR, and SEM/EDX......Page 227
Introduction......Page 228
Historic Review......Page 229
Application of X-ray Analysis and Infrared Spectrometry to Artifacts......Page 231
The New Instrument for XRF at the Academy of Fine Arts in Vienna......Page 232
Identification of Pigments in Miniature Paintings......Page 236
Identification of Writing Materials in the Archives......Page 240
Provenance of Medieval Silver Coins......Page 241
Classification of Iridescent Glass Artifacts of Art Nouveau......Page 243
Conclusion......Page 245
Acknowledgements......Page 247
References......Page 248
List of Figures......Page 254
14. The International Center for Art Intelligence (ICAI)......Page 283
A SPECIFIC FOUNDATION TO MANAGE AUTHENICATION......Page 284
PROMINENT RESEARCH INSTITUTIONS......Page 285
PROGRESS AS OF OCTOBER 1999......Page 286
WEBSITE AND ORGANIZATION......Page 287
CONSULTANTS AND PERSONNEL......Page 288
15. How Appraisers Deal with Authenticity......Page 293
1. INTRODUCTION......Page 294
2. WHAT IS AN ORIGINAL?......Page 295
3. WHO ARE THE EXPERTS?......Page 296
4. BUILT-IN OBSTACLES TO AUTHENTICATION......Page 299
4.1 No Standards Exist......Page 300
5. THE DECLINE OF THE EXPERT/DEALER......Page 302
6. CONCLUSION AND SUGGESTIONS......Page 305
STANDARDS......Page 307
PROCEDURE......Page 308
CURRENT MARKET VALUE......Page 309
16. The Framing & Care of Original Works of Art on Paper......Page 310
NIA FRAMING POLICIES & RECOMMENDATIONS......Page 311
1. Light......Page 313
5. Old Houses and Seaside Areas......Page 314
WARPING OF FRAMED PRINTS......Page 315
NIA RECOMMENDED HANDLING & STORAGE OF FRAMED ART......Page 316
17. Fakery in Graphic Arts......Page 317
2.1 Relief or Letterpress Printing......Page 318
2.2 Offset-Lithography......Page 319
2.3 Rotogravure Printing......Page 320
2.4 Lithography......Page 321
2.6 Screen Printing and Serigraphs......Page 322
3.1 Ink Stink......Page 323
4.1 Letterpress Images......Page 325
4.2 Offset-Lithographic Printed Surfaces......Page 326
4.3 Engraved or Intaglio Printing......Page 327
4.7 Electrostatic Printing......Page 328
5.1 Ink Film Differences between Offset-Lithography and Letterpress......Page 329
5.3 Letterpress Prints Made After 1851......Page 330
6.1 Scratches and Dings......Page 331
6.2 Work-Ups in a Letterpress Print......Page 332
6.3 Hairlines between Linotype Letters......Page 333
6.6 Ghosting or Slipped Images......Page 334
7. IDENTIFYING TYPESETTING METHODS AND PERIOD OF USAGE......Page 335
7.2 Linotype (1886 - 1975) Faces Compared to Foundry Type......Page 336
7.3 Phototypesetting (c. 1954-1985) Type Characteristics......Page 337
7.4 Strike-on and Photo Headline Devices (1950s - c. 1975)......Page 338
7.5 Computer-Generated Typesetting (1985-Present)......Page 339
8. HALFTONE PICTURE REPRODUCTIONS......Page 340
8.1 Print Image Differences between Offset and Letterpress Halftones......Page 341
9. CONCLUSION......Page 342
18. Optical Tricks Designed to Foil Counterfeiters......Page 345
First-line inspection......Page 346
Functional inks an patterns......Page 347
DOVIDs/ISIS......Page 349
19. Using Raman Spectroscopy to Solve Crime: Inks, Questioned Documents and Fraud......Page 352
Introduction......Page 353
2. Crossed Lines......Page 355
3. Ageing of Inks and Documents......Page 356
What is Raman and How Can it Help?......Page 357
Experimental......Page 358
Results on Comparative Analysis of Black Ballpoint Inks......Page 359
1. Insurance Fraud......Page 361
2. Obscene Letters......Page 362
4. Authenticity of Contract......Page 363
Results on Crossed Lines......Page 364
Conclusions......Page 365
References......Page 368
20. International Center for Art Intelligence (ICAI)......Page 386
International center for Art Intelligence (ICAI): Philatelic Fakes Forgeries and Experts (FFE) Roster 4/2000......Page 387
CONSERVATION RELATED ORGANIZATIONS......Page 394
REGIONAL CONSERVATION ORGANIZATIONS......Page 399
CONSERVATION DEGREE PROGRAMS......Page 403