Rembrandt -Forgeries- at the Arlington Museum of Art, The Dead Don't Etch

NOTE: Footnotes are enclosed as: [FN]

"Landscape with Cow Drinking, Etchings made in 1650, 3rd state of 3, Restrike pulled in late 20th century." [PHOTO: Arlington Museum of Art's jpg with separate Caption List pdf]

NON-DISCLOSED POSTHUMOUS FORGERY IN THE ARLINGTON MUSEUM OF ART

Etching, Print made by Rembrandt, 1650 (circa), Height: 104 millimetres, Width: 130 millimetres, Acquisition date 1868, Acquisition name Bequeathed by Felix Slade, "Landscape with a cow; cottage beside river. c.1650, Etching and drypoint, Watermark: Strasbourg lily with initials IR´ (Hinterding catalogue, variant A.a. [detail of bottom only])"

http://www.britishmuseum.org/research/search_the_collection_database/search_object_details.aspx?objectid=757788&partid=1&searchText=cow+and+rembrandt&fromADBC=ad&toADBC=ad&numpages=10&orig=%2fresearch%2fsearch_the_collection_database.aspx&currentPage=1
LIFETIME ETCHING BY REMBRANDT IN THE BRITISH MUSEUM

The above Landscape with Cow Drinking forgery is one of thirty-six or more non-disclosed posthumous [late 17th-century to 20th-century]  forgeries misrepresented -with or without intent- by the Arlington Museum of Art in their June 9th through August 12th, 2012 Rembrandt: An Evolution of Etchings exhibition, as original works of visual art ie., "etchings by Rembrandt"[FN 1].  

On page 660 of the Seventh Edition of Black's Law Dictionary, -forgery- is defined as: "The act of fraudulently making a false document or altering a real one to be used as if geniune."[FN 2]

Rembrandt Harmenszoon van Rijn died October 4, 1669. 

The dead don't etch.

On page 477 of the Seventh Edition of Black’s Law Dictionary, -disclosure- is defined as: “The act or process of making known something that was previously unknown.”[FN 3] On page 300 of the Seventh Edition of Black’s Law Dictionary, -consent- is defined as: “Agreement, approval or permission as to some act or purpose, esp. given voluntarily by a competent person.”[FN 4]

In other words, without full and honest disclosure to these thirty-six or more non-disclosed posthumous forgeries falsely attributed to a dead Rembrandt, how can there be informed consent by the public on whether to attend this so-called Rembrandt: An Evolution of Etchings exhibition, much less pay the $8 [each] adult price of admission?

Therefore, in the interest of full and honest disclosure and informed consent by the public for the Arlington Museum of Art's Rembrandt: An Evolution of Etchings exhibition, the following will be documented in this monograph: 1) the exhibition's 36 non-disclosed posthumous forgeries, falsely attributed to Rembrandt, as documented using the museum's "Rembrandt Packing List" ie. checklist, 2) the chronology of the three centuries of posthumous reworking of Rembrandt's original etching plates, 3) how a living Rembrandt actually created his original works of visual art ie., etchings, 4) the professional standards, definitions and laws on what is and what is not an etching, 5) the Arlington Museum of Art's representation doesn't match their disclosure, 6) truth, resource allocations and fraud,  and 7) the Association of Art Museum Directors' endorsed Professional Practices in Art Museums.

"Descent from the Cross, Etching made in 1633 5th state of 5, Restrike pulled in late 20th century." [PHOTO: Arlington Museum of Art's jpg with separate Caption List pdf]
NON-DISCLOSED POSTHUMOUS FORGERY IN THE ARLINGTON MUSEUM OF ART

Etching, Print made by Rembrandt, 1633, Height: 530 millimetres, Width: 410 millimetres, Acquisition date 1753, Acquisition name Bequeathed by Sir Hans Sloane (?), "The Deposition; three men on ladders lifting Jesus Christ down from the Cross, the one at the top holding the edge of a sheet draped around to receive Him and St John the Evangelist standing at the foot to take Him in his arms; watched by grieving men and women, including the Magdalene and a man who kneels on the ground in right foreground supporting the Virgin; a bearded man gesturing outwards with both hands in amazement and sorrow beside one ladder; Joseph of Arimathea standing richly dressed in profile on the left; the walled city of Jerusalem in the background; second plate. 1633, Etching and burin, Watermark: Strasbourg lily (Hinterding catalogue, variant C.b.a., datable 1633-41), Inscription Content: Lettered with Rembrandt's signature and date, in lower margin: "Rembrandt f. cum pryvl. 1633"."

http://www.britishmuseum.org/research/search_the_collection_database/search_object_details.aspx?objectid=761268&partid=1&searchText=Descent+from+the+cross+and+rembrandt&fromADBC=ad&toADBC=ad&numpages=10&orig=%2fresearch%2fsearch_the_collection_database.aspx&currentPage=2
LIFETIME ETCHING BY REMBRANDT IN THE BRITISH MUSEUM

1. REMBRANDT PACKING LIST

The Arlington Museum of Art's -Rembrandt Packing List-[FN 5] [checklist] for their June 9th through August 12th, 2012 Rembrandt: An Evolution of Etchings exhibition lists the "Title Given by Lender" and date of "Print made." With chronological order, subtitle headings and numerical/descriptions mine, those 4 lifetime etchings, 3 unknown, and 36 non-disclosed posthumous  forgeries are as follows:

17th CENTURY -1601-1700- [Lifetime etchings] 

• 1 of 4 lifetime etchings: "Joseph and Potiphar's Wife, Print pulled in artist's lifetime,"
  
• 2 of 4 lifetime etchings: "Rembrandt with Plumed Hat and Lowered Sabre, Print pulled in artist's lifetime,"
  
• 3 of 4 lifetime etchings: "Self Portrait in Velvet Cap with Plume, Print pulled in artist's lifetime,"
  
• 4 of 4 lifetime etchings: "Student at a Table by Candlelight, Print pulled in artist's lifetime,"

 UNKNOWN

• 1 of 3 unknowns: "The Goldsmith, Print pulled possibly in artists lifetime," 
• 2 of 3 unknowns: "Self Portrait in a Flat Cap and Embroidered Dress, Print possibly pulled in the artist's lifetime," 
• 3 of 3 unknowns: "Christ Disputing with the Doctors, - Small Plate Print pulled - unknown,"

Rembrandt Harmenszoon van Rijn (15 July 1606 – 4 October 1669)

17th CENTURY -Posthumous- [Rembrandt is up to 31 years dead.]

• 1 of 36 forgeries: "Landscape with a Windmill, Print pulled in late-17th-century," 

18th CENTURY -1701-1800- [Rembrandt is 32-132 years dead.]

• 2 of 36 forgeries: "The Triumph of Mordecai, Restrike pulled in early-18th-century,"
• 3 of 36 forgeries: "Beggar Leaning on a Stick, Print pulled in mid-18th-century,"
• 4 of 36 forgeries: "Beggar Man and Woman Conversing, Print pulled in mid-18th-century," 
  
• 5 of 36 forgeries: "Beggar Warming his Hands at a Chafing Dish, Print pulled in mid-18th-century,"
• 6 of 36 forgeries: "Peasant Family on the Tramp, Restrike pulled in mid-18th-century,"
• 7 of 36 forgeries: "Beggar Man and Woman Conversing, Print puled in mid-18th-century," 
• 8 of 36 forgeries: "The Strolling Musicians, Restrike pulled in 18th-century," 
• 9 of 36 forgeries: "Abraham Speaking with Isaac, Restrike pulled in the 18th-century," 
• 10 of 36 forgeries: "Christ and the Woman of Samaria - Among Ruins, Print pulled in late-18th-century,"
• 11 of 36 forgeries: "Saint Jerome in a Dark Study, Restrike pulled in the late-18th-century,"

19th CENTURY -1801-1900- [Rembrandt is 132-232 years dead.]

• 12 of 36 forgeries: "Christ Disputing with the Doctors, Print pulled ca. 1812,"
• 13 of 36 forgeries: "Peasant Family on the Tramp, Restrike pulled in early-19th-century,"
• 14 of 36 forgeries: "Peasant Family on the Tramp, Print pulled in early-19th-century,"
  
• 15 of 36 forgeries: "Self Portrait in a Flat Cap and Embroidered Dress, Print possibly pulled in early-19th-century,"
• 16 of 36 forgeries: "Peasant in a High Hat, Leaning on a Stick, Print pulled in early-19th-century,"
• 17 of 36 forgeries: "Old Women Sleeping, Print pulled in early-19th-century," 
  
• 18 of 36 forgeries: "Old Bearded Man in High Fur Cap, Restrike pulled in 19th-century,"
• 19 of 36 forgeries: "Rembrandt with Curly Hair, Print pulled in late-19th-century,"
• 20 of 36 forgeries: "Self Portrait in Velvet Cap with Plume, Print pulled in late-19th-century,"
  

20th CENTURY -1901-2000- [Rembrandt is 232-332 years dead.]

• 21 of 36 forgeries: "Man in a High Cap, Restrike pulled in late-20th-century," 
• 22 of 36 forgeries: "Rembrandt's Mother with Hand on her Chest, Restrike pulled in late-20th-century," 
• 23 of 36 forgeries: "Christ Raising Lazarus, Restrike pulled in late-20th-century,"
  
• 24 of 36 forgeries: "Descent from the Cross, - Large Plate Restrike pulled in late-20th-century,"
  
• 25 of 36 forgeries: "Self Portrait in Velvet Cap with Plume, Restrike pulled in late-20th-century,"
  
• 26 of 36 forgeries: "Christ and the Woman of Samaria - Among Ruins, Restrike pulled in late-20th-century,"
• 27 of 36 forgeries: "The Schoolmaster, Restrike pulled in late-20th-century," 
• 28 of 36 forgeries: "The Card Player, Restrike pulled in late-20th-century,"
  
• 29 of 36 forgeries: "Landscape with Cow Drinking, Restrike pulled in late-20th-century,"
• 30 of 36 forgeries: "Rembrandt Drawing at the Window, Restrike pulled in late-20th-century,"
• 31 of 36 forgeries: "The Golf Player, Restrike pulled in late-20th-century,"
• 32 of 36 forgeries: "Old Man with Beard, Fur Cap and Velvet Cloak, Restrike pulled 1816 - modern edition,"
• 33 of 36 forgeries: "Joseph's Coat Brought Before Jacob, Restrike pulled 1816 - modern edition," 
• 34 of 36 forgeries: "Christ Crucified between the Two Thieves, - Oval Plate Restrike pulled 1816 - modern edition," 
• 35 of 36 forgeries: "Jan Antonedis Van Der Linden, Physician, Restrike pulled 1816 - modern edition, [and]"
  
• 36 of 36 forgeries: "The Agony in the Garden, Restrike pulled 1816 - modern edition."

 

"The Strolling Musicians, Etchings made in 1635, 2nd state of 2, Restrike pulled in 18th century." [PHOTO: Arlington Museum of Art's jpg with separate Caption List pdf]
NON-DISCLOSED POSTHUMOUS FORGERY IN THE ARLINGTON MUSEUM OF ART

Etching, Print made by Rembrandt, 1635 (circa), Height: 140 millimetres, Width: 116 millimetres, Acquisition date 1799, Acquisition name Bequeathed by Clayton Mordaunt Cracherode (L.607 with date 1788), "The strolling musicians; two musicians playing to young family who stand in their doorway, one playing the bagpipes, the other a hurdy-gurdy and holding a dog on a leash. c.1635"
http://www.britishmuseum.org/research/search_the_collection_database/search_object_details.aspx?objectid=755374&partid=1&searchText=strolling+musicians&fromADBC=ad&toADBC=ad&numpages=10&orig=%2fresearch%2fsearch_the_collection_database.aspx&currentPage=1
LIFETIME ETCHING BY REMBRANDT IN THE BRITISH MUSEUM

2. REWORKED AND ALTERED PLATES

Over the last 300 or more years, Rembrandt's etching plates have been posthumously and continuously reworked and altered either to fit the sensibilities of the printer and/or collector or to replace details worn away from the hundreds to thousands of posthumous impressions. Therefore aside the misrepresentation of posthumous impressions as an original works of visual art ie., etchings that are falsely attributed to a dead Rembrandt, the subsequent printing of those reworked and altered plates could -never- be considered  a posthumous impression from his plate, much less attributable as a Rembrandt and/or an etching.

The Museum Het Rembrandhuis ie., Rembrandt House Museum in Amsterdam, on their website, gives a brief history of the posthumous reworking and alteration of Rembrandt's etching plates: "The etching plates by Rembrandt that still survive have passed through numerous hands over the centuries. A large number of them came into the possession of the Amsterdam publisher and printseller Clement de Jonghe (1624-77). No fewer than 74 plates are listed in his estate. Many of these etching plates turn up in the 18th century in the estate of the Amsterdam merchant and collector Pieter de Haan (1723-66). After his death they were sold. Most of them went to engraver and Rembrandt connoisseur Claude-Henri Watelet (1718-86) in Paris.[FN 6]

WATELET REWORKED SOME OF THE PLATES

"Watelet reworked some of the plates with an etching or engraving technique in order to make new impressions from them. This happened much more often thereafter and people were not always very careful about it. They often added lines and sometimes even changed the composition.[FN 7]

BASAN AND OTHERS REWORKED PLATES

"After Watelet the plates were reworked and reprinted by their next owner, the printseller and publisher Pierre-François Basan (1723-97). In the 19th century they became the property of the French publisher Auguste Jean and after him of the engraver Auguste Bernard, both of whom brought out new impressions. In 1906 the Paris collector Alvin-Beaumont bought the plates from Auguste Bernard's son. To mark the tercentenary of Rembrandt's birth Alvin-Beaumont made a small number of impressions of each plate, which he presented to various dignitaries and museums. Shortly after 1916 the plates were inked and lacquered in order to make further printing impossible.[FN 8]

 ETCHING PLATES ON THE MARKET IN 1993

"After abortive negotiations with the Rijksmuseum and the British Museum, Alvin-Beaumont finally sold the etching plates in 1938 to the American collector Robert Lee Humber. He placed them on loan in the Raleigh Art Museum in North Carolina. In 1993 the heirs of Lee Humber, who had died in the meantime, put the etching plates on the art market. The assemblage that had remained intact up to then was broken up, passing into the hands of museums, dealers and private individuals all over the world."[FN 9]

[Subtitles mine]

“Self Portrait, Drawing At A Window, B. 22, Signed and dated Rembrandt f. 1648,  6-1/4"x 5-1/8", Fifth and final state, Posthumous Impression, 1998” [Millennium Impressions]   

http://www.collectionprivee.com/rembrandt/pages/Self_Portrait_Drawing_at_a_Window.htm
NON-DISCLOSED POSTHUMOUS FORGERY

Etching, Print made by Rembrandt, 1648, Height: 160 millimetres, Width: 130 millimetres, Acquisition date 1910, Acquisition name Bequeathed by George Salting, "Self-portrait of Rembrandt drawing at a window; facing front. 1648, Etching, drypoint and burin, Inscription Content: Lettered with Rembrandt's signature and dated, in top left, in drypoint: "Rembrandt f. 1648"."

http://www.britishmuseum.org/research/search_the_collection_database/search_object_details.aspx?objectid=756914&partid=1&searchText=rembrandt+drawing&fromADBC=ad&toADBC=ad&numpages=10&orig=%2fresearch%2fsearch_the_collection_database.aspx&currentPage=1
LIFETIME ETCHING BY REMBRANDT IN THE BRITISH MUSEUM

MILLENNIUM IMPRESSIONS
Eight of the so-called "etchings by Rembrandt," in the Arlington Museum of Art's Rembrandt: An Evolution of Etchings exhibition and listed as "Restrike pulled in the late-20th-century," are most likely part of the so-called "Millennium Impressions" collection of 20,000 or more non-disclosed posthumously reworked and altered forgeries with the same or similar titles to the ones in this exhibition:

1. "Man in a High Cap, Restrike pulled in late-20th-century," 
2. "Rembrandt's Mother with Hand on her Chest, Restrike pulled in late-20th-century," 
3. "Christ Raising Lazarus, Restrike pulled in late-20th-century,"
4. "Christ and the Woman of Samaria - Among Ruins, Restrike pulled in late-20th-century,"
5. "The Card Player, Restrike pulled in late-20th-century,"
6. "Landscape with Cow Drinking, Restrike pulled in late-20th-century,"
7. "Rembrandt Drawing at the Window, Restrike pulled in late-20th-century,"
8. "The Golf Player, Restrike pulled in late-20th-century,"

The -Millennium Impressions- is fancy phrase used to mask the proverbial flood of non-disclosed posthumous forgeries made from eight of those three centuries of reworked and altered Rembrandt etching plates sold in 1993 for the Robert Lee Humber's heirs by Artemis International of London to "noted Rembrandt expert and art dealer in New York" Robert Light."[FN 10]

In a 1994 Robert Light sold the plates to Howard Berger, who was to form Millennium Impressions. The Millenium Impressions consisted of a so-called "limited of 2500"[FN 11] for each of those eight  reworked and altered plates. Those subsequent 20,000 non-disclosed posthumous forgeries all received a so-called -Certificate of Authenticity-, with Marjorie Hunt Van Dyke printed name and what appears as her signature, that stated: "Intaglio Etchings LTD. hereby warrants that the work of art described herein is a genuine original etching printed directly from the copper etching plate created by Rembrandt Van Rijn."[FN 12]

Marjorie Hunt Van Dyke, was at least one of two printers, the other being Emiliano Sorrini who both printed these 20,000 non-disclosed posthumous forgeries between 1994 and after 1998.

Additionally, these so-called "Certificate of Authenticity" stated: "Posthumous Impression[s], 1998" and "The original copper etching plate created by Rembrandt has not been destroyed, effaced, altered, defaces or canceled. Authorized maximum: 2500."[FN 13]

Under U.S. Copyright Law’s 101. Definitions, a -work of visual art- is defined as: “a painting, drawing, print or sculpture, existing in a single copy, in a limited edition of 200 copies or fewer that are signed and consecutively numbered by the author.”[FN 14]

Under U.S. Copyright Law 101. Definitions, a -derivative work- is defined as an: "art reproduction"[FN 15] and under U.S. Copyright Law 106A. the "Rights of certain authors to attribution and integrity - shall not apply to any reproduction."[FN 16]

Ignoring for the moment, Rembrandt's etching plates have been reworked and altered for centuries, ignoring for the moment that under U.S. Copyright Law, much less ordinary sense, you can't make an original work of visual art ie., etching attributable to a dead  artist, much less a dead Rembrandt, and ignoring for the moment that for something to be considered a limited edition, it must be an work of visual art and  signed and numbered by the author which a dead Rembrandt could not,  the "Certificate of Authenticity has no address or telephone number listed, much less is it notarized as actually being signed by anyone, much less by a Marjorie Hunt Van Dyke. 

So, rhetorically, are these 20,000 COA[s] ie., -Certificates of Authenticity- for these 20,000 non-disclosed posthumous forgeries worth the paper they are printed on?

"Self Portrait in Velvet Cap with Plume, Etchings made in 1638, 1st state of 23, Print pulled in artist's lifetime." [PHOTO: Arlington Museum of Art's jpg with separate Caption List pdf]
1 OF 4 POSSIBLE LIFETIME ETCHINGS

3. REMBRANDT CREATED ETCHINGS

In the Arlington Museum of Art's  June 9th through August 12th, 2012 Rembrandt: An Evolution of Etchings exhibition, given the benefit of the doubt despite the troubling misrepresentation of at least 36 posthumous forgeries as original works of visual art ie., etchings  falsely attributed to a dead Rembrandt [d 1669], the museum seems to have at least four possible lifetime etchings created and printed by Rembrandt.

If these are actually authentic etchings by Rembrandt, how did he create them?

ARTIST USES ETCHING NEEDLE TO DRAW

This is answered by the Museum Het Rembrandhuis ie., Rembrandt House Museum in Amsterdam where the museum describes how Rembrandt preferred to use thin copper plates to create his etchings: "The etching process involves several stages. First the plate is covered with etching ground. This is a soft mixture of wax, resin and bitumen. The artist uses an etching needle to draw the design into this etching ground. As he draws each line, the etching ground is removed and the metal is exposed. When the drawing is finished, the plate is immersed in a bath of corrosive acid. The etching ground can withstand this, but in the areas that are exposed—in other words the lines of the drawing—the acid bites out part of the metal plate. The longer the plate remains in the acid, the deeper the lines are etched or bitten out into grooves.[FN 17]

ARTIST COVERS THE PLATE WITH PRINTING INK
"The plate is then taken out of the acid and the etching ground is removed. After this the artist covers the plate with printing ink. The plate is then cleaned again, so that ink remains only in the grooves. Now it is ready for printing. The plate, with a damp sheet of paper on top of it, is passed through a printing press. The press forces the paper into the grooves, so that it picks up the ink from them and the composition appears on it in reverse. This impression is called the first state. If changes are then made in the etching plate, for instance if lines are added, the next impression is called the second state and so on. Most of Rembrandt’s etchings exist in a number of states.[FN 18]

REMBRANDT ALTERED PLATES BY SCRATCHING DIRECTLY

"If Rembrandt made alterations in a plate, he often did so not with acid, but with a heavy needle, with which he scratched directly into the copper. This drypoint technique produces very dark, velvety lines, thanks to the burr, a little irregular ridge of metal that curls up as the line is incised. Rembrandt also used the burin, the engraver’s tool. The burin has a V-shaped point with which sharp lines can be gouged out of the metal. By combining these techniques Rembrandt achieved an unrivalled range and subtlety."[FN 19]

[Subtitles mine]

4. WHAT IS AND IS NOT AN ETCHING

"What is and is not an etching" means that even if you have an artists'  etching plates such as Rembrandt's etching plates, no original works of visual art ie., etchings can be printed from  those plates without that living  artist's, much less a living Rembrandt's, participation and approval.

ARTIST PARTICIPATION REQUIRED

That is confirmed in The Fifth Edition of the Artist`s Handbook of Materials and Techniques by Ralph Mayer, where the author wrote: "The major traditional graphic-arts processes of long standing and continued popularity are lithograph, etching, drypoint, woodcutting or wood engraving, aquatint, and soft-ground etching. ...The term `graphic arts` excludes all forms of mechanically reproduced works photographed or redrawn on plates; all processes in which the artist did not participate to his or her fullest capacity are reproductions."[FN 20]

The dead don't participate.

MADE AND APPROVED BY ARTIST

That is additionally confirmed by A GUIDE TO THE COLLECTING AND CARE OF ORIGINAL PRINTS sponsored by the The Print Council of America and authored by Carl Zigrosser and Christa M. Gaehde, where the authors wrote: "An original print is a work of art, the general requirements of which are: a. The artist alone has created the master image in or upon the plate, stone, wood block or other material, for the purpose of creating the print. b. The print is made from the said material, by the artist or pursuant to his directions. c. The finished print is approved by the artist."[FN 21]

The dead don't approve.

WHOLLY EXECUTED BY HAND  BY THE ARTIST

Furthermore, in U.S. Custom`s May 2006 An Informed Compliance Publication titled Works of Art, Collector`s Pieces Antiques, and Other Cultural Property, it states: "The expression original engravings, prints and lithographs means impressions produced directly, in black and white or in color, of one or of several plates wholly executed by hand by the artist, irrespective of the process or of the material employed by him, but excluding any mechanical or photomechanical process."[FN 22]

The dead don't execute. 

5. ARLINGTON MUSEUM OF ART'S AVARICE

The Arlington Museum of Art's "Fact Sheet," distributed to the news media for their June 9th through August 12th, 2012 Rembrandt: An Evolution of Etchings exhibition, make the following -representation-: "The Arlington Museum of Art presents etchings of Rembrandt Harmenszoon van Rijn (1606-1669). The exhibition examines the evolution of an etching from copper plates. While Rembrandt is widely known for his paintings, he is critically acclaimed for his mastery of the art of etching. - Of the three hundred or so known etchings by Rembrandt, the Arlington Museum of Art will show pieces from the four major themes of his work including self-portraits and portraits, biblical scenes, genre scenes and landscapes. The exhibition showcases some of the most celebrated etchings as well as some of the lesser known and rarely exhibited pieces."[FN 23]

On page 1303 of the Seventh Edition of Black’s Law Dictionary, -representation- is defined as: “A presentation of fact - either by words or by conduct - made to induce someone to act, esp to enter into a contract."[FN 24]
 

In the June 9th through August 12th, 2012 Rembrandt: An Evolution of Etchings exhibition, the Arlington Museum of Art's "Fact Sheet" makes the representation: "etchings of Rembrandt," "etching from copper plates," "his mastery of the art of etching," "his work," "celebrated etchings," and "exhibited pieces." 

On page 476 of the Seventh Edition of Black’s Law Dictionary,  -disclosure- is defined as: “The act or process of making known something that was previously unknown.”[FN 25]

So, when at least 36 of the 43 or almost 84 percent of the so-called "etchings by Rembrandt"  in this exhibition are non-disclosed posthumous forgeries hyped, for monetary consideration including but not limited to the $8 [each] price of adult admission, by the Arlington Museum of Art's executive director Chris Hightower ["a real estate agent and former City Council candidate"[FN 26]]  as an exhibition that "showcases some of the most celebrated etchings," should it be just be considered as just a lack of connoisseurship?

CONNOISSEURSHIP

In Paul Duro and Michael Greenhalgh’s published Essential Art History, -connoisseurship- is defined as: “that of the art expert able to distinguish between the authentic and non-authentic, for example between an original and a copy.”[FN 27]

6. TRUTH, RESOURCE ALLOCATION AND FRAUD
On page 816-817 of Kluwer Law International’s published 1998 Law, Ethics and the Visual Arts, Third Edition by John Henry Merryman and Albert E. Elsen wrote about “Counterfeit Art.”[FN 28]
 
Under the subtitle “Truth,” the authors wrote: “The most serious harm that good counterfeits do is to confuse and misdirect the search for valid learning.  The counterfeit  objects falsifies history and misdirects inquiry.”[FN 29]
 
Additionally, under the subtitle “Resource Allocation,” the authors wrote: “Museum and art historical resources are always limited. What gets acquired, displayed, conserved and studied is the result of a continuous process of triage, in which some objects can be favoured only at the expenses of others. Counterfeit objects distort the process.”[FN 30]  
 
Finally, under the subtitle “Fraud,” the authors wrote: “There remains the most obvious harm of all: counterfeit cultural objects are instruments of fraud. Most are created in order to deceive and defraud, but even “innocent” counterfeits can, and often will, be so used. The same considerations of justice and social order that make deliberate fraud of others kinds criminal apply equally to fraud through the medium of counterfeit art.” [FN 31]

SOURCE: http://arlingtonmuseum.org/exhibitions/rembrandt-an-evolution-of-etchings/


7. PROFESSIONAL PRACTICES IN MUSEUMS

On page 31 in the Association of Art Museum's published 2001 Professional Practices in Art Museum manual,  under the subtitle -Reproductions of Works of Art-, it states:  “misleading marketing of reproductions,  has created such widespread confusion as to require clarification in order to maintain professional standards. - museums must clearly indicate through the use of integral markings on the objects, as well as signs, labels and advertising, that these items are reproductions - signatures, edition numbers, and printer's symbols or titles must not appear in the reproduction if in the original they occur outside the borders of the image.”[FN 32]

Additionally, it states that "when advertising reproductions, museums should not use language implying that there is any identity of quality between the copy and the original or lead the potential buyer to believe that by purchasing any such reproduction, he or she is acquiring an original work of art."[FN 33]

Despite the Arlington Museum of Art's own "Rembrandt Packing List" disclosing 36 of the 43 so-called "etchings by Rembrandt," in the Rembrandt: An Evolution of Etchings exhibition, have posthumous dates ranging from late 17-century to late 20th-century, post-dating Rembrandt's death in 1669, the Arlington Museum of Art's published May 24, 2012 "Arlington Museum of Art hosts Rembrandt etchings " press release quotes the AMA Executive Director Chris Hightower stating; “While Rembrandt is widely known for his painting ability, he is critically acclaimed for his mastery of the art of etching, he was able to achieve dramatic detail while incorporating the use of light and dark."[FN 34]

The dead don't etch, much less achieve dramatic detail.

Yet, in the Fort Worth Star-Telegram's published June 4, 2012  "For art museum, two key men" article by Faye Reeder, the reporter quotes the Arlington Museum of Art director Chris Hightower stating: "We are so fortunate to get a show of this importance, and the significance for the museum is phenomenal?"[FN 35]
 

CONCLUSION
What needs to be accomplished is the full and honest disclosure to non-disclosed posthumous forgeries by all museums, auction houses, academia, galleries and art dealers. If the Arlington Museum of Art in their June 9th through August 12th, 2012 Rembrandt: An Evolution of Etchings exhibition, will give full and honest disclosure, it would allow consumer the potential to give informed consent on whether to attend an exhibition of non-disclosed posthumous forgeries, much less pay the $8 price of adult admission.

Failure to give full and honest disclosure to non-disclosed posthumous forgeries my bring potential serious consequences of law for those who chose to misrepresent those them for monetary consideration.

The reputations and legacy of living and past artists, present and future consumers ie. the art-buying public deserve the re-establishment of the obvious; that the living presence and participation of the artist to once again be required, as it always should have been, to create the piece of art attributable to the artist if indeed it is attributed to them, much less purported to have been signed by them.

Caveat Emptor!



PRINCIPALS:
Chris Hightower
Arlington Museum of Art
201 West Main Street
Arlington, Texas 76010
817.275.4600
director@arlingtonmuseum.org

Emile Mathis
curator


FORMER VENUES:
Dane Pollei
Director and Chief Curator
Mabee-Gerrer Museum of Art
1900 West MacArthur Drive, Shawnee, OK 74804
405-878-5622
dfpollei@mgmoa.org
Rembrandt Etchings: States, Fakes, and Restrikes
May 6 - June 26, 2011
"Probably the most imitated artist in history, the etchings of Rembrandt van Rijn underwent several states by the artist’s own hand.  The engraving plates were re-struck creating less valuable editions after Rembrandt’s death, and there are innumerable forgeries on the market.  This exhibition explores Rembrandt’s etchings and the history of restrikes and forgeries."
Excerpt from: www.mgmoa.org/exhibitions/rembrandt-etchings/

Dan Joyce
Director
Kenosha Public Museum
5500 First Ave.
Kenosha, WI 53140
262-653-4427
djoyce@kenosha.org
Rembrandt Etchings: States, Fakes, and Restrikes
December 4, 2010 - February 27, 2011
"The exhibit includes 30 etching created by Rembrandt, including first states pulls, various restrike editions from the 17th century on, pieces from the Millennium Edition of the late 20th century, and copies of Rembrandt etchings made by other artists from the 18th through 19th centuries. This exhibition made possible by Mathis Gallery and Conservation Framing, Racine."
Excerpt from: http://www.absolutearts.com/artsnews/2011/02/08/artspublish/2348910385.html

FOOTNOTES:
1. excerpt from the Arlington Museum of Art’s “Fact Sheet” for their June 9th through August 12th, 2012 Rembrandt: An Evolution of Etchings exhibition

2. Copyright © 1999, By West Group, ISBN 0-314-22864-0

3. Ibid

4. Ibid

5. From:    arlingtonmuseum@gmail.com on behalf of Arlington Museum of Art (ama@arlingtonmuseum.org)

Sent:    Fri 6/08/12 3:41 PM
To:     gary arseneau (gwarseneau@hotmail.com)
    Attachments:     1 attachment
    Rembrandt Packing List.xls (28.0 KB)

6. http://www.rembrandthuis.nl/index.php?item=137&lang=en

7. Ibid

8. Ibid

9 . Ibid

10. http://www.ebay.com/itm/REMBRANDT-VAN-RIJN-MILLENNIUM-IMPRESSIONS-8-ETCHINGS-GALLERY-FRAMED-W-CERT-RARE-/160802904804?pt=Art_Paintings&hash=item2570999ae4

11. Ibid

12. Ibid

13. Ibid

14. http://www.copyright.gov/title17/92chap1.html#101

15. Ibid

16  http://www.copyright.gov/title17/92chap1.html#106a

17. http://www.rembrandthuis.nl/index.php?item=123&lang=en

18. Ibid

19. Ibid

20. Copyright © 1991 by Bena Mayer, ISBN 0-06-461012-8 (pbk.)

21.© 1965 by Print Council of America, Library of Congress, Catalog Card Number: 65-24325, Seventh Printing, March, 1971

22. http://www.cbp.gov/xp/cgov/trade/legal/informed_compliance_pubs/

23. Arlington Musem of Art’s May 17, 2012 Release

24. Copyright © 1999, By West Group, ISBN 0-314-22864-0

25. Ibid

26. http://www.star-telegram.com/2012/06/04/4006912/for-art-museum-two-key-men.html
For art museum, two key men
Posted Monday, Jun. 04, 2012 Updated Monday, Jun. 04, 2012, By Faye Reeder, Special to the Citizen-Journal

27. rubens.anu.edu.au/htdocs/teach/eah/ImageServe

28. © Kluwer Law International 1998, ISBN: 90-411-0697-9

29. Ibid

30. Ibid

31. Ibid


32. Copyright 2001 by the Association of Art Museum Directors, ISBN: 1-880974-02-9


33. Ibid


34. http://arlingtonnewsnetwork.com/showstory.cfm?ID=2269
 
35.  http://www.star-telegram.com/2012/06/04/4006912/for-art-museum-two-key-men.html

ADDENDUM:

[Arlington Museum of Art's Rembrandt: An Evolution of Etchings exhibition checklist]

Title Given by Lender Print made

"Man in a High Cap" Restrike pulled in late 20th century

"Christ Disputing with the Doctors" - Small Plate Print pulled - unknown

"Beggar Leaning on a Stick" Print pulled in mid 18th century

"Beggar Man and Woman Conversing" Print pulled in mid 18th century

"Beggar Warming his Hands at a Chafing Dish" Print pulled in mid 18th century

"Rembrandt's Mother with Hand on her Chest" Restrike pulled in late 20th century

"Rembrandt with Curly Hair" Print pulled in late 19th century

"Old Man with Beard, Fur Cap and Velvet Cloak" Restrike pulled 1816 - modern edition

"Christ Raising Lazarus" Restrike pulled in late 20th century

"Joseph's Coat Brought Before Jacob" Restrike pulled 1816 - modern edition

"Descent from the Cross" - Large Plate Restrike pulled in late 20th century

"Joseph and Potiphar's Wife" Print pulled in artist's lifetime

"Rembrandt with Plumed Hat and Lowered Sabre" Print pulled in artist's lifetime

"Christ and the Woman of Samaria - Among Ruins" Restrike pulled in late 20th century

"Christ and the Woman of Samaria - Among Ruins" Print pulled in late 18th century

"Old Bearded Man in High Fur Cap" Restrike pulled in 19th century

"The Strolling Musicians" Restrike pulled in 18th century

"Old Women Sleeping" Print pulled in early 19th century

"Self Portrait in Velvet Cap with Plume" Print pulled in artist's lifetime

"Self Portrait in Velvet Cap with Plume" Restrike pulled in late 20th century

"Self Portrait in Velvet Cap with Plume" Print pulled in late 19th century

"Self Portrait in a Flat Cap and Embroidered Dress" Print possibly pulled in the artist's lifetime

"Self Portrait in a Flat Cap and Embroidered Dress" Print possibly pulled in early 19th century

"Peasant in a High Hat, Leaning on a Stick" Print pulled in early 19th century

"The Triumph of Mordecai" Restrike pulled in early 18th century

"Christ Crucified between the Two Thieves" - Oval

Plate Restrike pulled 1816 - modern edition

"The Schoolmaster" Restrike pulled in late 20th century

"The Card Player" Restrike pulled in late 20th century

"Landscape with a Windmill" Print pulled in late 17th century

"Saint Jerome in a Dark Study" Restrike pulled in the late 18th century

"Student at a Table by Candlelight" Print pulled in artist's lifetime

"Abraham Speaking with Isaac" Restrike pulled in the 18th century

"Rembrandt Drawing at the Window" Restrike pulled in late 20th century

"Landscape with Cow Drinking" Restrike pulled in late 20th century

"Peasant Family on the Tramp" Restrike pulled in mid 18th century

"Peasant Family on the Tramp" Restrike pulled in early 19th century

"Peasant Family on the Tramp" Print pulled in early 19th century

"Christ Disputing with the Doctors" Print pulled ca. 1812

"The Golf Player" Restrike pulled in late 20th century

"The Goldsmith" Print pulled possibly in artists lifetime

"The Agony in the Garden" Restrike pulled 1816 - modern edition

"Jan Antonedis Van Der Linden, Physician" Restrike pulled 1816 - modern edition