Double Standard, forgeries in the University of Richmond and its Joel and Lila Harnett Museum of Art's collection and exhibitions

NOTE: Footnotes are enclosed as [FN ].

Auguste Rodin (French, 1840-1917), Three Faunesses, 1896 (cast 1959), bronze, 9 1/4 x 11/1/2 x 6 1/2 inches, Lent by the Iris & B. Gerald Cantor Foundation

http://museums.richmond.edu/exhibitions/page.html?eventid=10501&informationid=casDataMuseumExhibition,startdate:2016-08-24,enddate:2016-12-04

NON-DISCLOSED POSTHUMOUS FORGERY

The Rodin, The Human Experience: Selections from the Iris and B. Gerald Cantor Collections exhibition at the University of Richmond's Joel and Lila Harnett Museum of Art contains 29 non-disclosed posthumous [1925-1995] 2nd-generation-removed bronze forgeries with counterfeit "A Rodin" signatures in bogus editions.

This February 1, 2000 fax from the Musee Rodin Conservateur ca chef charge des sculptures Antoinette Romain confirmed the Musee Rodin's posthumous practice of using posthumous plasters for casting instead of Auguste Rodin's lifetime plasters.

“In response to your fax of 26 January, I precise that when the edition of a new subject shall be decided, we derive a new ordeal in the molds that our listings have to avoid sending the originals platres a foundry. These molds are the molds of Rodin, and we therefore provide a perfect fidelity. This way the original plasters remain intact.” [Google Translate]

Musee Rodin curator Antoinette Le Normand-Romain
[February 1, 2000 FAX]

In other words, to belabor the devastatingly obvious, the Musee Rodin posthumous bronzes are not even cast i.e., reproductions of Auguste Rodin's original lifetime plasters but posthumous bronzes cast from posthumous plaster reproductions.

Anything posthumously cast is at best a reproduction, not a sculpture. Reproductions are copies of original works of visual art that are done by someone other than the original artist. Sculptures are original works of visual art created by hand by the artist. As tragic as the death of an artist may be for their family, friends, colleagues and other interested parties, their career as an artist is ended.

Unfortunately, that doesn't deter the Iris and B. Gerald Cantor Foundation from promoting in their published collection catalogues and exhibition checklists the non-disclosed posthumous application of the artist name as "Signed A. Rodin" and/or as Auguste Rodin's signature. Therefore creating the false impression of the artist's participation and/or approval. 

Then to go from bad to worse, even if Auguste Rodin's original lifetime plasters were signed by him the subsequent posthumous reproduction in plaster would not have his signature but a copy of his signature and the posthumous bronze cast from that posthumous plaster would have a copy of a copy of his signature. Signature by definition means autographed by the person's own [living] hand.

Then these non-disclosed second-generation-removed forgeries with counterfeit "A. Rodin" signatures in bogus editions are laundered the Iris and B. Gerald Cantor Foundation through museum and cultural venues to give them the illusion of authenticity that participating museum professionals and academia bestow, with or without intent, with their exhibition.

For example, on the Joel and Lila Harnett Museum of Art's website, it states: "On view August 17 through December 4, 2016, in the Joel and Lila Harnett Museum of Art, Rodin, The Human Experience: Selections from the Iris and B. Gerald Cantor Collections features thirty-two bronze sculptures by French artist Auguste Rodin (1840-1917) examining the artist’s fascination with the human figure and the body in motion. Included are selections representing some of Rodin’s most famous works illustrating both the evolution of the artist and of his craft. The exhibition commemorates the centennial anniversary of the sculptor’s death in 1917. - Highlights of the exhibition include Saint John the Baptist Preaching, Monumental Torso of the Walking Man which is an homage to Michelangelo, studies for the monuments to Balzac and for The Burghers of Calais, and works from his masterpiece The Gates of Hell."[FN 1]

Rhetorically, how can anything be "by French artist Auguste Rodin" if he was dead [d 1917] when they were made between 1925 and 1995?

On page 661 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 genuine."[FN 2]

Yet, the Joel and Lila Harnett Museum of Art would have the public believe and act on the belief that its "mission is to be a forum for the visual arts from various times and cultures. This is accomplished by bringing outstanding national and international art to campus, shaping, preserving, and interpreting a permanent collection that supports exhibitions, teaching, and research, and offering audiences diverse opportunities to experience art."[FN 3]

How can the public "experience art," if the work attributed to dead Auguste Rodin has not even experience it?

On page 506 of the Seventh Edition of Black's Law Dictionary, double standard is defined as: "A set of principles permitting greater opportunity or greater lenience for one class of people than for another."[FN 4]

Is the Lila Harnett Museum of Art "permitting greater opportunity" for the Iris and B. Gerald Cantor Foundation when they allow an exhibition non-disclosed posthumous 2nd-generation-removed forgeries with counterfeit "A Rodin" signatures in bogus edition to be misrepresented as "sculptures by the French artist Auguste Rodin?" 

Rhetorically, what would happen if a "one class of people" for example a University of Richmond student who brought something to class they did not create, much less sign and tried to pass it off as if they did and got caught?

This monograph documents this hubris.

RODIN, THE HUMAN EXPERIENCE

On the Joel and Lila Harnett Museum of Art's website, it states: "On view August 17 through December 4, 2016, in the Joel and Lila Harnett Museum of Art, Rodin, The Human Experience: Selections from the Iris and B. Gerald Cantor Collections features thirty-two bronze sculptures by French artist Auguste Rodin (1840-1917) examining the artist’s fascination with the human figure and the body in motion. Included are selections representing some of Rodin’s most famous works illustrating both the evolution of the artist and of his craft. The exhibition commemorates the centennial anniversary of the sculptor’s death in 1917."[FN 5]

Twenty-nine of the so-called "bronze sculptures by French artist Auguste Rodin (1840-1917)" are actually non-disclosed posthumous [1925-1995] second-generation-removed forgeries with counterfeit "A Rodin" signatures in bogus editions. Here is their chronological order:

1925 
1 OF 29 Posthumous Forgeries 

[Iris and B. Gerald Cantor Foundation's Rodin: Figures Checklist] 

• “Artist RODIN, AUGUSTE, Title SAINT JOHN THE BAPTIST PREACHING, Date cast 1925 (MR cast for Mastbaum), Medium bronze, Dimensions 31 1/2 x 19 x 9 1/2 in., Foundry Alexis Rudier, Cast Musée Rodin cast, unknown number and edition, 1925, Weight 100 lbs., Dims w base/frame no base, Patina black and brown, Inscriptions Marked: "A. Rodin," "Alexis RUDIER..Fondeur PARIS," and stamped "A. Rodin,” Owner Iris Cantor as Trustee of the Iris Cantor Trust,   Crate # 44, CC ID# 1726, Executed about 1880”

On page 184 of the Iris and B. Gerald Cantor Foundation’s published 2001 Rodin, A Magnificent Obsession catalogue, is listed St. John the Baptist Preaching, cast in 1926  by the Alexis Rudier foundry and listed as  “Signed  A. Rodin.”[FN 6] 

Auguste Rodin died in 1917. The dead don't sign.

1952 
2 OF 29 Posthumous Forgeries 

[Iris and B. Gerald Cantor Foundation's Rodin: Figures Checklist] 

• “Artist RODIN, AUGUSTE, Title IRIS, MESSENGER OF THE GODS, Date cast Unknown, Medium bronze, Dimensions 18 x 18 1/4 x 7 1/2 in., Foundry Georges Rudier, Cast after 1952,, cast number unknown, Weight 70 pounds, Dims w base/frame 20.25 x 18 1/4 x 98.75 in. Base alone is 2.25 x 11.75 x 8.75”, Patina green with some brown, Inscriptions Signed, "A. Rodin" and inscribed, “GeorgeRudier. Fondeur. Paris" on soles of feet., Owner Iris Cantor as Trustee of the Iris Cantor Trust, Crate # 61, CC ID# 1607, Executed 1891”

On page 454 of the Bronzes of Rodin, for the Iris, Messenger of the Gods, it states: “40.3 x 41 x 19.1 cm - ten casts between 1945 and 1965, the first few by Alexis Rudier - then by Georges Rudier [New York, Metropolitan Museum of Art, gift of B. Gerald Cantor Art Foundation, 1981; Los Angeles, Cantor Coll.].”[FN 7] The Georges Rudier foundry went into business in 1952.

1955 
3 OF 29 Posthumous Forgeries 

[Iris and B. Gerald Cantor Foundation's Rodin: Figures Checklist] 

• “Artist RODIN, AUGUSTE, Title THE BENEDICTIONS, Date cast 1955, Medium bronze, Dimensions 35.5 x 24 x 19 in., Foundry Georges Rudier, Cast Musée Rodin cast, number and edition unknown, 1955, Weight 220 lbs., 84.7 kg., Dims w base/frame no base, Patina dark brown. Inscriptions Marked: "A. Rodin," "Georges Rudier Fondeur Paris," "©by Musée Rodin 1955,” Owner Iris & B. Gerald Cantor Foundation, Crate # 41, CC ID# 1386, Executed 1894”

On page 183 of the Iris and B. Gerald Cantor Foundation’s published Rodin, A Magnificent Obsession catalogue, The Benedictions is listed as: “1894, Musee Rodin cast in 1955, Bronze, Georges Rudier, 35 1/2 x 24 x 19 in. (90.2 x 61 x 48.3 cm),  Signed A. Rodin and inscribed Georges Rudier Fondeur Paris and ©  by Musee Rodin 1955,  Iris and B. Gerald Cantor Foundation 1386.”[FN 8]

Auguste Rodin died in 1917.

Aside from the fact Auguste Rodin was some 38 years dead in 1955 when this non-disclosed posthumous forgery The Benedictions was "Signed A. Rodin," the Iris and B. Gerald Cantor Foundation's "Checklist," for their 1998 Rodin: Sculpture from the Iris and B. Gerald Collection exhibition at the Nevada Museum of Art, lists this same The Benedictions as having an "Insurance value: $150,000.”[FN 9]

AFTER 1952 
4 OF 29 Posthumous Forgeries 

[Iris and B. Gerald Cantor Foundation's Rodin: Figures Checklist]

• “Artist RODIN, AUGUSTE, Title DANCE MOVEMENT D, Date cast Unknown, Medium bronze, Dimensions 12 3/4 x 4 1/4 x 3 5/8 in., Foundry Alexis Rudier?, Cast marked No. 1, edition size and date unknown., Weight 25 lbs., 11.3 kg., Dims w base/frame 16.25 x 4.25 x 3.7" Base alone is 3.5 x 3/25 x 3.25”, Patina olive green and brown, Inscriptions Marked: "Rodin / No. 1" on sole of her right foot., Owner Iris & B. Gerald Cantor Foundation, Crate # 45, CC ID# 1469, Executed about 1910-11”

On page 185 of the Iris and B. Gerald Cantor Foundation’s published Rodin, A Magnificent Obsession catalogue, Dance Movement ‘D’ is listed as: “c 1910-11 date of cast unknown, Bronze, No foundry mark, 12 3/4 x 4 1/4 x 3 5/8 in. (32.4 x 10.8 x 9.2 cm), Signed and numbered Rodin/No. 1, Iris and B. Gerald Cantor Foundation, 1469.”[FN 10]

On page 536 of the Musee Rodin's published 2007 Bronzes of Auguste Rodin by its former curator Antoinette Le Normand-Romain, it states a "foundry model" was used between 1952 and 1956 by the Alexis Rudier and Georges Rudier foundries for casting 13 (No. 0-12) Dance Movement 'D' in bronze. The Musee Rodin has "No. 0" in their collection and the “No. 1" is listed as "probably" in the Iris and B. Gerald Cantor Foundation's collection.[FN 11]

1959 
5 OF 29 Posthumous Forgeries 

[Iris and B. Gerald Cantor Foundation's Rodin: Figures Checklist]  

• “Artist RODIN, AUGUSTE, Title THREE FAUNESSES, Date cast, Medium Bronze, Dimensions 9 1/4 x 11 1/2 x 6 1/2 in., Foundry Georges Rudier, Cast Musée Rodin cast, number and edition unknown, 1959, Weight 50 lbs., Dims w base/frame 10.25 x 12.25 x 7.75 inches., Base alone is 1 x 11.7 x 7.5”, Patina reddish brown, Inscriptions Marked: "A. Rodin," "G. Rudier Fondeur Paris," “© by musée Rodin 1959”, Owner Iris & B. Gerald Cantor Foundation, Crate # 79, CC ID# 1596, Executed before 1896”

In an attempt to wrap mythology around this non-disclosed forgery to mask its inauthenticity, the Iris and B. Cantor Foundation, on their website, wrote: 

• “Now on view at the Nelson-Atkins Museum in Kansas City, Rodin’s Three Faunesses is a titillating and revealing example of the delight the sculptor took in his work and of the way in which he created his finished pieces.
  
  
  “The bronze, just over 9 inches tall, is an assemblage – in this case the repetition of a single figure, making an entirely new piece.  The fauness began her life about 1882 as a small but provocative detail of The Gates of Hell.  Sometime before 1896 Rodin replicated the plaster figure three times, then combined the three figures in a circle to make a new bronze independent of The Gates.  The Foundation’s authorized posthumous cast was made by the Georges Rudier Foundry in 1959.
  
  
  “A fauness is a creature from Roman mythology (like a satyress), a minor and sensual rural goddess who usually has the body of a woman and the tail and ears of a goat. Rodin’s figures are entirely woman.  Despite each figure’s small size, in combination their allusions to sensual pagan dances and to women who delightfully use their bodies to provoke, point to Rodin’s interest in erotic themes and forms.  Eroticism not only pleased the sculptor, but also pleased his patrons and critics.
  
  
  “Rodin scholar Antoinette Romain says of the 1882 source figure, “this seems to have been one of Rodin’s favorite figures.”  Of the Three Faunesses,  she notes he always kept a cast of it close to him in his residence in Meudon.”[FN 12]

1966 
6 OF 29 Posthumous Forgeries 

[Iris and B. Gerald Cantor Foundation's Rodin: Figures Checklist] 

• “Artist RODIN, AUGUSTE, Title LARGE CLENCHED LEFT HAND, Date cast, Medium Bronze, Dimensions 18 1/4 x 10 3/8 x 7 5/8 in., Foundry Georges Rudier, Cast Musée Rodin cast 3/12, 1966, Weight 40 lbs., 18.1 kg., Dims w base/frame no base, Patina dark brown/black w/ olive green, Inscriptions Marked: "A. Rodin," "©by Musée Rodin 1966”, Owner Iris & B. Gerald Cantor Foundation, Crate # 81, CC ID# 2120, Executed Modeled about 1885”

On the Iris and B. Gerald Cantor Foundation’s website, this same Clenched Left Hand is listed as “Originally modeled in 1906, Size: 18 ¼ 10 3/8 x 7 5/8 inches” with no disclosure it was cast in 1966.[FN 13]

"Originally modeled in 1906" is a red herring because if has nothing to do with this non-disclosed posthumous [1966] forgery with a counterfeit "A Rodin" signature. 

1966 
7 OF 29 Posthumous Forgeries 

[Iris and B. Gerald Cantor Foundation's Rodin: Figures Checklist] 

• “Artist RODIN, AUGUSTE, Title LARGE HAND OF A PIANIST, Date cast, Medium bronze, Dimensions 7 1/4 x 10 x 4 7/8 in., Foundry Georges Rudier, Cast Musée Rodin cast 9/12 , 1969, Weight 20 lbs., 9.1 kg., Dims w base/frame, 8.75 x 10 x 5.2'. Base alone 1.5 x 8.75 x 5.2, Patina very dark brown w/ green, Inscriptions Marked: "A. Rodin No 9," "Georges Rudier. Fondeur.Paris.-," "©by musée Rodin1969,” Owner Iris & B. Gerald Cantor Foundation, Crate # 79, CC ID# 1488, Executed 1885”

On page 187 of the Iris and B. Gerald Cantor Foundation’s published 2001 Rodin, A Magnificent Obsession catalogue, is listed Large Left Hand of a Pianist cast  9/12 in 1969  by the Georges Rudier foundry and listed as  “Signed and numbered A. Rodin No. 9.”[FN 14] In a July 29, 1997 checklist for The Hands of Rodin, A Tribute to B. Gerald Cantor exhibition at Brigham Young University, this bronze is listed with an Insurance Value of $55,000.

1970 
8 OF 29 Posthumous Forgeries 

[Iris and B. Gerald Cantor Foundation's Rodin: Figures Checklist] 

• “Artist RODIN, AUGUSTE, Title JEAN D'AIRE, SECOND MAQUETTE, Date cast G, Medium bronze, Dimensions 27 1/2 x 9 1/2 x 9 3/4 in., Foundry Susse, Cast Musée Rodin cast 1/12, 1970, Weight 90 lbs., 40.8 kg., Dims w base/frame no base, Patina dark brown w/ warm brown undertones, Inscriptions Marked: "A. Rodin," "Susse Fondeur Paris," "© by Musée Rodin 1970,” Owner Iris & B. Gerald Cantor Foundation, Crate # 7, CC ID# 16100, Executed 1885-86”

"Executed 1885-86" is another red herring because it is a non-disclosed posthumous [1970] forgery with a counterfeit "A Rodin" signature.
1973 
9 OF 29 Posthumous Forgeries 

[Iris and B. Gerald Cantor Foundation's Rodin: Figures Checklist] 

• “Artist RODIN, AUGUSTE, Title STANDING FEMALE NUDE COMBING HER HAIR, Date cast 1973, Medium Bronze, Dimensions 11 x 5 x 5 inches, Foundry Georges Rudier, Cast Musée Rodin cast 5/12, 1973, Weight 25 lbs., Dims w base/frame no base (confirmed), Patina black w/ green undercoat, Inscriptions Marked: "A. Rodin No 5," ".Georges Rudier.Fondeur. Paris," "© by musée Rodin 1973," "A. Rodin”, Owner Iris and B. Gerald Cantor Foundation, Crate # 49, CC ID# 567, Executed after 1898”

Red herrings are everywhere in the Iris and B. Gerald Cantor Foundation's checklist for their Rodin: The Human Experience collection. The posthumous casting in 1973 from a posthumous plaster reproduction with a posthumously applied counterfeit "A Rodin" signatures has absolutely nothing to do with the phrase "Executed after 1898" other than to potentially confuse the viewer.


1973 or later 
10 OF 29 Posthumous Forgeries 

[Iris and B. Gerald Cantor Foundation's Rodin: Figures Checklist]

• “Artist RODIN, AUGUSTE, Title MASK OF THE MAN WITH THE BROKEN NOSE, Date cast Unknown, Medium bronze, Dimensions 18 x 7.5 x 7 in. (One piece mask and base), Foundry Coubertin, Cast date and number unknown, Musée Rodin, Weight 50 pounds, Dims w base/frame 18 x 7.5 x 7 in. (one piece mask and base), Patina reddish/mahogany, Inscriptions Inscribed on PR bottom edge of base "DON A MR CANTOR" and " (c) Musée Rodin". Coubertin stamp., Owner Iris Cantor as Trustee of the Iris Cantor Trust, Crate # 58, CC ID# 148000, Executed 1863-64”

The Coubertin Foundry went into business in 1963 and began working with the Musee Rodin in 1973. So, listing the “Date cast Unknown” is -at best- problematic. Finally, B. Gerald Cantor was born in 1916, one year before Auguste Rodin’s death in 1917. It is safe to say they probably never met. 

1975 
11 OF 29 Posthumous Forgeries 

[Iris and B. Gerald Cantor Foundation's Rodin: Figures Checklist]

• “Artist RODIN, AUGUSTE, Title DESPAIRING ADOLESCENT, Date cast 1975, Medium bronze, Dimensions 17 1/2 x 6 x 5 3/4 in., Foundry Godard, Cast Musèe Rodin cast 3/12, 1975, Weight unknown, Dims w base/frame 19.5 x 6.75 x 6.25 in. Two step base: see photo. Total height of base: 2 in. Largest W and D of base: 6.25 in. each., Patina dark brown w/ black undertones, Inscriptions Signed and numbered,"A. Rodin No 3" and inscribed, "E. GODARD Fondr” and (c) BY MUSÉE RODIN 1975,” Owner Iris Cantor as Trustee of the Iris Cantor Trust, Crate # 58, CC ID# 583, Executed 1882”

Rhetorically in 1975, could a dead Auguste Rodin "signed and numbered" anything?

1975 
12 OF 29 Posthumous Forgeries 

[Iris and B. Gerald Cantor Foundation's Rodin: Figures Checklist]

• “Artist RODIN, AUGUSTE, Title MONUMENTAL HEAD OF JEAN D’AIRE, Date cast 1978?, Medium bronze, Dimensions 26 3/4 x 19 7/8 x 22 1/2 in., Foundry Georges Rudier, Cast cast 5/12, 1975, Weight 200 lbs., Dims w base/frame no base, Patina very dark brown w/ green undertones, Inscriptions Signed and numbered "A. Rodin No 5" on base and inscribed "Georges Rudier Fondeur Paris" on back., Owner Iris Cantor as Trustee of the Iris Cantor Trust, Crate # 59, CC ID# 1363, Executed About 1908-09, enlarged 1909-10”

On page 179 of the Iris and B. Gerald Cantor Foundation’s published 2001 Rodin, A Magnificent Obsession catalogue, is listed  Monumental Head of Jean d’Aire with date of cast unknown  by the Georges Rudier foundry and listed as  “Signed and numbered A. Rodin No. 5.”[FN 15] Since, the Georges Rudier foundry went into business in 1952, it could not have been signed and numbered  by a dead Auguste Rodin.

1978 
13 OF 29 Posthumous Forgeries 

[Iris and B. Gerald Cantor Foundation's Rodin: Figures Checklist]

• “Artist RODIN, AUGUSTE, TitleDAMNED WOMEN (or Women Damned), Date cast, Medium bronze, Dimensions 8 x 10 3/4 x 5 in., Foundry Coubertin, Cast Musée Rodin cast 2/12, about 1978, Weight 50 lbs., Dims w base/frame 11 x 13 x 6.25". Base alone is 3 x 13 x 6.25”, Patina very dark brown, Inscriptions Signed and numbered, "A. Rodin 2/12" and inscribed, "(c) musée Rodin,” No date noted., Owner Iris & B. Gerald Cantor Foundation, Crate # 79, CC ID# 1603, Executed about 1885”

On page 365 of the Musee Rodin's published 2007 Bronzes of Rodinthere are fourteen casts of the Damned Women listed. Rhetorically, if the Musee Rodin and the Iris and B. Gerald Cantor Foundation can't seem to count for an edition of twelve, should you count on anything they say?

1978 
14 OF 29 Posthumous Forgeries 

[Iris and B. Gerald Cantor Foundation's Rodin: Figures Checklist]

• “Artist RODIN, AUGUSTE, Title APHRODITE (or VENUS), Date cast 1978, type, Medium bronze, Dimensions 40 1/2 x 7 1/2 x 11 1/2 in., Foundry Godard, Cast Musée Rodin cast 9/12, 1978, Weight 65 Lbs., Dims w base/frame 42.75 x 8.2 x 11.5". Base alone is 2.25 x 8.2 x 7.25”, Patina dark brown w/ olive green, Inscriptions Marked: "A.Rodin No 9," "E.GODARD Fondr," “© BY MUSÉE RODIN 1978”, Owner Iris & B. Gerald Cantor Foundation, Crate # 48, CC ID# 1599, Executed about 1888”

On page 134 of the Musee Rodin's published 2007 Bronzes of Rodin there are thirteen casts of the Aphrodite listed. Since when does 13 go into an edition of 12 other than for a baker?

1978 
15 OF 29 Posthumous Forgeries 

[Iris and B. Gerald Cantor Foundation's Rodin: Figures Checklist]

• “Artist RODIN, AUGUSTE, Title STUDY FOR TORSO OF THE WALKING MAN, Date cast 1979, Medium bronze, Dimensions 20 1/2 x 10 3/4 x 8 in., Foundry Coubertin, Cast Musée Rodin cast 10 /12, 1979, Weight 40 lbs., Dims w base/frame 22.5 x 10.75 x 8". Base alone is 2 x 7.5 x 6.5”, Patina brown w/ green, Inscriptions Marked: "A. Rodinno 10," "© By Musee Rodin 1979,” Owner Iris & B. Gerald Cantor Foundation, Crate # 50, CC ID# 1516, Executed 1878-79”

On page 421 of the Musee Rodin's published 2007 Bronzes of Rodin there are thirteen casts of The Walking Man, Study for the Torso listed.  It states the first cast was probably exhibited in 1889 with  an additional twelve cast by the Coubertin Founday between 1979 and 1980. Once again, since when does 13 go into an edition of 12 other than for a baker?

1979 
16 OF 29 Posthumous Forgeries 

[Iris and B. Gerald Cantor Foundation's Rodin: Figures Checklist] 

• “Artist RODIN, AUGUSTE, Title MEDITATION (WITH ARMS), Date cast 1979, Medium bronze, Dimensions 62 x 31 x 26 in., Foundry Coubertin, Cast Musèe Rodin cast 8/12, 1979, Weight 500 lbs., Dims w base/frame no Base, Patina warm brown, Inscriptions Signed and numbered, "A. Rodin No 8" and inscribed, "FONDERIE DE COUBERTIN" and "c" by Musee Rodin 1979,” Owner Iris Cantor as Trustee of the Iris Cantor Trust, Crate # 40, CC ID# 6540, Executed about 1880; enlarged about 1896”

Signed and numbered "A Rodin" in 1979? Auguste Rodin died in 1917. Is this the same Iris and B. Gerald Cantor Foundation that would have public believe and act on the belief that "the Cantor Foundation continues to fund research on Rodin and related topics by scholars, young as well as advanced.  This research has added to our appreciation for the artist’s achievements?" [http://www.cantorfoundation.org/foundation/rodin-and-the-cantor-foundation/]

Since when do the dead continue to have achievements?  

1981 
17 OF 29 Posthumous Forgeries 

[Iris and B. Gerald Cantor Foundation's Rodin: Figures Checklist]  

• “Artist RODIN, AUGUSTE, Title IXELLES IDYLL,Date cast 1981, Medium bronze, Dimensions 21 x 14 5/8 x 14 5/8 in., Foundry Coubertin, Cast Musée Rodin cast 4/8, 1981, Weight 50 lbs., 22.7 kg., Dims w base/frame no base, Patina brown and black, Inscriptions Marked: "A. Rodin," "No. 4," " by Musée Rodin 1981,” Owner Iris & B. Gerald Cantor Foundation, Crate # 52, CC ID# 1682, Executed 1883-84”

In the Iris and B. Gerald Cantor Foundation’s published 2001 Rodin, A Magnificent Obsession catalogue their Idyll of Ixelles is listed as: "1885, Musee Rodin, cast 4/8 in 1981, Bronze, Coubertin, 21 x 14 5/8 x 14 5/8 in. (53.3 x 37.1 x 37.1 cm), Signed and numbered A. Rodin No. 4 with Coubertin foundry mark and inscribed © by Musee Rodin 1981, Iris and B. Gerald Cantor Foundation, 1682 (plate 13)"[FN 16]

1982 
18 OF 29 Posthumous Forgeries 

[Iris and B. Gerald Cantor Foundation's Rodin: Figures Checklist]

• “Artist RODIN, AUGUSTE, Title FALLEN CARYATID WITH URN, Date cast, Medium bronze, Dimensions 45 1/4 x 36 3/4 x 31 1/8 in., Foundry Coubertin, Cast Musée Rodin cast 4/8, 1982, Weight 400 lbs., Dims w base/frame no base, Patina warm brown, Inscriptions Signed and numbered,"A. Rodin No 4" and inscribed, "(c) By Musee Rodin" 1982, Owner Iris Cantor as Trustee of the Iris Cantor Trust, Crate # 62, CC ID# 1221, Executed 1883, enlarged 1911-17”

1982 
19 OF 29 Posthumous Forgeries 

[Iris and B. Gerald Cantor Foundation's Rodin: Figures Checklist]

• “Artist RODIN, AUGUSTE, Title FALLEN CARYATID WITH STONE, Date cast, Medium bronze, Dimensions 52 1/2 x 33 x 39 in., Foundry Coubertin, Cast Musée Rodin cast 2/8, 1982, Weight 600 lbs., Dims w base/frame no base, Patina warm brown, Inscriptions Signed and numbered,"A. Rodin No. 2/8" and inscribed, "(c) Musee Rodin 1982”, Owner Iris Cantor as, Trustee of the Iris Cantor Trust, Crate # 63, CC ID# 1207, Executed 1880-81, enlarged 1911- 17”

1983 
20 OF 29 Forgeries 

[Iris and B. Gerald Cantor Foundation's Rodin: Figures Checklist]  

• “Artist RODIN, AUGUSTE, Title THE NIGHT (DOUBLE FIGURE), Date cast 1983, Medium bronze, Dimensions 10 1/4 x 6 x 6 in., Foundry Godard, Cast Musée Rodin cast I/IV, 1983, Weight 30 lbs., Dims w base/frame 11 1/2 x 6 x 6 in. (Base is 1.25 x 4.4 x 3.5”), Patina dark brown, Inscriptions Marked: "A. Rodin," “No  I/IV," "E. Godard Fondr” "© by MUSEE Rodin 1983,” Owner Iris & B. Gerald Cantor Foundation, Crate # 45, CC ID# 1340, Executed after 1898”

On page 185 of the Iris and B. Gerald Cantor Foundation’s published 2001 Rodin, A Magnificent Obsession catalogue, The Night (Double Figure) is listed as: “After 1898, Musee Rodin cast I/IV in 1983, Bronze, Godard, 10 1/4 x 5 1/2 x 6 7/8 in. (26 x 14 x 17.5 cm), Signed and numbered A. Rodin No. I/IV and inscribed E. Godard Fond and © by MUSEE Rodin 1983, Iris and B. Gerald Cantor Foundation 1340.”[FN 17]

On page 561 of the Musee Rodin's published 2007 The Bronzes of Rodin by Antoinette Le Normand-Romain, the author wrote the Musee Rodin's Night, Two-Figure Assemblage is "No. 0" with "twelve cast by E. Godard from 1980: 1 and 2/8" and "I/IV, © 1983, Los Angeles Cantor Foundation.”[FN 18]

With so-called edition in eight in Arabic, four in Roman numerals and the Musee Rodin's numbered zero that totals thirteen. 

Remember, the Iris and B. Gerald Cantor Foundation's statement on their website: "In 1956 French law limited production to twelve casts of each model. A system of numbering was established by French legislation in 1968 whereby the first eight of the twelve casts, numbered 1/8-8/8, have been available for the public to purchase; the last four, numbered I/IV-IV/IV, have been reserved for cultural institutions. This law was reestablished and strictly imposed in 1981.”[FN 19]

1983 
21 OF 29 Forgeries 

[Iris and B. Gerald Cantor Foundation's Rodin: Figures Checklist] 

• “Artist RODIN, AUGUSTE, TitleILLUSIONS RECEIVED BY THE EARTH(or THE FALLEN ANGEL), Date cast 1983, Medium bronze, Dimensions 15 1/2 x 27 x 15 1/2 in., Foundry Coubertin, Cast Musée Rodin cast 1/8, 1983, Weight 75 lbs, 34 kg., Dims w base/frame no Base, Patina dark brown to olive green, some black, Inscriptions Marked: "A. Rodin/No 1/8," "© by Musée Rodin 1983,” Owner Iris Cantor as Trustee of the Iris Cantor Trust, Crate # 47, CC ID# 1341, Executed 1895”

On page 184 of the Iris and B. Gerald Cantor Foundation’s published 2001 Rodin, A Magnificent Obsession catalogue, Illusions Received by the Earth (The Fallen Angel) is listed as: “1895, Musee Rodin, cast 1/8 in 1983, Coubertin, 15 1/2 x 27 x 15 1/2 in. (39.4 x 68.6 x 39.4 cm), Signed and numbered A. Rodin/1/8 and inscribed © by Musee Rodin 1983, Iris and B. Gerald Cantor Collection, promised gift to the Iris and B. Gerald Cantor Foundation 1341.”[FN 20]

1983 
22 OF 29 Forgeries 

[Iris and B. Gerald Cantor Foundation's Rodin: Figures Checklist] 

• “Artist RODIN, AUGUSTE, Title MONUMENTAL TORSO OF THE WALKING MAN, Date cast 1985, Medium bronze, Dimensions 43.3 x 26.75 x 15 in., Foundry Godard, Cast Musée Rodin cast 1/8, 1985, Weight 350 pounds, Dims w base/frame no base, Patina green and brown, Inscriptions Signed and numbered "A. Rodin No 1/8" on thigh and inscribed "E. GODARD FONDr and "(c) By MUSEE Rodin 1985" on back., Owner Iris Cantor as Trustee of the Iris Cantor Trust, Crate # 60, CC ID# 1394, Executed about 1905"

On the Iris and B. Gerald Cantor Foundation’s website, this same Monumental Torso of the Walking Man is listed as “Originally modeled in 1905, Size: 43 ⅓ x 26 ¾ x 15 inches”  with the following comment: “Rodin’s early training as an artist included drawing and modeling from ancient Greek and Roman pieces that were at the time being excavated.  These were often broken – fragments and partial figures – and inspired his own work. One of his earliest partial figures, the Torso of the Walking Man, looks mutilated and worn – similar to the fragmented Classical sculptures,”[FN 21] with no disclosure it was cast in 1985.

1985 
23 OF 29 Forgeries 

[Iris and B. Gerald Cantor Foundation's Rodin: Figures Checklist] 

• “Artist RODIN, AUGUSTE, Title NARCISSE (or Narcissus), Date cast, Medium bronze, Dimensions 32 x 13 x 12.25 in., Foundry Godard, Cast Musée Rodin cast 8/8, 1985, Weight 160 lbs, 72.7 kg, Dims w base/frame 37 x 13 x 12.25 inches. Base alone is 5 x 12.25 x 9.4". Has camfered top., Patina green and brown, Inscriptions Marked: "A. Rodin/ No 8/8," "E. Godard Fondr,” "©By Musée Rodin 1985,” Owner Iris & B. Gerald Cantor Foundation, Crate # 80, CC ID# 1402, Executed about1882; enlarged and retitled 1890”

1986 
24 OF 29 Forgeries 

[Iris and B. Gerald Cantor Foundation's Rodin: Figures Checklist] 

• “Artist RODIN, AUGUSTE, Title TRAGIC MUSE, Date cast 1986, Medium bronze, Dimensions 13 x 25.5 x 15.25 in., Foundry Godard Foundry, Cast Musée Rodin cast 3/8, 1986, Weight 100 lbs., 45.5 kg., Dims w base/frame no base, Patina dark brown w/ blue highlights, Inscriptions Marked:"A Rodin No 3/8," "E. GODARD FONDEUR," "©BY MUSEE Rodin 1986”, Owner Iris & B. Gerald Cantor Foundation, Crate # 50, CC ID# 1446, Executed 1894-96”

1987 
25 OF 29 Forgeries 

[Iris and B. Gerald Cantor Foundation's Rodin: Figures Checklist]

• “Artist RODIN, AUGUSTE, Title TOILETTE OF VENUS AND ANDROMEDE, Date cast, Medium bronze, Dimensions 20 x 14.5 x 23.5 in., Foundry Godard, Cast Musée Rodin cast 1/8, 1987, Weight 225 pounds, Dims w base/frame no base, Patina dark brown w/ blue highlights, Inscriptions Signed and numbered, "A.Rodin No 1/8" and inscribed, "E. GODARD Fondr" and "(c) By MUSEE Rodin 1987,” Owner Iris Cantor as Trustee of the Iris Cantor Trust, Crate # 64, CC ID# 1435, Executed after 1890”

1988 
26 OF 29 Forgeries 

[Iris and B. Gerald Cantor Foundation's Rodin: Figures Checklist] 

• “Artist RODIN, AUGUSTE, Title BUST OF YOUNG BALZAC, Date cast, Medium bronze, Dimensions 28 1/8 x 13 3/8 x 14 5/8 in., Foundry Godard, Cast Musée Rodin cast II/IV, 1988, Weight 150 lbs, 68.2 kg, Dims w base/frame no base, Patina dark brown w/ light blue, Inscriptions Marked: "A. Rodin/No II/IV," "E. Godard Fondr,” "©BY Musée Rodin 1988”, Owner Iris & B. Gerald Cantor Foundation, Crate # 4, CC ID# 1579, Executed 1893”

1995 
27 OF 29 Forgeries 

[Iris and B. Gerald Cantor Foundation's Rodin: Figures Checklist]

• “Artist RODIN, AUGUSTE, Title MONUMENTAL HEAD OF THE SHADE, Date cast, Medium bronze, Dimensions 26 1/2 x 14 1/4 x 15 1/2 in., Foundry Godard, Cast Musée Rodin cast II/IV, 1995, Weight 150 lbs., Dims w base/frame no base, Patina dark brown, Inscriptions Marked: "A.Rodin No II/IV,'" "E. GODARD Fondr,” "©by MUSEE Rodin 1995,” Owner Iris & B. Gerald Cantor Foundation, Crate # 12, CC ID# 1681, Executed about 1880”

1995 
28 OF 29 Forgeries 

[Iris and B. Gerald Cantor Foundation's Rodin: Figures Checklist]

• “Artist RODIN, AUGUSTE, Title ECCLESIASTES,Date cast 1995, Medium bronze, Dimensions 10 1/2 x 10 1/4 x 11 3/4 in., Foundry Godard, Cast Musée Rodin cast II/IV, 1995, Weight 40 lbs., Dims w base/frame no base, Patina blue w/ some brown, Inscriptions Marked: "A. Rodin/ No II/IV,” “E.GODARD Fondr" ," "©By MUSEE Rodin 1995,” Owner Iris & B. Gerald Cantor Foundation, Crate # 45, CC ID# 1683, Executed 1898”

On page 185 of the Iris and B. Gerald Cantor Foundation’s published 2001 Rodin, A Magnificent Obsession catalogue, Ecclesiastes, Before 1899, is listed as: “Musee Rodin cast II/IV in 1995, Bronze, Godard, 10 1/2 x 10 1/4 x 11 3/4 in., (26.7 x 26 x 29.8 cm), Signed and numbered A. Rodin No. II/IV and inscribed E. GODARD Fondr and © BY MUSEE Rodin 1995, Iris and B. Gerald Cantor Foundation, 1683.”[FN 22]

On page 310 of the Philadelphia Museum of Art's published 1976 Sculpture of Auguste Rodin by John Tancock, the author wrote of the Auguste Rodin's "Ecclesiastes" plaster, in the museum's collection as "not signed and inscribed.”[FN 23]

PLASTER NOT SIGNED - POSTHUMOUS CAST SIGNED 

So, if Auguste Rodin did not sign an Ecclesiastes plaster that was posthumously acquired by the Philadelphia Museum of Art from the Musee Rodin in the late 1920's, how did the Iris and B. Gerald Cantor Foundation acquire a posthumous Auguste Rodin Ecclesiastes bronze, "Signed and numbered by A. Rodin" in 1995, some 78 years after his death? 

On page 354 of the Seventh Edition of Black's Law Dictionary, -counterfeit- is defined as: "To forge, copy, or imitate (something) without the right to do so and with the purpose of deceiving or defrauding.”[FN 24]

1995 
29 OF 29 Forgeries 

[Iris and B. Gerald Cantor Foundation's Rodin: Figures Checklist]

• “Artist RODIN, AUGUSTE, Title FINAL HEAD OF EUSTACHE DE ST. PIERRE, Date cast, Medium bronze, Dimensions 16 1/4 x 9 5/8 x 11 1/2 in., Foundry Godard, Cast Musée Rodin cast II/IV, 1995, Weight 50 lbs., 22.7 kg., Dims w base/frame 22.5 x 9.7 x 11.5 inches. Base alone 6.25 x 7.5 x 7.5”, Patina dark brown, Inscriptions Marked: "A.Rodin/ No II/IV," "E. Godard Fondr ," “© By MUSÉE Rodin 1995,” Owner Iris & B. Gerald Cantor Foundation, Crate # 15, CC ID# 1685, Executed about 1886”

THE JOEL AND LILA HARNETT MUSEUM OF ART

On the University of Richmond's website, it states: "The Joel and Lila Harnett Museum of Art is a forum for the visual arts and a catalyst for widely varied issues of visual expression, art research, and scholarship within the University and throughout the greater Richmond community and region. To further this mission, the museum regularly presents exhibitions, lectures, gallery talks, workshops, concerts, symposia, and other programs."[FN 25]

The following examples from the museum collections shows it has a way to go in their "art research and scholarship."

Disparate de miedo (Folly of Fear), from the series Los Disparates (The Follies), Date: 1812-1820, Artist: Francisco de Goya (aka Francisco Jose de Goya y Lucientes) (Fuendetodos, Spain, 1746 - 1828, Bordeaux, France), Object Type: Prints, Medium and Support: etching and aquatint with hatching and lavis on wove paper, Dimensions: 8 5/8 x 12 1/2 in. (21.9 x 31.8 cm), Credit Line: Museum purchase, Harriet Grandis Print Acquisitions Fund, Accession Number: H2003.10.01

http://museumcollections.richmond.edu/Obj2790?sid=58081&x=3539

NON-DISCLOSED POSTHUMOUS IMPRESSION

LOS DISPARATES?

On the Joel and Lila Harnett Museum of Art's website, the Disparate de miedo (Folly of Fear), from the series Los Disparates (The Follies), attributed to Francisco de Goya as an original work of visual art i.e., etching with a “1812-1820” date that predates Goya’s death in 1828, is actually at best a non-disclosed posthumous impression or at worse a non-disclosed posthumous forgery from posthumously reworked and altered plates.

This fact is confirmed on page 196 of Tomas Harris’ 1983 Goya Engravings and Lithographs I, Complete Illustrated Catalogue, the author wrote: “The eighteen plates, eventually published in 1864, were stored away by Goya’s son and first came to light on his death in 1854, when they passed into the possession of Roman Sarreta, who attempted to print from them. The trial proofs taken for him, which were previously believed to have been made in 1850, were thought by Delteil to constitute an early state and to provide evidence that the plates were reworked before the first editions was made.”[FN 26]

Francisco de Goya died in 1828 and could not have printed original works of visual art i.e., etchings, much less approve the posthumous reworking of his plates. Therefore, the subsequent posthumous impressions and/or forgeries, whether from posthumously reworked plates or not, could not be attributed to a dead Goya, much less to those who posthumously printed them.

In other words, anything posthumously made would be, at best, a reproduction and under U.S. Copyright Law 106A, the Rights of Attribution "shall not apply to any reproduction."[FN 27]

LEFT: Plate 43 from 'Los Caprichos': The sleep of reason produces monsters (El sueño de la razon produce monstruos), Series/Portfolio: Los Caprichos, Artist: Goya (Francisco de Goya y Lucientes), (Spanish, Fuendetodos 1746–1828 Bordeaux), Date: 1799, Medium: Etching, aquatint, drypoint, and burin, Dimensions: Plate: 8 3/8 x 5 15/16 in. (21.2 x 15.1 cm), Sheet: 11 5/8 x 8 1/4 in. (29.5 x 21 cm), Classification: Prints, Credit Line: Gift of M. Knoedler & Co., 1918, Accession Number: 18.64(43)

http://www.metmuseum.org/toah/works-of-art/18.64.43/

ORIGINAL LIFETIME ETCHING

RIGHT: El sueño de la razón produce monstruos (The Sleep of Reason Produces Monsters), Date: 1797-98, Artist: Francisco de Goya (aka Francisco Jose de Goya y Lucientes) (Fuendetodos, Spain, 1746 - 1828, Bordeaux, France), Object Type: Prints, Medium and Support: etching and aquatint on paper, Dimensions: 7 1/4 x 6 5/16 in. (18.4 x 16.1 cm), Credit Line: The I. Webb Surratt, Jr. Print Collection, Accession Number: M1996.01.51

http://museumcollections.richmond.edu/Obj137?sid=24128&x=3308

NON-DISCLOSED POSTHUMOUS IMPRESSION

LEFT: Detail - Plate 43 from 'Los Caprichos': The sleep of reason produces monsters (El sueño de la razon produce monstruos)

http://www.metmuseum.org/toah/works-of-art/18.64.43/

TITLE CONTRAST STRONGLY

RIGHT: Detail - El sueño de la razón produce monstruos (The Sleep of Reason Produces Monsters)

http://museumcollections.richmond.edu/Obj137?sid=24128&x=3308 

TITLE LESS STRONG - ALMOST ILLEGIBLE

LOS CAPRICHOS?
On the Joel and Lila Harnett Museum of Art's website, the The sleep of reason produces monsters (El sueno-de la razon produce monstrous) from the series Los Caprichos attributed to Francisco de Goya as an original work of visual art i.e., etching with a “1799” date that predates Goya’s death in 1828, is actually at best a non-disclosed posthumous impression or at worse a non-disclosed posthumous forgery from posthumously reworked and altered plates.

This can be confirmed in Tomas Harris’ 1983 Goya Engravings and Lithographs II, Complete Illustrated Catalogue, Francisco de Goya’s Plate 43 of his Caprichos series titled El Sueno de la Razon Produce Montruos, The Sleep of reason produces monsters. On page 116, Tomas Harris wrote in the Second and Third Editions, The plate in fair condition. Aquatint begins to weaken; the highlights lose their original contrast and the title is less strong.”[FN 1] On page 66 of this same catalogue, Tomas Harris wrote the Second Edition was “made in the Calcografia for the Real Academia, c. 1855” [FN 2] and the Third Edition was “made in the Calcografia for the Real Academia in 1868.”[FN 28]

Additionally, on page 116 of this same catalogue, Tomas Harris wrote the Fourth to Twelfth Editions for plate 43 titled El Sueno de la Razon Produce Montruos, The Sleep of reason produces monsters “the title becomes almost illegible.”

Rhetorically, is the title [on the right above] in the El Sueno de la Razon Produce Montruos, The Sleep of reason produces monsters," in the University of Richmond’s collection, "less strong," and/or “almost illegible” when compared to the Metropolitan Museum of Art's lifetime impression on the left?

Con raizon o sin ella (Rightly or wrongly), etching, Print made by Francisco Goya, 1812-1820, Plate 2: two Spanish men, one with knife one with bayonet, attacking soldiers; from a bound album of working proofs, presented by the artist to Ceán Bermúdez. 1812-20, Numbered on plate. Titled by the artist in pencil within platemark, below image, Height: 155 millimetre, Width: 216 millimetres

http://www.britishmuseum.org/research/search_the_collection_database/search_object_image.aspx?objectId=1396504&partId=1&searchText=plate+2+goya&fromADBC=ad&toADBC=ad&orig=%2fresearch%2fsearch_the_collection_database.aspx&images=on&numPages=10&currentPage=1&asset_id=37946
ORIGINAL LIFETIME ETCHING

Con razón o sin ella, Date: circa 1815 (printed in 1863), Artist: Francisco de Goya (aka Francisco Jose de Goya y Lucientes) (Fuendetodos, Spain, 1746 - 1828, Bordeaux, France) Primary, Medium and Support: etching and aquatint on paper, Dimensions: 7 3/8 x 7 1/2 in. (18.7 x 19.1 cm), Credit Line: Museum purchase, funds from the Louis S. Booth Arts Fund, Accession Number: H2011.21.01

http://museumcollections.richmond.edu/
NON-DISCLOSED POSTHUMOUS FORGERY

DISASTERS OF WAR?

On the Joel and Lila Harnett Museum of Art's website, it attributes non-disclosed posthumous [1863] impressions from posthumously [c. 1863] reworked and altered plates as original works of visual art i.e., etchings to a dead Francisco de Goya [d. 1828].

DETAIL: Con raizon o sin ella (Rightly or wrongly)

http://www.britishmuseum.org/research/search_the_collection_database/search_object_image.aspx?objectId=1396504&partId=1&searchText=plate+2+goya&fromADBC=ad&toADBC=ad&orig=%2fresearch%2fsearch_the_collection_database.aspx&images=on&numPages=10&currentPage=1&asset_id=37946

GOYA HAND-WRITTEN TITLE

DETAIL: Con razón o sin ella

http://museumcollections.richmond.edu/

POSTHUMOUSLY PRINTED TITLE 

Notice the above title for the British Museum's Con raizon o sin ella was actually written by hand by Francisco de Goya. Whereas the Joel and Lila Harnett Museum of Art's Con razon o sin ella has a printed title added posthumously in 1863. Additionally, notice the dramatic difference between the British Museum's  Con raizon o sin ella that is light and airy versus the Joel and Lila Harnett Museum of Art's posthumous Con razon o sin ella which has been darken with the posthumous addition of aquatint and lines.

Francisco de Goya wanted to bring light to the "Disasters of War" in his etchings whereas the Royal Academy in the mid-19th-century believed Francisco de Goya dark subject matter in his "Disasters of War" should also literally look dark. So, the Royal Academy reworked and added lines, titles and aquatint to Goya's original etching plates to darken the subsequent posthumous impressions to fit their sensibilities. Obscenely, in the process of altering Francisco de Goya's vision and destroying the integrity of his original plates, in the next 150 years or so, some 80,000 non-disclosed posthumously reworked and altered forgeries have flooded the marketplace, and museum collections misrepresenting to the public the true oeuvre of Francisco de Goya.

In "The World Printmakers Great Printmakers Series Francisco de Goya" essay by Mike Booth, these contentious issues of authenticity, with the posthumous reworking and alteration of Goya's original "Disasters of War" etching plates, were confirmed. In part, the author wrote: "Surprisingly enough,  the plates were quite extensively retouched for the first edition, something that we look upon today as anathema. Framing lines were completed around the images, scratches were burnished out and some areas of aquatint, drypoint and direct acid bite were even added."[FN 29]

Amarga presencia (Bitter Presence), from the series Los Desperatres de la Guerra, Date: circa 1815 (printed in 1863), Artist: Francisco de Goya (aka Francisco Jose de Goya y Lucientes) (Fuendetodos, Spain, 1746 - 1828, Bordeaux, France) Primary, Medium and Support: etching and aquatint on paper

Dimensions: 5 x 6 1/4 in. (12.7 x 15.9 cm), Credit Line: Museum purchase, funds from the Louis S. Booth Arts Fund, Accession Number: H2011.21.02
http://museumcollections.richmond.edu/Obj19712?sid=58081&x=5034

NON-DISCLOSED POSTHUMOUS FORGERY

Carretadas al Cementerio (Cartloads to the Cemetery), from the series Los Desast, Date: circa 1815 (printed in 1863), Artist: Francisco de Goya (aka Francisco Jose de Goya y Lucientes) (Fuendetodos, Spain, 1746 - 1828, Bordeaux, France) Primary, Object Type: Prints, Medium and Support: etching, aquatint, hatching, and lavis on paper, Dimensions: 5 x 7 1/8 in. (12.7 x 18.1 cm), Credit Line: Museum purchase, funds from the Joel and Lila Harnett Print, Acquisitions Fund, Accession Number H2006.29.01
http://museumcollections.richmond.edu/Obj9516?sid=58081&x=5035

NON-DISCLOSED POSTHUMOUS FORGERY

Clamores en vano (They Cry in Vain), from the series Los Desastres de la Guerra, Date: circa 1815 (printed in 1863), Artist: Francisco de Goya (aka Francisco Jose de Goya y Lucientes) (Fuendetodos, Spain, 1746 - 1828, Bordeaux, France), Object Type: Prints, Medium and Support: etching, aquatint, hatching, and lavis on paper, Dimensions: 5 x 7 in. (12.7 x 17.8 cm), Credit Line: Museum purchase, grant from the Ahmanson Foundation,
Accession Number H2003.11.03 
http://museumcollections.richmond.edu/Obj2780?sid=58081&x=5036

NON-DISCLOSED POSTHUMOUS FORGERY

Enterrar y callar (Bury them and keep quiet), from the series Los Desastres de la Guerra (The Disasters of War), Date: 1808-1812 (printed 1863), Artist: Francisco de Goya (aka Francisco Jose de Goya y Lucientes) (Fuendetodos, Spain, 1746 - 1828, Bordeaux, France) Primary, Medium and Support: etching and aquatint on wove paper, Dimensions: 5 1/4 x 7 3/4 in. (13.3 x 19.7 cm), Credit Line: Museum purchase, funds from the Louis S. Booth Arts Fund, Accession Number: H2014.19.06
http://museumcollections.richmond.edu/Obj20652?sid=58081&x=5040

NON-DISCLOSED POSTHUMOUS FORGERY

Devocion! (Strange Devotion!), Date: circa 1815 (printed in 1863), Artist: Francisco de Goya (aka Francisco Jose de Goya y Lucientes) (Fuendetodos, Spain, 1746 - 1828, Bordeaux, France) Primary, Object Type: Prints, Medium and Support: etching, aquatint, hatching, and lavis  on paper, Dimensions: 6 x 7 5/8 in. (15.2 x 19.4 cm), Credit Line: Museum purchase, funds from the Joel and Lila Harnett Print Acquisitions Fund, Accession Number: H2006.29.02
http://museumcollections.richmond.edu/Obj9517?sid=58081&x=5041

NON-DISCLOSED POSTHUMOUS FORGERY

Las mujeres dan valor (The women give courage), from the series Los Desastres de, Date: circa 1815 (printed in 1863), Artist: Francisco de Goya (aka Francisco Jose de Goya y Lucientes) (Fuendetodos, Spain, 1746 - 1828, Bordeaux, France), Object Type: Prints, Medium and Support: etching, fine and large grain aquatint, hatching, and lavis on paper, Dimensions: 5 1/4 x 7 1/2 in. (13.3 x 19.1 cm), Credit Line: Museum purchase, grant from the Ahmanson Foundation, Accession Number: H2003.11.01 
http://museumcollections.richmond.edu/Obj3029?sid=58081&x=5044

NON-DISCLOSED POSTHUMOUS FORGERY

No hay quien los socorra (There is no one to help them), from the series Los Des, Date: circa 1815 (printed in 1863), Artist: Francisco de Goya (aka Francisco Jose de Goya y Lucientes) (Fuendetodos, Spain, 1746 - 1828, Bordeaux, France), Object Type: Prints, Medium and Support: etching and aquatint with hatching and lavis on wove paper, Dimensions: 5 x 7 in. (12.7 x 17.8 cm), Credit Line: Museum purchase, grant from the Ahmanson Foundation, Accession Number: H2003.11.04
http://museumcollections.richmond.edu/Obj3028?sid=58081&x=5046

NON-DISCLOSED POSTHUMOUS FORGERY

No llegan a tiempo (There isn’t time now ), Date: circa 1815 (printed in 1863), Artist: Francisco de Goya (aka Francisco Jose de Goya y Lucientes) (Fuendetodos, Spain, 1746 - 1828, Bordeaux, France), Object Type: Prints, Medium and Support: etching, aquatint, hatching, and lavis on paper, Dimensions: 5 x 7 in. (12.7 x 17.8 cm), Credit Line: Museum purchase, grant from the Ahmanson Foundation, Accession Number: H2003.11.02 
http://museumcollections.richmond.edu/Obj3273?sid=58081&x=5047

NON-DISCLOSED POSTHUMOUS FORGERY

También estos (And So Will These), Date: circa 1815 (printed 1863), Artist: Francisco de Goya (aka Francisco Jose de Goya y Lucientes) (Fuendetodos, Spain, 1746 - 1828, Bordeaux, France) Primary, Medium and Support: etching and aquatint on paper, Dimensions: 4 1/2 x 7 1/2 in. (11.4 x 19.1 cm), Credit Line: Museum purchase, funds from the Louis S. Booth Arts Fund, Accession Number: H2011.21.04
http://museumcollections.richmond.edu/Obj19717?sid=58081&x=5048

NON-DISCLOSED POSTHUMOUS FORGERY

Tanto y más (So Much and Even More), from the series Los Desastres de la Guerra, Object Details, Date: circa 1815 (printed in 1863), Artist: Francisco de Goya (aka Francisco Jose de Goya y Lucientes) (Fuendetodos, Spain, 1746 - 1828, Bordeaux, France) Primary, Medium and Support: etching and aquatint on paper, Dimensions: 9 5/8 x 13 1/2 in. (24.4 x 34.3 cm), Credit Line: Museum purchase, funds from the Louis S. Booth Arts Fund, Accession Number: H2011.21.03
http://museumcollections.richmond.edu/Obj19714?sid=58081&x=5049

NON-DISCLOSED POSTHUMOUS FORGERY

Since the following two Los Caprichos etchings, attributed to Francisco de Goya, are listed by the University of Richmond collection website as being part of the same I. Webb Surratt, Jr. Print Collection with the Accession date of 1996 as the prior documented posthumous impression titled El sueño de la razón produce monstruos (The Sleep of Reason Produces Monsters), are these two also posthumous impressions? 

Trials from Los Caprichos, Date: 1797-98, Artist: Francisco de Goya (aka Francisco Jose de Goya y Lucientes) (Fuendetodos, Spain, 1746 - 1828, Bordeaux, France), Medium and Support: etching and aquatint on paper, Dimensions: 7 5/16 x 4 7/8 in. (18.6 x 12.4 cm), Credit Line: The I. Webb Surratt, Jr. Print Collection, Accession Number: M1996.01.52
http://museumcollections.richmond.edu/Obj138?sid=58081&x=5050

ETCHING OR POSTHUMOUS IMPRESSION?

No hay quien has detaste? (Can't Anyone Untie Us?) from Los Caprichos, Date: 1797-98, Artist: Francisco de Goya (aka Francisco Jose de Goya y Lucientes) (Fuendetodos, Spain, 1746 - 1828, Bordeaux, France), Object Type: Prints, Medium and Support: etching and aquatint on paper, Dimensions: 7 1/2 x 5 3/8 in. (19.1 x 13.7 cm), Credit Line: The I. Webb Surratt, Jr. Print Collection, Accession Number: M1996.01.53
http://museumcollections.richmond.edu/Obj139?sid=58081&x=5045

ETCHING OR POSTHUMOUS IMPRESSION?

For the two following images, both dated "1799," the University of Richmond website under the subtitle:"Curator: Idea to Image: Process, States, and Proofs from the Print Collection  October 16, 2011 to April 1, 2012," states: "In the commentary on his Los Caprichos series of eighty prints, Goya wrote about this image, “It will not occur to him to take off his breeches or to stop talking to the candle until the local fire brigade shows up.  This is what drink can do!” The two prints show the wear on the plate as additional editions of the series were printed. The loss of tone and darkness in the aquatint of the background is particularly striking but even the richness of the lines is fading away."

Ysele quema la Casa (And His House Is Burning), from the series Los Caprichos, Date: 1799, Artist: Francisco de Goya (aka Francisco Jose de Goya y Lucientes) (Fuendetodos, Spain, 1746 - 1828, Bordeaux, France) Primary, Medium and Support: etching and aquatint on wove paper, Dimensions: 6 7/8 x 4 3/4 in. (17.5 x 12.1 cm), Credit Line: Gift in memory of Dr. and Mrs. Milton J. Goodfriend, Accession Number: H2009.03.04a
http://museumcollections.richmond.edu/Obj14018?sid=58081&x=5052

ETCHING OR POSTHMOUS IMPRESSION?

Ysele quema la Casa (And His House Is Burning), from the series Los Caprichos, Date: 1799, Artist: Francisco de Goya (aka Francisco Jose de Goya y Lucientes) (Fuendetodos, Spain, 1746 - 1828, Bordeaux, France) Primary, Medium and Support: etching and aquatint on wove paper, Dimensions: 6 7/8 x 4 3/4 in. (17.5 x 12.1 cm), Credit Line: Gift in memory of Dr. and Mrs. Milton J. Goodfriend, Accession Number: H2009.03.04b
http://museumcollections.richmond.edu/Obj14019?sid=58081&x=5053

ETCHING OR POSTHUMOUS IMPRESSION?

Since both of the Ysele quema la Casa are dated "1799," are they from the same edition? On page 63 of Goya Engravings and Lithographs II, the author Tomas Harris wrote: "the ink in the earliest sets is generally warmer and lighter in tone than in the later sets where somewhat darker ink is used to compensate the slight wear of the plates?" If at least one of these two are from "additional editions," those "additional editions" don't begin till 1855 for the second edition and ending with the twelfth edition in 1937. Since Francisco de Goya died in 1828, if one of these images are posthumous it would not be an original work of visual art i.e., etching attributable to a dead Francisco de Goya. The dead don't etch.

Hanuman, The Monkey God, Date: late 19th century, Medium and Support: chromolithograph on paper, Dimensions: 9 7/8 x 6 5/8 in. (25.1 x 16.8 cm), Credit Line: Valentine Richmond History Museum, by transfer, Accession Number: H2011.04.03

http://museumcollections.richmond.edu/Obj19391?sid=24318&x=3794&port=266

NON-DISCLOSED CHROMIST-MADE REPRODUCTION

[DETAIL]

Hanuman, The Monkey God - RAVI-UDAYA - F.A.L. PRESS, GAHTKOPAR BOMBAY

http://museumcollections.richmond.edu/Obj19391?sid=24318&x=3794&port=266

PRINTERS' INSCRIPTION

REPRODUCTIONS OF RAJA RAVA VARMA PAINTINGS

The above title Hanuman, The Monkey God chromolithograph is actually a non-disclosed chromist-made reproduction reproduced from a painting by the India artist/painter Raji Ravi Varma [d 1906]. 

Yet, on the Joel and Lila Harnett Museum of Art's website, under the subtext: "the Religion and Tradition: Objects from Nepal, India, and Tibet, April 12, 2013 to December 31, 2013," it states: "These four chromolithographs were printed in India in the late 1800s. Even today, similar colorful mass-produced images of the Hindu gods are found everywhere, in homes and shrines, shops and vehicles. To worshipers, they are instrumental in achieving darshan, or direct contact with the divine, in daily devotions."[FN 30]

Chromolithography "became the most successful of several methods of colour printing developed by the 19th century; - The initial technique involved the use of multiple lithographic stones, one for each colour, and was still extremely expensive when done for the best quality results. Depending on the number of colours present, a chromolithograph could take months to produce, by very skilled workers. However much cheaper prints could be produced by simplifying both the number of colours used, and the refinement of the detail in the image. Cheaper images, like advertisements, relied heavily on an initial black print (not always a lithograph), on which colours were then overprinted. To make an expensive reproduction print as what was once referred to as a 'chromo,' a lithographer, with a finished painting in front of him, gradually created and corrected the many stones using proofs to look as much as possible like the painting in front of him, sometimes using dozens of layers."[FN 31]

In other words, chromolithograph is being used, with or without intent, as an euphemism for a chromist-made reproductions. A chromist is someone, such as "very skilled workers," using their own hands and fingers to reproduce another artist's work resulting in reproductions.

So, what is the true history behind these reproductions of Raja Ravi Varma's paintings? Here are a five excerpts from published references:

• REPRODUCED HIS WORKS
  Sire Madhave Rao, the Diwan of Travancore of that time and later the administrator of Baroda State was quick to see the possibilites of Ravi Varma’s popularity. He suggested they reproduce his works through the technique of Oleography. -  These chromolithographs played a major role in the development of contemporary Indian art and the technique of reproduction of paintings” The Nineteen Century Oil Painter Raja Ravi Varma (Gaudiya Touchstone Issue 4 -Jan’13) [FN 32] 
  
  
  MASS PRODUCED HIS PAINTINGS
  “And so the myth of Ravi Varma persisted, not in the least because of his pioneering efforts in setting up a modern press to mass-produce his paintings—chromolithographs of gods and goddesses that persist in the ubiquitous calendar art of today.” (Raja Ravi Varma: Painter of Colonial India by Rupika Chawla, Mapin Publishing, 2010) [FN 33]
  
  
  RE-PRINTING HIS ART WORK
  “Chromolithographs by Raja Ravi Varma, Raja Ravi Varma started a printing press at Mumbai in 1894 for re-printing his art work using chromolithographic techniques. Images are painted to a stone plate with grease based crayon and chemicals and transferred to paper layer by layer. Each color is separately drawn onto a new stone and applied to images. These prints were mainly of Hindu Gods and Goddesses from Mahabharata and Ramayana.”[FN 34] 
  
  
  ARTISTS REPRODUCED THEIR WORK
  “Raja Ravi Varma (1848-1906) defined popular Indian imagery in his painting. - Originally painted in oils, the artists reproduced their work on stone slabs, each stone layering one colour onto another to make multi-colour prints. The process was painstakingly executed with 15-30 colour slabs synchronized to create dazzling prints.”[FN 35] 
  
  
  THOUSANDS OF CHROMOLITHOGRAPHS WERE PRINTED
  “An artist from the princely state of Travancore who painted Indian mythological subjects in an European academic style. Looking at the great demand of his paintings he bought a lithographic press from Germany and thousands of chromolithographs were printed. Chromolithograph printed by Ravi Uday Vijay Press, after a painted self portrait by Ravi Varma Size: 14.25 x 10 in. (36.2 x 25.4 cms.) Date of printing – circa 1910”[FN 36] 

The above chromist-made reproduction titled Hanuman, The Monkey God, in the Joel and Lila Harnett Museum of Art's collection, has the following inscription: RAVI-UDAYA - F.A.L. PRESS, GAHTKOPAR BOMBAY.

Many of the thousands of Ravi Varma reproductions have the following inscriptions: "The Ravi Varma Fine Art Lithographic Press, Bombay (also called the F.A.L. press)," "The Ravi Varma press, Karla, Lonavala," "The Ravi Varma press, Malavi, Lonavala," "The Ravi Uday Press." and  "The Ravi Varma press, Ghatkopar, Bombay."[FN 37]

LEFT: Shri Nathji, Date: late 19th century, Medium and Support: chromolithograph on paper, Dimensions: 9 7/8 x 6 5/8 in. (25.1 x 16.8 cm), Credit Line: Valentine Richmond History Museum, by transfer, Accession Number: H2011.04.04

http://museumcollections.richmond.edu/Obj19392?sid=24318&x=4907&port=319

MIDDLE: Ganesh, Date: late 19th century, Medium and Support: chromolithograph on paper, Dimensions: 9 7/8 x 6 5/8 in. (25.1 x 16.8 cm), Credit Line: Valentine Richmond History, Museum, by transfer, Accession Number: H2011.04.01

http://museumcollections.richmond.edu/Obj19389?sid=24318&x=4910&port=319

RIGHT: Krishna Defeats Kaliya, Object Details, Date: late 19th century, Medium and Support: chromolithograph on paper, Dimensions: 9 7/8 x 6 5/8 in. (25.1 x 16.8 cm), Credit Line: Valentine Richmond History Museum, by transfer, Accession Number: H2011.04.02

http://museumcollections.richmond.edu/Obj19390?sid=24318&x=4909&port=319

NON-DISCLOSED CHROMIST-MADE REPRODUCTIONS

The non-disclosed chromist-made reproduction of Raja Rava Varma's painting, titled Hanuman, The Monkey God  in the Joel and Lila Harnett Museum of Art's collections might lead one to conclude the others above in this specific Religion and Tradition collection are also non-disclosed chromist-made reproductions of Raja Rava Varma paintings.

Flowers, Date: 1970, Artist: Andy Warhol (Pittsburgh, Pennsylvania, 1928 - 1987, New York) Primary, Medium and Support: screenprint on paper, Dimensions: 38 x 38 in. (96.5 x 96.5 cm), Credit Line: Gift of The Andy Warhol Foundation for the Visual Arts, Inc.; Extra, out of the edition; Designated for research and educational purposes only, Accession Number: H2013.12.02 

http://museumcollections.richmond.edu/Obj20333?sid=46266&x=4457

NON-DISCLOSED PLAGIARIZED IMAGE

Spread from Modern Photography showing images taken by Patricia Caulfield, with Warhol’s interventions, June 1964 © 2015 Andy Warhol Foundation for the Visual Arts / Artists Rights Society (ARS), New York

http://www.sothebys.com/en/auctions/ecatalogue/lot.24.html/2015/contemporary-art-evening-auction-n09420

ANDY WARHOL'S INTERVENTIONS

In 1964, Museum of Modern Art curator Henry Geldzahler recommended that Andy Warhol create a series on flowers and pointed to a 1964 Modern Photography issue with the publisher Patricia Caulfield's copyrighted photographs of Hibiscus flowers. Andy Warhol subsequently used Patricia Caulfield's copyrighted photographs of Hibiscus flowers to reproduce hundreds of varied colored reproductions by silkscreen that he falsely claimed authorship to. The Modern Photography publisher and photographer Patricia Caulfield stumbled upon the copyright infringement of her photographs in a poster of Warhol's copyright infringement of her work in the window of a New York City bookstore. Subsequently, Patricia Caulfield and her attorney sued Andy Warhol for copyright infringement and eventually settle out of court for two of the "Flower paintings' and "royalty for future use of the image."[FN 38]

Spread from Modern Photography showing images taken by Patricia Caulfield with Warhol’s interventions, June 1964 © 2013 Andy Warhol Foundation for the Visual Arts / Artists Rights Society (ARS), New York

http://www.sothebys.com/en/auctions/ecatalogue/2013/nov-2013-contemporary-evening-n09037/lot.21.html

EDITOR PATRICIA CAULFIELD'S PHOTOGRAPHS IN MODERN PHOTOGRAPHY

To add insult to injury, aside one might think a MOMA curator would know better than to recommend Warhol violate someone's copyrighted work, Castelli Gallery's Ivan Karp dissed Patricia Caulfield's work as "not what you might call a remarkable photograph."[FN 39]

THE STUDENT HONOR SYSTEM HANDBOOK 2016-2017

"The Statutes of the University of Richmond Honor Councils specify the following seven violations that the Honor Councils may adjudicate. These Honor Code Statute violations are the sole basis for the Councils to hear cases and to render decisions of guilt or non-guilt. The following violations are not arranged by degree of seriousness. All violations of the Honor Code Statutes are, in themselves, considered to be equally significant offenses."[FN 40] In part, it states:

• 
  

  b. Plagiarism - Plagiarism is the presentation, oral and/or written, of words, facts, or ideas belonging to another source without proper acknowledgment. In collaborative work, “presentation” constitutes each individual’s contribution to the assignment.

  
  

  c. Lying - Lying is the making of a statement that one knows is false with the intent to deceive.

  
  

  It includes, but is not limited to, such actions as:

  
  

  (1) Lying to faculty, administration, or staff of the University community in order to gain an academic advantage.

  
  

  (2) Falsifying any University paper or electronic record by mutilation, addition, deletion or forgery 

Rhetorically, is the University of Richmond and its Joel and Lila Harnett Museum of Art in violation of its Honor Code Statutes when if fails to give full and honest disclosure to the objects in their exhibitions, much less their collection? This failure to give full and disclosure to the objects in their exhibitions and collections may be plausibly from ignorance by the University of Richmond academia and museum professionals but the Honor Code Statutes does state: "Ignorance is not an excuse for violating the Honor Code Statutes."[FN 41]

LAW, ETHICS AND THE VISUAL ARTS 

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, they wrote about “Counterfeit Art.”[FN 42]

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 43]

  

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 44]

  

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 other kinds criminal apply equally to fraud through the medium of counterfeit art…”[FN 45]

CONCLUSION 

What needs to be accomplished is the full and honest disclosure of all reproductions as -reproductions- by all museums, auction houses and art dealers. If the University of Richmond, its museums and the Iris and B. Gerald Cantor Foundation will  give full  and honest  disclosure for all reproductions as reproductions, it would allow museum patrons informed consent on whether they wish to attend an exhibit of reproductions, much less forgeries, not to mention whether to "support the Museums, including donating art or objects to the collections, making financial contributions to help extend the mission of the Museums, and volunteering your time or services."[FN 46]

But, if these objects are not reproductions by definition and law but forgeries, then serious consequences of law may come into play for those who chose to misrepresent these forgeries for monetary consideration including but not limited to: admission fee, city-state-federal grants, corporate sponsorship, tax write-offs and outright sales.

The reputations and legacy of living and past artists, present and future museum art patrons and 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. 

FOOTNOTES:

1. http://museums.richmond.edu/exhibitions/page.html?eventid=10501&informationid=casDataMuseumExhibition,startdate:2016-08-24,enddate:2016-12-04

2.  ISBN 0-314-22864-0

3. http://museums.richmond.edu/about/mission.html

4.  ISBN 0-314-22864-0

5.  http://museums.richmond.edu/exhibitions/page.html?eventid=10501&informationid=casDataMuseumExhibition,startdate:2016-08-24,enddate:2016-12-04

6. © Iris and B. Gerald Cantor Foundation 2001, ISBN 1-85894-143 hardback

7. Volume 1, © Musee Rodin, Musee Rodin 979-2-9014-2890-9, RMN: 978-2-7118-4941-3, Paris 2007

8. © Iris and B. Gerald Cantor Foundation 2001, ISBN 1-85894-143 hardback

98. Iris and B. Gerald Cantor Foundations: Rodin: Sculpture from the Iris and B. Gerald Cantor Collection, Working Checklist July 23, 1997, Nevada Museum of Art, 1801 Avenue of the Stars, Suite 435, Los Angeles, California 90067, 310 277-4600 

10.  © Iris and B. Gerald Cantor Foundation 2001, ISBN 1-85894-143 hardback

11. Volume 2, Musee Rodin: 972-2-9014-2890-9, RMN: 978-2-7118-4941-3, © Musee Rodin Paris, 2007, 19, boulevard des Invalides, 75007 Paris

12. http://www.cantorfoundation.org/2012/01/spotlight-on-the-three-faunesses/

13. http://www.cantorfoundation.org/resources/selected-bronzes/

14. © Iris and B. Gerald Cantor Foundation 2001, ISBN 1-85894-143 hardback

15. Ibid

16. Ibid

17. Ibid

18. Volume 2, Musee Rodin: 972-2-9014-2890-9, RMN: 978-2-7118-4941-3, © Musee Rodin Paris, 2007, 19, boulevard des Invalides, 75007 Paris

19. http://www.cantorfoundation.org/Rodin/Bronze/rbrz.html

20. © Iris and B. Gerald Cantor Foundation 2001, ISBN 1-85894-143 hardback

21. http://www.cantorfoundation.org/resources/selected-bronzes/

22. © Iris and B. Gerald Cantor Foundation 2001, ISBN 1-85894-143 hardback

23. Copyright © 1976 by the Philadelphia Museum of Art, Trade edition: ISBN 087923-157-2 

24. © 1999 By West Group, ISBN 0314022864 

25. http://museums.richmond.edu/about/joel-and-lila-harnett-museum-of-art.html

26. ISBN 0-915346-72-0

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

28. ISBN 0-915346-72-0

29. www.worldprintmakers.com/masters/goya.htm

30. http://museumcollections.richmond.edu/Obj19391?sid=24318&x=3794&port=266

31. https://en.wikipedia.org/wiki/Chromolithography

32. http://gaudiyatouchstone.net/art-life-raja-ravi-varma#/138

33. http://www.caravanmagazine.in/reviews-essays/enduring-myth-ravi-varma

34. http://ravivarma.org/Chromolithographs-by-Raja-Ravi-Varma

35. https://www.storyltd.com/stores/artisans/3621/

36. http://www.theindianportrait.com/artwork/raja-ravi-varma/

37. https://sites.google.com/site/ravivarmalithos/

38. The Contingent Object of Contemporary Art By Martha Buskirk

https://books.google.com/books?id=2x8evmFgnJkC&pg=PA85&lpg=PA85&dq=patricia+caulfield+modern+photography&source=bl&ots=U3AiUsHA8r&sig=DPafC0dvk6LD_nl7lERphPC6GvY&hl=en&sa=X&ei=Eks9VcqwBIHnggSiqYOYCA&ved=0CDoQ6AEwBw#v=onepage&q=patricia%20caulfield%20modern%20photography&f=false

39. Ibid

40. http://studentdevelopment.richmond.edu/student-handbook/honor/guide.pdf

41. Ibid

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

43. Ibid 

44. Ibid 

45. Ibid

46. http://museums.richmond.edu/about/support.html