From the yearly publication of the Authenticators in Art Congress (AIA)2014.

The Congress did not only bring new insights, but as an outcome professional guidelines from the core of our field. It was the first time an interdisciplinary group of international professionals came together to accomplish this in our field. Lastly, we are very grateful to the Municipality of The Hague and the Louwman Museum for facilitating the Congress of 2014. The Municipality of The Hague will also fully facilitate and financially support the upcoming Mediation Board in 2015.

AiA established  Rules of Procedure in collaboration with the WIPO in Geneva, formulating the flexible Alternative Dispute Resolution (ADR) procedures that will offer during the course of next year. Our preferred ADR methods are Mediation, Arbitration and Expert Determination, forming the basis of all our dispute resolution processes that will be derived from one or more of these model procedures.

The AiA Mediation Board is developing an online filing system facilitating a safe and smooth exchange of confidential information, increasing speed and efficiency of submission.

Although users will be able to choose their own preferred ADR procedure directly through the online Request form, an AiA advisor will examine each filed case to direct every unique dispute towards the most suitable dispute resolution procedure. After filing, users receive their ADR agreement containing all necessary rights and obligations of the Board, the neutral, the experts (if necessary) and the parties. It will also confirm the submission of the case to the AiA Mediation Board.


2014 started off  With the announcement of a booming art market and ending with the astonishing discovery of museums’ staff selling original artworks while replacing them with copies. Also, in 2014, the general public met Mark Landis, a fascinating character being called one of the most prolific art forgers in US history. Sam Cullman and Jennifer Grausman made a documentary film about his life’s work; while playing art institutions by donating his own forgeries, Landis disguised himself for example as a priest to visit art museums under the pseudonym Father Arthur Scott.

 The amount of fakes in the Russian Avant-Garde is catastrophic. We have seen the German police seize over 3500 forged art works in 2013. Russian experts decide they have had enough and criticize the Catalogue Raisonné on Goncherova, presumably containing a large quantity of fakes.

Fakes are uncovered everywhere and forgery is on the rise. This, however, will not stop the Art Market from booming. The need for more fraudulent experts reaches a new high,  but the expert is afraid.

The Knoedler Fraud just keeps expanding and expanding, with at least one conviction and more to come.

There is also good news, New York State proposes a Bill which ensures more protection for Art Historians when expressing their opinion.

A collector has tried to prove his Rothko is real. Now he’s got the evidence, so he claims.
raised awareness and two sets of Guidelines.

Through scientific analysis the Self-Portrait of Rembrandt is proved authentic.

Chrisites uses lead-isotope research to prove the Saint-Praxides to indeed be a Vermeer.

The Rembrandt Research Project reattributes 70 works to the great master.

BY SEPTEMBER 2014 The impact of forgeries is taking its toll on the art market AS PIRACY AND IN SALES. Not only the sellers are responsible for fakes, but the buyer should also be more aware. Caveat emptor, the responsibility of the buyer. The enormous amount of forgery cases prompts Artemundi to release a document to assist the untrained eye with due diligence.
The Rembrandt Research Project reattributes 70 works to the great master.

La Bella Principessa, A Leonardo or not?

Even Duchamps Urinal seems inauthentic, a forged Urinal?

New major German fraud case, this time not Russian Avant-Garde, but medieval art.FAKE LUCAS CRANACHS ARE BEING CHURNED OUT IN MAJOR NUMBERS IN GERMANY

Children’s movies turn out to be a valuable tool for rediscovering lost artworks.

And last, but maybe most shocking of all: Uzbek Museum staff sells collection and replaces it with copies OVER A 15 YEAR PERIOD.

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  1. Only part of the problem. The investors drive up prices of dead art. Those by many living artists is another story. What does one expect but this? Christies? Give me a break.

  2. Great article. Many artist and art students learn technique from copying the work of a “masterpiece”. Often this work may be sold and noted only as a “copy”. It seems that the secondhand marketer is more the blame for the fraudulent behavior.

    1. You got that right David,

      The middlemen, which includes the auction houses, the art galleries, the art show promoters, the museums, Universities, the 1%, just about anyone but the artist. Although many artists are master forgers

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