tag:blogger.com,1999:blog-349095272024-03-13T09:23:15.284-04:00Gary ArseneauGary Arseneauhttp://www.blogger.com/profile/10379667479866306615noreply@blogger.comBlogger73125tag:blogger.com,1999:blog-34909527.post-47293748023456197952018-03-13T23:49:00.007-04:002018-03-15T00:16:05.098-04:00MAKING A WRONG IMPRESSION, The Arthur Ross Collection and their non-disclosed FAKES & Reproductions at the University of Pennsylvania’s January 12 - March 25, 2018 Impressions in Ink exhibition<div class="p1">
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<span style="font-family: "times" , "times new roman" , serif;"><span class="s1">NOTE: Footnotes enclosed </span><span class="s2" style="font-size: x-small;">[FN ]</span></span></div>
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<span class="s1" style="font-family: "times" , "times new roman" , serif;"><span style="font-size: x-large;">O</span>ne legal definition of fake is “something that is not what it purports to be.”</span></div>
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<span class="s1" style="font-family: "times" , "times new roman" , serif;">The University of Pennsylvania and its Arthur Ross Gallery’s January 12 - March 25, 2018<span class="Apple-converted-space"> </span><b> Impression in Ink: Prints from the Arthur Collection </b>exhibition contains numerous non-disclosed fakes and reproductions falsely attributed to dead artists, much less living artists. Posthumous impressions and lifetime reproductions are not original works of visual art i.e., woodcuts, etchings, and lithographs, much less attributable to the dead Paul Gauguin, Edouard Manet, Camille Pissarro, much less the living Paul Cezanne, Edgar Degas and Edouard Vuillard.</span></div>
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<span class="s1" style="font-family: "times" , "times new roman" , serif;">The dead don’t woodcut, etch, or litho and reproductions are not original works of visual art.</span></div>
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<span style="font-family: "times" , "times new roman" , serif;"><span class="s1">Yet, the University of Pennsylvania and its Arthur Ross Gallery, with or without intent, would have the public believe and act on the belief that “Impressions in Ink presents thirty exceptional prints by French Impressionists and Post-Impressionists including Cézanne, Daumier, Degas, Gauguin, Manet, Matisse, Pissarro, and Toulouse-Lautrec, drawn from the superb collection of the Gallery’s founder, Arthur Ross.”</span><span class="s2" style="font-size: x-small;">[FN 1]</span></span></div>
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<span class="s1" style="font-family: "times" , "times new roman" , serif;">Nothing could be further from the truth.</span></div>
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<span style="font-family: "times" , "times new roman" , serif;"><span class="s1">Then to go from the ridiculous to the sublime, the University of Pennsylvania and its Arthur Ross Gallery will hold an <i>Impressions in Ink Symposium</i> where “‘It will present brand-new scholarship on works in the collection,’ says Marsden-Atlass, and will feature Suzanne Boorsch, curator of prints and drawings at Yale University Art Gallery; S. Hollis Clayson, professor in the humanities at Northwestern; and Darcy Grimaldo Grigsby, professor of art history at the University of California, Berkeley.”</span><span class="s2" style="font-size: x-small;">[FN 2]</span></span></div>
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<span class="s1" style="font-family: "times" , "times new roman" , serif;">The non-disclosed posthumous fakes falsely attributed to dead artists and non-disclosed reproductions falsely attributed to living artists in this exhibition is not an exception for these academic institutions involved with this <i>Impression in Ink Symposium</i>. The<span class="Apple-converted-space"> </span>Yale University Art Gallery, Northwestern’s Block Museum, University of California’s Berkeley Art Museum and the University of Pennsylvania's own collections have problematic issues of authenticity.</span></div>
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<span class="s1" style="font-family: "times" , "times new roman" , serif;">The following documents these contentious issues of authenticity.</span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><span class="s1">24. Paul Gauguin, </span><i>Noa Noa</i> (Fragrance), 1893–94, Woodcut, image: 35.5 x 20.6 cm (14 x 8 1/8 in.), Yale University Art Gallery, The Arthur Ross Collection, Impressions in Ink: Masterworks from the Arthur Ross Collection, January 12 – March 25, 2018 Checklist</span><br />
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<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">[number mine]</span></div>
<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><span style="font-size: xx-small;">Artist: Paul Gauguin, French, 1848–1903, </span><i>Noa Noa </i><span style="font-size: xx-small;">(Fragrance), </span>1893–94, Woodcut, image: 35.5 x 20.6 cm (14 x 8 1/8 in.) sheet: 42.3 x 26.8 cm (16 5/8 x 10 9/16 in.) framed: 65.1 x 54.9 x 2.5 cm (25 5/8 x 21 5/8 x 1 in.), The Arthur Ross Collection, Suzanne Boorsch et al., Meant to Be Shared: The Arthur Ross Collection of European Prints (New Haven, Conn.: Yale University Art Gallery, 2015), 9, fig. 8. </span><br />
<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><a href="https://artgallery.yale.edu/collections/objects/178432">https://artgallery.yale.edu/collections/objects/178432</a>. </span><br />
<span style="font-size: xx-small;"><b><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">NON-DISCLOSED POSTHUMOUS IMPRESSION BY POLA GAUGUIN</span></b></span></div>
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<span class="s1" style="font-family: "times" , "times new roman" , serif; font-size: x-small;">[Detail] Fig. 8. Paul Gauguin, <i>Noa Noa</i> (Fragrance), 1893-94, Woodcut, 14 X 8 1/8 in. (35.5 x 20.6 cm), Yale University Art Gallery, The Arthur Ross Collection, 2012.159.91 [page 9, Meant to Be Shared, The Arthur Ross Collection of European Prints]</span><br />
<b><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">POLA GAUGUIN IMP MEANS I AM THE PRINTER</span></b></div>
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<span class="s1" style="font-family: "times" , "times new roman" , serif;"><span style="font-size: x-large;">P</span>aul Gauguin died in 1903.</span><br />
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<span class="s1" style="font-family: "times" , "times new roman" , serif;">If one looks closely at the bottom right below the <i>Noa Noa</i> image you will notice that it is signed by "Pola Gauguin."</span></div>
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<span class="s1" style="font-family: "times" , "times new roman" , serif;">In the 1920s, Pola Gauguin [b 1893] was the printer for posthumous impressions of his dead father Paul Gauguin's [d 1903] wood blocks. The above non-disclosed posthumous impression titled <i>Noa Noa</i>, like all posthumous impressions from Paul Gauguin's wood blocks, could not have been approved, much less printed by a dead Paul Gauguin. Therefore, posthumous impressions from his wood blocks could never be an original work of visual art i.e., woodcuts, much less attributable to the dead Paul Gauguin [d 1903].<span class="Apple-converted-space"> </span></span></div>
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<span class="s1" style="font-family: "times" , "times new roman" , serif;">The dead don’t woodcut.</span></div>
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<span class="s1" style="font-family: "times" , "times new roman" , serif;">So, the <i>Noa Noa </i>image signed in pencil: "Paul Gauguin fait" and "Pola Gauguin imp" is misleadingly listed by the Yale University Gallery, The Arthur Ross Collection with a “1893-94” date.<span class="Apple-converted-space"> </span></span></div>
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<span class="s1" style="font-family: "times" , "times new roman" , serif;">Pola Gauguin, Paul Gauguin's son, was born in 1893.<span class="Apple-converted-space"> </span>Since "Pola Gauguin imp," penciled bottom right of the titled<i> Noa Noa</i>, means: "I am the printer," it should be obvious that Paul Gauguin's baby boy Pola could not have signed, much less printed anything in 1893-94.</span></div>
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<span class="s1" style="font-family: "times" , "times new roman" , serif;">THE FINISHED PRINT IS APPROVED BY THE ARTIST</span></div>
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<span style="font-family: "times" , "times new roman" , serif;"><span class="s1">In 1965, in A GUIDE TO THE COLLECTING AND CARE OF ORIGINAL PRINTS sponsored by The Print Council of America and authored by Carl Zigrosser and Christa M. Gaehde, 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."</span><span class="s2" style="font-size: x-small;">[FN 3]<span class="Apple-converted-space"> </span></span></span></div>
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<span class="s1" style="font-family: "times" , "times new roman" , serif;">Remember, Paul Gauguin died in 1903. The dead don't give directions, much less approve.</span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><span class="s1">6. Camille Pissarro, </span><i>Portrait of Paul Cézanne,</i> 1874, second printing 1920, Etching, stone: 10 5/8 x 8 7/16 in., Yale University Art Gallery, The Arthur Ross Collection, Impressions in Ink: Masterworks from the Arthur Ross Collection, January 12 – March 25, 2018 Checklist</span></div>
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<span class="s1" style="font-family: "times" , "times new roman" , serif; font-size: x-small;">[number mine]</span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><span style="font-size: xx-small;">Artist: Camille Pissarro, French, 1830–1903, <i>Portrait of Paul Cézanne, </i>1874, second printing 1920, Etching stone: 27 x 21.4 cm (10 5/8 x 8 7/16 in.) framed: 65.1 x 54.9 x 3.2 cm (25 5/8 x 21 5/8 x 1 1/4 in.), The Arthur Ross Collection, </span>2012.159.68</span><br />
<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">https://artgallery.yale.edu/collections/objects/178175</span><br />
<b><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">NON-DISCLOSED POSTHUMOUS FAKE, NOT INITIALED OR EDITIONED BY PISSARRO</span></b></div>
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<span class="s1" style="font-family: "times" , "times new roman" , serif;"><span style="font-size: x-large;">C</span>amille Pissarro died in 1903.</span></div>
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<span class="s1" style="font-family: "times" , "times new roman" , serif;">Yet, the so-called etching titled <i>Portrait of Paul Cezanne,</i> printed in “1920,” has what appears to be Camille Pissarro's initials "CP" with an edition number.</span></div>
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<span class="s1" style="font-family: "times" , "times new roman" , serif;">The dead don't etch, much less sign and consecutively number.</span></div>
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<span style="font-family: "times" , "times new roman" , serif;"><span class="s1">This is confirmed by U.S. Copyright Law 101. Definitions, where 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.”</span><span class="s2" style="font-size: x-small;">[FN 4]</span></span></div>
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<span style="font-size: x-small;"><span class="s1" style="font-family: "times" , "times new roman" , serif;">11. Edouard Manet, </span><i style="font-family: times, "times new roman", serif;">The Absinthe Drinker</i><span style="font-family: "times" , "times new roman" , serif;">, 1860, </span><span style="font-family: "times" , "times new roman" , serif;">Etching and aquatint, plate: 11 1/4 x 6 5/16 in., </span><span style="font-family: "times" , "times new roman" , serif;">Yale University Art Gallery, The Arthur Ross Collection, </span><span style="font-family: "times" , "times new roman" , serif;">Impressions in Ink: Masterworks from the Arthur Ross Collection, </span><span style="font-family: "times" , "times new roman" , serif;">January 12 – March 25, 2018 Checklist</span><span class="Apple-converted-space" style="font-family: "times" , "times new roman" , serif;"> </span></span></div>
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<span style="font-size: x-small;"><span style="font-family: "times" , "times new roman" , serif;">Artist: Édouard Manet, French, 1832–1883, </span><i style="font-family: times, "times new roman", serif;">The Absinthe Drinker, </i><span style="font-family: "times" , "times new roman" , serif;">1860, </span><span style="font-family: "times" , "times new roman" , serif;">Etching and aquatint, </span><span style="font-family: "times" , "times new roman" , serif;">plate: 28.6 x 16.1 cm (11 1/4 x 6 5/16 in.), </span><span style="font-family: "times" , "times new roman" , serif;">The Arthur Ross Collection, </span><span style="font-family: "times" , "times new roman" , serif;">2012.159.74, </span></span><br />
<span style="font-family: "times" , "times new roman" , serif;"><span style="font-size: x-small;">https://artgallery.yale.edu/collections/objects/178182</span></span><br />
<b style="font-family: times, "times new roman", serif;"><span style="font-size: x-small;">NON-DISCLOSED POSTHUMOUS IMPRESSION</span></b></div>
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<span style="font-size: x-small;"><span class="s1" style="font-family: "times" , "times new roman" , serif;">Édouard Manetn </span><span style="font-family: "times" , "times new roman" , serif;">French, 1832-1883, </span><span style="font-family: "times" , "times new roman" , serif;"><i>The Absinthe Drinker,</i> 1862, </span><span style="font-family: "times" , "times new roman" , serif;">Etching and plate tone in black on ivory laid paper, </span><span style="font-family: "times" , "times new roman" , serif;">248 x 145 mm (image); 289 x 161 mm (plate); 291 x 164 mm (sheet), </span><span style="font-family: "times" , "times new roman" , serif;">William McCallin McKee Memorial Endowment, 1953.532</span></span><br />
<a href="http://www.artic.edu/aic/collections/artwork/79898" style="font-family: times, "times new roman", serif;"><span style="font-size: x-small;">http://www.artic.edu/aic/collections/artwork/79898</span></a><br />
<b style="font-family: times, "times new roman", serif;"><span style="font-size: x-small;">LIFETIME ETCHING</span></b></div>
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<span class="s1" style="font-family: "times" , "times new roman" , serif;"><span style="font-size: x-large;">E</span>douard Manet died in 1883.</span></div>
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<span class="s1" style="font-family: "times" , "times new roman" , serif;"><i>The Absinthe Drinker, </i>in The Arthur Ross Collection, was posthumously printed in 1906 some 33 years after Edouard Manet’s death in 1883 resulting in a posthumous impression, not an original work of visual art i.e., etching.</span><br />
<span class="s1" style="font-family: "times" , "times new roman" , serif;"><br /></span> <span class="s1" style="font-family: "times" , "times new roman" , serif;">The dead don't etch.</span></div>
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<span class="s1" style="font-family: "times" , "times new roman" , serif;">This is confirmed when one compares the above lifetime etching titled <i>The Absinthe Drinker, </i>printed in 1862, <i>versus</i> <i>The Absinthe Drinker</i> in The Arthur Ross Collection with the following published reference.</span></div>
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<span style="font-family: "times" , "times new roman" , serif;"><span class="s1">On page 40 of <i>The Prints of Manet</i> by Jay McKean Fisher, the author wrote: “At a later date, c. 1867, Manet went back to several of his old plates; with the probable help of Bracquenmond, he applied a heavy ground of aquatint to each, totally transforming their effect. The three plates were <i>The Absinthe Drinker, Boy with a Sword </i>(no. 48), and <i>At the Prado</i> (no. 47). <i>The Absinthe Drinker</i> was the least successful attempt because the aquatint became so dark that most of the etched lines were hardly visible. Only the face was left with a dramatic touch of light, and the back wall was transformation was undoubtedly made with Goya’s Los Caprichos prints in mind. The plates were not published in this state until 1906-1910 by Porcabeuf, a relative of Bracquemond.”</span><span class="s2" style="font-size: x-small;">[FN 5]</span></span></div>
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<span class="s1" style="font-family: "times" , "times new roman" , serif;">Remember, in 1906, Edouard Manet was some 33 years dead. The dead don’t etch.</span></div>
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<span style="font-size: xx-small;"><span class="s1" style="font-family: "times" , "times new roman" , serif;"><span style="font-size: x-small;">14. Edouard Manet, </span></span><span style="font-size: x-small;"><i style="font-family: times, "times new roman", serif;">Portrait of Berthe Morisot</i><span style="font-family: "times" , "times new roman" , serif;">, 1872, </span><span style="font-family: "times" , "times new roman" , serif;">Lithograph on chine collé, plate: 4 3/4 x 3 1/8 in., </span><span style="font-family: "times" , "times new roman" , serif;">Yale University Art Gallery, The Arthur Ross Collection, </span><span style="font-family: "times" , "times new roman" , serif;">Impressions in Ink: Masterworks from the Arthur Ross Collection, </span><span style="font-family: "times" , "times new roman" , serif;">January 12 – March 25, 2018 Checklist</span><span class="Apple-converted-space" style="font-family: "times" , "times new roman" , serif;"> </span></span></span></div>
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<span class="s1" style="font-family: "times" , "times new roman" , serif; font-size: x-small;">[number mine]</span></div>
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<span style="font-size: x-small;"><span class="s1" style="font-family: "times" , "times new roman" , serif; font-size: xx-small;">Artist: Édouard Manet, French, 1832–1883, </span><i style="font-family: times, "times new roman", serif;">Portrait of Berthe Morisot, </i><span style="font-family: "times" , "times new roman" , serif;">1872, </span><span style="font-family: "times" , "times new roman" , serif;">Lithograph on chine collé, </span><span style="font-family: "times" , "times new roman" , serif;">plate: 12 x 7.9 cm (4 3/4 x 3 1/8 in.), </span><span style="font-family: "times" , "times new roman" , serif;">The Arthur Ross Collection, </span><span style="font-family: "times" , "times new roman" , serif;">2012.159.79 </span></span><br />
<a href="https://artgallery.yale.edu/collections/objects/178187" style="font-family: times, "times new roman", serif;"><span style="font-size: x-small;">https://artgallery.yale.edu/collections/objects/178187</span></a><br />
<b style="font-family: times, "times new roman", serif;"><span style="font-size: x-small;">NON-DISCLOSED POSTHUMOUS IMPRESSION FROM 1884 OR 1892</span></b></div>
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<span class="s1" style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><b>DETAIL:</b><span class="Apple-converted-space"> </span>“Imp Lemercier C Paris”</span></div>
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<span class="s1" style="font-family: "times" , "times new roman" , serif;"><span style="font-size: x-large;">E</span>douard Manet died in 1883.</span></div>
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<span class="s1" style="font-family: "times" , "times new roman" , serif;">The above posthumous impression, titled <i>Portrait of Berthe Morisot</i>, was printed either in 1884 or 1892, 1 to 9 years after Edouard Manet’s death in 1883.</span><br />
<span class="s1" style="font-family: "times" , "times new roman" , serif;"><br /></span> <span class="s1" style="font-family: "times" , "times new roman" , serif;">To belabor a point, the dead don't lithograph.</span><br />
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<span class="s1"><span style="font-size: small;">This is confirmed on page 102 of <i>The Prints of Manet</i> by Jay McKean Fisher, the author wrote: “the standard designation of states for this lithograph includes two stages, one before the letter and one with the address of Lemercier, the printer. In some impressions, these letters have apparently been masked. Such as an impression in the Victoria and Albert Museum is described by Griffiths as without letters, printed on a similar Japon paper, and much poorer in quality than the 1884 edition of the lithograph - the first and only edition published in fifty impressions ( Carey and Griffiths 1978, p 37). Bareau was able to determine accurately the edition size as fifty impressions, not one hundred, through an examination of Depot Legal records,<span class="Apple-converted-space"> </span>Additionally, she found a document relating to the Manet estate that in 1892 stated that the stones had been destroyed after an edition of 250 impressions (five lithographs from the 1884 edition, fifty impressions each). In considering how to determine the existence of before-the-letter proofs that may have been printed during Manet’s lifetime. Griffiths describes a proof in The Cleveland Museum of Art that shows a subtle application of shading to the right side of Morisot’s face, an effect not visible in the published impressions or the other impressions before letters. Consequently, this work should be hallmark of an early lifetime printing, according to Griffiths.”</span></span><span style="font-size: x-small;">[FN 6]</span></div>
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<span class="s1" style="font-family: "times" , "times new roman" , serif;">The dead don’t edition.</span></div>
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<span style="font-size: x-small;"><span class="s1" style="font-family: "times" , "times new roman" , serif;">12. Edouard Manet, </span><i style="font-family: times, "times new roman", serif;">The Toilette</i><span style="font-family: "times" , "times new roman" , serif;">, 1862, </span><span style="font-family: "times" , "times new roman" , serif;">Etching, plate: 11 3/16 x 8 3/4 in., </span><span style="font-family: "times" , "times new roman" , serif;">Yale University Art Gallery, The Arthur Ross Collection, </span><span style="font-family: "times" , "times new roman" , serif;">Impressions in Ink: Masterworks from the Arthur Ross Collection, </span><span style="font-family: "times" , "times new roman" , serif;">January 12 – March 25, 2018 Checklist</span><span class="Apple-converted-space" style="font-family: "times" , "times new roman" , serif;"> </span></span></div>
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<span class="s1" style="font-family: "times" , "times new roman" , serif; font-size: x-small;">[number mine]</span></div>
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<span style="font-size: x-small;"><span class="s1" style="font-family: "times" , "times new roman" , serif; font-size: xx-small;">Artist: Édouard Manet, French, 1832–1883, </span><i style="font-family: times, "times new roman", serif;">The Toilette, </i><span style="font-family: "times" , "times new roman" , serif;">1862, </span><span style="font-family: "times" , "times new roman" , serif;">Etching, </span><span style="font-family: "times" , "times new roman" , serif;">plate: 28.4 x 22.3 cm (11 3/16 x 8 3/4 in.), </span><span style="font-family: "times" , "times new roman" , serif;">The Arthur Ross Collection, </span><span style="font-family: "times" , "times new roman" , serif;">2012.159.76 </span></span><br />
<span style="font-family: "times" , "times new roman" , serif;"><span style="font-size: x-small;">https://artgallery.yale.edu/collections/objects/178184 </span></span><br />
<b style="font-family: times, "times new roman", serif;"><span style="font-size: x-small;">LIFETIME ETCHING OR NON-DISCLOSED POSTHUMOUS IMPRESSION?</span></b></div>
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<span class="s1" style="font-family: "times" , "times new roman" , serif;"><span style="font-size: x-large;">I</span>s the Yale University Art Gallery’s <i>The Toilette</i>, attributed to Edouard Manet with an 1862 date, an actual lifetime etching or a posthumous impression? </span><span style="font-family: "times" , "times new roman" , serif;">The following excerpts from </span><i style="font-family: times, "times new roman", serif;">The Prints of Manet</i><span style="font-family: "times" , "times new roman" , serif;"> by Jay McKean Fisher addresses those questions.</span></div>
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<span class="s1" style="font-family: "times" , "times new roman" , serif;">1862 OR 1874 EDITION</span></div>
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<span style="font-family: "times" , "times new roman" , serif;"><span class="s1">On page 26 of <i>The Prints of Manet</i> by Jay McKean Fisher, the author wrote: “1862 First Cadart edition, usually on laid paper standard for the Societe des Aquafortistes publications of this period, with Aquafortistes watermark or other watermarks found on Cart publications such as Halliens or Hudelist. It is difficult to distinguish prints in the actual edition of eight etchings form those prints bought separately from the Cardart establishment. The title for this portfolio, known in an intact copy in the Bibliotheque Nationale is “Huit gravures a l’eau-forte par Manet.” It actually included nine images. These impressions are printed in a bistre ink, on paper with the Hallines watermark.<span class="Apple-converted-space"> </span>-<span class="Apple-converted-space"> </span>1874 Second Cadart edition. This edition included nine images, some different from the 1862 edition, printed on Japon paper.”</span><span class="s2" style="font-size: x-small;">[FN 7]</span></span></div>
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<span class="s1" style="font-family: "times" , "times new roman" , serif;">1906-1910 POSTHUMOUS IMPRESSIONS</span></div>
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<span style="font-family: "times" , "times new roman" , serif;"><span class="s1">On page 27 of <i>The Prints of Manet </i>by Jay McKean Fisher, the author wrote: 1906-1910 Porcabeuf edition. Three plates were published by Bracquemond’s uncle, Porcabeuf: <i>The Toilette</i> (no. 20), <i>Boy Carrying a Tray </i>(Harris 28), and <i>At the Prado </i>(no. 47) are examples of this edition. The size of the edition was thirty, and the plates were printed on heavy Japon paper. - Modern There are several modern editions of certain plates available, including an edition from Bibliotheque Nationale of three canceled plates: <i>The Toilette</i>, <i>Lola de Valence</i> (no. 25) and <i>Line in front of the Butcher Shop</i> (no. 53).”</span><span class="s2" style="font-size: x-small;">[FN 7]</span></span></div>
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<span style="font-family: "times" , "times new roman" , serif;">Remember, its an oxymoron to refer to posthumous derivatives as being limited. Reproductions, by their very nature, have no such limitation.</span></div>
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<span style="font-size: x-small;"><span class="s1" style="font-family: "times" , "times new roman" , serif;">13. Edouard Manet, </span><i style="font-family: times, "times new roman", serif;">Don Mariano Camprubi primer bailarin del teatro royal de Madrid, </i><span style="font-family: "times" , "times new roman" , serif;">(Don Mariano Camprubi first dancer of the Teatro Royal de Madrid), 1862, </span><span style="font-family: "times" , "times new roman" , serif;">Etching, platemark: 11 3/4 x 7 3/4 in., </span><span style="font-family: "times" , "times new roman" , serif;">Yale University Art Gallery, The Arthur Ross Collection, </span><span style="font-family: "times" , "times new roman" , serif;">Impressions in Ink: Masterworks from the Arthur Ross Collection, </span><span style="font-family: "times" , "times new roman" , serif;">January 12 – March 25, 2018 Checklist</span></span></div>
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<span class="s1" style="font-family: "times" , "times new roman" , serif; font-size: x-small;">[number mine]</span></div>
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<span style="font-size: x-small;"><span style="font-family: "times" , "times new roman" , serif;">Artist: Édouard Manet, French, 1832–1883, </span><i style="font-family: times, "times new roman", serif;">Don Mariano Camprubi primer bailarin del teatro royal de Madrid</i><span style="font-family: "times" , "times new roman" , serif;"> (Don Mariano Camprubi first dancer of the Teatro Royal de Madrid), </span><span style="font-family: "times" , "times new roman" , serif;">1862, </span><span style="font-family: "times" , "times new roman" , serif;">Etching, </span><span style="font-family: "times" , "times new roman" , serif;">platemark: 29.9 x 19.7 cm (11 3/4 x 7 3/4 in.) framed: 62.2 x 49.5 x 2.5 cm (24 1/2 x 19 1/2 x 1 in.), </span><span style="font-family: "times" , "times new roman" , serif;">The Arthur Ross Collection, </span><span style="font-family: "times" , "times new roman" , serif;">2012.159.77, </span><span style="font-family: "times" , "times new roman" , serif;">Bibliography:</span><span class="Apple-converted-space" style="font-family: "times" , "times new roman" , serif;"> </span><span style="font-family: "times" , "times new roman" , serif;">Suzanne Boorsch et al., Meant to Be Shared: The Arthur Ross Collection of European Prints (New Haven, Conn.: Yale University Art Gallery, 2015), 37, fig. 24. </span></span><br />
<span style="font-family: "times" , "times new roman" , serif;"><span style="font-size: x-small;">https://artgallery.yale.edu/collections/objects/178185 </span></span><br />
<b style="font-family: times, "times new roman", serif;"><span style="font-size: x-small;">LIFETIME ETCHING OR A NON-DISCLOSED POSTHUMOUS IMPRESSION?</span></b></div>
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<span class="s1" style="font-family: "times" , "times new roman" , serif;"><span style="font-size: x-large;">I</span>s the Yale University Art Gallery’s <i>Don Mariano Camprubi primer bailarin del teatro royal de Madrid</i>, attributed to Edouard Manet with an 1862 date, an actual lifetime etching or a posthumous impression? </span><span style="font-family: "times" , "times new roman" , serif;">The following excerpts from </span><i style="font-family: times, "times new roman", serif;">The Prints of Manet</i><span style="font-family: "times" , "times new roman" , serif;"> by Jay McKean Fisher addresses those questions.</span></div>
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<span style="font-family: "times" , "times new roman" , serif;"><span class="s1">On page 62 of <i>The Prints of Manet</i> by Jay McKean Fisher, the author wrote: “This etching from 1863 reproduces in reverse Manet’s oil of 1862 (R.W. vol. 1, 54, painted about the same time as the canvas Lola de Valence, shortly after the ballet company appeared in Paris in August 1862. Included in his special edition of fourteen etchings distributed to his friends, the print was not again published in his lifetime. The exhibition impression, on heavy laid paper, was designated by Lucus as a modern impression from the Dumont edition. But this impression is probably one of Guerard’s proofs, which were usually printed on a heavy, slightly tinted laid paper (see Legan). The Dumont edition is more frequently found on blue-green paper, with dark brown ink. Manet inscribed the title below, in incorrect Spanish. Bareau suggests that this title may have been copied from a theatre announcement.”</span><span class="s2" style="font-size: x-small;">[FN 8]</span></span></div>
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<span style="font-family: "times" , "times new roman" , serif;"><span class="s1"><b></b></span><br /></span> <span style="font-family: "times" , "times new roman" , serif;">So, does The Arthur Ross Collection have one of those 14 lifetime etchings?</span></div>
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<span style="font-size: x-small;"><span class="s1" style="font-family: "times" , "times new roman" , serif;">16. Paul Cézanne, </span><i style="font-family: times, "times new roman", serif;">Self-Portrait,</i><span style="font-family: "times" , "times new roman" , serif;"> 1898–1900, </span><span style="font-family: "times" , "times new roman" , serif;">Lithograph, stone: 12 3/4 x 11 1/4 in., </span><span style="font-family: "times" , "times new roman" , serif;">Yale University Art Gallery, The Arthur Ross Collection, </span><span style="font-family: "times" , "times new roman" , serif;">Impressions in Ink: Masterworks from the Arthur Ross Collection, </span><span style="font-family: "times" , "times new roman" , serif;">January 12 – March 25, 2018 Checklist</span><span class="Apple-converted-space" style="font-family: "times" , "times new roman" , serif;"> </span></span></div>
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<span class="s1" style="font-family: "times" , "times new roman" , serif; font-size: x-small;">[number mine]</span></div>
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<span style="font-size: x-small;"><span class="s1" style="font-family: "times" , "times new roman" , serif; font-size: xx-small;">Artist: Paul Cézanne, French, 1839–1906, </span><i style="font-family: times, "times new roman", serif;">Self-Portrait, </i><span style="font-family: "times" , "times new roman" , serif;">1898–1900, </span><span style="font-family: "times" , "times new roman" , serif;">Lithograph </span><span style="font-family: "times" , "times new roman" , serif;">stone: 32.4 x 28.6 cm (12 3/4 x 11 1/4 in.), </span><span style="font-family: "times" , "times new roman" , serif;">The Arthur Ross Collection, </span><span style="font-family: "times" , "times new roman" , serif;">2012.159.84 </span></span><br />
<span style="font-size: x-small;"><a href="https://artgallery.yale.edu/collections/objects/178422" style="font-family: times, "times new roman", serif;">https://artgallery.yale.edu/collections/objects/178422</a> </span><br />
<b style="font-family: times, "times new roman", serif;"><span style="font-size: x-small;">LIFETIME LITHOGRAPH?</span></b></div>
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<span class="s1" style="font-family: "times" , "times new roman" , serif;"><span style="font-size: x-large;">W</span>as the above <i>Self-Portrait </i>lithograph, attributed to Paul Cezanne with an “1898-1900” date in the Yale University Art Gallery’s Arthur Ross collection, printed with MBM Ingres d’Arches just like the Christie Auction House’s above <i>Autoportrait</i> falsely attributed to Paul Cezanne and sold on December 4, 2014 as one of the posthumous impressions made in 1914 by dealer Ambrose Vollard in Paris?</span></div>
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<span class="s1" style="font-family: "times" , "times new roman" , serif;">Notice above-left <i>Self-portrait</i>, attributed to Paul Cezanne as an original work of visual art i.e., etching in the Yale University Art Gallery’s Arthur Ross Collection seems to be printed on the same cream-colored MGM<span class="Apple-converted-space"> </span>Ingres d’ Arches paper as the following two examples.</span></div>
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<span class="s1" style="font-family: "times" , "times new roman" , serif; font-size: x-small;">Paul Cezanne (1839-1906), <i>Autoportrait</i>, Price realised GBP 1,375, Estimate GBP 1,200 - GBP 1,800, Sale 5882, Prints & Multiples, 4 December 2014, London, South Kensington, Lot 76, three duplicate lithographs, in various tones of grey and black, 1896, on watermarked laid MBM paper, published by Ambrose Vollard, Paris, 1914. each with minor surface defects, generally in good condition. Lithograph: 331 x 275 mm, Sheet 640 x 490 mm. (and similar)</span></div>
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<span class="s1" style="font-family: "times" , "times new roman" , serif; font-size: x-small;">https://www.christies.com/PDF/catalog/2014/KEN5882_SaleCat.pdf</span><br />
<b style="font-family: times, "times new roman", serif;"><span style="font-size: x-small;">NON-DISCLOSED POSTHUMOUS IMPRESSION</span></b></div>
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<span class="s3" style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><a href="http://www.lloydgodman.net/tech/tech/Alternative/alt3.html">http://www.lloydgodman.net/tech/tech/Alternative/alt3.html</a></span><br />
<span style="font-size: x-small;"><span style="font-family: "times" , "times new roman" , serif;">[Detail]</span><span style="font-family: "times" , "times new roman" , serif;"> MBM Ingres d’Arches</span></span></div>
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<a href="https://2.bp.blogspot.com/-2sj-myDz95U/WqiKdfFxC5I/AAAAAAAAESg/PAAmQvli-N092RAJJfBRRg2l99gNENLagCLcBGAs/s1600/PF1095-30-lr-1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: "times" , "times new roman" , serif;"><img border="0" data-original-height="1600" data-original-width="1600" height="320" src="https://2.bp.blogspot.com/-2sj-myDz95U/WqiKdfFxC5I/AAAAAAAAESg/PAAmQvli-N092RAJJfBRRg2l99gNENLagCLcBGAs/s320/PF1095-30-lr-1.jpg" width="320" /></span></a></div>
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<span style="font-size: x-small;"><span class="s1" style="font-family: "times" , "times new roman" , serif; font-size: xx-small;">Paul Cézannek </span><span style="font-family: "times" , "times new roman" , serif;">1839 - 1906, </span><i style="font-family: times, "times new roman", serif;">SELF PORTRAIT, </i><span style="font-family: "times" , "times new roman" , serif;">lithograph, of the black print of about 100 copies (there was also a print of 100 copies in gray in 1914), on laid paper with watermarked MBM (France) and Ingres d'Arches., </span><span style="font-family: "times" , "times new roman" , serif;">pattern: 33 x 29 cm; 13 x 11 3/8 in., </span><span style="font-family: "times" , "times new roman" , serif;">leaf: 63.5 x 47 cm; 25 x 18 1/2 in., </span><span style="font-family: "times" , "times new roman" , serif;">Designed around 1898, printed by Auguste Clot for publication in the third Album of original prints of Galerie Vollard in 1898 (project which was abandoned), published in 1920., </span><span style="font-family: "times" , "times new roman" , serif;">Sold without reserve price, </span><span style="font-family: "times" , "times new roman" , serif;">CATALOG NOTE </span><span style="font-family: "times" , "times new roman" , serif;">lithograph, circa 1898, from the edition of approximately 100 (there were a further circa 100 impressions printed in gray in 1914) on MBM (France) and Ingres d'Arches. </span></span><br />
<span style="font-size: x-small;"><a href="http://www.sothebys.com/en/auctions/ecatalogue/2010/treasures-from-the-vollard-safe-pf1095/lot.30.html" style="font-family: times, "times new roman", serif;">http://www.sothebys.com/en/auctions/ecatalogue/2010/treasures-from-the-vollard-safe-pf1095/lot.30.html</a> </span><br />
<span style="font-size: x-small;"><b style="font-family: times, "times new roman", serif;">NON-DISCLOSED POSTHUMOUS IMPRESSION</b></span></div>
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<span class="s1" style="font-family: "times" , "times new roman" , serif;">If so, this additional reference seem to support that the <i>Self-Portrait</i> a.k.a. <i>Autoportrait,</i> attributed to Paul Cezanne as original works of visual art i.e., lifetime lithographs, might actually be posthumous impressions.</span></div>
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<span style="font-size: x-small;"><span class="s1" style="font-family: "times" , "times new roman" , serif;">17. Paul Cézanne, </span><i style="font-family: times, "times new roman", serif;">Head of a Young Girl,</i><span style="font-family: "times" , "times new roman" , serif;"> 1873, </span><span style="font-family: "times" , "times new roman" , serif;">Etching, plate: 5 1/4 x 4 1/4 in., </span><span style="font-family: "times" , "times new roman" , serif;">Yale University Art Gallery, The Arthur Ross Collection, </span><span style="font-family: "times" , "times new roman" , serif;">Impressions in Ink: Masterworks from the Arthur Ross Collection, </span><span style="font-family: "times" , "times new roman" , serif;">January 12 – March 25, 2018 Checklist</span></span></div>
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<span class="s1" style="font-family: "times" , "times new roman" , serif; font-size: x-small;">[number mine]</span></div>
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<span style="font-size: x-small;"><span class="s1" style="font-family: "times" , "times new roman" , serif; font-size: xx-small;">Artist: Paul Cézanne, French, 1839–1906, </span><i style="font-family: times, "times new roman", serif;">Head of a Young Girl, </i><span style="font-family: "times" , "times new roman" , serif;">1873, </span><span style="font-family: "times" , "times new roman" , serif;">Etching </span><span style="font-family: "times" , "times new roman" , serif;">plate: 13.4 x 10.8 cm (5 1/4 x 4 1/4 in.), T</span><span style="font-family: "times" , "times new roman" , serif;">he Arthur Ross Collection, </span><span style="font-family: "times" , "times new roman" , serif;">2012.159.85 </span></span><br />
<span style="font-size: x-small;"><a href="https://artgallery.yale.edu/collections/objects/178424" style="font-family: times, "times new roman", serif;">https://artgallery.yale.edu/collections/objects/178424</a> </span><br />
<b style="font-family: times, "times new roman", serif;"><span style="font-size: x-small;">LIFETIME ETCHING OR NON-DISCLOSED POSTHUMOUS IMPRESSION</span></b></div>
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<span class="s1" style="font-family: "times" , "times new roman" , serif;"><span style="font-size: x-large;">P</span>aul Cezanne died in 1906. </span></div>
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<span class="s1" style="font-family: "times" , "times new roman" , serif;">So, was Paul Cezanne actually alive to print or approve the printing of the above etching titled <i>Head of Young Girl </i>in 1873 attributed to him in The Arthur Ross Collection? </span></div>
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<span class="s1" style="font-family: "times" , "times new roman" , serif;">These three examples of a 1,000 non-disclosed posthumous fakes in bogus editions of Paul Cezanne’s <i>Head of a Young Girl</i> a.k.a. <i>Tête de jeune fille </i>certainly may call that into question.</span></div>
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<span class="s1" style="font-family: "times" , "times new roman" , serif;">Remember the dead don’t etch, much less edition.</span></div>
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<span class="s1" style="font-family: "times" , "times new roman" , serif; font-size: x-small;">1. Paul Cezanne (1839-1906), <i>Tête de jeune fille</i> (C. 4), Sale 5020, Lot 5, etching and aquatint in brown, on wove paper, a posthumous impression, with margins, in good condition, P. 132 x 110mm., S. 320 x 240mm., Prints and Multiples, 28 June 2006, London, South Kensington, Lot 5, Price realised GBP 300, Estimate GBP 300 - GBP 400<span class="Apple-converted-space"> </span></span><br />
<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><a href="http://www.christies.com/lotfinder/Lot/paul-cezanne-1839-1906-4739059-details.aspx" style="font-family: times, "times new roman", serif;">http://www.christies.com/lotfinder/Lot/paul-cezanne-1839-1906-4739059-details.aspx</a> </span><br />
<b style="font-family: times, "times new roman", serif;"><span style="font-size: x-small;">NON-DISCLOSED POSTHUMOUS FAKE</span></b></div>
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<span class="s1" style="font-family: "times" , "times new roman" , serif; font-size: x-small;">2. CÉZANNE, PAUL. 1839-1906, [<i>Head of a Young Girl</i>], Lot 1030, Sold for US$ 812 inc. premium, PROPERTY FROM SERENDIPITY BOOKS, 12 Feb 2012, 9:00 PST, LOS ANGELES, VOLLARD, AMBROISE. Paul Cézanne. Paris: Gallerie A. Vollard, 1914., Folio (324 x 245 mm). Original etching by Cézanne, and numerous plates. Plain cloth, original wrappers bound in. Some foxing to plates, wrappers toned and with repaired tears, minor shelfwear. LIMITED EDITION, no 631 of 1000 copies, with an original etching by Cézanne. </span><br />
<span style="font-family: "times" , "times new roman" , serif;"><span style="font-size: x-small;">http://www.bonhams.com/auctions/20200/lot/1030/ </span></span><br />
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<span class="s1" style="font-family: "times" , "times new roman" , serif; font-size: x-small;">[mine]</span></div>
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<span class="s1" style="font-family: "times" , "times new roman" , serif; font-size: x-small;">3. Paul Cezanne (1839-1906) , [<i>Head of a Young Girl</i>], Sale 5418, Lot 31, Price realised GBP 1,188, Estimate GBP 1,000 - GBP 1,500, Paul Cezanne, Ambroise Vollard, Paris, 1915 (Cherpin 4), etching in bistre, on japon, with title, text, reproductions and justification, copy number 117, from the edition of 1000, with full margins, time-staining darkening at the sheet edges, occasional handling marks, severe foxing to the colour plates, bound in the original paper covers, dark time-staining and abrasions to the edges(book)P. 130 x 105 mm., 325 x 250 mm. (overall)<span class="Apple-converted-space"> </span></span><br />
<span style="font-size: x-small;"><a href="http://www.christies.com/LotFinder/lot_details.aspx?from=salesummary&pos=2&intObjectID=5089040" style="font-family: times, "times new roman", serif;">http://www.christies.com/LotFinder/lot_details.aspx?from=salesummary&pos=2&intObjectID=5089040</a> </span><br />
<b style="font-family: times, "times new roman", serif;"><span style="font-size: x-small;">NON-DISCLOSED POSTHUMOUS FAKE</span></b></div>
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<span class="s1" style="font-family: "times" , "times new roman" , serif; font-size: x-small;">[mine]</span></div>
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<span class="s1" style="font-family: "times" , "times new roman" , serif;">Posthumous impressions are not attributable to a dead Paul Cezanne because he did not print them, much less approve their printing.</span></div>
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<span class="s1" style="font-family: "times" , "times new roman" , serif;">The dead don’t approve.</span></div>
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<span style="font-family: "times" , "times new roman" , serif;"><span class="s1">Under U.S. Copyright Law 103. “Subject matter of copyright: Compilations and derivative works,” it states: “The copyright in a compilation or derivative work extends only to the material contributed by the author of such work.”</span><span class="s2" style="font-size: x-small;">[FN 9]</span><span class="s5"> </span><span class="s1">The subsequent posthumous impressions from Paul Cezanne’s plates are derivatives. A derivative is a reproduction. </span></span><br />
<span style="font-family: "times" , "times new roman" , serif;"><span class="s1"><br /></span></span> <span style="font-family: "times" , "times new roman" , serif;"><span class="s1">Additionally, under U.S. Copyright Law 106A, the Rights of Attribution "shall not apply to any reproduction.”</span><span class="s2" style="font-size: x-small;">[FN 10]</span></span></div>
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<span class="s1" style="font-family: "times" , "times new roman" , serif;">Furthermore, </span><span class="s1" style="font-family: "times" , "times new roman" , serif;">under U.S. Copyright Law 101. Definitions, where 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, or, in the case of a sculpture, in multiple cast, carved, or fabricated sculptures of 200 or fewer that are consecutively numbered by the author and bear the signature or other identifying mark of the author.”</span><span class="s2" style="font-family: "times" , "times new roman" , serif; font-size: x-small;">[FN 11]</span></div>
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<span style="font-family: "times" , "times new roman" , serif;"><span class="s1"></span><br /></span> <span style="font-family: "times" , "times new roman" , serif;">The dead don't sign and consecutively number.</span><br />
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<span class="s1" style="font-family: "times" , "times new roman" , serif;">So, with a thousand or more of non-disclosed posthumous fakes titled <i>Head of a Young Girl</i> a.k.a.<i> Tête de jeune fille, </i>falsely attributed to a dead Paul Cezanne as original works of visual art i.e., etchings in a bogus edition that have flooded the marketplace, is the </span><i style="font-family: times, "times new roman", serif;">Head of a Young Girl </i><span style="font-family: "times" , "times new roman" , serif;">attributed to Paul Cezanne </span><span style="font-family: "times" , "times new roman" , serif;">in The Arthur Ross Collection an exception</span><span style="font-family: "times" , "times new roman" , serif;">?</span></div>
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<a href="https://1.bp.blogspot.com/-cNI8HY6VdDc/WqiMl-mX5PI/AAAAAAAAETI/-e7zwMZYhM4ssdRna_Zn6TpQDcUlGQI0wCLcBGAs/s1600/2-8.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: "times" , "times new roman" , serif;"><img border="0" data-original-height="480" data-original-width="399" height="320" src="https://1.bp.blogspot.com/-cNI8HY6VdDc/WqiMl-mX5PI/AAAAAAAAETI/-e7zwMZYhM4ssdRna_Zn6TpQDcUlGQI0wCLcBGAs/s320/2-8.jpg" width="266" /></span></a></div>
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<span style="font-size: x-small;"><span class="s1" style="font-family: "times" , "times new roman" , serif;">18. Paul Cézanne, </span><i style="font-family: times, "times new roman", serif;">Landscape at Auvers</i><span style="font-family: "times" , "times new roman" , serif;">, 1873, </span><span style="font-family: "times" , "times new roman" , serif;">Etching, plate: 5 1/4 x 4 1/4 in., </span><span style="font-family: "times" , "times new roman" , serif;">Yale University Art Gallery, The Arthur Ross Collection, </span><span style="font-family: "times" , "times new roman" , serif;">Impressions in Ink: Masterworks from the Arthur Ross Collection, </span><span style="font-family: "times" , "times new roman" , serif;">January 12 – March 25, 2018 Checklist</span><span class="Apple-converted-space" style="font-family: "times" , "times new roman" , serif;"> </span></span></div>
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<span class="s1" style="font-family: "times" , "times new roman" , serif; font-size: x-small;">[number mine]</span></div>
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<span style="font-size: x-small;"><span class="s1" style="font-family: "times" , "times new roman" , serif; font-size: xx-small;">Artist: Paul Cézanne, French, 1839–1906, </span><i style="font-family: times, "times new roman", serif;">Landscape at Auvers, </i><span style="font-family: "times" , "times new roman" , serif;">1873, </span><span style="font-family: "times" , "times new roman" , serif;">Etching </span><span style="font-family: "times" , "times new roman" , serif;">plate: 13.3 x 10.8 cm (5 1/4 x 4 1/4 in.), </span><span style="font-family: "times" , "times new roman" , serif;">The Arthur Ross Collection, </span><span style="font-family: "times" , "times new roman" , serif;">2012.159.86 </span></span><br />
<span style="font-size: x-small;"><a href="https://artgallery.yale.edu/collections/objects/178425" style="font-family: times, "times new roman", serif;">https://artgallery.yale.edu/collections/objects/178425</a> </span><br />
<b style="font-family: times, "times new roman", serif;"><span style="font-size: x-small;">LIFETIME ETCHING OR NON-DISCLOSED POSTHUMOUS IMPRESSION?</span></b></div>
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<span style="font-family: "times" , "times new roman" , serif;"><span class="s1"></span><span style="text-align: justify;"><span style="font-size: x-large;">I</span>s this above titled: </span><i style="text-align: justify;">Landscape at Auvers</i><span style="text-align: justify;">, attributed to Paul Cezanne as an original work of visual art i.e., etching in the Yale University Art Gallery Arthur Ross collection, actually printed and approved by Paul Cezanne during his lifetime?</span></span></div>
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<a href="https://4.bp.blogspot.com/-xMAa1h_7tkc/WqiM7XHZloI/AAAAAAAAETU/bx0cAh3F-6EuhtfTO6JNM19tPjm_MNfhQCLcBGAs/s1600/Screen%2BShot%2B2018-03-13%2Bat%2B10.45.40%2BPM.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: "times" , "times new roman" , serif;"><img border="0" data-original-height="548" data-original-width="447" height="320" src="https://4.bp.blogspot.com/-xMAa1h_7tkc/WqiM7XHZloI/AAAAAAAAETU/bx0cAh3F-6EuhtfTO6JNM19tPjm_MNfhQCLcBGAs/s320/Screen%2BShot%2B2018-03-13%2Bat%2B10.45.40%2BPM.png" width="261" /></span></a></div>
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<span class="s1" style="font-family: "times" , "times new roman" , serif; font-size: x-small;">Paul Cezanne restrike etching <i>"Landscape Near Auvers,”</i> Artist: Cezanne, Paul (French 1839-1906), Title: <i>Paysage a Auvers </i>(Landscape Near Auvers), Date: 1873, Medium: etching, from the posthumous edition, Dimensions: 5 x 4.25 inches, Edition: from the original plate , a posthumous edition, Provenance: Associated American Artists, New York Certificate 3095 </span><br />
<span style="font-family: "times" , "times new roman" , serif;"><span style="font-size: x-small;">https://www.liveauctioneers.com/item/26042800_paul-cezanne-restrike-etching-landscape-near-auvers </span></span><br />
<b style="font-family: times, "times new roman", serif;"><span style="font-size: x-small;">NON-DISCLOSED POSTHUMOUS FAKE</span></b></div>
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<span class="s1" style="font-family: "times" , "times new roman" , serif;">The acknowledged posthumous impression above is falsely promoted as an original work of visual art i.e., “etching” which it is not. The acknowledged posthumous impression above is falsely promoted as a “limited edition” which it is not. Then to go from the ridiculous to the sublime this acknowledged posthumous impression above is falsely promoted with a date of “1873” which precedes Paul Cezanne’s death in 1906.</span></div>
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<span style="font-family: "times" , "times new roman" , serif;">When auction houses, academic institutions, and museums misrepresent, with or without intent, posthumous impressions as original works of visual art i.e., etchings, how can the public give informed consent on whether to express interest, much less pay the price of admission to view without full and honest disclosure?</span></div>
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<a href="https://4.bp.blogspot.com/-FzCqYyHRZPU/WqiNsn-DtLI/AAAAAAAAETc/EetZ-v7ww8Us1DwwoNDwwH2pphJPcVj_gCLcBGAs/s1600/2-9.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: "times" , "times new roman" , serif;"><img border="0" data-original-height="480" data-original-width="389" height="320" src="https://4.bp.blogspot.com/-FzCqYyHRZPU/WqiNsn-DtLI/AAAAAAAAETc/EetZ-v7ww8Us1DwwoNDwwH2pphJPcVj_gCLcBGAs/s320/2-9.jpg" width="259" /></span></a></div>
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<span style="font-size: x-small;"><span class="s1" style="font-family: "times" , "times new roman" , serif;">22. Paul Gauguin, </span><i style="font-family: times, "times new roman", serif;">Portrait of Stéphane Mallarmé</i><span style="font-family: "times" , "times new roman" , serif;">, 1891, </span><span style="font-family: "times" , "times new roman" , serif;">Etching and drypoint with engraving, platemark: 7 3/16 x 5 5/8 in, </span><span style="font-family: "times" , "times new roman" , serif;">Yale University Art Gallery, The Arthur Ross Collection, </span><span style="font-family: "times" , "times new roman" , serif;">Impressions in Ink: Masterworks from the Arthur Ross Collection. </span><span style="font-family: "times" , "times new roman" , serif;">January 12 – March 25, 2018 Checklist</span></span></div>
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<span class="s1" style="font-family: "times" , "times new roman" , serif; font-size: x-small;">[number mine]</span></div>
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<span style="font-size: x-small;"><span style="font-size: xx-small;"><span class="s1" style="font-family: "times" , "times new roman" , serif; font-size: xx-small;">Artist: Paul Gauguin, French, 1848–1903, </span><i style="font-family: times, "times new roman", serif;">Portrait of Stéphane Mallarmé, </i><span style="font-family: "times" , "times new roman" , serif;">1891, </span><span style="font-family: "times" , "times new roman" , serif;">Etching and drypoint with engraving </span></span><span class="s1" style="font-family: "times" , "times new roman" , serif; font-size: xx-small;">platemark: 18.3 x 14.3 cm (7 3/16 x 5 5/8 in.) framed: 62.2 x 49.5 x 2.5 cm (24 1/2 x 19 1/2 x 1 in.), </span><span style="font-family: "times" , "times new roman" , serif;">The Arthur Ross Collection, </span><span style="font-family: "times" , "times new roman" , serif;">2012.159.90, </span><span style="font-family: "times" , "times new roman" , serif;">Suzanne Boorsch et al., Meant to Be Shared: The Arthur Ross Collection of European Prints (New Haven, Conn.: Yale University Art Gallery, 2015), 144, pl. 62 </span></span></div>
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<span style="font-size: x-small;"><a href="https://artgallery.yale.edu/collections/objects/178431" style="font-family: times, "times new roman", serif;">https://artgallery.yale.edu/collections/objects/178431</a> </span><br />
<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><b>LIFETIME ETCHING?</b></span></div>
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<a href="https://2.bp.blogspot.com/-4k9tHZhzAPY/WqiOGmYv63I/AAAAAAAAETk/fAIIBS3Qa_A6_Bwej_LN6Ixo5HMo9p-EQCLcBGAs/s1600/Screen%2BShot%2B2018-03-13%2Bat%2B10.50.39%2BPM.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: "times" , "times new roman" , serif;"><img border="0" data-original-height="369" data-original-width="295" height="320" src="https://2.bp.blogspot.com/-4k9tHZhzAPY/WqiOGmYv63I/AAAAAAAAETk/fAIIBS3Qa_A6_Bwej_LN6Ixo5HMo9p-EQCLcBGAs/s320/Screen%2BShot%2B2018-03-13%2Bat%2B10.50.39%2BPM.png" width="255" /></span></a></div>
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<span class="s1" style="font-family: "times" , "times new roman" , serif; font-size: x-small;">Paul Gauguin (1848-1903), <i>Portrait of Stéphane Mallarmé</i> (K. 12), Sale 7282, Lot 183 September 20-21, 2006 auction, Price realised GBP 3,000, Estimate GBP 3,000 - GBP 5,000, etching with drypoint and engraving, printed in dark brown, 1891, on laid paper with a clock-face watermark, Kornfeld's state IIa, one of a few proofs before the posthumous edition, with margins, pale scattered foxing, some light staining at the extreme sheet edges, otherwise in generally good condition </span><br />
<span style="font-family: "times" , "times new roman" , serif;"><span style="font-size: x-small;">http://www.christies.com/lotfinder/Lot/paul-gauguin-1848-1903-portrait-of-stephane-4782683-details.aspx </span></span><br />
<b style="font-family: times, "times new roman", serif;"><span style="font-size: x-small;">LIFETIME ETCHING</span></b></div>
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<a href="https://3.bp.blogspot.com/-eat-OYxdGfI/WqiRIsSn65I/AAAAAAAAETw/jksj-WcFv9wJ_HBIVYWzRX9LwtwTHCBSgCLcBGAs/s1600/Screen%2BShot%2B2018-03-13%2Bat%2B11.03.43%2BPM.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: "times" , "times new roman" , serif;"><img border="0" data-original-height="267" data-original-width="218" height="320" src="https://3.bp.blogspot.com/-eat-OYxdGfI/WqiRIsSn65I/AAAAAAAAETw/jksj-WcFv9wJ_HBIVYWzRX9LwtwTHCBSgCLcBGAs/s320/Screen%2BShot%2B2018-03-13%2Bat%2B11.03.43%2BPM.png" width="261" /></span></a></div>
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<span style="font-size: x-small;"><span class="s1" style="font-family: "times" , "times new roman" , serif;"><i>Portrait de Stéphane Mallarmé, </i></span><span style="font-family: "times" , "times new roman" , serif;">29/30, </span><span style="font-family: "times" , "times new roman" , serif;">Museum number1949,0411.2463, </span><span style="font-family: "times" , "times new roman" , serif;">Title (object)<i>Portrait de Stéphane Mallarmé</i>, </span><span style="font-family: "times" , "times new roman" , serif;">Description Portrait head of the poet, three-quarter profile, at lower left of composition. 1891 Etching with touches of drypoint and burin, </span><span style="font-family: "times" , "times new roman" , serif;">Producer name Print made by: Paul Gauguin</span><span class="Apple-converted-space" style="font-family: "times" , "times new roman" , serif;"> , </span><span style="font-family: "times" , "times new roman" , serif;">Date 1891, </span><span style="font-family: "times" , "times new roman" , serif;">Materials paper, </span><span style="font-family: "times" , "times new roman" , serif;">Technique etching, </span><span style="font-family: "times" , "times new roman" , serif;">Dimensions Height: 181 millimetres Width: 144 millimetres, </span><span style="font-family: "times" , "times new roman" , serif;">Curator's comments This impression comes from the posthumous reprinting of 1913/9 made for the publisher H Floury, shortly before the cancellation of the plate., </span><span style="font-family: "times" , "times new roman" , serif;">Registration number1949,0411.2463</span></span><br />
<span style="font-family: "times" , "times new roman" , serif;"><span style="font-size: x-small;">http://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=684617&partId=1&people=123982&peoA=123982-2-60&page=1 </span></span><br />
<b style="font-family: times, "times new roman", serif;"><span style="font-size: x-small;">NON-DISCLOSED POSTHUMOUS FAKE</span></b></div>
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<span style="font-family: "times" , "times new roman" , serif;"><span class="s1"></span> <style type="text/css"> p.p1 {margin: 0.0px 0.0px 0.0px 0.0px; text-align: justify; font: 13.0px 'Times New Roman'; color: #000000; -webkit-text-stroke: #000000} span.s1 {font-kerning: none} </style> </span><br />
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: x-large;">T</span><span style="font-family: "times" , "times new roman" , serif; font-size: small;">he Yale University Art Gallery Arthur Ross collection's<i> Portrait of Stephane Mallarme,</i> attributed to Paul Gauguin, seems to be printed in black ink on gray paper. Christie’s 2006 auction of <i>Portrait of Stephane Mallarme</i> is attributed "as one of the few proofs" by Paul Gauguin. </span></span><br />
<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;"><br /></span></span> <span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">So, does The Arthur Ross Collection have a true lifetime etching by Paul Gauguin?</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">On the other hand, the British Museum's </span></span><span style="font-size: small;"><i style="font-family: Times, "Times New Roman", serif;">Portrait of Stephane Mallarme </i><span style="font-family: "times" , "times new roman" , serif;">is being</span><span style="font-family: "times" , "times new roman" , serif;"> falsely attributed as an original work of visual art i.e., etching </span><span style="-webkit-text-stroke-width: initial; font-family: "times" , "times new roman" , serif;">despite the acknowledgment that it was posthumously printed in dark brown ink on a cream-colored paper.</span></span></div>
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<span style="font-size: small;"><span style="font-family: "times" , "times new roman" , serif;">To belabor the obvious. posthumous impressions are not original works</span><span class="Apple-converted-space" style="font-family: "times" , "times new roman" , serif;"></span><span style="font-family: "times" , "times new roman" , serif;"> of visual art i.e., etchings, much less attributable to a dead Paul Gauguin.</span></span></div>
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<span style="font-family: "times" , "times new roman" , serif;"><span class="s1">Once again, this fact is confirmed by the following, under U.S. Copyright Law 103. “Subject matter of copyright: Compilations and derivative works,” it states: “The copyright in a compilation or derivative work extends only to the material contributed by the author of such work.”</span><span class="s2" style="font-size: x-small;">[FN 12]</span><span class="s1"> A derivative is a reproduction. Under U.S. Copyright Law 106A, the Rights of Attribution "shall not apply to any reproduction.”</span><span class="s2" style="font-size: x-small;">[FN 13]</span></span></div>
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<span style="font-family: "times" , "times new roman" , serif;"><span class="s1"></span><br /></span> <span style="font-family: "times" , "times new roman" , serif;">Remember, the dead don't etch.</span></div>
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<span style="font-family: "times" , "times new roman" , serif;"><span class="s1"><b></b></span><br /></span></div>
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<a href="https://4.bp.blogspot.com/-IrJZSPmdHgk/WqiRnDrLp5I/AAAAAAAAET0/9YyqqqE_R0ASU89JJAlFiwHy5lDxfuNbACLcBGAs/s1600/2-10.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: "times" , "times new roman" , serif;"><img border="0" data-original-height="480" data-original-width="349" height="320" src="https://4.bp.blogspot.com/-IrJZSPmdHgk/WqiRnDrLp5I/AAAAAAAAET0/9YyqqqE_R0ASU89JJAlFiwHy5lDxfuNbACLcBGAs/s320/2-10.jpg" width="232" /></span></a></div>
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<span style="font-size: x-small;"><span class="s1" style="font-family: "times" , "times new roman" , serif;">15. Edgar Degas, </span><i style="font-family: times, "times new roman", serif;">The Infanta Margarita,</i><span style="font-family: "times" , "times new roman" , serif;"> 1861–62, </span><span style="font-family: "times" , "times new roman" , serif;">Etching and drypoint, platemark: 6 5/8 x 4 3/4 in., </span><span style="font-family: "times" , "times new roman" , serif;">Yale University Art Gallery, The Arthur Ross Collection, </span><span style="font-family: "times" , "times new roman" , serif;">Impressions in Ink: Masterworks from the Arthur Ross Collection, </span><span style="font-family: "times" , "times new roman" , serif;">January 12 – March 25, 2018 Checklist</span><span class="Apple-converted-space" style="font-family: "times" , "times new roman" , serif;"> </span></span></div>
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<span class="s1" style="font-family: "times" , "times new roman" , serif; font-size: x-small;">[number mine]</span></div>
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<span style="font-size: x-small;"><span class="s1" style="font-family: "times" , "times new roman" , serif; font-size: xx-small;">Etcher: Edgar Degas, French, 1834–1917, </span><span style="font-family: "times" , "times new roman" , serif;">After: Juan Bautista Mart’nez del Mazo, Spanish, ca. 1612–1667, </span><i style="font-family: times, "times new roman", serif;">The Infanta Margarita, </i><span style="font-family: "times" , "times new roman" , serif;">1861–62, </span><span style="font-family: "times" , "times new roman" , serif;">Etching and drypoint, </span><span style="font-family: "times" , "times new roman" , serif;">platemark: 16.9 x 12.1 cm (6 5/8 x 4 3/4 in.) sheet: 27.8 x 18.2 cm (10 15/16 x 7 3/16 in.) framed: 49.9 x 43.2 x 2.5 cm (19 5/8 x 17 x 1 in.), </span><span style="font-family: "times" , "times new roman" , serif;">The Arthur Ross Collection, </span><span style="font-family: "times" , "times new roman" , serif;">2012.159.83 </span></span><br />
<span style="font-size: x-small;"><a href="https://artgallery.yale.edu/collections/objects/178209" style="font-family: times, "times new roman", serif;">https://artgallery.yale.edu/collections/objects/178209</a> </span><br />
<b style="font-family: times, "times new roman", serif;"><span style="font-size: x-small;">NON-DISCLOSED REPRODUCTION</span></b></div>
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<span style="font-family: "times" , "times new roman" , serif;"><span class="s1"></span><br /></span><span style="font-family: "times" , "times new roman" , serif;"><span style="font-size: x-large;">E</span>dgar Degas was not creating his own original works of visual art i.e., etching, he was copying the work of another resulting in a reproduction.</span><br />
<span style="font-family: "times" , "times new roman" , serif;"><br /></span></div>
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<div style="text-align: justify;">
<span class="s1" style="font-family: "times" , "times new roman" , serif;">The term “after” is being used by Yale University Art Gallery as an euphemism for this non-disclosed reproduction titled <i>The Infanta Margarita</i> of Juan Bautista Mart’nez del Mazo’s work by Edgar Degas. </span><span style="font-family: "times" , "times new roman" , serif;">The definition of the term “after” is confirmed by the following links:</span></div>
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<ul>
<li class="li1" style="text-align: justify;"><span style="font-family: "times" , "times new roman" , serif;"><span class="s6"></span><span class="s1">The phrase “after” Picasso (or “after” any other artist) means that a skilled artisan created the image on the original plate. http://www.jdsmithfineart.com/information/question-by-after-picasso</span></span></li>
<li class="li1" style="text-align: justify;"><span style="font-family: "times" , "times new roman" , serif;"><span class="s6"></span><span class="s1">After. The auction house believes that the work was made by another artist, based on an original work by the named artist. https://auctionet.com/en/help/175-attribution</span></span></li>
<li class="li1" style="text-align: justify;"><span style="font-family: "times" , "times new roman" , serif;"><span class="s6"></span><span class="s1">“After ….” In their opinion a copy (of any date) of a work of the artist. http://www.fineart.co.uk/Buying_Art_at_Auction_Fine_Art_Trade_Guild_guidance.aspx</span></span></li>
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<span class="s1" style="font-family: "times" , "times new roman" , serif;">In other words, it is not attributable to Juan Bautista Mart’nez del Mazo because he did not create it and it’s not attributable to Edgar Degas because he was reproducing the work of another, not creating his own.</span></div>
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<span style="font-family: "times" , "times new roman" , serif;"><span class="s1">This fact is confirmed by the following, under U.S. Copyright Law 103. “Subject matter of copyright: Compilations and derivative works,” it states: “The copyright in a compilation or derivative work extends only to the material contributed by the author of such work.”</span><span class="s2" style="font-size: x-small;">[FN 14]</span><span class="s7"> </span><span class="s1">A derivative is a reproduction. Under U.S. Copyright Law 106A, the Rights of Attribution "shall not apply to any reproduction.”</span><span class="s2" style="font-size: x-small;">[FN 15]</span></span></div>
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<span style="font-family: "times" , "times new roman" , serif; margin-left: 1em; margin-right: 1em;"><a href="https://4.bp.blogspot.com/-dpjNm-8Om-k/WqiSLYIqWuI/AAAAAAAAEUA/0WaXsIN_z_cr7y-vw1z7yQH_LxLZ6KoGwCLcBGAs/s1600/2-11.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="480" data-original-width="448" height="320" src="https://4.bp.blogspot.com/-dpjNm-8Om-k/WqiSLYIqWuI/AAAAAAAAEUA/0WaXsIN_z_cr7y-vw1z7yQH_LxLZ6KoGwCLcBGAs/s320/2-11.jpg" width="298" /></a></span></div>
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<span style="font-size: x-small;"><span class="s1" style="font-family: "times" , "times new roman" , serif;">29. Edouard Vuillard, </span><i style="font-family: times, "times new roman", serif;">Portrait of Paul Cézanne,</i><span style="font-family: "times" , "times new roman" , serif;"> 1914, </span><span style="font-family: "times" , "times new roman" , serif;">Lithograph, sheet: 12 11/16 x 15 1/2 in., </span><span style="font-family: "times" , "times new roman" , serif;">Yale University Art Gallery, The Arthur Ross Collection, </span><span style="font-family: "times" , "times new roman" , serif;">Impressions in Ink: Masterworks from the Arthur Ross Collection, </span><span style="font-family: "times" , "times new roman" , serif;">January 12 – March 25, 2018 Checklist</span><span class="Apple-converted-space" style="font-family: "times" , "times new roman" , serif;"> </span></span></div>
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<span class="s1" style="font-family: "times" , "times new roman" , serif; font-size: x-small;">[number mine]</span></div>
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<span style="font-size: x-small;"><span class="s1" style="font-family: "times" , "times new roman" , serif; font-size: xx-small;">Artist: Edouard Vuillard, French, 1868–1940, </span><span style="font-family: "times" , "times new roman" , serif;">After: Paul Cézanne, French, 1839–1906, </span><i style="font-family: times, "times new roman", serif;">Portrait of Paul Cézanne, </i><span style="font-family: "times" , "times new roman" , serif;">1914, </span><span style="font-family: "times" , "times new roman" , serif;">Lithograph, </span><span style="font-family: "times" , "times new roman" , serif;">sheet: 32.3 x 39.4 cm (12 11/16 x 15 1/2 in.) framed: 65.1 x 54.9 x 2.9 cm (25 5/8 x 21 5/8 x 1 1/8 in.), </span><span style="font-family: "times" , "times new roman" , serif;">The Arthur Ross Collection, </span><span style="font-family: "times" , "times new roman" , serif;">2012.159.157, </span><span style="font-family: "times" , "times new roman" , serif;">Suzanne Boorsch et al., Meant to Be Shared: The Arthur Ross Collection of European Prints (New Haven, Conn.: Yale University Art Gallery, 2015), 147, pl. 66. </span></span><br />
<span style="font-family: "times" , "times new roman" , serif;"><span style="font-size: x-small;">https://artgallery.yale.edu/collections/objects/178595 </span></span><br />
<b style="font-family: times, "times new roman", serif;"><span style="font-size: x-small;">NON-DISCLOSED REPRODUCTION</span></b></div>
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<span style="font-family: "times" , "times new roman" , serif;"><span class="s1"></span><br /></span>
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<div style="text-align: justify;">
<span style="font-family: "times" , "times new roman" , serif;"><span style="font-size: x-large;">E</span>douard Vuillard was not creating his own original works of visual art i.e., lithograph, he was copying the work of another resulting in a reproduction.</span></div>
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<span style="font-family: "times" , "times new roman" , serif;"><span class="s1">The term “after” is being used as an euphemism for a non-disclosed reproduction</span><span style="text-align: justify;"> titled </span><i style="text-align: justify;">Portrait of Paul Cezanne</i><span style="text-align: justify;"> of Paul Cezanne</span><span style="text-align: justify;">’s work by Edward Vuillard.</span> </span></div>
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<span class="s1" style="font-family: "times" , "times new roman" , serif;">Edouard Vuillard was reproducing Paul Cezanne’s work. Therefore, those reproductions cannot be attributed to him because it is not his work and cannot be attributed to Paul Cezanne because he did not create it.</span></div>
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<span style="font-family: "times" , "times new roman" , serif;"><span class="s1">This factual perspective is confirmed by U.S. Copyright Law 106 A, “The Rights of Attribution - shall not apply to any reproduction.”</span><span class="s2" style="font-size: x-small;">[FN 16]</span></span></div>
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<span class="s1" style="font-family: "times" , "times new roman" , serif;">All lithographs are original works of visual art wholly executed by hand by the artist, excluding any mechanical and photographic process.</span></div>
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<span style="font-family: "times" , "times new roman" , serif;"><span class="s1">This<span class="Apple-converted-space"> </span>fact is confirmed by U.S. Custom`s May 2006 An Informed Compliance Publication titled Works of Art, Collector`s Pieces Antiques, and Other Cultural Property, which -in part- 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.”</span><span class="s2" style="font-size: x-small;">[FN 17]</span></span></div>
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<div style="text-align: justify;">
<span class="s1" style="font-family: "times" , "times new roman" , serif;">To belabor a fact, reproductions of an original work of visual art result in reproductions.<span class="Apple-converted-space"> </span></span></div>
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<span style="font-family: "times" , "times new roman" , serif;"><span class="s1">As noted earlier, this factual perspective is confirmed in the 1991 <i>The Fifth Edition of the Artist’s Handbook of Materials and Techniques</i> by Ralph Mayer, 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.”</span><span class="s2" style="font-size: x-small;">[FN 18]</span></span></div>
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<span class="s1" style="font-family: "times" , "times new roman" , serif;">Edouard Vuillard, Edgar Degas and every artist who reproduces another artist’s work is making reproductions, no matter how famous they are or possibly may become.</span></div>
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<span style="font-family: "times" , "times new roman" , serif;"><br /></span> <span class="s1" style="font-family: "times" , "times new roman" , serif;"></span><br />
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<span style="font-family: "times" , "times new roman" , serif;">REPRESENTATION & DISCLOSURE</span></div>
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<span style="font-family: "times" , "times new roman" , serif;"><span class="s1"><span style="font-size: x-large;">O</span>n page 1303 of the <i>Seventh Edition of Black’s Law Dictionary</i>, -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.”</span><span class="s2"><span style="font-size: x-small;">[FN 19]</span> </span><span class="s1">On page 476 of the <i>Seventh Edition of Black’s Law Dictionary</i>, -disclosure- is defined as: “The act or process of making known something that was previously unknown.”</span><span class="s8" style="font-size: x-small;">[FN 20]</span><span class="s1"><span class="Apple-converted-space"> </span></span></span></div>
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<span style="font-family: "times" , "times new roman" , serif;"><span class="s1"></span><br /></span> <span style="font-family: "times" , "times new roman" , serif;">CERTIFICATES OF AUTHENTICITY: DEALER LIABILITY</span></div>
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<div style="text-align: justify;">
<span style="font-family: "times" , "times new roman" , serif;"><span class="s1"><span style="font-size: x-large;">I</span>n the September 1998 Art World News trade magazine, the attorney Paul Winick (partner in the New York office of Thelen, Marrin, Johnson and Bridges), who specializes in intellectual property law, litigation and represents galleries, publishers and artists, wrote the article "Certificates of Authenticity: Dealer Liability."</span><span class="s2" style="font-size: x-small;">[FN 21]</span></span></div>
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<span style="font-family: "times" , "times new roman" , serif;"><span class="s1">In his article, he explains the application of the Uniform Commercial Code as it applies to the “sales of most forms of visual art.” The author wrote: “UCC express warranty arises from two sources: The description of the goods given by the seller, and the seller statements made to induce the sale.” Those statements are said to become part of the “basis of the bargain” made between buyer and seller and, therefore, a basis for legal action if the description or statements turn out later to have been false.”</span><span class="s2">[FN 22]</span></span></div>
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<span style="font-family: "times" , "times new roman" , serif;"><span class="s1">The author also wrote: “Warranties need not depend on the sale document and can arise in statements made in advertisements or catalogues, so long as the buyer relied on those statements in formulating the bargain with the seller.”</span><span class="s8">[FN 23]</span><span class="s1"> and that “Warranties are applicable regardless of fault or intent. It is no defense that the seller did not mean to make a misstatement, or that he thought the misstatement to be true. If the goods (the artwork) do not conform to the promise made (the warranty), the seller is liable, whether or not he knew it to be true.”</span><span class="s2">[FN 24]</span></span></div>
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<span style="font-family: "times" , "times new roman" , serif;"><span class="s1">When it comes to “disclaimers,” Paul Winick wrote: “Disclaimers are not viewed favorably by courts and, unless there is some way to reconcile the disclaimer and the representation, the disclaimer is disregarded and the representation is given effect.”</span><span class="s2">[FN 25]</span></span></div>
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<span style="font-family: "times" , "times new roman" , serif;"><span style="font-size: x-large;">A</span>s noted earlier, <span style="text-align: justify;">the University of Pennsylvania and its Arthur Ross Gallery will hold an </span><i style="text-align: justify;">Impressions in Ink Symposium</i><span style="text-align: justify;"> where “‘It will present brand-new scholarship on works in the collection,’ says Marsden-Atlass, and will feature Suzanne Boorsch, curator of prints and drawings at Yale University Art Gallery; S. Hollis Clayson, professor in the humanities at Northwestern; and Darcy Grimaldo Grigsby, professor of art history at the University of California, Berkeley.”</span></span></div>
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<span style="font-family: "times" , "times new roman" , serif;">Unfortunately, the collection of these listed academic institutions are also problematic. These examples document that fact.</span></div>
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<a href="https://1.bp.blogspot.com/-qdboSFHU-Fg/WqiTnPvaf1I/AAAAAAAAEUM/RV7hSmCtTDsdESZszlkyozr-D99CrwUTACLcBGAs/s1600/Screen%2BShot%2B2018-03-13%2Bat%2B11.14.13%2BPM.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: "times" , "times new roman" , serif;"><img border="0" data-original-height="432" data-original-width="213" height="320" src="https://1.bp.blogspot.com/-qdboSFHU-Fg/WqiTnPvaf1I/AAAAAAAAEUM/RV7hSmCtTDsdESZszlkyozr-D99CrwUTACLcBGAs/s320/Screen%2BShot%2B2018-03-13%2Bat%2B11.14.13%2BPM.png" width="157" /></span></a></div>
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<span style="font-size: x-small;"><span class="s1" style="font-family: "times" , "times new roman" , serif;"><i>Jean D'Aire</i>, 1889, Bronze, </span><span style="font-family: "times" , "times new roman" , serif;">Auguste Rodin (French, 1840 – 1917), </span><span style="font-family: "times" , "times new roman" , serif;">#1983.0009.0001, </span><span style="font-family: "times" , "times new roman" , serif;">Auguste Rodin is certainly an impressive figure in art. His work The Thinker is among the most recognized works in all of sculpture and his The Gates of Hell and Burghers of Calais are esteemed for their detail and mastery. As a young artist, Rodin was refused entrance to the prestigious École des Beaux-Arts. He therefore went on to work as an apprentice and partner for a number of artists before his own commissions propelled him to international success. Jean D’Aire is a three-foot nude study for part of Rodin’s six-sculpture masterpiece, Burghers of Calais. The full Jean D’Aire figure in Burghers of Calais depicts a gaunt man with clenched fists and a stoic jaw who, along with five other citizens, walks to his execution. The six men had offered themselves hostages to the English in exchange for the ceasing of the siege on their city. Jeffrey Loria donated this sculpture and Rodin’s Grande Venus to Penn in 1983., </span><span style="font-family: "times" , "times new roman" , serif;">Location: Steinberg Hall-Dietrich Hall Atrium, Philadelphia PA </span></span></div>
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<span style="font-family: "times" , "times new roman" , serif;"><span style="font-size: x-small;">http://artcollection.upenn.edu/collection/art/48/jean-daire/ </span></span></div>
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<b style="font-family: times, "times new roman", serif;"><span style="font-size: x-small;">NON-DISCLOSED FAKE AT UNIVERSITY OF PENNSYLVANIA</span></b></div>
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<span style="font-family: "times" , "times new roman" , serif;"><br /></span> <span style="font-family: "times" , "times new roman" , serif;"><span class="s1"></span><span style="font-size: x-large;">A</span>uguste Rodin died in 1917.</span><br />
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<span style="font-family: "times" , "times new roman" , serif;">At best, the <i>Jean D'Aire</i> bronze, in the University of Pennsylvania's collection above is a non-disclosed posthumous fake with a counterfeit <i>"A Rodin"</i> signature in a bogus edition that is not attributable to Auguste Rodin.</span></div>
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<span style="font-family: "times" , "times new roman" , serif;">The dead don't sculpt.</span></div>
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<span class="s1" style="font-family: "times" , "times new roman" , serif;">On page 217 of the <i>Bronzes of Rodin</i>, the following bronzes for 103 x 30 x 25 cm <i>Jean d’Aire,</i> nude study are listed: “By Alexis Rudier. Then nine casts, no. 0 and<span class="Apple-converted-space"> </span>1/8 to 8/8, by Georges Rudier, between 1971 and 1981.”<span style="font-size: x-small;">[FN 26]</span></span></div>
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<span style="font-family: "times" , "times new roman" , serif;"><span class="s1"></span><br /></span> <span style="font-family: "times" , "times new roman" , serif;">The dead don't edition.</span><br />
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<span class="s1" style="font-family: "times" , "times new roman" , serif;">The Alexis Rudier foundry was in business from 1902 to 1952 and the Georges Rudier foundry from 1952 to the late 1980s. The vast majority of Alexis Rudier casts were posthumously cast a.k.a. reproduced after Auguste Rodin's death in 1917.</span><br />
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<span class="s1" style="font-family: "times" , "times new roman" , serif;">Therefore, in the unlikelihood that the University of Pennsylvania’s <i>Jean d’Aire</i> is a lifetime cast ie., reproduction cast by the Alexis Rudier foundry, it is all probability a posthumous cast i.e., reproduction by the Georges Rudier foundry between 1971 and 1981 some 54 to 64 years after Auguste Rodin’s death in 1917.</span><br />
<span class="s1" style="font-family: "times" , "times new roman" , serif;"><br /></span> <span class="s1" style="font-family: "times" , "times new roman" , serif;">Remember, as noted earlier, under U.S. Copyright Law 106A, the Right of Attribution shall not apply to any reproduction.</span></div>
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<a href="https://4.bp.blogspot.com/-gnGwccvWKe8/WqiUVlPORkI/AAAAAAAAEUU/IlupRfN2CUIqGppbGJ2kCpsXRhLLXt33wCLcBGAs/s1600/Screen%2BShot%2B2018-03-13%2Bat%2B11.17.23%2BPM.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: "times" , "times new roman" , serif;"><img border="0" data-original-height="467" data-original-width="275" height="320" src="https://4.bp.blogspot.com/-gnGwccvWKe8/WqiUVlPORkI/AAAAAAAAEUU/IlupRfN2CUIqGppbGJ2kCpsXRhLLXt33wCLcBGAs/s320/Screen%2BShot%2B2018-03-13%2Bat%2B11.17.23%2BPM.png" width="188" /></span></a></div>
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<span class="s1" style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><i>Grande Venus</i>, Pierre-Auguste Renoir, ca. 1915, bronze. Donated in 1996 by Jeffrey and Silvia Loria, long-time patrons of the arts. </span><br />
<span style="font-size: x-small;"><a href="https://almanac.upenn.edu/archive/volumes/v58/n01/sculptures.html" style="font-family: times, "times new roman", serif;">https://almanac.upenn.edu/archive/volumes/v58/n01/sculptures.html</a> </span><br />
<b style="font-family: times, "times new roman", serif;"><span style="font-size: x-small;">NON-DISCLOSED FAKE AT UNIVERSITY OF PENNSYLVANIA</span></b></div>
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<span style="font-family: "times" , "times new roman" , serif;"><span class="s1"></span><br /></span><span style="font-family: "times" , "times new roman" , serif;"><span style="font-size: x-large;">P</span>ierre-Auguste Renoir died in 1919 a paralytic.</span><br />
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<span class="s1" style="font-family: "times" , "times new roman" , serif;">Therefore, any connossieur would know that <i>Grande Venus</i>, attributed to Pierre-Auguste Renoir in University of Pennsylvania's collection, was not created, much less signed by him.</span></div>
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<span style="font-family: "times" , "times new roman" , serif;"><span class="s1">This is confirmed on page 10 of the Paul Haesaerts’ 1947 <i>Renoir Sculptor</i> biography, where the author wrote: “With the exception of a very few earlier attempts, Renoir devoted himself to sculpture on the eve and at the beginning of the war of 1914-1918, in other words between his seventy-third and seventy-fifth years. At the time he was not only an old man but a helpless paralytic. He was carried from his bed (where often enough he needed a cage to keep the bedclothes from touching his aching limbs) either in a sedan chair or in a wheelchair. His body was almost mummified. Not only was he deprived of the use of his legs, but his hands were stiffened and shrived. To allow him to paint, a brush was fixed between his rigidly curled fingers; thenceforth the work was done by arm movements, not by those of the hand and fingers.”</span><span class="s2" style="font-size: x-small;">[FN 27]</span></span></div>
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<span style="font-family: "times" , "times new roman" , serif;"><span class="s1"></span><br /></span> <span style="font-family: "times" , "times new roman" , serif;">These non-disclosed chromist-made fakes by Richard Guino were falsely attributed to Pierre-Auguste Renoir in a scheme by the art dealer Ambroise Vollard to cash in on Renoir's fame.</span><br />
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<span style="font-family: "times" , "times new roman" , serif;"><span class="s1">Ambroise Vollard’s avarice and lack of credibility was never more evident when on page 21 in <i>Renoir Sculptor </i>biography, the author Paul Haesaerts wrote: “He maneuvered in such a way as to have the exclusive right to sell these sculptures; he made himself practically their sole proprietor, or at the very least their 'publisher'. There after it was in his interest to create the impression that the works he was holding and selling were by Renoir alone. He never mentioned the dreaded name of Guino (the 'Assistant,' he called him, and changed the subject). He spoke freely of several 'executants' whose intervention, he implied, was quite as important as Guino's.”</span><span class="s2" style="font-size: x-small;">[FN 28]</span></span></div>
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<span style="font-family: "times" , "times new roman" , serif;"><span class="s1">If there was any doubt that Pierre Auguste Renoir understood that he was involved in a scheme with the art dealer Ambroise Vollard and forger Richard Guino, the art critic George Besson answered that question when he quoted Renoir stating: “‘I no longer want to be the author of sculptures made in my absence, from my old sketches.’ Another concern being: ‘Vollard has the stamp of my signature. Will he use it, like a brand name, on all sorts of pieces, some of which may be successful but which I do not know about?”</span><span class="s2" style="font-size: x-small;">[FN 29]</span></span></div>
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<span class="s1" style="font-family: "times" , "times new roman" , serif;">To learn more about this fraud link to:</span></div>
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<li class="li12" style="text-align: justify;"><span style="font-family: "times" , "times new roman" , serif;"><span class="s6"></span><span class="s1">http://garyarseneau.blogspot.com/2010/08/renoir-sculptural-forgeries-in-late.html</span></span></li>
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<a href="https://3.bp.blogspot.com/-qEuDU9Z-6Kc/WqiXsL2DvUI/AAAAAAAAEUo/mfX2R8DjGUYr_m2LdUl9WKOBOD1PsE3NQCLcBGAs/s1600/Screen%2BShot%2B2018-03-13%2Bat%2B11.22.13%2BPM.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: "times" , "times new roman" , serif;"><img border="0" data-original-height="173" data-original-width="248" src="https://3.bp.blogspot.com/-qEuDU9Z-6Kc/WqiXsL2DvUI/AAAAAAAAEUo/mfX2R8DjGUYr_m2LdUl9WKOBOD1PsE3NQCLcBGAs/s1600/Screen%2BShot%2B2018-03-13%2Bat%2B11.22.13%2BPM.png" /></span></a></div>
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<span style="font-size: x-small;"><span class="s1" style="font-family: "times" , "times new roman" , serif;">Diebenkorn, Richard<span class="Apple-converted-space"> , </span></span><span style="font-family: "times" , "times new roman" , serif;">(American, 1922–1993), </span><i style="font-family: times, "times new roman", serif;">Ochre</i><span style="font-family: "times" , "times new roman" , serif;">, 1983, </span><span style="font-family: "times" , "times new roman" , serif;">Color woodcut, </span><span style="font-family: "times" , "times new roman" , serif;">Mary and Leigh Block Museum of Art, Northwestern University, gift of George Austin Conkey, M.D., </span><span style="font-family: "times" , "times new roman" , serif;">1996.3 </span></span><br />
<span style="font-family: "times" , "times new roman" , serif;"><span style="font-size: x-small;">http://www.blockmuseum.northwestern.edu/view/collections/search.html </span></span><br />
<b style="font-family: times, "times new roman", serif;"><span style="font-size: x-small;">NON-DISCLOSED CHROMIST-MADE FAKE AT NORTHWESTERN’S BLOCK MUSEUM</span></b></div>
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<span class="s1" style="font-family: "times" , "times new roman" , serif;"><span style="font-size: x-large;">R</span>ichard Diebenkorn did not create the above woodcut titled: <i>Ochre</i> attributed to him. </span><br />
<span class="s1" style="font-family: "times" , "times new roman" , serif;"><br /></span> <span class="s1" style="font-family: "times" , "times new roman" , serif;">These non-disclosed chromist-made fakes, falsely attributed as original works of visual art i.e., woodcuts to Richard Diebenkorn, were actually done by the woodcarver Reizo Monjyu and the printer Tadshi Toda. This is confirmed by the following published in the March 5, 2017 Modern Art & Design:</span></div>
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<li><span class="s1" style="font-family: "times" , "times new roman" , serif;">“Shiundo’s printer, Tadashi Toda, worked on Blue with Red, creating a woodcut from a watercolor made by Diebenkorn. The founder of the press, Kathan Brown, said that for this project, “Diebenkorn […] likened himself to an orchestra conductor. He was at the Shiundo Print Shop to guide and adjust, choose, and change, using the skills of the woodcarver Reizo Monjyu and the printer Tadashi Toda to adapt their centuries-old technique to his ends.” This exposure to Japanese methods and materials of print-making opened up an entirely new dimension of the Diebenkorn’s prolific print practice.”</span><span class="s2" style="font-family: "times" , "times new roman" , serif;"> [FN 30]</span></li>
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<span class="s1" style="font-family: "times" , "times new roman" , serif;">Richard Diebenkorn, and all participants in this fraud, had no shame.</span></div>
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<a href="https://4.bp.blogspot.com/-zhiPmlU8EhY/WqiYC1Yp4RI/AAAAAAAAEUs/us-dPpWp4wceeDcn1iPYnOcJtpsvonK7QCLcBGAs/s1600/Screen%2BShot%2B2018-03-13%2Bat%2B11.33.08%2BPM.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: "times" , "times new roman" , serif;"><img border="0" data-original-height="301" data-original-width="201" src="https://4.bp.blogspot.com/-zhiPmlU8EhY/WqiYC1Yp4RI/AAAAAAAAEUs/us-dPpWp4wceeDcn1iPYnOcJtpsvonK7QCLcBGAs/s1600/Screen%2BShot%2B2018-03-13%2Bat%2B11.33.08%2BPM.png" /></span></a></div>
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<span style="font-size: x-small;"><span class="s1" style="font-family: "times" , "times new roman" , serif;">Arp, Hans (Jean), </span><span style="font-family: "times" , "times new roman" , serif;">(French, born Germany, 1886–1966), </span><i style="font-family: times, "times new roman", serif;">Resting Leaf </i><span style="font-family: "times" , "times new roman" , serif;">(Feuille Se Reposant), 1959, cast 1967, </span><span style="font-family: "times" , "times new roman" , serif;">Cast Bronze, </span><span style="font-family: "times" , "times new roman" , serif;">Mary and Leigh Block Museum of Art, Northwestern University, Gift of Leigh B. Block, </span><span style="font-family: "times" , "times new roman" , serif;">1988.3.1 </span></span><br />
<span style="font-size: x-small;"><a href="http://www.blockmuseum.northwestern.edu/view/collections/search.html" style="font-family: times, "times new roman", serif;">http://www.blockmuseum.northwestern.edu/view/collections/search.html</a> </span><br />
<b style="font-family: times, "times new roman", serif;"><span style="font-size: x-small;">NON-DISCLOSED POSTHUMOUS FAKE AT NORTHWESTERN’S BLOCK MUSEUM</span></b></div>
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<span class="s1" style="font-family: "times" , "times new roman" , serif;"><span style="font-size: x-large;">J</span>ean Hans Arp died in 1966. </span><br />
<span class="s1" style="font-family: "times" , "times new roman" , serif;"><br /></span> <span style="font-family: "times" , "times new roman" , serif;">In 1967, Jean Hans Arp was at least one year dead when the </span><i style="font-family: times, "times new roman", serif;">Resting Leaf </i><span style="font-family: "times" , "times new roman" , serif;">was cast in bronze.</span></div>
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<span class="s1" style="font-family: "times" , "times new roman" , serif;">Anything posthumously cast i.e., reproduced at best is a reproduction. Remember, under U.S. Copyright Law the Rights of Attribution shall not apply to any reproductions.</span><br />
<span class="s1" style="font-family: "times" , "times new roman" , serif;"><br /></span> <span class="s1" style="font-family: "times" , "times new roman" , serif;">Normally, one would find a posthumous object of this stature in a kiosk in a shopping mall.</span></div>
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<a href="https://1.bp.blogspot.com/-EU1wUcChY8w/WqiYR7Ffr1I/AAAAAAAAEU0/7scIEqSFU6cNHBk1q-FtZL3RcoC1CDtVgCLcBGAs/s1600/Screen%2BShot%2B2018-03-13%2Bat%2B11.34.14%2BPM.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: "times" , "times new roman" , serif;"><img border="0" data-original-height="311" data-original-width="469" height="212" src="https://1.bp.blogspot.com/-EU1wUcChY8w/WqiYR7Ffr1I/AAAAAAAAEU0/7scIEqSFU6cNHBk1q-FtZL3RcoC1CDtVgCLcBGAs/s320/Screen%2BShot%2B2018-03-13%2Bat%2B11.34.14%2BPM.png" width="320" /></span></a></div>
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<span style="font-size: x-small;"><span class="s1" style="font-family: "times" , "times new roman" , serif; font-size: xx-small;"><i>Disparate Ridiculo </i>(Ridiculous Folly), from Los Proverbios or Los Disparates, </span><span style="font-family: "times" , "times new roman" , serif;">Classification:Print, </span><span style="font-family: "times" , "times new roman" , serif;">Artist: Goya, Francisco, </span><span style="font-family: "times" , "times new roman" , serif;">Country: Spain, </span><span style="font-family: "times" , "times new roman" , serif;">Artist birth Date: 3/30/1746, </span><span style="font-family: "times" , "times new roman" , serif;">Artist death Date: 4/16/1828, </span><span style="font-family: "times" , "times new roman" , serif;">Date Made: 1816-1875, </span><span style="font-family: "times" , "times new roman" , serif;">Dimensions: 12 3/4 x 8 1/4 in., </span><span style="font-family: "times" , "times new roman" , serif;">Materials: etching and aquatint, </span><span style="font-family: "times" , "times new roman" , serif;">Full BAMPFA credit line: University of California, Berkeley Art Museum and Pacific Film Archive; Museum Purchase, </span><span style="font-family: "times" , "times new roman" , serif;">Century:19 AD </span></span><br />
<span style="font-size: x-small;"><a href="https://webapps.cspace.berkeley.edu/bampfa/search/search/?maxresults=1&displayType=full&idnumber=1967.49" style="font-family: times, "times new roman", serif;">https://webapps.cspace.berkeley.edu/bampfa/search/search/?maxresults=1&displayType=full&idnumber=1967.49</a> </span><br />
<span style="font-family: "times" , "times new roman" , serif;"><span style="font-size: x-small;">Photo: http://www.mfa.org/collections/object/disparate-ridiculo-ridiculous-folly-from-the-disparates-series-plate-3-94580 </span></span><br />
<b style="font-family: times, "times new roman", serif;"><span style="font-size: x-small;">NON-DISCLOSED POSTHUMOUS FAKE AT BERKELEY ART MUSEUM</span></b></div>
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<span class="s1" style="font-family: "times" , "times new roman" , serif;"><span style="font-size: x-large;">F</span>rancisco de Goya died in 1824.<span class="Apple-converted-space"> </span></span></div>
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<span class="s1" style="font-family: "times" , "times new roman" , serif;">Francisco de Goya never printed during his lifetime his<i> Los Provebios</i> etching plates. This is confirmed by the following source.</span></div>
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<span style="font-family: "times" , "times new roman" , serif;"><span class="s1">On page 366 of G<i>oya, Engravings and Lithographs</i> catalogue by Tomas Harris concerning Los Proverbios Proofs and Editions under the II. Trial Proofs, the author wrote: “Sets of eighteen proofs privately printed in Madrid about 1854 before the plates were cleaned.”</span><span class="s2" style="font-size: x-small;">[FN 31]</span></span></div>
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<span style="font-family: "times" , "times new roman" , serif;"><span class="s1">Then<span class="Apple-converted-space"> </span>on page 367 of <i>Goya, Engravings and Lithographs</i> catalogue by Tomas Harris concerning <i>Los Proverbios</i> Proofs and Editions under the III. Edition Impressions 1. First Edition, the author wrote: “Made in the workshop of Laurenciano Potenciano for the Real Academia in 1864. Sixty sets for presentation to the Academicians were printed between January 29 and March 20, 1864, and by June 1864 at least sufficient first edition sets had been completed for presentation to professors of Fine Arts.”</span><span class="s2" style="font-size: x-small;">[FN 32]</span></span></div>
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<span style="font-family: "times" , "times new roman" , serif;"><span class="s1">Yet, the Berkeley Art Museum lists in their collection a <i>Disparate Ridiculo </i>(Ridiculous Folly), from <i>Los Proverbios </i>or<i> Los Disparates</i> as “Date made: 1816-1875.”</span><span class="s2" style="font-size: x-small;">[FN 33]</span></span></div>
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<span class="s1" style="font-family: "times" , "times new roman" , serif;">Remember, Francisco de Goya died in 1824.<span class="Apple-converted-space"> </span></span><span style="font-family: "times" , "times new roman" , serif;">The dead don’t etch.</span></div>
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<span class="s1" style="font-family: "times" , "times new roman" , serif;">So, between Goya’s death in 1824 and 1875, it is ironic this non-disclosed posthumous fake, falsely attributed to a dead Goya as an original work of visual art i.e., etching by the Berkeley Art Museum, is titled: <i>Ridiculous Folly</i>.</span></div>
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<a href="https://3.bp.blogspot.com/-Er2yImzs4WU/WqiY2LnxP4I/AAAAAAAAEU8/i-w-XqSo4u8Oh9qaApWgY_JGQUNGRmjfACLcBGAs/s1600/2-12.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: "times" , "times new roman" , serif;"><img border="0" data-original-height="480" data-original-width="403" height="320" src="https://3.bp.blogspot.com/-Er2yImzs4WU/WqiY2LnxP4I/AAAAAAAAEU8/i-w-XqSo4u8Oh9qaApWgY_JGQUNGRmjfACLcBGAs/s320/2-12.jpg" width="268" /></span></a></div>
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<span style="font-size: x-small;"><span class="s1" style="font-family: "times" , "times new roman" , serif;"><i>John [Chamberlain], </i></span><span style="font-family: "times" , "times new roman" , serif;">Artist: Chuck Close, American, born 1940, B.F.A. 1963, M.F.A. 1964, HON, 1996, </span><span style="font-family: "times" , "times new roman" , serif;">Date:</span><span class="Apple-converted-space" style="font-family: "times" , "times new roman" , serif;"> </span><span style="font-family: "times" , "times new roman" , serif;">1997, </span><span style="font-family: "times" , "times new roman" , serif;">Medium: 126-color screenprint on heavy wove, </span><span style="font-family: "times" , "times new roman" , serif;">Accession Number: 1998.49.1 </span></span><br />
<span style="font-size: x-small;"><a href="https://artgallery.yale.edu/collections/objects/74325" style="font-family: times, "times new roman", serif;">https://artgallery.yale.edu/collections/objects/74325</a> </span><br />
<b style="font-family: times, "times new roman", serif;"><span style="font-size: x-small;">NON-DISCLOSED CHROMIST-MADE FAKE AT YALE UNIVERSITY</span></b></div>
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<span style="font-family: "times" , "times new roman" , serif;"><span class="s1"></span><span style="font-size: x-large;">C</span>huck Close is a paralytic with no shame.</span><br />
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<span class="s1" style="font-family: "times" , "times new roman" , serif;">The above 126-color screenprint titled<i> John [Chamberlain] </i>attributed to Chuck Close is “something that is not what it purports to be” which is one legal definition of fake.</span></div>
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<span class="s1" style="font-family: "times" , "times new roman" , serif;">In the NewsOk's published December 15, 2013 "Video and interviews: Chuck Close maps faces, experiment with printmaking techniques in new Oklahoma City Museum of Art exhibit" blog by Entertainment Reporter Brandy McDonnell, the reporter wrote:</span></div>
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<li><span class="s1" style="font-family: "times" , "times new roman" , serif;">"Along with admiring his artistic prowess, [Curtis Jones, an associate professor of printmaking at the University of Oklahoma] said he considers Close an inspirational person. Close overcame dyslexia as a child and went on to graduate from UW and later Yale. In 1988, a collapsed artery in his spine that left Close partially paralyzed and confined to a wheelchair; he was able to continue painting using a brush strapped to his arm with a Velcro harness."</span><span class="s2" style="font-family: "times" , "times new roman" , serif;"><i>[FN 34]</i></span></li>
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<span class="s1" style="font-family: "times" , "times new roman" , serif;">Rhetorically, if the paralytic Chuck Close has to have a brush strapped to his hand to paint, how could he create, with his hands and fingers, hundreds of stencils and printing those colors for the original works of visual art i.e., silkscreens attributed to him?</span></div>
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<span class="s1" style="font-family: "times" , "times new roman" , serif;">The answer is: the paralytic Chuck Close did not create the stencils, much less print them. The following confirms that devastating fact.</span></div>
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<span class="s1" style="font-family: "times" , "times new roman" , serif;">In the Princeton University Press, Blaffer Gallery and the Art Museum of the University of Houston's published 2003 <i>Chuck Close Prints, Process and Collaboration</i> catalogue by Terrie Sulton with an essay by Richard Shiff, the following admissions were made.</span></div>
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<span class="s1" style="font-family: "times" , "times new roman" , serif;">On page 97 of the Chapter titled: "Silk Screen" with the subtitle: "Robert Blanton and Thomas Little, Brand X Editions," Thomas Little is quoted stating:<span class="Apple-converted-space"> </span></span></div>
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<li class="li1" style="text-align: justify;"><span style="font-family: "times" , "times new roman" , serif;"><span class="s6"></span><span class="s1">"Once it was decided that we would work on Lyle, I went to see the painting. I had my Pantone color guide, the book that most printers use for color matching and mixing, and we spread the pages and began to look at color. We planned to go from light to dark, warm to cool, yellow to purple. Then, form a transparency of the painting, we generated a Duratrans, which is like a big 35-millimeter slide. It's translucent and gives a good representation of the mark, which is very important in Chuck's work. From the Duratrans, we made decisions about color separations, and then I hand drew the many layers of Mylars that we needed for the print. From there we made the screens."</span><span class="s2" style="font-size: x-small;">[FN 35]</span></span></li>
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<span class="s1" style="font-family: "times" , "times new roman" , serif;">In other words, Chuck Close is knowingly having others reproduce his work which he in turn -falsely- claims as original works of visual art attributable to him.</span></div>
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<span style="font-family: "times" , "times new roman" , serif;"><span class="s1">On page 137 of the <i>Seventh Edition of Black's Law Dictionary</i>, -bait and switch- is defined as: "Most states prohibit the bait and switch when the original product is not actually available as advertised."</span><span class="s2" style="font-size: x-small;">[FN 36]</span></span></div>
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<span style="font-size: x-small;"><span class="s1" style="font-family: "times" , "times new roman" , serif;"><i>Portrait of the Engraver Joseph Tourny, </i></span><span style="font-family: "times" , "times new roman" , serif;">Artist: Edgar Degas, French, 1834–1917, </span><span style="font-family: "times" , "times new roman" , serif;">Date: 1857, </span><span style="font-family: "times" , "times new roman" , serif;">Medium: Etching, </span><span style="font-family: "times" , "times new roman" , serif;">Accession Number: 1981.5.6, </span><span style="font-family: "times" , "times new roman" , serif;">Culture: French, </span><span style="font-family: "times" , "times new roman" , serif;">Period: 19th century, </span><span style="font-family: "times" , "times new roman" , serif;">Classification: Works on Paper - Prints </span></span><br />
<span style="font-family: "times" , "times new roman" , serif;"><span style="font-size: x-small;">https://artgallery.yale.edu/collections/objects/54583 </span></span><br />
<b style="font-family: times, "times new roman", serif;"><span style="font-size: x-small;">NON-DISCLOSED POSTHUMOUS FAKE AT YALE UNIVERSITY</span></b></div>
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<span style="font-family: "times" , "times new roman" , serif;"><span class="s1"></span><span style="text-align: justify;"><span style="font-size: x-large;">E</span>dgar Degas died in 1917.</span></span><br />
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<span class="s1" style="font-family: "times" , "times new roman" , serif;">The above <i>Portrait of the Engraver Joseph Tourny</i>, attributed as an original work of visual art i.e., etching to Edgar Degas with a “1857” date, is actually a non-disclosed posthumous impression made sometime between 1919 and 1981 or later.</span></div>
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<span class="s1" style="font-family: "times" , "times new roman" , serif;"> The dead don’t etch.</span></div>
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<span class="s1" style="font-family: "times" , "times new roman" , serif;">The following sources confirm that fact:<span class="Apple-converted-space"> </span></span></div>
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<li class="li1" style="text-align: justify;"><span style="font-family: "times" , "times new roman" , serif;"><span class="s6"></span><span class="s1">On the Spaightwood Galleries' website, it states: "Degas was a dedicated print collector (at his death he owned 1700 Daumier lithographs and 1900 prints by Gavarni). He made etchings, for the most part, from live subjects, sketching with an etching needle on a copperplate, and printed to please himself. Most of his prints are known only because after his death, his dealer, Ambroise Vollard, printed editions of 150 from the cancelled plates found in his studio."</span><span class="s2" style="font-size: x-small;">[FN 37]</span></span></li>
<li class="li1" style="text-align: justify;"><span style="font-family: "times" , "times new roman" , serif;"><span class="s6"></span><span class="s1">On the Pasquale Iannetti Art Gallery's website, it states: "An edition of 150 impressions was printed for Ambroise Vollard circa 1919-20 from 21 copper plates which had been etched by Degas between 1855 and 1884, but which had since been canceled."</span><span class="s2" style="font-size: x-small;">[FN 38]</span></span></li>
<li class="li1" style="text-align: justify;"><span style="font-family: "times" , "times new roman" , serif;"><span class="s9"></span><span class="s1">On JD Smith Fine Art's website, it states: "The original copper plate [for The Laundresses] was executed in 1879-80. This is a fine impression of Reed and Shapiro's fourth state after cancellation of the plate.<span class="Apple-converted-space"> </span>It was printed as part of Ambroise Vollard's 1919 edition of ~150 impressions from Degas' cancelled plates.<span class="Apple-converted-space"> </span>Catalog raisonne reference:<span class="Apple-converted-space"> </span>Reed and Shapiro, Edgar Degas:<span class="Apple-converted-space"> </span>The Painter as Printmaker, 48.<span class="Apple-converted-space"> </span>Adhemar and Cachin, Degas:<span class="Apple-converted-space"> </span>The Complete Etchings, Lithographs and Monotypes, 32."</span><span class="s2" style="font-size: x-small;">[FN 39]</span></span></li>
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<span class="s1" style="font-family: "times" , "times new roman" , serif;">THE FINISHED PRINT IS APPROVED BY THE ARTIST</span></div>
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<span style="font-family: "times" , "times new roman" , serif;"><span class="s1">As noted earlier, in A GUIDE TO THE COLLECTING AND CARE OF ORIGINAL PRINTS sponsored by The Print Council of America and authored by Carl Zigrosser and Christa M. Gaehde, 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."</span><span style="font-size: x-small;"><span class="s8">[FN 40]</span><span class="s1"><span class="Apple-converted-space"> </span></span></span></span></div>
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<span class="s1" style="font-family: "times" , "times new roman" , serif;">The dead don't approve.</span></div>
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<span class="s1" style="font-family: "times" , "times new roman" , serif;">LATER IMPRESSIONS ARE USUALLY NOT THE DESIRE OF THE ARTIST<span class="Apple-converted-space"> </span></span></div>
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<span style="font-family: "times" , "times new roman" , serif;"><span class="s1">As for printing impressions from an artist's canceled plates,<span class="Apple-converted-space"> </span>JD Smith Fine Art, on their website, states: "When an artist finishes printing the number of impressions they want of a work (the total edition size), they usually “cancel” the plate. To cancel the plate, they typically scribe noticeable crosshatch or “X” lines across the plate. These lines cross the image and will show up on any later impressions made from the plate. The lines indicate that any later impressions were not part of the original edition. Cancelling a plate is the best way an artist has to protect the value of the impressions in the official edition.<span class="Apple-converted-space"> </span>- Usually<span class="Apple-converted-space"> </span>impressions from cancelled plates are done by a dealer or printer to make additional money from a popular artist’s work. These later impressions are usually not the desire of the artist."</span><span class="s2" style="font-size: x-small;">[FN 41]</span></span></div>
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<span class="s1" style="font-family: "times" , "times new roman" , serif;">The dead don't desire.</span></div>
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<span style="font-family: "times" , "times new roman" , serif;"><span class="s1">Then to go from bad to worse, the posthumous impressions from these Edgar Degas' canceled plates and the misrepresentation of those posthumous impressions as original works of visual art ie., etchings falsely attributed to Edgar Degas was continued, by Frank Perls Gallery [1939-1981]</span><span class="s2" style="font-size: x-small;">[FN 42]</span><span class="s1">, after Ambroise Vollard's death on July 21, 1939.<span class="Apple-converted-space"> </span></span></span></div>
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<span class="s1" style="font-family: "times" , "times new roman" , serif;">FRANK PERLS GALLERY</span></div>
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<span style="font-family: "times" , "times new roman" , serif;"><span class="s1">The A & R Gallery, located in Birmingham, UK, who is offering for sale on their website a titled <i>The Laundress</i> impression attributed to Edgar Degas as an "Original Etching and aquatint, Fourth state, 1879/80," makes the following astonishing admission on their website:<span class="Apple-converted-space"> </span>"Our piece was made by Frank Perls Gallery of 350 N Camden Drive, Beverley Hills, California and was one of 26 etchings made in a limited edition at that time. These were printed by Lacouriere in Paris on Vieux Japan paper. The pieces from the small edition (quantity unstipulated) were made with the printers blindstamp but a number of additional printers proofs were made, of which ours is an example, without this blindstamp. The piece must be a rarity since it is hardly ever seen."</span><span class="s2" style="font-size: x-small;">[FN 43]</span></span></div>
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<span style="font-family: "times" , "times new roman" , serif;"><span class="s1" style="font-family: "times" , "times new roman" , serif;">In <i>The Fifth Edition of the Artist`s Handbook of Materials and Techniques</i> by Ralph Mayer, the author wrote: "The major traditional graphic-arts processes of long standing and continued popularity are lithograph,<span class="Apple-converted-space"> </span>etching,<span class="Apple-converted-space"> </span>drypoint,<span class="Apple-converted-space"> </span>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."</span><span class="s2" style="font-family: "times" , "times new roman" , serif; font-size: x-small;">[FN 44]</span></span></div>
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<span class="s1" style="font-family: "times" , "times new roman" , serif;">The dead don't participate.</span></div>
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<span class="s1" style="font-family: "times" , "times new roman" , serif;">LAW, ETHICS AND THE VISUAL ARTS</span></div>
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<span style="font-family: "times" , "times new roman" , serif;"><span class="s1"><span style="font-size: x-large;">O</span>n pages 816-817 of Kluwer Law International’s published 1998 <i>Law, Ethics and the Visual Arts, Third Edition</i> by John Henry Merryman and Albert E. Elsen, the authors wrote about “Counterfeit Art.” 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.<span class="Apple-converted-space"> </span>The counterfeit<span class="Apple-converted-space"> </span>objects falsifies history and misdirects inquiry.”</span><span class="s2" style="font-size: x-small;">[FN 45]</span></span></div>
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<span style="font-family: "times" , "times new roman" , serif;"><span class="s1">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.”</span><span class="s2" style="font-size: x-small;">[FN 46]</span></span></div>
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<span style="font-family: "times" , "times new roman" , serif;"><span class="s1"></span><br /></span></div>
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<span style="font-family: "times" , "times new roman" , serif;"><span class="s1">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.”</span><span class="s2" style="font-size: x-small;">[FN 47]</span></span></div>
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<span class="s1" style="font-family: "times" , "times new roman" , serif;">CONCLUSION<span class="Apple-converted-space"> </span></span></div>
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<div style="text-align: justify;">
<span class="s1" style="font-family: "times" , "times new roman" , serif;"><span style="font-size: x-large;">W</span>hat 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 Pennsylvania and its Arthur Ross Gallery will give full<span class="Apple-converted-space"> </span>and honest disclosure to these non-disclosed posthumous fakes and lifetime reproductions it would allow museum patrons informed consent on whether they wish to attend this exhibition, much less this symposium.<span class="Apple-converted-space"> </span></span></div>
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<span class="s1" style="font-family: "times" , "times new roman" , serif;">But, if these objects are not reproductions by definition and law but "something that is not what it purports to be" i.e., fake and/or forgeries made to look genuine, then serious consequences of law may come into play for those who chose to misrepresent those fakes and/or forgeries for monetary consideration including but not limited to: admission fees, "gifts and donations,” city-state-federal grants, corporate sponsorships, tax write-offs and outright sales.</span></div>
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<span class="s1" style="font-family: "times" , "times new roman" , serif;">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.<span class="Apple-converted-space"> </span></span></div>
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<span style="font-family: "times" , "times new roman" , serif;"><span class="s1"></span><br /></span> <span style="font-family: "times" , "times new roman" , serif;"><br /></span> <span style="font-family: "times" , "times new roman" , serif;"><br /></span> <span style="font-family: "times" , "times new roman" , serif;"><b>NOTE:</b> This is not Yale University Art Gallery's first foray into touring their collection of non-disclosed fakes and reproductions in academic venues. To learn more about their prior avarice, link to:</span><br />
<ul>
<li><span style="font-family: "times" , "times new roman" , serif;">http://garyarseneau.blogspot.com/2017/02/200-arthur-ross-fakes-not-meant-to-be.html</span></li>
</ul>
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<span style="font-family: "times" , "times new roman" , serif;"><br /></span></div>
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<span style="font-family: "times" , "times new roman" , serif;"><span class="s1"></span><br /></span></div>
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<span class="s1" style="font-family: "times" , "times new roman" , serif;"><b>FOOTNOTES:</b></span></div>
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<span class="s1" style="font-family: "times" , "times new roman" , serif; font-size: x-small;">1. <a href="http://www.arthurrossgallery.org/events/event/impressions-in-ink-the-arthur-ross-collection/"><span class="s10">http://www.arthurrossgallery.org/events/event/impressions-in-ink-the-arthur-ross-collection/</span></a></span></div>
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<span class="s1" style="font-family: "times" , "times new roman" , serif; font-size: x-small;">2. http://thepenngazette.com/ink-tones/</span></div>
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<span class="s1" style="font-family: "times" , "times new roman" , serif; font-size: x-small;">3. © 1965 by Print Council of America, Library of Congress, Catalog Card Number: 65-24325, Seventh Printing, March, 1971</span></div>
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<span class="s1" style="font-family: "times" , "times new roman" , serif; font-size: x-small;">4. http://www.copyright.gov/title17/92chap1.html#101</span></div>
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<span class="s1" style="font-family: "times" , "times new roman" , serif; font-size: x-small;">5.<span class="Apple-converted-space"> </span>Publisher: International Exhibitions Foundation; 1st edition (1985), ISBN-10: 088397083X, ISBN-13: 978-0883970836</span></div>
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<span class="s1" style="font-family: "times" , "times new roman" , serif; font-size: x-small;">6. Ibid</span></div>
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<span class="s1" style="font-family: "times" , "times new roman" , serif; font-size: x-small;">7. Ibid</span></div>
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<span class="s1" style="font-family: "times" , "times new roman" , serif; font-size: x-small;">8. Ibid</span></div>
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<span class="s1" style="font-family: "times" , "times new roman" , serif; font-size: x-small;">9. http://www.copyright.gov/title17/92chap1.html103<span class="Apple-converted-space"> </span></span></div>
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<span class="s1" style="font-family: "times" , "times new roman" , serif; font-size: x-small;">10. <a href="http://www.copyright.gov/title17/92chap1.html106A"><span class="s10">http://www.copyright.gov/title17/92chap1.html106A</span></a></span></div>
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<span class="s1" style="font-family: "times" , "times new roman" , serif; font-size: x-small;">11. <a href="http://www.copyright.gov/title17/92chap1.html#101"><span class="s10">http://www.copyright.gov/title17/92chap1.html#101</span></a></span></div>
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<span class="s1" style="font-family: "times" , "times new roman" , serif; font-size: x-small;">12. http://www.copyright.gov/title17/92chap1.html103<span class="Apple-converted-space"> </span></span></div>
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<span class="s1" style="font-family: "times" , "times new roman" , serif; font-size: x-small;">13. <a href="http://www.copyright.gov/title17/92chap1.html106A"><span class="s10">http://www.copyright.gov/title17/92chap1.html106A</span></a></span></div>
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<span class="s1" style="font-family: "times" , "times new roman" , serif; font-size: x-small;">14. <a href="http://www.copyright.gov/title17/92chap1.html103"><span class="s10">http://www.copyright.gov/title17/92chap1.html103</span></a></span></div>
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<span class="s1" style="font-family: "times" , "times new roman" , serif; font-size: x-small;">15. <a href="http://www.copyright.gov/title17/92chap1.html106A"><span class="s10">http://www.copyright.gov/title17/92chap1.html106A</span></a></span></div>
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<span class="s1" style="font-family: "times" , "times new roman" , serif; font-size: x-small;">16. Ibid</span></div>
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<span class="s1" style="font-family: "times" , "times new roman" , serif; font-size: x-small;">17. Works of Art, Collector's Pieces, Antiques, and Other Cultural Property, <a href="http://www.cbp.gov/document/publications/works-art-collectors-pieces-antiques-and-other-cultural-property"><span class="s10">http://www.cbp.gov/document/publications/works-art-collectors-pieces-antiques-and-other-cultural-property</span></a></span></div>
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<span class="s1" style="font-family: "times" , "times new roman" , serif; font-size: x-small;">18. Viking Adult; 5 Rev Upd edition (May 31, 1991), ISBN-10: 0670837016, ISBN-13: 978-0670837014 [This fifth edition has been prepared by Steven Sheehan, Director of the Ralph Mayer Center, Yale University School of Art.]</span></div>
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<span class="s1" style="font-family: "times" , "times new roman" , serif; font-size: x-small;">19. Copyright © 1999, By West Group, ISBN 0-314-22864-0<span class="Apple-converted-space"> </span></span></div>
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<span class="s1" style="font-family: "times" , "times new roman" , serif; font-size: x-small;">20. Ibid</span></div>
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<span class="s1" style="font-family: "times" , "times new roman" , serif; font-size: x-small;">21. http://www.artworldnews.com/</span></div>
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<span class="s1" style="font-family: "times" , "times new roman" , serif; font-size: x-small;">22. Ibid</span></div>
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<span class="s1" style="font-family: "times" , "times new roman" , serif; font-size: x-small;">23. Ibid</span></div>
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<span class="s1" style="font-family: "times" , "times new roman" , serif; font-size: x-small;">24. Ibid</span></div>
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<span class="s1" style="font-family: "times" , "times new roman" , serif; font-size: x-small;">25. Ibid</span></div>
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<span class="s1" style="font-family: "times" , "times new roman" , serif; font-size: x-small;">26. Publisher: Lund Humphries; New edition edition (November 28, 2007), ISBN-10: 2711849392</span></div>
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<span class="s1" style="font-family: "times" , "times new roman" , serif; font-size: x-small;">ISBN-13: 978-2711849390,<span class="Apple-converted-space"> </span></span></div>
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<span class="s1" style="font-family: "times" , "times new roman" , serif; font-size: x-small;">27. <i>Renoir Sculptor</i> by Paul Haesaerts, Published 1947, Printed by V. Van Dieren & Co and J. E. Buschmann, Printed in Belgium</span></div>
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<span class="s1" style="font-family: "times" , "times new roman" , serif; font-size: x-small;">28. Ibid</span></div>
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<span class="s1" style="font-family: "times" , "times new roman" , serif; font-size: x-small;">29. p 75 of the <i>Renoir in the 20th Century</i> catalogue, in the “Renoir the Sculptor?” essay by Conservateur du patrimoine, adminstratrice adjointe de la RMN, en charge de la politique scientifique Emmanuelle Heran</span></div>
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<span class="s1" style="font-family: "times" , "times new roman" , serif; font-size: x-small;">30 https://lamodern.com/2016/10/just-in-richard-diebenkorn-blue-with-red/</span></div>
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<span class="s1" style="font-family: "times" , "times new roman" , serif; font-size: x-small;">31. Alan Wofsy Fine Arts; 2nd revised with new illustrations edition (September 1, 1983), ISBN-10: 0915346729, ISBN-13: 978-0915346721</span></div>
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<span class="s1" style="font-family: "times" , "times new roman" , serif; font-size: x-small;">32. Ibid</span></div>
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<span class="s1" style="font-family: "times" , "times new roman" , serif; font-size: x-small;">33. <a href="https://webapps.cspace.berkeley.edu/bampfa/search/search/?maxresults=1&displayType=full&idnumber=1967.49"><span class="s10">https://webapps.cspace.berkeley.edu/bampfa/search/search/?maxresults=1&displayType=full&idnumber=1967.49</span></a></span></div>
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<span class="s1" style="font-family: "times" , "times new roman" , serif; font-size: x-small;">34. http://newsok.com/video-and-interviews-chuck-close-maps-faces-experiments-with-printmaking-techniques-in-new-oklahoma-city-museum-of-art-exhibit/article/3914930<span class="Apple-converted-space"> </span></span></div>
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<span class="s1" style="font-family: "times" , "times new roman" , serif; font-size: x-small;">35. Publisher: Princeton University Press (August 25, 2003), ISBN-10: 069111577X, ISBN-13: 978-0691115771</span></div>
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<span class="s1" style="font-family: "times" , "times new roman" , serif; font-size: x-small;">36. © 1999 By West Group, ISBN 0314022864</span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><span class="s1"></span><br /></span></div>
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<span class="s1" style="font-family: "times" , "times new roman" , serif; font-size: x-small;">37. http://www.spaightwoodgalleries.com/Pages/Degas.html</span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><span class="s1"></span><br /></span></div>
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<span class="s1" style="font-family: "times" , "times new roman" , serif; font-size: x-small;">38. http://www.pasqualeart.com/degas/index.html</span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><span class="s1"></span><br /></span></div>
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<span class="s1" style="font-family: "times" , "times new roman" , serif; font-size: x-small;">39. http://www.jdsmithfineart.com/degas_laundress_main.html</span></div>
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<span class="s1" style="font-family: "times" , "times new roman" , serif; font-size: x-small;">J D Smith Fine Art, Happy Valley, OR, USA, 97086</span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><span class="s1"></span><br /></span></div>
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<span class="s1" style="font-family: "times" , "times new roman" , serif; font-size: x-small;">40. © 1965 by Print Council of America, Library of Congress, Catalog Card Number: 65-24325, Seventh Printing, March, 1971</span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><span class="s1"></span><br /></span></div>
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<span class="s1" style="font-family: "times" , "times new roman" , serif; font-size: x-small;">41. http://www.jdsmithfineart.com/question_cancelled_plate.html</span></div>
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<span class="s1" style="font-family: "times" , "times new roman" , serif; font-size: x-small;">What is a cancelled plate? Why do dealers sometimes sell etchings and lithographs printed from cancelled plates?</span></div>
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<span class="s1" style="font-family: "times" , "times new roman" , serif; font-size: x-small;">When an artist finishes printing the number of impressions they want of a work (the total edition size), they usually “cancel” the plate. To cancel the plate, they typically scribe noticeable crosshatch or “X” lines across the plate. These lines cross the image and will show up on any later impressions made from the plate. The lines indicate that any later impressions were not part of the original edition. Cancelling a plate is the best way an artist has to protect the value of the impressions in the official edition.</span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><br /></span></div>
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<span class="s1" style="font-family: "times" , "times new roman" , serif; font-size: x-small;">So then ... impressions from cancelled plates are bad, right?</span></div>
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<span class="s1" style="font-family: "times" , "times new roman" , serif; font-size: x-small;">The answer varies. Usually impressions from cancelled plates are done by a dealer or printer to make additional money from a popular artist’s work. These later impressions are usually not the desire of the artist. They are valued less than impressions from the official edition.</span></div>
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<span class="s1" style="font-family: "times" , "times new roman" , serif; font-size: x-small;">But they are not always “bad” or without value. Artists like Degas often produced very few impressions of a work before cancelling the plate. Later in life he gave about 20 cancelled plates to his dealer Ambroise Vollard for Vollard to publish an extended edition. Thus, the Vollard edition of Degas’ etchings from cancelled plates were the artist’s intent ... hence they are good. Since impressions of Degas’ prints from the pre-cancelled state of the plate are more rare, and therefore much more expensive, collectors often purchase impressions from the cancelled plates. For many of these Degas etchings, the cancellation marks are not very obtrusive.</span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><span class="s1"></span><br /></span></div>
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<span class="s1" style="font-family: "times" , "times new roman" , serif; font-size: x-small;">42. Records in the Smithsonian Institution Research Information System documents the Frank Perls Gallery dates "from its opening in 1939 until its closure in 1981," Smithsonian Institution Research Information System</span></div>
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<span class="s1" style="font-family: "times" , "times new roman" , serif; font-size: x-small;">http://siris-archives.si.edu/ipac20/ipac.jsp?uri=full=3100001~!211805!0</span></div>
<div class="p10">
<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p11">
<span class="s1" style="font-family: "times" , "times new roman" , serif; font-size: x-small;">43. http://www.art-art.co.uk/Degas.htm</span></div>
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<span class="s1" style="font-family: "times" , "times new roman" , serif; font-size: x-small;">Title: The Laundresses</span></div>
<div class="p11">
<span class="s1" style="font-family: "times" , "times new roman" , serif; font-size: x-small;">Medium: Original Etching and aquatint , Fourth state,1879/80</span></div>
<div class="p11">
<span class="s1" style="font-family: "times" , "times new roman" , serif; font-size: x-small;">Size: Plate size : 118 x 160 mms. Paper size 420 x 280 mms</span></div>
<div class="p11">
<span class="s1" style="font-family: "times" , "times new roman" , serif; font-size: x-small;">Reference: Reed & Shapeiro Edgar (Degas, the Painter as printmaker) No 48, page 149, Delteil 37 ; Adhemar 32</span></div>
<div class="p11">
<span class="s1" style="font-family: "times" , "times new roman" , serif; font-size: x-small;">Condition: In good condition with some creasing on the outer right hand side margins not affecting the image. Framed</span></div>
<div class="p11">
<span class="s1" style="font-family: "times" , "times new roman" , serif; font-size: x-small;">1) A later striking from the cancelled plate showing cancellation marks 2)The subject matter, although unique in the artists oeuvre, does relate to other etchings from this period in the examination of space. The etching was made on a daguerreotype plate. The fourth state exhibits considerable scraping of the image, especially on the seated laundress, the chair, cat, stovepipe and wall to the left of the doorway. Only 8 impressions are known of this state. 3)Our piece as mentioned before comes from a cancelled plate. There were later impressions from cancelled plates made of some of this artists prints by the famous art publisher Ambroise Vollard but our piece is not one of those series. Vollard did include this print in the oeuvre in his edition of 120 on Japan Paper made in 1919/20 measuring 323 x 250 mms. His impressions are noted for being rather pale. For a discussion on those pieces see "Una Johnson 'Ambroise Vollard; Prints, books, bronzes' The Museum of Modern Art, New York, page 131, no 28. Our piece was made by Frank Perls Gallery of 350 N Camden Drive, Beverley Hills, California and was one of 26 etchings made in a limited edition at that time. These were printed by Lacouriere in Paris on Vieux Japan paper. The pieces from the small edition (quantity unstipulated) were made with the printers blindstamp but a number of additional printers proofs were made, of which ours is an example, without this blindstamp. The piece must be a rarity since it is hardly ever seen. Details of the edition were published in a scarce leaflet of which we have a copy entitled "Twenty six original copperplates engraved by Degas" . A copy of this work, if required, will be sold with the etching. In the forward Frank Perls states that the copper plates "are exhibited here for the first time. They were acquired by me recently from a friend of the Degas-Fevre family". Marguerite De Gas Fevre was the artists younger sister who he etched in 1860/62 (Delteil 17, Reed & Shapeiro 14 - included in the group).</span></div>
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<span class="s1" style="font-family: "times" , "times new roman" , serif; font-size: x-small;">Price £: 900</span></div>
<div class="p11">
<span class="s1" style="font-family: "times" , "times new roman" , serif; font-size: x-small;">44. Copyright © 1991 by Bena Mayer, ISBN 0-06-461012-8 (pbk.)</span></div>
<div class="p11">
<span class="s1" style="font-family: "times" , "times new roman" , serif; font-size: x-small;">45. © Kluwer Law International 1998, ISBN: 90-411-0697-9<span class="Apple-converted-space"> </span></span></div>
<div class="p11">
<span class="s1" style="font-family: "times" , "times new roman" , serif; font-size: x-small;">46. Ibid<span class="Apple-converted-space"> </span></span></div>
<div class="p11">
<span class="s1" style="font-family: "times" , "times new roman" , serif; font-size: x-small;">47. Ibid</span></div>
<div class="p2">
<span style="font-family: "times" , "times new roman" , serif;"><span class="s1"><b></b></span><br /></span></div>
<div class="p2">
<span style="font-family: "times" , "times new roman" , serif;"><span class="s1"><b></b></span><br /></span></div>
<div class="p2">
<span style="font-family: "times" , "times new roman" , serif;"><span class="s1"><b></b></span><br /></span></div>
<div class="p2">
<span style="font-family: "times" , "times new roman" , serif;"><span class="s1"><b></b></span><br /></span></div>
<div class="p1">
<span class="s1" style="font-family: "times" , "times new roman" , serif;"><b>Impressions in Ink: Masterworks from the Arthur Ross Collection</b></span></div>
<div class="p1">
<span class="s1" style="font-family: "times" , "times new roman" , serif;"><b>January 12 – March 25, 2018</b></span></div>
<div class="p8">
<div style="text-align: center;">
<span class="s1" style="font-family: "times" , "times new roman" , serif;">[numbers mine]</span></div>
</div>
<div class="p2">
<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p1">
<span class="s1" style="font-family: "times" , "times new roman" , serif; font-size: x-small;">1. Jean-Baptiste-Camille Corot</span></div>
<div class="p1">
<span class="s1" style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><i>Le dormoir des vaches</i> (The Cow Pasture), 1871</span></div>
<div class="p1">
<span class="s1" style="font-family: "times" , "times new roman" , serif; font-size: x-small;">Lithograph printed in red, image: 6 1/4 x 5 3/8 in,</span></div>
<div class="p1">
<span class="s1" style="font-family: "times" , "times new roman" , serif; font-size: x-small;">Yale University Art Gallery, The Arthur Ross Collection</span></div>
<div class="p2">
<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p1">
<span class="s1" style="font-family: "times" , "times new roman" , serif; font-size: x-small;">2. Jean-Baptiste-Camille Corot</span></div>
<div class="p1">
<span class="s1" style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><i>Le grand cavalier sous bois </i>(The Large Rider in the Woods), 1854</span></div>
<div class="p1">
<span class="s1" style="font-family: "times" , "times new roman" , serif; font-size: x-small;">Cliché-verre, sheet: 10 15/16 x 8 9/16 in.</span></div>
<div class="p1">
<span class="s1" style="font-family: "times" , "times new roman" , serif; font-size: x-small;">Yale University Art Gallery, The Arthur Ross Collection</span></div>
<div class="p2">
<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p1">
<span class="s1" style="font-family: "times" , "times new roman" , serif; font-size: x-small;">3. Honoré Daumier</span></div>
<div class="p1">
<span class="s1" style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><i>Baissez le rideau, la farce est jouée</i> (Lower the Curtain, the Farce Has Ended), 1834</span></div>
<div class="p1">
<span class="s1" style="font-family: "times" , "times new roman" , serif; font-size: x-small;">Lithograph, image: 7 7/8 x 10 15/16 in.</span></div>
<div class="p1">
<span class="s1" style="font-family: "times" , "times new roman" , serif; font-size: x-small;">Yale University Art Gallery, The Arthur Ross Collection</span></div>
<div class="p2">
<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p1">
<span class="s1" style="font-family: "times" , "times new roman" , serif; font-size: x-small;">4. Honoré Daumier</span></div>
<div class="p1">
<span class="s1" style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><i>Le ventre législatif (</i>The Legislative Belly), 1834</span></div>
<div class="p1">
<span class="s1" style="font-family: "times" , "times new roman" , serif; font-size: x-small;">Lithograph, image: 11 1/16 x 17 in.</span></div>
<div class="p1">
<span class="s1" style="font-family: "times" , "times new roman" , serif; font-size: x-small;">Yale University Art Gallery, The Arthur Ross Collection</span></div>
<div class="p2">
<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p1">
<span class="s1" style="font-family: "times" , "times new roman" , serif; font-size: x-small;">5. Marcellin-Gilbert Desboutin</span></div>
<div class="p1">
<span class="s1" style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><i>Three-Quarter Portrait of Edgar Degas</i>, 1875</span></div>
<div class="p1">
<span class="s1" style="font-family: "times" , "times new roman" , serif; font-size: x-small;">Drypoint, plate: 3 3/8 x 2 3/4 in.</span></div>
<div class="p1">
<span class="s1" style="font-family: "times" , "times new roman" , serif; font-size: x-small;">Yale University Art Gallery, The Arthur Ross Collection</span></div>
<div class="p2">
<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p1">
<span class="s1" style="font-family: "times" , "times new roman" , serif; font-size: x-small;">6. Camille Pissarro</span></div>
<div class="p1">
<span class="s1" style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><i>Portrait of Paul Cézanne,</i> 1874, second printing 1920</span></div>
<div class="p1">
<span class="s1" style="font-family: "times" , "times new roman" , serif; font-size: x-small;">Etching, stone: 10 5/8 x 8 7/16 in.</span></div>
<div class="p1">
<span class="s1" style="font-family: "times" , "times new roman" , serif; font-size: x-small;">Yale University Art Gallery, The Arthur Ross Collection</span></div>
<div class="p2">
<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p1">
<span class="s1" style="font-family: "times" , "times new roman" , serif; font-size: x-small;">7. Camille Pissarro</span></div>
<div class="p1">
<span class="s1" style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><i>Landscape at Osny</i>, 1887, printed 1894</span></div>
<div class="p1">
<span class="s1" style="font-family: "times" , "times new roman" , serif; font-size: x-small;">Etching, platemark: 4 9/16 x 6 1/8 in.</span></div>
<div class="p1">
<span class="s1" style="font-family: "times" , "times new roman" , serif; font-size: x-small;">Yale University Art Gallery, The Arthur Ross Collection</span></div>
<div class="p2">
<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p1">
<span class="s1" style="font-family: "times" , "times new roman" , serif; font-size: x-small;">8. Camille Pissarro</span></div>
<div class="p1">
<span class="s1" style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><i>Firewood Carriers</i>, 1896</span></div>
<div class="p1">
<span class="s1" style="font-family: "times" , "times new roman" , serif; font-size: x-small;">Lithograph, stone: 7 7/8 x 9 in.</span></div>
<div class="p1">
<span class="s1" style="font-family: "times" , "times new roman" , serif; font-size: x-small;">Yale University Art Gallery, The Arthur Ross Collection</span></div>
<div class="p2">
<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p1">
<span class="s1" style="font-family: "times" , "times new roman" , serif; font-size: x-small;">9. Camille Pissarro</span></div>
<div class="p1">
<span class="s1" style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><i>The Vagabonds</i>, 1896</span></div>
<div class="p1">
<span class="s1" style="font-family: "times" , "times new roman" , serif; font-size: x-small;">Lithograph on chine collé, image: 9 13/16 x 11 7/8 in.</span></div>
<div class="p1">
<span class="s1" style="font-family: "times" , "times new roman" , serif; font-size: x-small;">Yale University Art Gallery, The Arthur Ross Collection</span></div>
<div class="p2">
<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p1">
<span class="s1" style="font-family: "times" , "times new roman" , serif; font-size: x-small;">10. Edouard Manet</span></div>
<div class="p1">
<span class="s1" style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><i>The Spanish Singer,</i> 1861</span></div>
<div class="p1">
<span class="s1" style="font-family: "times" , "times new roman" , serif; font-size: x-small;">Etching and aquatint, plate: 11 11/16 x 9 5/8 in.</span></div>
<div class="p1">
<span class="s1" style="font-family: "times" , "times new roman" , serif; font-size: x-small;">Yale University Art Gallery, The Arthur Ross Collection</span></div>
<div class="p2">
<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p1">
<span class="s1" style="font-family: "times" , "times new roman" , serif; font-size: x-small;">11. Edouard Manet</span></div>
<div class="p1">
<span class="s1" style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><i>The Absinthe Drinker</i>, 1860</span></div>
<div class="p1">
<span class="s1" style="font-family: "times" , "times new roman" , serif; font-size: x-small;">Etching and aquatint, plate: 11 1/4 x 6 5/16 in.</span></div>
<div class="p1">
<span class="s1" style="font-family: "times" , "times new roman" , serif; font-size: x-small;">Yale University Art Gallery, The Arthur Ross Collection</span></div>
<div class="p2">
<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p1">
<span class="s1" style="font-family: "times" , "times new roman" , serif; font-size: x-small;">12. Edouard Manet</span></div>
<div class="p1">
<span class="s1" style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><i>The Toilette</i>, 1862</span></div>
<div class="p1">
<span class="s1" style="font-family: "times" , "times new roman" , serif; font-size: x-small;">Etching, plate: 11 3/16 x 8 3/4 in.</span></div>
<div class="p1">
<span class="s1" style="font-family: "times" , "times new roman" , serif; font-size: x-small;">Yale University Art Gallery, The Arthur Ross Collection</span></div>
<div class="p2">
<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p1">
<span class="s1" style="font-family: "times" , "times new roman" , serif; font-size: x-small;">13. Edouard Manet</span></div>
<div class="p1">
<span class="s1" style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><i>Don Mariano Camprubi primer bailarin del teatro royal de Madrid</i></span></div>
<div class="p1">
<span class="s1" style="font-family: "times" , "times new roman" , serif; font-size: x-small;">(Don Mariano Camprubi first dancer of the Teatro Royal de Madrid), 1862</span></div>
<div class="p1">
<span class="s1" style="font-family: "times" , "times new roman" , serif; font-size: x-small;">Etching, platemark: 11 3/4 x 7 3/4 in.</span></div>
<div class="p1">
<span class="s1" style="font-family: "times" , "times new roman" , serif; font-size: x-small;">Yale University Art Gallery, The Arthur Ross Collection</span></div>
<div class="p2">
<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p1">
<span class="s1" style="font-family: "times" , "times new roman" , serif; font-size: x-small;">14. Edouard Manet</span></div>
<div class="p1">
<span class="s1" style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><i>Portrait of Berthe Morisot</i>, 1872</span></div>
<div class="p1">
<span class="s1" style="font-family: "times" , "times new roman" , serif; font-size: x-small;">Lithograph on chine collé, plate: 4 3/4 x 3 1/8 in.</span></div>
<div class="p1">
<span class="s1" style="font-family: "times" , "times new roman" , serif; font-size: x-small;">Yale University Art Gallery, The Arthur Ross Collection</span></div>
<div class="p2">
<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p1">
<span class="s1" style="font-family: "times" , "times new roman" , serif; font-size: x-small;">15. Edgar Degas</span></div>
<div class="p1">
<span class="s1" style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><i>The Infanta Margarita,</i> 1861–62</span></div>
<div class="p1">
<span class="s1" style="font-family: "times" , "times new roman" , serif; font-size: x-small;">Etching and drypoint, platemark: 6 5/8 x 4 3/4 in.</span></div>
<div class="p1">
<span class="s1" style="font-family: "times" , "times new roman" , serif; font-size: x-small;">Yale University Art Gallery, The Arthur Ross Collection</span></div>
<div class="p2">
<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p1">
<span class="s1" style="font-family: "times" , "times new roman" , serif; font-size: x-small;">16. Paul Cézanne</span></div>
<div class="p1">
<span class="s1" style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><i>Self-Portrait,</i> 1898–1900</span></div>
<div class="p1">
<span class="s1" style="font-family: "times" , "times new roman" , serif; font-size: x-small;">Lithograph, stone: 12 3/4 x 11 1/4 in.</span></div>
<div class="p1">
<span class="s1" style="font-family: "times" , "times new roman" , serif; font-size: x-small;">Yale University Art Gallery, The Arthur Ross Collection</span></div>
<div class="p2">
<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p1">
<span class="s1" style="font-family: "times" , "times new roman" , serif; font-size: x-small;">17. Paul Cézanne</span></div>
<div class="p1">
<span class="s1" style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><i>Head of a Young Girl,</i> 1873</span></div>
<div class="p1">
<span class="s1" style="font-family: "times" , "times new roman" , serif; font-size: x-small;">Etching, plate: 5 1/4 x 4 1/4 in.</span></div>
<div class="p1">
<span class="s1" style="font-family: "times" , "times new roman" , serif; font-size: x-small;">Yale University Art Gallery, The Arthur Ross Collection</span></div>
<div class="p2">
<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p1">
<span class="s1" style="font-family: "times" , "times new roman" , serif; font-size: x-small;">18. Paul Cézanne</span></div>
<div class="p1">
<span class="s1" style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><i>Landscape at Auvers</i>, 1873</span></div>
<div class="p1">
<span class="s1" style="font-family: "times" , "times new roman" , serif; font-size: x-small;">Etching, plate: 5 1/4 x 4 1/4 in.</span></div>
<div class="p1">
<span class="s1" style="font-family: "times" , "times new roman" , serif; font-size: x-small;">Yale University Art Gallery, The Arthur Ross Collection</span></div>
<div class="p2">
<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p1">
<span class="s1" style="font-family: "times" , "times new roman" , serif; font-size: x-small;">19, Pierre-Auguste Renoir</span></div>
<div class="p1">
<span class="s1" style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><i>Bust of a Young Woman </i>(Mlle. Dieterle), 1899</span></div>
<div class="p1">
<span class="s1" style="font-family: "times" , "times new roman" , serif; font-size: x-small;">Lithograph, sheet: 20 15/16 x 15 7/8 in.</span></div>
<div class="p1">
<span class="s1" style="font-family: "times" , "times new roman" , serif; font-size: x-small;">Yale University Art Gallery, The Arthur Ross Collection</span></div>
<div class="p2">
<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p1">
<span class="s1" style="font-family: "times" , "times new roman" , serif; font-size: x-small;">20. Pierre-Auguste Renoir</span></div>
<div class="p1">
<span class="s1" style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><i>The Country Dance</i>, ca. 1890</span></div>
<div class="p1">
<span class="s1" style="font-family: "times" , "times new roman" , serif; font-size: x-small;">Etching, plate: 8 5/8 x 5 9/16 in.</span></div>
<div class="p1">
<span class="s1" style="font-family: "times" , "times new roman" , serif; font-size: x-small;">Yale University Art Gallery, The Arthur Ross Collection</span></div>
<div class="p2">
<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p1">
<span class="s1" style="font-family: "times" , "times new roman" , serif; font-size: x-small;">21. Paul Gauguin</span></div>
<div class="p1">
<span class="s1" style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><i>Pastorales Martiniques</i>, 1889</span></div>
<div class="p1">
<span class="s1" style="font-family: "times" , "times new roman" , serif; font-size: x-small;">Zincograph, platemark, stone or block: 7 5/16 x 8 11/16 in.</span></div>
<div class="p1">
<span class="s1" style="font-family: "times" , "times new roman" , serif; font-size: x-small;">Yale University Art Gallery, The Arthur Ross Collection</span></div>
<div class="p2">
<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p1">
<span class="s1" style="font-family: "times" , "times new roman" , serif; font-size: x-small;">22. Paul Gauguin</span></div>
<div class="p1">
<span class="s1" style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><i>Portrait of Stéphane Mallarmé</i>, 1891</span></div>
<div class="p1">
<span class="s1" style="font-family: "times" , "times new roman" , serif; font-size: x-small;">Etching and drypoint with engraving, platemark: 7 3/16 x 5 5/8 in</span></div>
<div class="p1">
<span class="s1" style="font-family: "times" , "times new roman" , serif; font-size: x-small;">Yale University Art Gallery, The Arthur Ross Collection</span></div>
<div class="p2">
<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p1">
<span class="s1" style="font-family: "times" , "times new roman" , serif; font-size: x-small;">24. Paul Gauguin</span></div>
<div class="p1">
<span class="s1" style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><i>Noa Noa</i> (Fragrance), 1893–94</span></div>
<div class="p1">
<span class="s1" style="font-family: "times" , "times new roman" , serif; font-size: x-small;">Woodcut, image: 35.5 x 20.6 cm (14 x 8 1/8 in.)</span></div>
<div class="p1">
<span class="s1" style="font-family: "times" , "times new roman" , serif; font-size: x-small;">Yale University Art Gallery, The Arthur Ross Collection</span></div>
<div class="p2">
<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p1">
<span class="s1" style="font-family: "times" , "times new roman" , serif; font-size: x-small;">25. Paul Gauguin</span></div>
<div class="p1">
<span class="s1" style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><i>Women, Animals, and Foliage</i>, 1898</span></div>
<div class="p1">
<span class="s1" style="font-family: "times" , "times new roman" , serif; font-size: x-small;">Woodcut, block: 6 7/16 x 12 in.</span></div>
<div class="p1">
<span class="s1" style="font-family: "times" , "times new roman" , serif; font-size: x-small;">Yale University Art Gallery, The Arthur Ross Collection</span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><span class="s1"></span><br /></span></div>
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<span class="s1" style="font-family: "times" , "times new roman" , serif; font-size: x-small;">26. Henri de Toulouse-Lautrec</span></div>
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<span class="s1" style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><i>Portrait Bust of Mademoiselle Marcelle Lender</i>, 1895</span></div>
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<span class="s1" style="font-family: "times" , "times new roman" , serif; font-size: x-small;">Color lithograph, image: 13 9/16 x 9 5/8 in.</span></div>
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<span class="s1" style="font-family: "times" , "times new roman" , serif; font-size: x-small;">Yale University Art Gallery, The Arthur Ross Collection</span></div>
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<span class="s1" style="font-family: "times" , "times new roman" , serif; font-size: x-small;">27. Henri de Toulouse-Lautrec</span></div>
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<span class="s1" style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><i>Anna Held,</i> from Portraits d'Acteurs & actrices: treize lithographies</span></div>
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<span class="s1" style="font-family: "times" , "times new roman" , serif; font-size: x-small;">(Portraits of Actors and Actresses: Thirteen Lithographs), 1898</span></div>
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<span class="s1" style="font-family: "times" , "times new roman" , serif; font-size: x-small;">Lithograph on chine volant, image: 11 5/8 x 9 1/2 in.</span></div>
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<span class="s1" style="font-family: "times" , "times new roman" , serif; font-size: x-small;">Yale University Art Gallery, The Arthur Ross Collection</span></div>
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<span class="s1" style="font-family: "times" , "times new roman" , serif; font-size: x-small;">28. Henri de Toulouse-Lautrec</span></div>
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<span class="s1" style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><i>L'Aube </i>(Dawn), 1896</span></div>
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<span class="s1" style="font-family: "times" , "times new roman" , serif; font-size: x-small;">Color lithograph, image: 24 1/16 x 31 3/4 in.</span></div>
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<span class="s1" style="font-family: "times" , "times new roman" , serif; font-size: x-small;">Yale University Art Gallery, The Arthur Ross Collection</span></div>
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<span class="s1" style="font-family: "times" , "times new roman" , serif; font-size: x-small;">29. Edouard Vuillard</span></div>
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<span class="s1" style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><i>Portrait of Paul Cézanne,</i> 1914</span></div>
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<span class="s1" style="font-family: "times" , "times new roman" , serif; font-size: x-small;">Yale University Art Gallery, The Arthur Ross Collection</span></div>
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<span class="s1" style="font-family: "times" , "times new roman" , serif; font-size: x-small;">30. Henri Matisse</span></div>
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<span class="s1" style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><i>Dancer on a Stool,</i> 1927</span></div>
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<span class="s1" style="font-family: "times" , "times new roman" , serif; font-size: x-small;">Lithograph: 18 1/16 x 11 in.</span></div>
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<span class="s1" style="font-family: "times" , "times new roman" , serif; font-size: x-small;">Yale University Art Gallery, The Arthur Ross Collection</span></div>
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<span class="s1" style="font-family: "times" , "times new roman" , serif; font-size: x-small;">31. Henri Matisse</span></div>
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<span class="s1" style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><i>Nadia in Sharp Profile</i>, 1948</span></div>
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<span class="s1" style="font-family: "times" , "times new roman" , serif; font-size: x-small;">Aquatint, platemark: 16 15/16 x 13 11/16 in.</span></div>
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<span class="s1" style="font-family: "times" , "times new roman" , serif; font-size: x-small;">Yale University Art Gallery, The Arthur Ross Collection</span></div>
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<style type="text/css"> p.p1 {margin: 0.0px 0.0px 0.0px 0.0px; font: 11.0px 'Times New Roman'; color: #000000; -webkit-text-stroke: #000000} p.p2 {margin: 0.0px 0.0px 0.0px 0.0px; font: 11.0px 'Times New Roman'; color: #000000; -webkit-text-stroke: #000000; min-height: 12.0px} li.li1 {margin: 0.0px 0.0px 0.0px 0.0px; font: 11.0px 'Times New Roman'; color: #000000; -webkit-text-stroke: #000000} span.s1 {font-kerning: none} span.s2 {font: 12.0px Helvetica; color: #000000} span.s3 {font: 11.0px 'Times New Roman'; text-decoration: underline ; font-kerning: none} ol.ol1 {list-style-type: decimal} </style>Gary Arseneauhttp://www.blogger.com/profile/10379667479866306615noreply@blogger.comtag:blogger.com,1999:blog-34909527.post-4949011232216399952018-02-07T09:55:00.000-05:002018-02-10T22:48:04.895-05:00Degas: A Passion for FAKES at the Denver Art Museum<div class="separator" style="clear: both; text-align: center;">
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<span style="font-family: "times" , "times new roman" , serif;"><span style="background-color: white;">NOTE: Footnotes are enclosed as:<span style="color: blue;"> <span style="font-size: x-small;">[FN]</span></span></span></span><br />
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<span class="s1"><span style="font-size: small;"><b>Re:</b> <i>Degas: A Passion for Perfection will showcase prolific French artist Edgar Degas’ works from 1855 to 1906. More than 100 works consisting of paintings, drawings, pastels, etchings, monotypes, and sculptures in bronze will be on view.</i></span></span><br />
<span style="color: blue;">https://denverartmuseum.org/exhibitions/degas-passion-perfection</span></div>
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<span class="s1"><b><span style="font-size: x-large;">O</span></b><span style="font-size: small;">ne legal definition of fake is “something that is not what it purports to be.”</span></span><span class="s2">[FN 1]</span></div>
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<span class="s1"><span style="font-size: small;">Out of the 66 potential works of visual art attributed to Edgar Degas in the Denver Art Museum’s February 11 to May 20, 2018 <b>Degas: A Passion for Perfection </b>exhibition<b>, </b>10 are non-disclosed posthumous [1919-1981] fakes falsely attributed as original works of visual art i.e., <i>"sculpture in bronze" </i>and <i>"etchings" </i>to dead Edgar Degas [d 1917].</span></span></div>
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<span class="s1"><span style="font-size: small;">The dead don’t sculpt, much less etch.</span></span></div>
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<span class="s1"><span style="font-size: small;">In other words, a dead Edgar Degas [d 1917] has never seen these 10 non-disclosed posthumous [1919-1981] fakes that the Denver Art Museum and others are so eager to attribute to him for the price of admission, city-state-federal grants, corporate sponsorship and other monetary considerations.<span class="Apple-converted-space"> </span></span></span></div>
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<span class="s1"><span style="font-size: small;">Edgar Degas’ career as an artist ended upon his death in 1917. As tragic as that Edgar Degas’s death in 1917 may have been for his family, friends and other interested parties, the dead cannot posthumously create, much less approve, any more works of visual art i.e., <i>"sculptures in bronze"</i> and <i>"etchings."</i></span></span></div>
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<span class="s1"><span style="font-size: small;">To belabor the point, the dead don’t sculpt, much less etch.</span></span></div>
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<span class="s1"><span style="font-size: small;">Therefore, would the Denver Art Museum’s misrepresentation of 10 non-disclosed posthumous [1919-1981] fakes, falsely attributing that it “<i>will showcase prolific French artist Edgar Degas’ works from 1855 to 1906,” </i>be<i> </i>“a knowing misrepresentation of the truth or concealment of a material fact to induce another to act to his or her detriment”</span></span><span style="color: #0433ff; font-size: 10px;">[FN 2]</span><span style="-webkit-text-stroke-width: initial;"> <span style="font-size: small;">which is one legal definition of fraud?</span></span></div>
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<span class="s1"><span style="font-size: small;">The following documentation discloses that the ten [1-10] so-called <i>"sculptures in bronze" </i>and <i>"etchings,"</i> in the Denver Art Museum's February 11 - May 20, 2018 <b>Degas, A Passion For Perfection </b>exhibition, are actually non-disclosed posthumous [1919-1981] fakes falsely attributed as original works of visual art</span></span><i> </i>to a dead Edgar Degas [d 1917].</div>
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<a href="https://3.bp.blogspot.com/-vm8pdM7BdGU/WnsGCcwt9XI/AAAAAAAAEQU/rsk_jUFZ-SY5-LtAevR0yIROLfOE3Ze3ACEwYBhgL/s1600/Degas-Dancer-Fourth-Positio.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="760" data-original-width="570" height="320" src="https://3.bp.blogspot.com/-vm8pdM7BdGU/WnsGCcwt9XI/AAAAAAAAEQU/rsk_jUFZ-SY5-LtAevR0yIROLfOE3Ze3ACEwYBhgL/s320/Degas-Dancer-Fourth-Positio.jpg" width="240" /></a></div>
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<span style="background-color: white;"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">Edgar Degas, <em style="border: 0px; font-stretch: inherit; font-variant-east-asian: inherit; font-variant-numeric: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Fourth Position Front, on the Left Leg</em>, probably cast c. 1921 (original wax modelled c. 1885-90), copper alloy © The Fitzwilliam Museum, Cambridge.</span></span><br />
<span style="background-color: white;"><span style="color: blue; font-family: "times" , "times new roman" , serif; font-size: x-small;">https://denverartmuseum.org/exhibitions/degas-passion-perfection</span></span><br />
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<span style="background-color: white;"><span style="font-family: "times" , "times new roman" , serif;"><b>NON-DISCLOSED 3RD-GENERATION-REMOVED BRASS FORGERY</b></span></span><br />
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<span class="s1"><span style="font-size: small;"><b>FIRST</b>, the Denver Art Museum states their <b>Degas: A Passion for Perfection </b>exhibition<b> </b>contains “<i>sculptures in bronze.”<span class="Apple-converted-space"> </span></i></span></span></div>
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<span class="s1"><span class="Apple-converted-space"><span style="font-size: small;">There are no <i>"sculptures in bronze" </i>in the <b>Degas: A Passion for Perfection</b> exhibition.</span></span></span></div>
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<span class="s1"><span style="font-size: small;">CHECKLIST:<span class="Apple-converted-space"> </span></span></span></div>
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<span class="s1"><span style="font-size: small;">[eight [8] non-disclosed 3rd-generation-removed brass [not bronze] forgeries with counterfeit <i>“Degas”</i> signatures in bogus editions.]</span></span></div>
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<li class="li1"><span style="font-size: small;"><span class="s3"></span><span class="s1">1. 6 Edgar Degas [1834-1917], <i>Horse Walking</i>, cast before 1 March 1924, when exhibited in Glasgow [original wax modelled early 1870s], Copper alloy, inscribed ’11/J’, 23.4 x 23.2 x 8.cm, Fitwilliam Museum, Cambridge [M.11-1951], Fig 8</span></span></li>
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<li class="li1"><span style="font-size: small;"><span class="s3"></span><span class="s1">2. 7 Edgar Degas [1834-1917], <i>Fourth Position Front, on the Left Leg</i>, date of casting uncertain, probably c. 1921 [original wax modelled c. 1885-90], Copper alloy, inscribed ’58/D’, 58.3 x 36 x 8.cm, Fitwilliam Museum, Cambridge [M.11-1951], Fig 9</span></span></li>
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<li class="li1"><span style="font-size: small;"><span class="s3"></span><span class="s1">3. 67 Edgar Degas [1834-1917], <i>Woman Arranging her Hair</i>, cast 1920, (original wax modelled possibly late 1880s/1890), Copper alloy, inscribed ’50/A’, 46.4 x 24.8 x 16.8 cm, H.O. Havemeyer Collection, Bequest of Mrs H.O. Havemeyer, 1929, The Metropolitan Museum of Art, New York (29.100.438), Fib. 110</span></span></li>
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<li class="li1"><span style="font-size: small;"><span class="s3"></span><span class="s1">4. 117 Edgar Degas [1834-1917], <i>Horse with Head Lowered,</i> date of casting uncertain, probably c. 1921 (original wax modelled late 1880s -early 1890s), Copper alloy, inscribed ’22/E’, 18.1 x 28 x 7.3 cm, Fitwilliam Museum, Cambridge (M.5-1978), Fig. 206</span></span></li>
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<li class="li1"><span style="font-size: small;"><span class="s3"></span><span class="s1">5. 118 Edgar Degas [1834-1917], <i>Arabesque over the Right Leg, left Arm in Front, Second Study</i>, date of casting uncertain, possibly later 1920s/early 1930s, definitely 1947 (original wax modelled c. 1885-90), Copper alloy, inscribed ‘1/N’, 30 x 39.8 x 14.5 cm, Fitzwilliam Museum, Cambridge (M.6-1978), Fig. 207</span></span></li>
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<li class="li1"><span style="font-size: small;"><span class="s3"></span><span class="s1">6. 119 Edgar Degas [1834-1917], <i>Arabesque over the Right Leg, Left Arm in Front, First Study</i>, date of<span class="Apple-converted-space"> </span>casting uncertain, definitely by 1949 (original wax modelled c. 1882-95), Copper alloy, inscribed ’14/T’, 20.6 x 25.5 x 10.3 cm, Fitzwilliam Museum, Cambridge (M. 36-1982), Fig. 208</span></span></li>
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<li class="li1"><span style="font-size: small;"><span class="s3"></span><span class="s1">7. 120 Edgar Degas [1834-1917], <i>Arabesque over the Right Leg, Left Arm in Front, First Study</i>,<span class="Apple-converted-space"> </span>date of casting uncertain, probably c. 1930, definitely by July 1931 (original wax modelled 1882-95), Copper alloy, inscribed ’14/P’, 21 x 26.4 x 9.3 cm, Musee d’Orsay, Paris, Acquired through the generosity of the heirs of the artist and Hebrard, 1931 (RF 2065), Fib. 210</span></span></li>
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<li class="li1"><span style="font-size: small;"><span class="s3"></span><span class="s1">8. 122 Edgar Degas [1834-1917], <i>The Tub, </i>cast 1920 (original wax modelled c. 1889), Copper alloy, inscribed ’26/A’, 21.6 x 45.4 x 42.2 cm, H.O. Havermeyer Collection, Bequest of Mrs. H.O. Havemeyer, 1929, The Metropolitan Museum<span class="Apple-converted-space"> </span>of Art, New York (29.100419), Fig. 214</span></span></li>
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<span class="s1"><span style="font-size: small;">Once again, there are no<i> “sculptures in bronze,” </i>attributable to Edgar Degas, in this exhibition. Edgar Degas was dead when they were posthumously cast in brass [not bronze as will be documented later].<span class="Apple-converted-space"> </span></span></span></div>
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<span class="s1"><span style="font-size: small;">The term cast, on page 70 of Ralph Mayer’s 1999 <i>HarperCollins Dictionary of Art Terms & Techniques</i>, is defined as: “to reproduce an object, such as a piece of sculpture, by means of a MOLD.”</span></span><span class="s2" style="background-color: white; color: blue; font-size: x-small;">[FN 3]</span></div>
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<span class="s1"><span style="font-size: small;">To reproduce results in reproductions.</span></span></div>
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<span class="s1"><span style="font-size: small;">Under U.S. Copyright 106A, it states the “Rights of Attribution - shall not apply to any reproduction.”</span></span><span style="background-color: white; color: blue; font-size: x-small;">[FN 4]</span></div>
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<span class="s1"><span style="font-size: small;">In other words, under U.S. Copyright Law, reproductions cannot be attributed to a living artist, much less a dead one even if their name happens to be Edgar Degas.</span></span></div>
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<span class="s1"><span style="font-size: small;">Remember, Edgar Degas died in 1917. The dead don’t sculpt. That’s a duh but for those who need documentation to support the obvious, here it is.</span></span></div>
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<span class="s1"><span style="font-size: small;">A sculpture, on page 372 in Ralph Mayer’s 1999 <i>HarperCollins Dictionary of Art Terms & Techniques</i>, is defined as: “The creation of three dimensional forms by carving, modeling or assembly. In carving, the sculptor removes unwanted material.... In modeling on the other hand, the sculptor creates a form by building it up...”</span></span><span style="background-color: white; color: blue; font-size: x-small;">[FN 5]</span></div>
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<span class="s1">The dead don’t carve, model or assemble.</span></div>
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<span class="s1"><span style="font-size: small;">A sculptor, on the J. Paul Getty Trust’s website under their <i>Getty Vocabulary Program,<span class="Apple-converted-space"> </span></i> is defined as: “artists who specialize in creating images and forms that are carried out primarily in three dimensions, generally in the media of stone, wood, or metal.”</span></span><span class="s1"><span class="Apple-converted-space"><span style="background-color: white; color: blue; font-size: x-small;">[FN 6]</span> </span></span></div>
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<span class="s1"><span style="font-size: small;">The dead don’t specialize.</span></span></div>
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<span class="s1"><span style="font-size: small;">So, the following documents the contentious issues of authenticity surrounding the eight [8] 3rd-generation-removed brass [not bronze] forgeries with counterfeit <i>“Degas”</i> signatures in bogus editions.</span></span></div>
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<span class="s1"><span style="font-size: small;">DEGAS NEVER CAST IN BRONZE</span></span></div>
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<span class="s1"><span style="font-size: small;">On page 180 in the National Gallery of Art’s published 1998 <i>Degas at the Races</i> catalogue in Daphne S. Barbour’s and Shelly G. Sturman’s “The Horse in Wax and Bronze” essay, these authors wrote: “Degas never cast his sculpture in bronze, claiming that it was a “tremendous responsibility to leave anything behind in bronze -- the medium is for eternity.”</span></span><span style="background-color: white; color: blue; font-size: x-small;">[FN 7]</span></div>
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<span class="s1"><span style="font-size: small;">MIXED-MEDIA SCULPTURE</span></span></div>
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<span class="s1"><span style="font-size: small;">On page 180 in the National Gallery of Art’s published 1998 <i>Degas at the Races</i> catalogue in Daphne S. Barbour’s and Shelly G. Sturman’s “The Horse in Wax and Bronze” essay, these authors wrote: “Not a single sculpture has been found to be made exclusively of wax, and none was intended to be sacrificed and melted during lost-wax casting.”</span></span><span style="background-color: white; color: blue; font-size: x-small;">[FN 8]</span></div>
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<span class="s1"><span style="font-size: small;">Yet, throughout the <i>Degas: A Passion for Perfection</i> catalogue the authors Jane Munro, Jill DeVonyar, and Victoria Avery continue to perpetuate the misconception that Edgar Degas created his sculpture in wax. Here are just three examples:</span></span></div>
<ul>
<li class="li1"><span style="font-size: small;"><span class="s3"></span><span class="s1">Jane Munro: page 99, “his </span><span class="s4">wax</span><span class="s1"> sculpture <i>Little Dancer Aged Fourteen</i>, exhibited at the sixth impressionist exhibition in 1881 (fig. 173).”</span></span></li>
</ul>
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<li class="li1"><span style="font-size: small;"><span class="s3"></span><span class="s1">Jill DeVonyar: page 161, “173 <i>Little Dancer Aged Fourteen</i>, cast c. 1922 (original </span><span class="s4">wax</span><span class="s1"><b> </b>modelled c. 1878-81), Copper alloy with a fabric skit, Robert and lisa Sainsbury Collection, University of East Anglia, acquire 1938 C. 98”</span></span></li>
</ul>
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<li class="li1"><span style="font-size: small;"><span class="s3"></span><span class="s1">Victoria Avery: page 186, “Each was conceived by Degas and created in 1880s when he was in his fifties, using coloured </span><span class="s4">wax</span><span class="s1"> over iron armatures that were fixed to wooden boards. These lifetime </span><span class="s4">waxes</span><span class="s1"> were part of a larger group of approximately one hundred and fifty pieces of sculpture - mainly in beeswax, but also in Plastiline (a man-made modelling material similar to plasticine) and plaster -“</span></span></li>
</ul>
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<span class="s1"><span style="font-size: small;">POSTHUMOUS WAX REPRODUCTIONS</span></span></div>
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<span class="s1"><span style="font-size: small;">On page 356 in the National Gallery of Art’s published 2010 <i>Edgar Degas Sculpture</i> catalogue, under the subtitle: “Glossary,” -intermodel- is defined as: “Wax copy of an original artist’s model made in a mold taken of the original; also referred to as a sacrificial wax. It is a wax melted out and lost in an indirect cast. As a method, it preserves the original artist’s model.”</span></span><span style="background-color: white; color: blue; font-size: x-small;">[FN 9]</span></div>
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<span class="s1"><span style="font-size: small;">Casting from a posthumous reproductions, not from Degas’ mixed-media originals is confirmed on page 201 of the <i>Degas: A Passion for Perfection</i> catalogue, where Fitzwilliam Museum’s Victoria Avery wrote: “This is why from the Renaissance onwards most fine art bronzes were cast using the indirect method, which sacrificed <b>a replica intermodel </b>(created from moulds taken from the original) rather than the original itself.”</span></span></div>
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<span class="s1"><span style="font-size: small;">These so-called “replica intermodels” sacrificed were posthumously made of wax by the hands, fingers and fingerprints of the Hebrard founder and his foundry workers.<span class="Apple-converted-space"> </span></span></span></div>
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<span class="s1"><span style="font-size: small;">FOUNDER & FOUNDRY WORKERS' FINGERPRINTS</span></span></div>
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<span class="s1"><span style="font-size: small;">On page 28 of the “Degas’ Bronzes Analyzed” essay by Shelley G. Sturman and Daphne S. Barbour in the National Gallery of Art’s published 2010 <i>Edgar Degas Sculpture</i> catalogue, the authors wrote: “In terms of overall surface quality, the bronzes appear to be smooth, faithful reproductions of the waxes. In some cases, however, tooling is not visible on the bronze where it is present on a wax. This discrepancy may be the result of additional work to the waxes after casting or to degeneration of the molds used for the casting, with the result that some of the casts, regardless of their letter sequence, may have less detail tha others. For instance, there is a fingerprint on the bronze version of Horse Racing (cat. 10) that is no present on the wax (cat. 9). Here even a foundryman’s fingerprint while handling the wax intermodel was reproduced in bronze. Adhemar notes that Palazzolo was able to detect a fake Degas bronze because he knew where to find his own fingerprints on the originals.”</span></span><span style="background-color: white; color: blue; font-size: x-small;">[FN 10]</span></div>
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<span class="s1"><span style="font-size: small;">SURMOULAGES</span></span></div>
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<span class="s1"><span style="font-size: small;">On page 78 in the essay “Degas; The Sculptures,” by Hirshhorn Curator of Sculpture Valerie J. Fletcher, published in Ann Dumas and David A. Brenneman’s 2001 <i>Degas and America The Early Collectors</i> catalogue, the author wrote: “In 1919-20 Hebrard’s founder Albino Palazzolo, made a first set of [Degas] bronzes. -- Those 'masters' served to make molds for casting edition of twenty-two bronzes. Technically, all bronzes except the master set are surmoulages.” In the ARTnews' published November 1974 "Flagrant Abuses, Pernicious Practices and Counterfeit Sculpture are Widespread" article, the Associate Editor Sylvia Hochfield defines -surmoulage- as: “smaller in scale and of demonstrably diminished definition than the bronze from which it was cast.”</span></span><span style="background-color: white; color: blue; font-size: x-small;">[FN 11]</span></div>
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<span class="s1"><span style="font-size: small;">COUNTERFEIT SIGNATURES</span></span></div>
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<span class="s1"><span style="font-size: small;">On page 32-33 in Charles W. Milliard’s 1976 <i>The Sculpture of Edgar Degas</i>, the author wrote: “Each cast is stamped with the legend 'cire perdue A.A. Hebrard' in relief, and incised with the signature <i>‘Degas.’</i>” Later on page 34, the author wrote: “At least some of the casts were set on wooden bases into which the signature “Degas” was burned.”</span></span><span style="background-color: white; color: blue; font-size: x-small;">[FN 12]</span></div>
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<span class="s1"><span style="font-size: small;">BOGUS EDITIONS</span></span></div>
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<span class="s1"><span style="font-size: small;">On page 14 of the <i>Degas Sculpture</i> catalogue, in Joseph S. Czestochowski’s "Degas’s Sculptures Re-examined” essay, the author wrote: “Almost eight months after Degas died in September 1917, a contract to cast the sculptures in bronze was signed on 13 May 1918. - The contract authorized that the number of casts be strictly limited to only twenty-two examples of each of the sculptures, with only twenty of the cast available for sale - first set reserved for the artist’s heirs and another set reserved for the Hebrard Foundry.” Yet, Joseph S. Czestochowski wrote that Hebrard created “duplicates” by misleading marking them as “HER,” created an unauthorized set of bronzes “marked MODELE” and “released an unknown number of test casts, marked AP (founder’s initials), - FR MODELE (founder’s model), - FR (founder), - and a number of other exceptions to the 1918 contract.”</span></span><span style="background-color: white; color: blue; font-size: x-small;">[FN 13]</span></div>
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<span class="s1"><span style="font-size: small;">BRASS NOT BRONZE</span></span></div>
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<span class="s1"><span style="font-size: small;">On page 243 of the <i>Degas, A Passion For Perfection</i> catalogue, it states: Note: sculpture and media, Although the posthumous casts of Degas’s sculpture are traditionally described as ‘bronzes’ in the art-historical literature, technically this is a misnomer as analysis undertaken by the National Gallery of Art, Washington, D. C. has shown that the copper alloy used by the Hebrard foundry to cast the modeles as well as the edition casts is brass (whose principal alloying element is zinc) and not bronze (whose principal alloying element is tin). For this reason they are identified as ‘copper alloy’ in the checklist, but referred to as ‘bronzes’ in the generic senses in the main text.</span></span><span style="background-color: white; color: blue; font-size: x-small;">[FN 14]</span></div>
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<span class="s1"><span style="font-size: small;">ETHICAL GUIDELINES ON SCULPTURAL REPRODUCTION</span></span></div>
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<span class="s1"><span style="font-size: small;">Denver Art Museum, as a AAMD member, they endorse the College Art Association's ethical guidelines on sculptural reproduction. In part, those guidelines state: "Any transfer into new material unless specifically condoned by the artist is to be considered inauthentic and should not be acquired or exhibited as works of art."</span></span><span style="background-color: white; color: blue; font-size: x-small;">[FN 15]</span></div>
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<span class="s1"><span style="font-size: small;">So, the Denver Art Museum is exhibiting inauthentic work the dead Edgar Degas [d 1917] did not condone.</span></span></div>
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<span class="s1"><span style="font-size: small;">All brass and no Degas.</span></span></div>
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<a href="https://3.bp.blogspot.com/-yMx-SC4viP0/WnsJFnWaQVI/AAAAAAAAEQc/anKNI00FYgYaegfuy_-puMSqeJhNNlwOwCLcBGAs/s1600/Degas-Self-Portrait-FW.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="760" data-original-width="468" height="320" src="https://3.bp.blogspot.com/-yMx-SC4viP0/WnsJFnWaQVI/AAAAAAAAEQc/anKNI00FYgYaegfuy_-puMSqeJhNNlwOwCLcBGAs/s320/Degas-Self-Portrait-FW.jpg" width="197" /></a></div>
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<span style="background-color: white;"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><span style="text-align: left;">Edgar Degas, </span><em style="border: 0px; font-stretch: inherit; font-variant-east-asian: inherit; font-variant-numeric: inherit; line-height: inherit; margin: 0px; padding: 0px; text-align: left; vertical-align: baseline;">Self-Portrait</em><span style="text-align: left;">, 1857, drypoint on paper, from a cancelled plate © The Fitzwilliam Museum, Cambridge.</span></span></span></div>
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<span style="background-color: white;"><span style="color: blue; font-family: "times" , "times new roman" , serif; font-size: x-small;"><span style="text-align: left;">https://denverartmuseum.org/exhibitions/degas-passion-perfection</span></span></span></div>
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<span style="background-color: white;"><span style="font-family: "times" , "times new roman" , serif; font-size: small;"><span style="text-align: left;"><b>NON-DISCLOSED POSTHUMOUS IMPRESSION </b>[NOT IN EXHIBITION]</span></span></span></div>
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<span class="s1"><span style="font-size: small;"><b>SECOND</b>, the Denver Art Museum states their <b>Degas: A Passion for Perfection </b>exhibition<b> </b>contains “<i>etchings”</i><span class="Apple-converted-space"> attributable to Edgar Degas.</span></span></span></div>
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<span class="s1"><span style="font-size: small;">There are no <i>"etchings" </i></span></span> attributable to Edgar Degas in the <b>Degas: A Passion for Perfection</b> exhibition.</div>
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<span class="s1"><span style="font-size: small;">CHECKLIST [continued]</span></span></div>
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<span class="s1"><span style="font-size: small;">[Two [2] non-disclosed posthumous impressions]</span></span></div>
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<li class="li1"><span style="font-size: small;"><span class="s3"></span><span class="s1"><i>9. 37 Edgar Degas [1834-1917], Greek Landscape, The Anchorage, 1856. Etching on wove paper, from a cancelled plate. 80 x 67 mm (p;ate), 326 x 245 mm (sheet), Fitzwilliam Museum, Cambridge (P.14-1978), Fig. 57</i></span></span></li>
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<li class="li1"><span style="font-size: small;"><span class="s3"></span><span class="s1"><i>10. 38 Edgar Degas [1834-1917], Sportsman Mounting his Horse, c 1856. Etching on wove paper, from a cancelled plate. 84 x75 mm (p;ate), 329 x 243 mm (sheet), Fitzwilliam Museum, Cambridge (P.15-1978), Fig. 58</i></span></span></li>
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<span class="s1"><span style="font-size: small;">Once again, there are no<i> “etchings” </i>attributable to Edgar Degas in this exhibition. Edgar Degas was dead when posthumous impressions were made from those cancelled plates.</span></span></div>
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<span class="s1"><span style="font-size: small;">In A GUIDE TO THE COLLECTING AND CARE OF ORIGINAL PRINTS sponsored by The Print Council of America and authored by Carl Zigrosser and Christa M. Gaehde, 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."</span></span><span class="s5"><span class="Apple-converted-space"><span style="background-color: white; color: blue; font-size: x-small;">[FN 16]</span> </span></span></div>
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<span class="s1"><span style="font-size: small;">The dead don't etch or direct, much less approve.</span></span></div>
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<span class="s1"><span style="font-size: small;">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."</span></span><span style="background-color: white; color: blue; font-size: x-small;">[FN 17]</span></div>
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<span class="s1"><span style="font-size: small;">The dead don't etch, much less wholly execute.</span></span></div>
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<span class="s1"><span style="font-size: small;">In 1964, the Comite National de Graveurs of France rigidly set a similar definition of an original print as: "Impressions produced in color or black and white from one or more matrices conceived and executed by the artist himself whatever the technique employed and excluding all mechanical and photomechanical processes."</span></span><span style="background-color: white; color: blue; font-size: x-small;">[FN 18]</span></div>
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<span class="s1"><span style="font-size: small;">If the artist did not print their etching, they cannot be the author. If the artist is not the author, it cannot be an original work of visual art ie., etching attributable to them<span class="Apple-converted-space"> </span></span></span></div>
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<span class="s1"><span style="font-size: small;">Under U.S. Copyright Law 103. “Subject matter of copyright: Compilations and derivative works,” it states: “The copyright in a compilation or derivative work extends only to the material contributed by the author of such work.”</span></span><span style="background-color: white; color: blue; font-size: x-small;">[FN 19]</span></div>
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<span class="s1"><span style="font-size: small;">Derivatives are reproductions and reproductions are not attributable to an artist.</span></span></div>
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<span class="s1"><span style="font-size: small;">This factual perspective is confirmed by U.S. Copyright Law 106 A, “The Rights of Attribution - shall not apply to any reproduction?”</span></span><span style="background-color: white; color: blue; font-size: x-small;">[FN 20]</span></div>
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<span class="s1"><span style="font-size: small;">On page 72 of the <i>Degas, A Passion For Perfection</i> catalogue, it states: Degas’s Greasy Ink Drawing, “Three vertical lines were struck through the plate in an act of cancellation so as to preserve it but limit further printing or reworking by other hands, Degas probably oversaw the cancellation of his etching plates before selling some twenty of them to the dealer Ambroise Vollard around 1910. Impressions on heavily textured wove paper, such as the Fitzwilliam’s, were probably also printed for Vollard, who owned the plates until his death in 1939.”</span></span><span style="background-color: white; color: blue; font-size: x-small;">[FN 21]</span></div>
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<span class="s1"><span style="font-size: small;">“Probably also printed for Vollard” is confirmed on the Spaightwood Galleries' website, where it states: "Degas was a dedicated print collector (at his death he owned 1700 Daumier lithographs and 1900 prints by Gavarni). He made etchings, for the most part, from live subjects, sketching with an etching needle on a copperplate, and printed to please himself. Most of his prints are known only because after his death, his dealer, Ambroise Vollard, printed editions of 150 from the cancelled plates found in his studio."</span></span><span style="background-color: white; color: blue; font-size: x-small;">[FN 22]</span></div>
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<span class="s1"><span style="font-size: small;">This is additionally confirmed on the Pasquale Iannetti Art Gallery's website, where it states: "An edition of 150 impressions was printed for Ambroise Vollard circa 1919-20 from 21 copper plates which had been etched by Degas between 1855 and 1884, but which had since been canceled."</span></span><span style="background-color: white; color: blue; font-size: x-small;">[FN 23]</span></div>
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<span class="s1"></span><br /></div>
<div class="p1">
<span class="s1"><span style="font-size: small;">Furthermore, on JD Smith Fine Art's website, it states: "The original copper plate [for <i>The Laundresses</i>] was executed in 1879-80. This is a fine impression of Reed and Shapiro's fourth state after cancellation of the plate.<span class="Apple-converted-space"> </span>It was printed as part of Ambroise Vollard's 1919 edition of ~150 impressions from Degas' cancelled plates.<span class="Apple-converted-space"> </span>Catalog raisonne reference:<span class="Apple-converted-space"> </span>Reed and Shapiro, Edgar Degas:<span class="Apple-converted-space"> </span>The Painter as Printmaker, 48.<span class="Apple-converted-space"> </span>Adhemar and Cachin, Degas:<span class="Apple-converted-space"> </span>The Complete Etchings, Lithographs and Monotypes, 32."</span></span><span style="background-color: white; color: blue; font-size: x-small;">[FN 24]</span></div>
<div class="p3">
<span class="s1"></span><br /></div>
<div class="p1">
<span class="s1"><span style="font-size: small;">Edgar Degas died in 1917. The posthumous impressions from his canceled plates did not begin till 1919, some two years after Edgar Degas' death.</span></span></div>
<div class="p3">
<span class="s1"><span class="Apple-converted-space"><span style="font-size: small;"> </span></span></span></div>
<div class="p1">
<span class="s1"><span style="font-size: small;">Remember, the dead don't etch.</span></span></div>
<div class="p3">
<span style="font-size: small;"><span class="s1"></span><br /></span></div>
<div class="p1">
<span class="s1"><span style="font-size: small;">LATER IMPRESSIONS ARE USUALLY NOT THE DESIRE OF THE ARTIST<span class="Apple-converted-space"> </span></span></span></div>
<div class="p1">
<span class="s1"><span style="font-size: small;">As for printing impressions from canceled plates,<span class="Apple-converted-space"> </span>JD Smith Fine Art, on their website, states: "When an artist finishes printing the number of impressions they want of a work (the total edition size), they usually “cancel” the plate. To cancel the plate, they typically scribe noticeable crosshatch or “X” lines across the plate. These lines cross the image and will show up on any later impressions made from the plate. The lines indicate that any later impressions were not part of the original edition. Cancelling a plate is the best way an artist has to protect the value of the impressions in the official edition.<span class="Apple-converted-space"> </span>- Usually impressions from cancelled plates are done by a dealer or printer to make additional money from a popular artist’s work. These later impressions are usually not the desire of the artist."</span></span><span style="background-color: white; color: blue; font-size: x-small;">[FN 25]</span></div>
<div class="p3">
<span class="s1"></span><br /></div>
<div class="p1">
<span style="font-size: small;"><span class="s1">Edgar Degas died in 1917. The </span><span style="-webkit-text-stroke-width: initial;">dead don't desire anything.</span></span><br />
<span style="font-size: small;"><span style="-webkit-text-stroke-width: initial;"><br /></span></span></div>
<div class="p3">
<span style="font-size: small;"><span class="s1"></span></span></div>
<div class="p1">
<span class="s1"><span style="font-size: small;">Then to go from bad to worse, the posthumous impressions from these Edgar Degas' canceled plates continued after Ambroise Vollard's death on July 21, 1939.<span class="Apple-converted-space"> </span></span></span></div>
<div class="p3">
<span style="font-size: small;"><span class="s1"></span><br /></span></div>
<div class="p1">
<span class="s1"><span style="font-size: small;">MADE BY FRANK PERLS GALLERY</span></span></div>
<div class="p1">
<span class="s1"><span style="font-size: small;">The A & R Gallery, located in Birmingham, UK, who is offering for sale on their website a titled <i>The Laundress</i> impression attributed to Edgar Degas as an "Original Etching and aquatint, Fourth state, 1879/80," makes an astonishing admission on their website:<span class="Apple-converted-space"> </span>"Our piece was made by Frank Perls Gallery of 350 N Camden Drive, Beverley Hills, California and was one of 26 etchings made in a limited edition at that time. These were printed by Lacouriere in Paris on Vieux Japan paper. The pieces from the small edition (quantity unstipulated) were made with the printers blindstamp but a number of additional printers proofs were made, of which ours is an example, without this blindstamp. The piece must be a rarity since it is hardly ever seen."</span></span><span style="background-color: white; color: blue; font-size: x-small;">[FN 26]</span></div>
<div class="p3">
<span class="s1"></span><br /></div>
<div class="p1">
<span class="s1"><span style="font-size: small;">FRANK PERLS GALLERY OPENED IN 1939</span></span></div>
<div class="p1">
<span class="s1"><span style="font-size: small;">Aside posthumous impressions are not etchings, much less limited,<span class="Apple-converted-space"> </span>records in the Smithsonian Institution Research Information System documents the Frank Perls Gallery dates "from its opening in 1939 until its closure in 1981."</span></span><span style="background-color: white; color: blue; font-size: x-small;">[FN 27]</span></div>
<div class="p3">
<span class="s1"></span><br /></div>
<div class="p1">
<span class="s1"><span style="font-size: small;">In other words, the posthumous impressions from his canceled plates by the Frank Perls Gallery began after 1939 some twenty-two years after Edgar Degas' death in 1917.</span></span></div>
<div class="p3">
<span class="s1"><span class="Apple-converted-space"><span style="font-size: small;"> </span></span></span></div>
<div class="p1">
<span class="s1"><span style="font-size: small;">REPRODUCTIONS OF WORKS OF ART</span></span></div>
<div class="p1">
<span class="s1"><span style="font-size: small;">Under the title “Reproductions of Works of Art” and documented as “adopted by the membership of the Association of Art Museum Directors [AAMD], January 1979; amended 2001, it states: “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 reproductions, he or she is acquiring an original work of art.”</span></span><span style="background-color: white; color: blue; font-size: x-small;">[FN 28]</span></div>
<div class="p3">
<span class="s1"></span><br /></div>
<div class="p1">
<span class="s1"><span style="font-size: small;">The dead don't create original works of art i.e. etchings.</span></span></div>
<div class="p3">
<span style="font-size: small;"><span class="s1"></span><br /></span></div>
<div class="p3">
<span style="font-size: small;">CONCLUSION</span></div>
<div class="p1">
<span style="font-size: small;"><span class="s1">Edgar Degas died in 1917. The ten so-called <i>"sculptures in bronze"</i> and <i>"etchings" </i>in the Denver Art Museum's February 11 to May 2018 <b>Degas: A Passion for Perfection </b>exhibition were posthumously cast and impressed after 1919 till as late as 1981, some 2 to 64 years after Edgar Degas' death in 1917.</span></span></div>
<div class="p1">
<span style="font-size: small;"><span class="s1"><br /></span></span></div>
<div class="p1">
<span style="font-size: small;"><span class="s1">Therefore, if the artist, living or dead, did not sculpt the object or print their etched image, they cannot be the author. If the artist is not the author, it cannot be an original work of visual art ie., sculpture or etchings attributable to them. This factual perspective is confirmed by U.S. Copyright Law 106 A, “The Rights of Attribution - shall not apply to any reproduction?”</span></span><span style="background-color: white; color: blue; font-size: x-small;">[FN 29]</span></div>
<div class="p3">
<span style="font-size: small;"><span class="s1"></span></span></div>
<div class="p3">
<span style="font-size: small;">Caveat Emptor!</span></div>
<div class="p3">
<br /></div>
<div class="p3">
<span class="s1"></span><br /></div>
<div class="p1">
<span class="s1"><b>FOOTNOTES:</b></span></div>
<div class="p6">
<br /></div>
<div class="p6">
<span class="s1">1. © 1999 By West Group, ISBN 0314022864</span></div>
<div class="p6">
<span class="s1"><br /></span></div>
<div class="p6">
<span class="s1">2. Ibid</span></div>
<span style="font-family: "times new roman";"><span style="font-size: 11px;"><br /></span></span><span style="font-family: "times new roman"; font-size: 11px; text-align: justify;">3. Viking Adult; 5 Rev Upd edition (May 31, 1991), ISBN-10: 0670837016, ISBN-13: 978-0670837014 [This fifth edition has been prepared by Steven Sheehan, Director of the Ralph Mayer Center, Yale University School of Art.]</span><br />
<div class="p7">
<span class="s1"></span><br /></div>
<div class="p6">
<span class="s1">4. <a href="http://www.copyright.gov/title17/92chap1.html106a"><span class="s6">http://www.copyright.gov/title17/92chap1.html106a</span></a></span></div>
<div class="p7">
<span class="s1"></span><br /></div>
<div class="p6">
<span class="s1">5. Viking Adult; 5 Rev Upd edition (May 31, 1991), ISBN-10: 0670837016, ISBN-13: 978-0670837014 [This fifth edition has been prepared by Steven Sheehan, Director of the Ralph Mayer Center, Yale University School of Art.]</span></div>
<div class="p7">
<span class="s1"></span><br /></div>
<div class="p6">
<span class="s1">6. www.getty.edu</span></div>
<div class="p7">
<span class="s1"></span><br /></div>
<div class="p6">
<span class="s1">7. © 1998 National Gallery of Art ISBN 0-300-07517-0</span></div>
<div class="p7">
<span class="s1"></span><br /></div>
<div class="p6">
<span class="s1">8. Ibid</span></div>
<div class="p7">
<span class="s1"></span><br /></div>
<div class="p6">
<span class="s1">9. © ISBN 978-0-691-14897-7 National Gallery of Art, Washington, www.nga.gov</span></div>
<div class="p7">
<span class="s1"></span><br /></div>
<div class="p6">
<span class="s1">10. Ibid</span></div>
<div class="p7">
<span class="s1"></span><br /></div>
<div class="p6">
<span class="s1">11. Copyright © 2000 by High Museum of Art, ISBN 0-8478-2340-7</span></div>
<div class="p7">
<span class="s1"></span><br /></div>
<div class="p6">
<span class="s1">12. © 1976 by Princeton University Press ISBN 0-691-00318-1</span></div>
<div class="p7">
<span class="s1"></span><br /></div>
<div class="p6">
<span class="s1">13. © 2002 International Arts and The Torch Press ISBN 0-9716408-07</span></div>
<div class="p7">
<span class="s1"></span><br /></div>
<div class="p6">
<span class="s1">14. © 2017 The Fitzwilliam Museum, Cambridge ISBN 978-0-300-22823-6 HB</span></div>
<div class="p7">
<span class="s1"></span><br /></div>
<div class="p6">
<span class="s1">15. 11.“A Statement on Standards for Sculptural Reproduction and Preventive Measures to Combat Unethical Casting in Bronze Approved by the CAA Board of Directors, April 27, 1974. Endorsed by the Association of Art Museum Directors and the Art Dealers Association of America.”</span></div>
<div class="p6">
<span class="s1">www.collegeart.org/caa/ethics/sculpture.html</span></div>
<div class="p6">
<span class="s1">Updated and Adopted by the Board of Directors on February 17, 2013.<span class="Apple-converted-space"> </span></span></div>
<div class="p6">
<span class="s4"><a href="http://www.collegeart.org/guidelines/sculpture">http://www.collegeart.org/guidelines/sculpture<span class="s6"></span></a></span></div>
<div class="p7">
<span class="s1"></span><br /></div>
<div class="p6">
<span class="s1">16. © 1965 by Print Council of America, Library of Congress, Catalog Card Number: 65-24325, Seventh Printing, March, 1971</span></div>
<div class="p7">
<span class="s1"></span><br /></div>
<div class="p6">
<span class="s1">17. <a href="http://www.cbp.gov/xp/cgov/trade/legal/informed_compliance_pubs/"><span class="s6">http://www.cbp.gov/xp/cgov/trade/legal/informed_compliance_pubs/</span></a></span></div>
<div class="p7">
<span class="s1"></span><br /></div>
<div class="p6">
<span class="s1">18. page 7, Jack Harold Upton Brown, A Guide to Collecting Fine Prints</span></div>
<div class="p7">
<span class="s1"></span><br /></div>
<div class="p6">
<span class="s1">19. http://www.copyright.gov/title17/92chap1.html#103</span></div>
<div class="p7">
<span class="s1"></span><br /></div>
<div class="p6">
<span class="s1">20.<span class="Apple-converted-space"> </span>http://www.copyright.gov/title17/92chap1.html#106a</span></div>
<div class="p7">
<span class="s1"></span><br /></div>
<div class="p6">
<span class="s1">21.<span class="Apple-converted-space"> </span>© 2017 The Fitzwilliam Museum, Cambridge ISBN 978-0-300-22823-6 HB</span></div>
<div class="p7">
<span class="s1"></span><br /></div>
<div class="p6">
<span class="s1">22. http://www.spaightwoodgalleries.com/Pages/Degas.html</span></div>
<div class="p7">
<span class="s1"></span><br /></div>
<div class="p6">
<span class="s1">23. http://www.pasqualeart.com/degas/index.html</span></div>
<div class="p7">
<span class="s1"></span><br /></div>
<div class="p6">
<span class="s1">24. http://www.jdsmithfineart.com/degas_laundress_main.html</span></div>
<div class="p6">
<span class="s1">J D Smith Fine Art, Happy Valley, OR, USA, 97086</span></div>
<div class="p7">
<span class="s1"></span><br /></div>
<div class="p6">
<span class="s1">25. http://www.jdsmithfineart.com/question_cancelled_plate.html</span></div>
<div class="p6">
<span class="s1">What is a cancelled plate? Why do dealers sometimes sell etchings and lithographs printed from cancelled plates?</span></div>
<div class="p6">
<span class="s1">When an artist finishes printing the number of impressions they want of a work (the total edition size), they usually “cancel” the plate. To cancel the plate, they typically scribe noticeable crosshatch or “X” lines across the plate. These lines cross the image and will show up on any later impressions made from the plate. The lines indicate that any later impressions were not part of the original edition. Cancelling a plate is the best way an artist has to protect the value of the impressions in the official edition.</span></div>
<div class="p7">
<br /></div>
<div class="p6">
<span class="s1">So then ... impressions from cancelled plates are bad, right?</span></div>
<div class="p6">
<span class="s1">The answer varies. Usually impressions from cancelled plates are done by a dealer or printer to make additional money from a popular artist’s work. These later impressions are usually not the desire of the artist. They are valued less than impressions from the official edition.</span></div>
<div class="p6">
<span class="s1">But they are not always “bad” or without value. Artists like Degas often produced very few impressions of a work before cancelling the plate. Later in life he gave about 20 cancelled plates to his dealer Ambroise Vollard for Vollard to publish an extended edition. Thus, the Vollard edition of Degas’ etchings from cancelled plates were the artist’s intent ... hence they are good. Since impressions of Degas’ prints from the pre-cancelled state of the plate are more rare, and therefore much more expensive, collectors often purchase impressions from the cancelled plates. For many of these Degas etchings, the cancellation marks are not very obtrusive.</span></div>
<div class="p7">
<span class="s1"></span><br /></div>
<div class="p6">
<span class="s1">26. http://www.art-art.co.uk/Degas.htm</span></div>
<div class="p6">
<span class="s1">Title: <i>The Laundresses</i></span></div>
<div class="p6">
<span class="s1">Medium: Original Etching and aquatint , Fourth state,1879/80</span></div>
<div class="p6">
<span class="s1">Size: Plate size : 118 x 160 mms. Paper size 420 x 280 mms</span></div>
<div class="p6">
<span class="s1">Reference: Reed & Shapeiro Edgar (Degas, the Painter as printmaker) No 48, page 149, Delteil 37 ; Adhemar 32</span></div>
<div class="p6">
<span class="s1">Condition: In good condition with some creasing on the outer right hand side margins not affecting the image. Framed</span></div>
<div class="p6">
<span class="s1">1) A later striking from the cancelled plate showing cancellation marks 2)The subject matter, although unique in the artists oeuvre, does relate to other etchings from this period in the examination of space. The etching was made on a daguerreotype plate. The fourth state exhibits considerable scraping of the image, especially on the seated laundress, the chair, cat, stovepipe and wall to the left of the doorway. Only 8 impressions are known of this state. 3)Our piece as mentioned before comes from a cancelled plate. There were later impressions from cancelled plates made of some of this artists prints by the famous art publisher Ambroise Vollard but our piece is not one of those series. Vollard did include this print in the oeuvre in his edition of 120 on Japan Paper made in 1919/20 measuring 323 x 250 mms. His impressions are noted for being rather pale. For a discussion on those pieces see "Una Johnson 'Ambroise Vollard; Prints, books, bronzes' The Museum of Modern Art, New York, page 131, no 28. Our piece was made by Frank Perls Gallery of 350 N Camden Drive, Beverley Hills, California and was one of 26 etchings made in a limited edition at that time. These were printed by Lacouriere in Paris on Vieux Japan paper. The pieces from the small edition (quantity unstipulated) were made with the printers blindstamp but a number of additional printers proofs were made, of which ours is an example, without this blindstamp. The piece must be a rarity since it is hardly ever seen. Details of the edition were published in a scarce leaflet of which we have a copy entitled "Twenty six original copperplates engraved by Degas" . A copy of this work, if required, will be sold with the etching. In the forward Frank Perls states that the copper plates "are exhibited here for the first time. They were acquired by me recently from a friend of the Degas-Fevre family". Marguerite De Gas Fevre was the artists younger sister who he etched in 1860/62 (Delteil 17, Reed & Shapeiro 14 - included in the group).</span></div>
<div class="p6">
<span class="s1">Price £: 900</span></div>
<div class="p7">
<span class="s1"></span><br /></div>
<div class="p6">
<span class="s1">27. Smithsonian Institution Research Information System</span></div>
<div class="p6">
<span class="s4"><a href="http://siris-archives.si.edu/ipac20/ipac.jsp?uri=full=3100001~!211805!0">http://siris-archives.si.edu/ipac20/ipac.jsp?uri=full=3100001~!211805!0<span class="s6"></span></a></span></div>
<div class="p7">
<span class="s1"></span><br /></div>
<div class="p6">
<span class="s1">28. Copyright 2001 by the Association of Art Museum Directors ( ISBN 1-880974-02-0 ) Address: 41 East 65th Street, New York, New York 10021</span></div>
<div class="p7">
<span class="s1"></span><br /></div>
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<div class="p6">
<span class="s1">29.<span class="Apple-converted-space"> </span>http://www.copyright.gov/title17/92chap1.html#106a<span class="Apple-converted-space"> </span></span></div>
Gary Arseneauhttp://www.blogger.com/profile/10379667479866306615noreply@blogger.comtag:blogger.com,1999:blog-34909527.post-68563022948605002392017-10-27T16:16:00.001-04:002017-12-10T10:00:50.307-05:00A Fake in Marble, titled Napoleon, Falsely Attributed to Auguste Rodin<b>UPDATED: </b>December 9, 2017<br />
<b><br /></b>
<b>NOTE:</b> Footnotes are enclosed as: <span style="color: blue; font-size: x-small;">[FN ]</span><br />
<span style="color: blue; font-size: x-small;"><br /></span>
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<div class="p1" style="text-align: justify;">
<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">Rodin with his bust of Napoleon in a photograph taken circa 1910.</span></span><br />
<span style="font-size: x-small;"><span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">Photo: </span></span><span style="color: blue; font-family: "times" , "times new roman" , serif; font-size: x-small;"><i>https://www.nytimes.com/2017/10/20/nyregion/a-rodin-hiding-in-plain-sight-in-a-new-jersey-suburb.html</i></span></span></div>
<div class="p1" style="text-align: justify;">
<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;"><b>NON-DISCLOSED CHROMIST-MADE FAKE</b></span></span></div>
<div class="p2" style="text-align: justify;">
<span style="font-family: "times" , "times new roman" , serif; font-size: small;"><span class="s1"></span><br /></span></div>
<div class="p1" style="text-align: justify;">
<span class="s1"><span style="font-family: "times" , "times new roman" , serif;"><b><span style="font-size: x-large;">O</span></b><span style="font-size: small;">n page 617 of the <i>Seventh Edition of Black's Law Dictionary</i>, fake is defined as "something that is not what it purports to be."</span></span></span><span style="color: blue; font-family: "times new roman"; font-size: x-small;">[FN 1]</span></div>
<div class="p2" style="text-align: justify;">
<span style="font-family: "times" , "times new roman" , serif; font-size: small;"><span class="s1"></span><br /></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">The <i>"marble bust of Napoleon Bonaparte</i>,"</span><span style="color: blue; font-family: "times new roman"; font-size: x-small;">[FN 2]</span><span style="font-family: "times" , "times new roman" , serif; font-size: small;"> attributed as <i>"lost work by the French sculptor Auguste Rodin"</i></span><span style="color: blue; font-family: "times new roman"; font-size: x-small;">[FN 3]</span><span style="font-family: "times" , "times new roman" , serif; font-size: small;"> that sat on a pedestal for decades on the second floor of the Borough Hall in the Hartley Dodge Memorial Building in Madison, New Jersey, is a non-disclosed fake. This non-disclosed fake was actually done by the hands, fingers and fingerprints of a <i>"Praticians"</i> a.k.a. chromists, not Auguste Rodin.<span class="Apple-converted-space"> </span></span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">A chromist is someone who copies the work of another.<span class="Apple-converted-space"> </span></span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">Under U.S. Copyright Law that marble, made by a chromist, would be considered a derivative. A derivative is a reproduction. Under U.S. Copyright Law 106A, the Rights of Attribution <i>"shall not apply to any reproduction."</i></span><span style="color: blue; font-family: "times new roman"; font-size: x-small;">[FN 4]</span><span style="font-family: "times" , "times new roman" , serif; font-size: small;"><span class="Apple-converted-space"> </span></span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">Now for those who would argue, that French Law is applicable, the City of Madison is not in the State of France and New Jersey is not a French province.</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">Yet, in a Philadelphia Inquirer published October 12, 2017 "Lost in plain sight in N.J. town hall, Rodin Napoleon coming to Philly" article, the staff writer Stephan Sailsbury wrote: <i>"Recent research has shown that New York collector John W Simpson commissioned the bust in 1904. Rodin didn’t get very far with it, and the unfinished piece was acquired by another collector, Thomas Fortune Ryan, in about 1908. Rodin completed the bust in 1910. It was on loan to the Metropolitan Museum of Art in New York from 1915 to 1929, and Dodge acquired it four years later."</i></span><span style="color: blue; font-family: "times new roman"; font-size: x-small;">[FN 5]</span><span style="font-family: "times" , "times new roman" , serif; font-size: small;"><span class="Apple-converted-space"> </span></span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">In 1904, Auguste Rodin did not carve this titled Napoleon marble and in 1910 Auguste Rodin did not complete it. Auguste Rodin hired a chromist [someone who copies the work of another] a.k.a. <i>"Practicians"</i> to reproduce in marble his plasters. Plasters reproduced result in reproductions. Chromist-made reproductions <i>versus</i> artist created original works of visual art i.e., sculpture are not interchangeable, much less the same. This fact is confirmed by the following sources:</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">OFTEN CARRIED OUT BY HENRI LE BOSSI</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">On the Victoria and Albert Museum's website, under the subtitle "Auguste Rodin Working Methods," it stated:<i> "Marble sculpture by Rodin is usually seen as a product of his workshop, though many of his carvers later became established sculptors in their own right. In making a marble, the assistant would use a mechanical pointing device to scale up, or down, the original model. This highly skilled process of transferral was often carried out by Henri Le Bossé, who began working for Rodin in the 1890s and had an instinctive understanding of the master's intentions."</i></span><span style="color: blue; font-family: "times new roman"; font-size: x-small;">[FN 6]</span><span style="font-family: "times" , "times new roman" , serif; font-size: small;"><span class="Apple-converted-space"> </span></span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">Auguste Rodin's use of chromists to reproduce his plasters in marble is disclosed by the Musee Rodin in its description given for a marble titled <i>Nymphs Playing</i>: <i>"Employing his by-now customary working method, Rodin used two plaster figures to compose a new work, typical of his interest in unsteady poses and in the erotic quality of the assemblage of two female bodies. This work, probably simply a sketch, was, however, sufficiently erotic to serve as a model, the making of which was entrusted to one of his practitioners. These men, who were <u>sculptors in their own right working for Rodin, carved the marble under his supervision</u>. In Nymphs Playing, the practitioner demonstrated a remarkable expertise in the rendering of the various textures: the smooth skin of the female bodies contrasts with the roughness of the unhewn marble, while the transparency of the marble between the nymphs’ legs responds to the polished surface of the part evoking the water of the stream at their feet."</i></span></span><span style="color: blue; font-family: "times new roman"; font-size: x-small;">[FN 7]</span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">[AUGUSTE RODIN] DID NOT CARVE THEM</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">On page 90 of the National Gallery of Art's published 1981<i> Rodin Rediscovered</i><span class="Apple-converted-space"><i> </i> </span>catalogue, Daniel Rosenfeld [former director of Colby College Museum of Art] wrote: <i>"The critical appreciation of the marbles in Rodin's time was not compromised<span class="Apple-converted-space"> </span>by the well-known fact that he, for the most part, <u>did not carve them</u>."</i></span></span><span style="color: blue; font-family: "times new roman"; font-size: x-small;">[FN 8]</span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">1900-1910 FIFTY INVOLVED IN EXECUTING MARBLES</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">Additionally, on page 90, the author wrote: <i>"Documentation in the Musee Rodin reveals the names of only three or four assistants who occasionally carved for Rodin before 1880; between 1880 and 1884 there were at least eight; over the next four years the number increased to at least twelve; in the 1890's more than twenty worked in his atelier; and <u>between 1900 and 1910 nearly fifty individuals were involved with the execution of Rodin's marble sculptures</u>."</i></span><span style="color: blue; font-family: "times new roman"; font-size: x-small;">[FN 9]</span><span style="font-family: "times" , "times new roman" , serif; font-size: small;"><span class="Apple-converted-space"> </span></span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">[AUGUSTE RODIN] DID NOT MAKE THEM</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">Furthermore, on page 94, the author wrote: <i>"While there are evident technical and theoretical bases for use of assistants, the overriding issue remains the effect of this marriage of the artist and artisan upon the quality of Rodin's carved sculpture. The harshest modern assessment of these works has maintained that they should be disregarded because '<u>he did not make them</u>'."</i></span></span><span style="color: blue; font-family: "times new roman"; font-size: x-small;">[FN 10]</span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">So, if Auguste Rodin <i>"did not make them,"</i> who did? </span></span><br />
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">Rodin’s <i>Bust of Napoleon</i>, Gallery 155, 1st floor, Get a first look at a <u>marble sculpture</u> that was recently rediscovered in a New Jersey town hall as a work by Rodin. Also experience <u>two bronzes by the artist</u>, <i>The Thinker </i>and <i>John the Baptist Preaching</i>. Want more Rodin? Then head to the nearby Rodin Museum and explore an installation focused on the artist’s intimate and powerful depictions of romantic love.</span></span><br />
<span style="color: blue; font-family: "times" , "times new roman" , serif; font-size: x-small;">http://www.philamuseum.org/galleries/</span><br />
<b style="font-family: times, "times new roman", serif;">WORK BY RODIN</b></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">PHILADELPHIA MUSEUM OF ART</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">This is addressed on the Philadelphia Museum of Art's website, where the museum makes two contradictory statements concerning the attribution for this <i>Napoleon </i>marble in their <b>Rodin's Bust of Napoleon </b>exhibition in the Gallery 155 on the 1st floor. </span></span><br />
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">The Philadelphia Museum of Art's first contradictory statement on their website [noted above], is that it is a "work by Rodin."</span></span></div>
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<span style="font-size: x-small;"><span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><i>Napoleon Wrapped in His Dream</i>, modeled in clay 1904; carved in marble 1904–9, </span></span><span style="font-family: "times" , "times new roman" , serif;">Auguste Rodin, French, 1840–1917, </span><span style="font-family: "times" , "times new roman" , serif;"><u>Carved by Alfred Jean Halou</u>, French, 1875–1939; <u>and Ernest Nivet</u>, French, 1871–1948</span></span><br />
<span style="color: blue; font-family: "times" , "times new roman" , serif; font-size: x-small;">http://www.philamuseum.org/galleries/</span><br />
<b style="font-family: times, "times new roman", serif;">CARVED BY ALFRED JEAN HALOU & ERNEST NIVET</b></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: small;">The Philadelphia Museum of Art's second contradictory statement on their website [noted above], is that it is "carved by Alfred Jean Halou and Ernest Nivet."</span></span><br />
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Rhetorically, how can the Philadelphia Museum of Art promote a non-disclosed marble reproduction titled <i>Napoleon</i> as being a "work by Rodin" and at the same time acknowledge that it was "carved by Alfred Jean Halou and Ernest Nivet?"</span><br />
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<span style="font-family: "times" , "times new roman" , serif;">CHROMIST-MADE REPRODUCTIONS ARE REPRODUCTIONS</span><br />
<span style="font-family: "times" , "times new roman" , serif; font-size: small;">To belabor a point of fact, if the chromists Alfred-Jean Halou and Ernest Nivet, in Auguste Rodin's workshop, reproduced Auguste Rodin's clay/plaster model of <i>Napoleon </i>by carving it in marble, the result at best will always a reproduction, not an original work of visual art i.e., sculpture by Auguste Rodin.</span><br />
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<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">Alfred-Jean Halou, French,1875-1939 <i>NUDE</i> signed: A. J. Halou marble 106cm., 41¾in., </span></span><span style="font-family: "times" , "times new roman" , serif;">Exhibited: Paris Salon 1914; </span><span style="font-family: "times" , "times new roman" , serif;">Galería Witcomb, Buenos Aires, 1934</span><span class="Apple-converted-space" style="font-family: "times" , "times new roman" , serif;"> </span></span><br />
<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><span style="font-family: "times" , "times new roman" , serif;">Notes: Alfred Jean Halou began his studies under Alexandre Falguière at the École des beaux arts and continued them as a <u>pupil of Rodin. Rodin had a lasting impact on Halou's work</u>. Halou was a member of the sculptor's group known as 'la Bande à Schnegg', a term invented by the critic Louis Vauxcelles who famously also named the 'fauves'. The group consisted mainly of sculptors who had been Rodin's studio assistants and was led by Lucien Schnegg (1864-1909). Halou exhibited in the group's first show in 1904. Halou was also a founding member of the Salon d'Automne, which was formed in 1903 in reaction to the conservative tendencies of the Paris Salon. His sculptures of women were considered to be some of the best works of his oeuvre. Few of his works have appeared on the art market. In the present marble, Halou has moved away from the lyricism of Rodin to concentrate on the rounded volumes of form. His nude is essentially Modern.</span><span class="Apple-converted-space" style="font-family: "times" , "times new roman" , serif;"> </span></span><br />
<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">RELATED LITERATURE</span><br />
<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><span style="font-family: "times" , "times new roman" , serif;">E. Bénézit, Dictionnaire des peintres sculpteurs dessinateurs et graveurs, Paris, 1999, vol. 6, p. 696</span><span class="Apple-converted-space" style="font-family: "times" , "times new roman" , serif;"> </span></span><br />
<span style="color: blue; font-family: "times" , "times new roman" , serif; font-size: x-small;">https://www.invaluable.com/auction-lot/alfred-jean-halou-101-c-77b8fddffa#</span><br />
<b><span style="font-family: "times" , "times new roman" , serif;">CARVED BY ALFRED-JEAN HALOU</span></b></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: small;">[underline mine]</span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: small;">RODIN HAD A LASTING IMPACT ON HALOU'S WORK</span><br />
<span style="font-family: "times" , "times new roman" , serif;">Alfred-Jean Halou, "as pupil of Rodin. Rodin had a lasting impact on Halou's work," but it was the chromist a.k.a. practitioner Alfred-Jean Halou who had a lasting impact on the marble reproductions he reproduced with his hands, fingers and fingerprints from the Auguste Rodin's clay/plaster models.</span><br />
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<span style="font-family: "times" , "times new roman" , serif;">Why? Because along with Ernest Nivet, Alfred-Jean Halou and the other chromists a.k.a. practitioners who carved the marbles falsely attributed to Auguste Rodin, it was a monetary driven deception to cash in on Auguste Rodin's celebrity.</span><br />
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<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><i>Little Blue </i>by Ernest Nivet</span><br />
<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">Photo: <span style="color: blue;">http://www.lemaire1957.net/pages/indre-36/levroux/</span></span><br />
<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">In June he was accepted at the Ecole des Beaux Arts , in the studio of Alexandre Falguière, but the teaching that was dispensed disappointed him. A turning point in his formation was soon to come thanks to the intervention of a merchant and art lover, Georges Lenseigne , who counted Rodin among his Parisian relations. He showed the master some pictures of the standing knitter recently completed by the young man. With this recommendation, the young man was soon engaged by the master as a practitioner in his workshop of the deposit of Marbles, 182, rue de l'Université. With the cut imposed by military service - reduced to one year for art workers - the young man was to remain there until May 1895.</span><br />
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<span style="font-family: "times" , "times new roman" , serif;">Nivet then rubbed shoulders with Camille Claudel, François Pompon, with whom he will maintain friendships all his life. Many letters addressed to Jean-Baptiste Bourda testify to the climate of permanent tension created by the overwhelming personality of the great sculptor and the intense work that reigned in his studio, in these years of the genesis of Balzac and the completion of the Bourgeois de Calais . <u>Nivet drew enormous benefit from Rodin's teachings, learning with him the science of modeling, developing a perfect knowledge of anatomy, mastering the size of marble</u>. But his personal research was limited in fact to a few studies of peasants, performed during brief returns to Chateauroux. At the same time his fiercely independent character was stifling more and more under Rodin's authority and his health was suffering.</span></span><br />
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<span style="font-family: "times" , "times new roman" , serif;">Auguste Rodin was visibly pleased with his <u>young practitioner since a five-year contract was signed between them on April 18, 1894</u>. Yet haunted by the idea of returning home and despite the advice of his friends, Nivet had to denounce him a year later.</span><span class="Apple-converted-space" style="font-family: "times" , "times new roman" , serif;"> </span></span><br />
<span style="color: blue; font-family: "times" , "times new roman" , serif; font-size: x-small;">https://fr.wikipedia.org/wiki/Ernest_Nivet</span><br />
<b style="-webkit-text-stroke-color: rgb(0, 0, 0);"><span style="font-family: "times" , "times new roman" , serif;">CARVED BY ERNEST NIVET</span></b><br />
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<span style="font-family: "times" , "times new roman" , serif; font-size: small;">So, aside the Philadelphia Museum of Art's double talk: "work by Rodin" <i>versus</i> "carved by Alfred-Jean Halou and Ernest Nivet," Ernest Nivet' contract with Auguste Rodin ended at best in 1899. So, even if Ernest Nivet was paid some ten years later in 1909 to complete a reproduction in marble of Auguste Rodin's clay model of <i>Napoleon</i> started by Alfred-Jean Halou, at best it would always be a reproduction, not a sculpture and certainly not a "work by Rodin." </span><br />
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<span style="font-family: "times" , "times new roman" , serif;">Notice below the similarities in the faces to <span style="background-color: white; color: #333333;">Ernest Nivet</span>'s <i>Little Blue</i> marble sculpture to Alfred-Jean Halou and Ernest Nivet's marble reproduction of Auguste Rodin's <i>Napoleon </i>clay/plaster model.</span><br />
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<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><b>Left </b>Photo: <span style="color: blue;">http://www.lemaire1957.net/pages/indre-36/levroux/ </span></span><br />
<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">[Detail]</span><br />
<b style="-webkit-text-stroke-color: rgb(0, 0, 0);"><span style="font-family: "times" , "times new roman" , serif;">CARVED BY ERNEST NIVET</span></b><br />
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<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><b>Right</b> Photo: <span style="color: blue;">http://www.philamuseum.org/galleries/</span> [Detail]</span><br />
<b><span style="font-family: "times" , "times new roman" , serif;">CARVED BY ALFRED-JEAN HALOU & ERNEST NIVET </span></b><br />
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">The sculpture is currently installed in gallery 155 with <u>two bronzes by Rodin</u>: <i>Saint John the Baptist Preaching </i>and <i>The Thinker.</i></span></span><br />
<span style="color: blue; font-family: "times" , "times new roman" , serif; font-size: x-small;">http://www.philamuseum.org/galleries/</span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">TWO BRONZES BY RODIN?</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">Then to add insult to injury, the Philadelphia Museum of Art's 2017 exhibition of "two bronzes by Rodin" titled <i>Saint John the Baptist Preaching </i>and <i>The Thinker</i> were cast respectfully in "1925" and "1924" with so-called <i>"A Rodin" </i>signatures is deceptive, along with the non-disclosed chromist-made marble reproduction titled <i>Napoleon.</i> </span></span><br />
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">Auguste Rodin died in 1917. In 1925 and 1924, as tragic as Auguste Rodin's death might have been for his family, friends and interested parties, his career as an artist was over. The dead don't bronze, much less sign.</span></span><br />
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">Philadelphia Museum of Art; 1st edition (December 1, 1975, ISBN-10: 0876330189, ISBN-13: 978-0876330180</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">This nonsense has been perpetuated by the Philadelphia Museum of Art for decades. These same two non-disclosed posthumous forgeries 41 years ago were falsely attributed to Auguste Rodin with dates that predated his death in 1917. On page 357 of the Philadelphia Museum of Art's published 1976 <i>The Sculpture of Auguste Rodin</i> catalogue by John Tancock, their 79 inch high <i>St. John the Baptist Preaching</i> [listed as no. 65] bronze attributed to Auguste Rodin is listed as "Signed top of base between feet: <i>A Rodin</i>" with a "1878" date. Additionally, on page 111 of the same catalogue, the 27 1/2 inch high <i>The Thinker</i> [no. 3a] bronze attributed to Auguste Rodin is also listed as "Signed left side of base: <i>A Rodin</i>" with a "1880' date.</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">This deception is backhandedly confirmed by these two excerpts from the Philadelphia Museum of Art's published 1976 <i>The Sculpture of Auguste Rodin</i> by John Tancock. </span></span><br />
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">FIRST, on page 10 in smaller type at the bottom of the page, John Tancock wrote: "For each work, the date given is that of the original conception, not the casting in bronze, carving in marble, enlargement or reduction."</span></span><br />
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<span style="font-family: "times" , "times new roman" , serif;">SECOND, on page 12 buried in the first paragraph, John Tancock wrote: "With few exceptions, then <i>Eternal Springtime</i> [no. 12b], <i>Youth Triumphant</i> [no. 26] and <i>The Hero</i> [no. 46] the bronzes in the Rodin Museum are posthumous casts by Alexis Rudier."</span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">In other words, of the 85 bronzes the Philadelphia Museum of Art attributes to Auguste Rodin in their 1976 <i>The Sculpture of Auguste Rodin</i> catalogue, 82 were cast after 1924 and all but 3 are listed as being "Signed <i>A Rodin" </i>even though he was dead when they were reproduced.</span></span><br />
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">Rhetorically, when in the history of art, does someone who's dead can come out with new work and sign it?</span></span><br />
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">The Philadelphia Museum of Art, John Tancock and others involved in this deception have no shame.</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">Auguste Rodin (1840-1917), <i>WOMAN-FISH,</i> 1915, Marble, H. 34 cm; L. 34.1 cm; P. 43.5 cm, S.1103, Marble, 1917, Patician: Victor Peter, Ni signed or dated</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><i>"Replica of a first copy (California Palace of the Legion of Honor, San Francisco), sold by Rodin in 1915 to Mrs. Spreckels, through the American dancer Loïe Fuller"</i></span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><span style="color: blue;">http://www.musee-rodin.fr/fr/collections/sculptures/femme-poisson</span><span class="Apple-converted-space"> </span></span></span></div>
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CHROMISTS A.K.A PRACTICIANS FOR AUGUSTE RODIN<br />
<span style="font-family: "times" , "times new roman" , serif;">Here are a list of chromists [someone who copies the work of another] a.k.a. </span><i style="font-family: times, "times new roman", serif;">"Practicians," </i><span style="font-family: "times" , "times new roman" , serif;">including but not limited to those, who were hired and paid by Auguste Rodin to reproduce in marble his plasters between 1903 and 1910.</span></div>
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<span style="font-size: x-small;"><span style="color: #333333; font-family: "times" , "times new roman" , serif; text-align: justify;">Auguste Rodin (1840-1917), </span><i style="color: #333333; font-family: times, "times new roman", serif; text-align: justify;">FLOWERS IN A VASE, TRUTHS COMING OUT OF THE WELL,</i><span style="color: #333333; font-family: "times" , "times new roman" , serif; text-align: justify;"> 1907, Marble, H. 49.5 cm; L. 61.5 cm; P. 50.5 cm, S.1418, Marble, 1907-1908, Practitioner: Louis Mathet, Neither signed nor dated</span></span></div>
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<span class="s1"><i><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">“Remember that the 1900-1910 decade corresponds to the artistic peak of Rodin, and is by far the one that has seen the greatest number of practitioners work for him. The comparison of the model of focus and the completed work shows how much interpretation the artist could expect from a practitioner like Mathet at this time: unlike the 1880s and 1890s, he did not it's not a question here of copying the plaster model as accurately as possible, but of interpreting it according to the master's instructions.”</span></i></span></div>
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<span class="s1"><span style="color: blue; font-family: "times" , "times new roman" , serif; font-size: x-small;">http://www.musee-rodin.fr/fr/collections/sculptures/fleurs-dans-un-vase</span></span></div>
<span style="font-family: "times" , "times new roman" , serif;"><span style="color: #333333;"><b>LOUIS-DOMINIQUE MATHET</b></span><b style="color: #333333;"> [PRACTITIONER]</b></span></div>
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<span style="font-size: x-small;"><span style="font-family: "times" , "times new roman" , serif; text-align: justify;">Auguste Rodin (1840-1917), </span><i style="font-family: times, "times new roman", serif; text-align: justify;">THE SLAV WOMAN, THE SEA,</i><span style="font-family: "times" , "times new roman" , serif; text-align: justify;"> 1906, Marble, H. 63.4 cm; L. 68.3 cm; P. 61 cm, S.1036, Practitioner: Jean-Marie Mengue , Neither signed nor dated</span></span></div>
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<span class="s1"><i><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">“This bust can be likened to the marble in front of the sea preserved in New York, at the Metropolitan Museum of Art, to which it had been donated by the collector Thomas Fortune Ryan in 1910. -<span class="Apple-converted-space"> </span>According to Léonce Bénédite's instructions, Rodin himself traced the hair to the gradine. The work still bore many traces in pencil, on the eyelid of the left eye, on the right neck. It was thus that Rodin indicated to his practitioners the modifications to be made; it also seems that a drapery to be made was indicated on the bust with the pencil and the tool. Finally, Rodin's hand, a pencil inscription on the block, worn as he did on his drawings, indicated on the back ‘The sea’.”</span></i></span></div>
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<span class="s1"><span style="color: blue; font-family: "times" , "times new roman" , serif; font-size: x-small;">http://www.musee-rodin.fr/fr/collections/sculptures/la-femme-slave</span></span></div>
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<span style="font-family: "times" , "times new roman" , serif;"><span style="color: #333333;"><b>JEAN-MARIE MENGUE</b></span><b style="color: #333333;"> [PRACTITIONER]</b></span></div>
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<a href="https://3.bp.blogspot.com/-XCZF7ROfzHk/WfNZ-sVlnQI/AAAAAAAAEIU/kAoHSw3awdUKNllt97oFrd6Caf4G4Y9_wCLcBGAs/s1600/Screen%2BShot%2B2017-10-27%2Bat%2B12.06.16%2BPM.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="276" data-original-width="365" height="241" src="https://3.bp.blogspot.com/-XCZF7ROfzHk/WfNZ-sVlnQI/AAAAAAAAEIU/kAoHSw3awdUKNllt97oFrd6Caf4G4Y9_wCLcBGAs/s320/Screen%2BShot%2B2017-10-27%2Bat%2B12.06.16%2BPM.png" width="320" /></a></div>
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<span style="font-size: x-small;"><span style="font-family: "times" , "times new roman" , serif; text-align: justify;">Auguste Rodin (1840-1917), </span><i style="font-family: times, "times new roman", serif; text-align: justify;">CONVALESCENT</i><span style="font-family: "times" , "times new roman" , serif; text-align: justify;">, 1907? Around 1914?, Marble, H. 49 cm; L. 74.1 cm; P. 55.4 cm, S.1016, Practitioner: Jean-Marie Mengue, Auguste Rodin, Emile Matruchot, Neither signed nor dated</span></span></div>
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<span class="s1"><span style="color: blue; font-family: "times" , "times new roman" , serif; font-size: x-small;">http://www.musee-rodin.fr/fr/collections/sculptures/convalescente</span></span></div>
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<span style="font-family: "times" , "times new roman" , serif;"><span style="color: #333333;"><b>EMILE MATRUCHOT</b></span><b style="color: #333333;"> [PRACTITIONER]</b></span></div>
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<a href="https://1.bp.blogspot.com/-cm54Ra_toBM/WfNXDR15UAI/AAAAAAAAEII/0TH2sWZAvxUxFlyptpaECRN2Y6Vhk1VOACLcBGAs/s1600/Screen%2BShot%2B2017-10-27%2Bat%2B11.51.28%2BAM.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="257" data-original-width="363" height="226" src="https://1.bp.blogspot.com/-cm54Ra_toBM/WfNXDR15UAI/AAAAAAAAEII/0TH2sWZAvxUxFlyptpaECRN2Y6Vhk1VOACLcBGAs/s320/Screen%2BShot%2B2017-10-27%2Bat%2B11.51.28%2BAM.png" width="320" /></a></div>
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<span style="font-size: x-small;"><span style="font-family: "times" , "times new roman" , serif; text-align: justify;">Auguste Rodin (1840-1917), </span><i style="font-family: times, "times new roman", serif; text-align: justify;">THE DAY AND THE NIGHT, CONSOLATION,</i><span style="font-family: "times" , "times new roman" , serif; text-align: justify;"> 1909, Marble, H. 74 cm; L. 112 cm; P. 57 cm, S.1207, Marble, 1909 , Practitioner: Léon-Ernest Drivier, Neither signed nor dated</span></span></div>
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<span class="s1"><i><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">“The anterior part marked with spikes may be indications of Rodin preparing a release or thinning of this part, which has not been realized. This marble a prioriunique seems unfinished: the basement points are very apparent, the bodies are not fully polished, the front part of the marble is marked at the tip. Nevertheless, as often, it is difficult to determine what was voluntary on the part of the artist; the correspondence with Léon-Ernest Drivier, the practitioner, indicates only a down payment in April and May 1909, while in August, Drivier, who had worked in his studio, had the University Street Marble moved to the Depot of marbles, where Rodin had a workshop since 1880. He receives the balance of any account at the end of August 1909.”</span></i></span></div>
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<span class="s1"><span style="color: blue; font-family: "times" , "times new roman" , serif; font-size: x-small;">http://www.musee-rodin.fr/fr/collections/sculptures/le-jour-et-la-nuit</span></span></div>
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<span style="font-family: "times" , "times new roman" , serif;"><span style="color: #333333;"><b>LEON-ERNEST DRIVIER</b></span><b style="color: #333333;"> [PRACTITIONER]</b></span></div>
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<a href="https://4.bp.blogspot.com/-zwlk75yPXzw/WfNSTtQ-PkI/AAAAAAAAEH8/sMkNSq629XYEue4MMCXCSPjwqakeBPQ2wCLcBGAs/s1600/Screen%2BShot%2B2017-10-27%2Bat%2B11.33.30%2BAM.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="242" data-original-width="361" height="214" src="https://4.bp.blogspot.com/-zwlk75yPXzw/WfNSTtQ-PkI/AAAAAAAAEH8/sMkNSq629XYEue4MMCXCSPjwqakeBPQ2wCLcBGAs/s320/Screen%2BShot%2B2017-10-27%2Bat%2B11.33.30%2BAM.png" width="320" /></a></div>
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<span style="font-size: x-small;"><span style="font-family: "times" , "times new roman" , serif; text-align: justify;">Auguste Rodin (1840-1917), </span><i style="font-family: times, "times new roman", serif; text-align: justify;">MOZART ALSO SAYS 18TH CENTURY BUST,</i><span style="font-family: "times" , "times new roman" , serif; text-align: justify;"> 1911, Marble, H. 50.9 cm; L. 99.7 cm; P. 58 cm, S.1085, Practitioner: Aristide Rousaud , Signed and dated </span><i style="font-family: times, "times new roman", serif; text-align: justify;">A. Rodin</i><span style="font-family: "times" , "times new roman" , serif; text-align: justify;">.</span></span></div>
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<span class="s1"><i><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">“This portrait is inspired by the head of the composer Gustav Mahler, whose Rodin had made the bronze bust in 1909. Presented at the Salon of the National Society of Fine Arts of the same year under the title Bust eighteenth century, it took, from 1914 , that of marble bust under the name of Mozart . As in many works of this period, the head emerges from a block of marble little sided, the sculptor playing the contrast of the surfaces thus created.”</span></i></span></div>
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<span class="s1"><span style="color: blue; font-family: "times" , "times new roman" , serif; font-size: x-small;">http://www.musee-rodin.fr/fr/collections/sculptures/mozart-dit-aussi-buste-xviiieme-siecle</span></span></div>
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<span style="font-family: "times" , "times new roman" , serif;"><b>ARISTIDE ROUSAUD</b><b style="color: #333333;"> [PRACTITIONER]</b></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">So, whether the <i>Napoleon</i> marble reproduction was </span></span><span style="font-family: "times" , "times new roman" , serif;">"carved by Alfred-Jean Halou and Ernest Nivet," or </span><span style="font-family: "times" , "times new roman" , serif;">one of the above listed chromists [someone who copies the work of another] a.k.a. </span><i style="font-family: times, "times new roman", serif;">"Practicians"</i><span style="font-family: "times" , "times new roman" , serif;"> who reproduced by their own hands, fingers and fingerprints</span><span style="font-family: "times" , "times new roman" , serif;">, the facts support that it was not by Auguste Rodin.</span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: small;"><span class="s1"></span><br /></span></div>
<div class="p1" style="text-align: justify;">
<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">To belabor a fact, reproductions <i>versus</i> original works of visual art are not interchangeable, much less the same.</span></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: small;"><span class="s1"></span><br /></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">This was understood by Auguste Rodin and the State of France. in 1916, Auguste Rodin specifically gave in his <i>Will </i>to the State of France upon his death the <i>"right of reproduction"</i> to his art. This <i>"right of reproduction"</i> is documented by the former Musee Rodin curator Monique Laurent on page 285 in the National Gallery of Art’s 1981 <i>Rodin Rediscovered</i> exhibition catalogue: <i>"Let us indicate right away on this subject that he never fixed a precise limit to the number made. The only indication on this point occurs in the text of the donation of 1 April 1916, according to which "notwithstanding the transfer of artistic ownership authorized to the State of M. Rodin, the latter expressly reserves for himself the enjoyment, during his life, of the <u>reproduction rights of those objects given by him</u>, being well understood that the said right of reproduction will remain strictly personal to the donor who is forbidden to cede it for whatever reason to any third party. He will have, in consequence, the right to reproduce and to edit his works and to make impressions or mold for the usage which suits him. In the event that M. Rodin, exercising the right that he has thus reserved, contracts with an art editor for the reproduction in bronze of one or several works included in the present donation, the contract of publication cannot be made for a period of more than five years and the number of reproductions of each work shall not exceed ten."</i></span><span style="color: blue; font-family: "times new roman"; font-size: x-small;">[FN 11]</span><span style="font-family: "times" , "times new roman" , serif; font-size: small;"><span class="Apple-converted-space"> </span></span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">[underline mine]</span></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: small;"><span class="s1"></span><br /></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">Once again, under U.S. Copyright Law 106A the Rights of Attribution <i>"shall not apply to any reproduction."</i></span><span style="color: blue; font-family: "times new roman"; font-size: x-small;">[FN 12]</span><span style="font-family: "times" , "times new roman" , serif; font-size: small;"><span class="Apple-converted-space"> </span></span></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: small;"><span class="s1"></span><br /></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">To belabor what now should be obvious, under U.S. Copyright Law, reproductions are not attributable to Auguste Rodin.</span></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: small;"><span class="s1"></span><br /></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">Additionally, under US. Copyright Law - 101. Definitions, <i>"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, or, in the case of a sculpture, in multiple cast, carved, or fabricated sculptures of 200 or fewer that are consecutively numbered by the author and bear the signature or other identifying mark of the author."</i></span></span><span style="color: blue; font-family: "times new roman"; font-size: x-small;">[FN 13]</span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: small;"><span class="s1"></span><br /></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">Since Auguste Rodin did not carve this marble, he cannot be the author. If Auguste Rodin is not the author, it cannot be an original work of visual art i.e., sculpture attributable to him.<span class="Apple-converted-space"> </span></span></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: small;"><span class="s1"></span><br /></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">To belabor a fact, lifetime reproductions, much less posthumous reproductions, are not attributable to Auguste Rodin, living or dead.</span></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: small;"><span class="s1"></span><br /></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">Yet, this nonsense was perpetuated in a prior published article noted earlier, when the staff writer wrote: <i>"the borough announced that the sculpture had been authenticated by Jérôme Le Blay, an expert dispatched by the Rodin Museum in Paris."</i></span></span><span style="color: blue; font-family: "times new roman"; font-size: x-small;">[FN 14]</span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: small;"><span class="s1"></span><br /></span></div>
<div class="p1" style="text-align: justify;">
<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">On page 127 of the <i>Seventh Edition of Black's Law Dictionary</i>, authenticate is defined as: <i>"To prove the genuineness of [a thing]."</i></span></span><span style="color: blue; font-family: "times new roman"; font-size: x-small;">[FN 15]</span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: small;"><span class="s1"></span><br /></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">Jerome Le Blay, for a fee, has authenticated posthumous casts with counterfeit <i>"A Rodin"</i> signatures in bogus editions and falsely attributed them to a dead Auguste Rodin.</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">Here are just three examples of Jerome Le Blay accepting into his catalogue non-disclosed second-generation-removed forgeries with counterfeit <i>"A Rodin"</i> signatures in bogus editions falsely attributed to a dead Auguste Rodin [d 1917]:</span></span></div>
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<div style="line-height: normal;">
<span new="" roman="" serif="" times=""><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">Auguste Rodin</span></span></div>
<div style="line-height: normal;">
<span new="" roman="" serif="" times=""><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">1840 - 1917</span></span></div>
<div style="line-height: normal;">
<span new="" roman="" serif="" times=""><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><i>BALZAC, ÉTUDE TYPE C</i>, PETIT MODÈLE</span></span></div>
<div style="line-height: normal;">
<span new="" roman="" serif="" times=""><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">signed <i>A. Rodin</i>, inscribed © by Musée Rodin 1973 and inscribed with the foundry mark Georges Rudier Fondeur Paris; stamped A. Rodin (in the interior)</span></span></div>
<div style="line-height: normal;">
<span new="" roman="" serif="" times=""><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">bronze</span></span></div>
<div style="line-height: normal;">
<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><span new="" roman="" serif="" times="">height: 75,1 cm; 29 1/2</span><span class="Apple-converted-space" new="" roman="" serif="" times=""> </span><span new="" roman="" serif="" times="">in.</span></span></div>
<div style="line-height: normal;">
<span new="" roman="" serif="" times=""><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">Conceived circa 1892-93, this example cast in bronze in 1973.</span></span></div>
<div style="line-height: normal;">
<span new="" roman="" serif="" times=""><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">This work will be included in the forthcoming <i>Catalogue Critique de l'oeuvre sculpté d'Auguste Rodin</i> being currently prepared by Galerie Brame & Lorenceau under the direction of Jérôme Le Blay under the archive number 2017-5592B</span></span></div>
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<a href="http://www.sothebys.com/en/auctions/ecatalogue/2017/art-impressionniste-et-moderne-pf1736/lot.302.html" id="LPlnk39141" previewremoved="true"><span new="" roman="" serif="" times=""><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><span style="color: blue;">http://www.sothebys.com/en/auctions/ecatalogue/2017/art-impressionniste-et-moderne-pf1736/lot.302.htm</span>l</span></span></a></div>
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<div style="line-height: normal;">
<span new="" roman="" serif="" times=""><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">Auguste Rodin</span></span></div>
<div style="line-height: normal;">
<span new="" roman="" serif="" times=""><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">1840 - 1917</span></span></div>
<div style="line-height: normal;">
<span new="" roman="" serif="" times=""><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><i>MASQUE D'HANAKO, ÉTUDE TYPE A, MOYEN MODÈLE</i> (VARIANTE AVEC ARRIÈRE ÉVIDÉ)</span></span></div>
<div style="line-height: normal;">
<span new="" roman="" serif="" times=""><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">signed <i>A. Rodin</i> and inscribed with the foundry mark Alexis RUDIER Fondeur PARIS; stamped A.Rodin (in the interior)</span></span></div>
<div style="line-height: normal;">
<span new="" roman="" serif="" times=""><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">bronze</span></span></div>
<div style="line-height: normal;">
<span new="" roman="" serif="" times=""><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">height: 6 5/8 in. (without the base)</span></span></div>
<div style="line-height: normal;">
<span new="" roman="" serif="" times=""><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">Conceived between 1907 and 1908, this example cast between 1920 and 1925.</span></span></div>
<div style="line-height: normal;">
<span new="" roman="" serif="" times=""><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">This work will be included in the forthcoming <i>Catalogue Critique de l'oeuvre sculpté d'Auguste Rodin</i> being currently prepared by Galerie Brame & Lorenceau under the direction of Jérôme Le Blay under the archive number 2016-4840B.</span></span></div>
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<a href="http://www.sothebys.com/en/auctions/ecatalogue/2016/art-impressionniste-et-moderne-pf1726/lot.2.html" id="LPlnk964889" previewremoved="true"><span new="" roman="" serif="" times=""><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><span style="color: blue;">http://www.sothebys.com/en/auctions/ecatalogue/2016/art-impressionniste-et-moderne-pf1726/lot.2.htm</span>l</span></span></a></div>
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<div style="line-height: normal;">
<span new="" roman="" serif="" times=""><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">Auguste Rodin</span></span></div>
<div style="line-height: normal;">
<span new="" roman="" serif="" times=""><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">1840 - 1917</span></span></div>
<div style="line-height: normal;">
<span new="" roman="" serif="" times=""><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><i>BALZAC, ÉTUDE TYPE C</i>, PETIT MODÈLE</span></span></div>
<div style="line-height: normal;">
<span new="" roman="" serif="" times=""><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">Inscribed A. Rodin and with the foundry mark Georges Rudier Fondeur Paris, numbered 2 and dated © Musée Rodin 1964; stamped with the raised signature A. Rodin (on the interior)</span></span></div>
<div style="line-height: normal;">
<span new="" roman="" serif="" times=""><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">Bronze</span></span></div>
<div style="line-height: normal;">
<span new="" roman="" serif="" times=""><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">Height: 29 5/8 in.</span></span></div>
<div style="line-height: normal;">
<span new="" roman="" serif="" times=""><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">75.4 cm</span></span></div>
<div style="line-height: normal;">
<span new="" roman="" serif="" times=""><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">Conceived circa 1892-93; this example cast in 1964.</span></span></div>
<div style="line-height: normal;">
<span new="" roman="" serif="" times=""><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">This work will be included in the forthcoming <i>Catalogue Critique de l'oeuvre sculpté d'Auguste Rodin</i> being currently prepared by Galerie Brame & Lorenceau under the direction of Jérôme Le Blay under the archive number 2007-1529B.</span></span></div>
<div style="line-height: normal;">
<a href="http://www.sothebys.com/en/auctions/ecatalogue/2014/impressionist-modern-art-day-sale-n09416/lot.354.html" id="LPlnk908973" previewremoved="true" style="text-decoration-line: underline;"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><span style="color: blue;">http://www.sothebys.com/en/auctions/ecatalogue/2014/impressionist-modern-art-day-sale-n09416/lot.354.htm</span>l</span></a></div>
</li>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;"><br /></span></span></div>
<div class="p1" style="text-align: justify;">
<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">Auguste Rodin was 3 to 56 years dead when the above bronzes were cast between 1920 and 1973 and "inscribed" or "signed <i>A Rodin</i>" and/or numbered.</span></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: small;"><span class="s1"></span><br /></span></div>
<div class="p1" style="text-align: justify;">
<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">Auguste Rodin died in 1917. </span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;"><br /></span></span></div>
<div class="p1" style="text-align: justify;">
<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">The dead don't sign, much less edition.</span></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: small;"><span class="s1"></span><br /></span></div>
<div class="p1" style="text-align: justify;">
<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">Therefore, Jérôme Le Blay would have the public believe and act on the belief that he is: <i>"the author of the Catalogue Critique de l’Oeuvre Sculpté d’Auguste Rodin currently prepared by the Comité Auguste Rodin. His connoisseurship and expertise in Impressionist and Modern Paintings as well as Modern Sculpture, are highly regarded by his peers and among collectors."</i></span></span><span style="color: blue; font-family: "times new roman"; font-size: x-small;">[FN 16]</span></div>
<div class="p2" style="text-align: justify;">
<span style="font-family: "times" , "times new roman" , serif; font-size: small;"><span class="s1"></span><br /></span></div>
<div class="p1" style="text-align: justify;">
<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">On page 661 of the <i>Seventh Edition of Black's Law Dictionary</i>, -forgery- is defined as: <i>"the act of fraudulently making a false document or altering a real one to be used as if genuine."</i></span></span><span style="color: blue; font-family: "times new roman"; font-size: x-small;">[FN 17]</span></div>
<div class="p2" style="text-align: justify;">
<span style="font-family: "times" , "times new roman" , serif; font-size: small;"><span class="s1"></span><br /></span></div>
<div class="p1" style="text-align: justify;">
<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">These posthumous objects are problematic. The problem is a dead Auguste Rodin [d 1917] has never seen, much less approved, non-disclosed posthumous 2nd-generation-removed bronze forgeries with counterfeit <i>"A Rodin"</i> signatures in bogus editions, that Jerome Le Blay and others seems eager to falsely attribute as sculpture i.e., <i>"works of art."<span class="Apple-converted-space"> </span></i></span></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: small;"><span class="s1"></span><br /></span></div>
<div class="p1" style="text-align: justify;">
<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">The links to my prior published monographs documents the Musee Rodin's written admission that they cast in bronze from posthumous plaster reproductions instead from Auguste Rodin's original plasters as mandated by his 1916 <i>Will</i>:</span></span></div>
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<ul>
<li><span style="color: blue; font-family: "times" , "times new roman" , serif; font-size: small;">http://garyarseneau.blogspot.com/2016/08/double-standard-forgeries-in-university.html</span></li>
<li><span style="color: blue; font-family: "times" , "times new roman" , serif; font-size: small;">http://garyarseneau.blogspot.com/2016/11/texas-j-wayne-stark-galleries-fraud.html</span></li>
</ul>
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<div class="p2" style="text-align: justify;">
<span style="font-family: "times" , "times new roman" , serif; font-size: small;"><span class="s1"></span><br /></span></div>
<div class="p1" style="text-align: justify;">
<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">Once again, under US. Copyright Law 106A the Rights of Attribution <i>"shall not apply to any reproduction."</i></span><span style="color: blue; font-family: "times new roman"; font-size: x-small;">[FN 18]</span><span style="font-family: "times" , "times new roman" , serif; font-size: small;"> Additionally, under U.S. Copyright Law - 101. Definitions, <i>"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, or, in the case of a sculpture, in multiple cast, carved, or fabricated sculptures of 200 or fewer that are consecutively numbered by the author and bear the signature or other identifying mark of the author."</i></span></span><span style="color: blue; font-family: "times new roman"; font-size: x-small;">[FN 19]</span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: small;"><span class="s1"></span><br /></span></div>
<div class="p1" style="text-align: justify;">
<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">Rhetorically, if Jerome Le Blay is willing, for a fee, to authentic non-disclosed 2nd-generation-removed bronze forgeries with counterfeit <i>"A Rodin"</i> signatures in bogus editions falsely attributed to a dead Auguste Rodin, would a lifetime and/or posthumous chromist-made marble reproduction be an exception?</span></span></div>
<div class="p2" style="text-align: justify;">
<span style="font-family: "times" , "times new roman" , serif; font-size: small;"><span class="s1"></span><br /></span></div>
<div class="p1" style="text-align: justify;">
<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">Then to go from the ridiculous to the sublime, in a prior published article [noted earlier], the staff writer wrote: <i>"Jennifer Thompson, head of the Art Museum’s department of European paintings, said the bust will be installed at the museum in Gallery 155, joining Rodin’s John the Baptist Preaching and Helmet-Maker’s Wife. All three works will be on display in time for the museum’s observance of the centenary of Rodin’s death, Nov. 17."</i></span></span><span style="color: blue; font-family: "times new roman"; font-size: x-small;">[FN 20]</span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: small;"><span class="s1"></span><br /></span></div>
<div class="p1" style="text-align: justify;">
<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">Auguste Rodin has never seen the non-disclosed posthumous forgeries with counterfeit <i>"A Rodin"</i> signatures titled <i>John the Baptist Preaching </i>and <i>Helmet-Maker's Wife</i> that the Philadelphia Museum of Art and their Department of European Paintings Director Jennifer Thompson are so eager to falsely attribute to a dead Auguste Rodin [d 1917]. The following from the museum's website confirms that devastating fact:</span></span></div>
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<a href="https://1.bp.blogspot.com/-3dnqTnsl_lE/WfN19PcY-LI/AAAAAAAAEI4/lywtN_V0lU4-iAgJgmCDoOr-nFQrPUevACLcBGAs/s1600/Screen%2BShot%2B2017-10-27%2Bat%2B2.07.23%2BPM.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="712" data-original-width="459" height="320" src="https://1.bp.blogspot.com/-3dnqTnsl_lE/WfN19PcY-LI/AAAAAAAAEI4/lywtN_V0lU4-iAgJgmCDoOr-nFQrPUevACLcBGAs/s320/Screen%2BShot%2B2017-10-27%2Bat%2B2.07.23%2BPM.png" width="206" /></a></div>
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<li><div style="font-family: Times; font-style: normal; text-align: justify;">
<i><span style="font-family: "times" , "times new roman" , serif;">Saint John the Baptist Preaching</span></i><br />
Signed top of base between feet: <i style="font-family: times, "times new roman", serif;">A Rodin.</i><span style="font-family: "times" , "times new roman" , serif;"> Foundry mark rear of base to left: Alexis Rudier/Fondeur Paris</span><br />
Auguste Rodin, French, 1840 - 1917. Cast by the founder Alexis Rudier, Paris, 1874 - 1952.<br />
Made in France, Europe<br />
Modeled 1878-1880; cast 1925<br />
Bronze<br />
6 feet 7 inches × 21 3/4 inches × 38 1/2 inches (200.7 × 55.2 × 97.8 cm)</div>
<a class="OWAAutoLink" href="http://www.philamuseum.org/collections/permanent/103423.html?mulR=394991223|2" previewremoved="true" style="font-style: normal; text-align: justify;"><span style="color: blue; font-style: normal; text-align: justify;">http://www.philamuseum.org/collections/permanent/103423.html?mulR=394991223|</span><span style="color: #222222; font-style: normal; text-align: justify;">2</span></a></li>
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<a href="https://2.bp.blogspot.com/--te0OBxoQPU/WfOX9VTNa_I/AAAAAAAAEJg/M-QmXfc0lJInUZx9u-CIi9bWE5MxLmByACLcBGAs/s1600/Screen%2BShot%2B2017-10-27%2Bat%2B2.08.31%2BPM.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="717" data-original-width="493" height="320" src="https://2.bp.blogspot.com/--te0OBxoQPU/WfOX9VTNa_I/AAAAAAAAEJg/M-QmXfc0lJInUZx9u-CIi9bWE5MxLmByACLcBGAs/s320/Screen%2BShot%2B2017-10-27%2Bat%2B2.08.31%2BPM.png" width="220" /></a></div>
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<li><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><i><i style="font-family: Times;"><span style="font-family: "times" , "times new roman" , serif;">The Helmet-Maker's Wife</span></i><br style="font-family: Times; font-style: normal;" /><span style="font-family: "times"; font-style: normal;">Signed right side of base under figure's left hand: </span><i>A.Rodin</i><span style="font-style: normal;">. Foundry mark center rear of base: ALEXIS. RUDIER/foundeur. PARIS.</span><br style="font-family: Times; font-style: normal;" /><span style="font-family: "times"; font-style: normal;">Auguste Rodin, French, 1840 - 1917. Cast by the founder Alexis Rudier, Paris, 1874 - 1952.</span><br style="font-family: Times; font-style: normal;" /><span style="font-family: "times"; font-style: normal;">Made in France, Europe</span><br style="font-family: Times; font-style: normal;" /><span style="font-family: "times"; font-style: normal;">Modeled 1884-1887; cast 1925</span><br style="font-family: Times; font-style: normal;" /><span style="font-family: "times"; font-style: normal;">Bronze</span><br style="font-family: Times; font-style: normal;" /><span style="font-family: "times"; font-style: normal;">19 1/2 x 9 1/4 x 10 1/2 inches (49.5 x 23.5 x 26.7 cm)</span><br style="font-family: Times; font-style: normal;" /><span style="color: blue; font-style: normal;">http://www.philamuseum.org/collections/permanent/103397.html?mulR=1476085078|</span><span style="font-style: normal;">1</span></i></span></li>
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<span style="font-family: "times" , "times new roman" , serif;">In 1925, Auguste Rodin [d 1917] was 8 years dead. </span><br />
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">The dead don't sculpt, much less sign.</span></span><br />
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">LAW, ETHICS AND THE VISUAL ARTS</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif;"><span style="font-family: "times" , "times new roman" , serif;">On page 816-817 of Kluwer Law International’s published 1998 <i>Law, Ethics and the Visual Arts, Third Edition</i> by John Henry Merryman and Albert E. Elsen, they wrote about “Counterfeit Art.” Under the subtitle “Truth,” the authors wrote:<i> “The most serious harm that good counterfeits do is to confuse and misdirect the search for valid learning.<span class="Apple-converted-space"> </span>The counterfeit<span class="Apple-converted-space"> </span>objects falsifies history and misdirects inquiry.”</i></span><span style="color: blue; font-family: "times" , "times new roman" , serif; font-size: x-small;">[FN 21]</span></span></span></div>
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<span class="s1"><span class="Apple-converted-space"><span style="font-family: "times" , "times new roman" , serif; font-size: small;"> </span></span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif;"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">Additionally, under the subtitle “Resource Allocation,” the authors wrote:</span><i style="font-family: times, "times new roman", serif; font-size: medium;"> </i><i><span style="font-family: "times" , "times new roman" , serif;">“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.”</span></i><span style="color: blue; font-family: "times" , "times new roman" , serif; font-size: x-small;">[FN 22] </span><span class="Apple-converted-space" style="font-family: "times" , "times new roman" , serif; font-size: small;"> </span></span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif;"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">Furthermore, under the subtitle “Fraud,” the authors wrote: </span><i><span style="font-family: "times" , "times new roman" , serif;">“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…”</span></i><span style="color: blue; font-family: "times" , "times new roman" , serif; font-size: x-small;">[FN 23]</span></span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">CONCLUSION</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">The following news organizations, including but not limited to, published the alleged value of this non-disclosed chromist-made fake in marble, titled <i>Napoleon</i>, falsely attributed to Auguste Rodin:</span></span><br />
<br />
<ul>
<li><span style="font-family: "times" , "times new roman" , serif;"><i>"The white marble bust — valued at between $4 million to $12 million..."</i><br style="font-family: Times;" /><a href="http://nypost.com/2017/10/13/long-lost-rodin-bust-of-napoleon-found-in-new-jersey/" style="font-family: Times;"><span style="color: blue;">http://nypost.com/2017/10/13/long-lost-rodin-bust-of-napoleon-found-in-new-jersey</span>/</a><br style="font-family: Times;" /><br style="font-family: Times;" /><span style="font-family: "times";"><i>"The bust is worth at least $4 million..."</i></span><br style="font-family: Times;" /><a href="http://www.cnn.com/style/article/rodin-bust-discovered-in-new-jersey/index.html" style="font-family: Times;"><span style="color: blue;">http://www.cnn.com/style/article/rodin-bust-discovered-in-new-jersey/index.htm</span>l</a><br style="font-family: Times;" /><br style="font-family: Times;" /><span style="font-family: "times";"><i>"Experts say it is estimated to be worth $4 million to $12 million, depending on art-market fluctuations."</i></span><br style="font-family: Times;" /><a href="https://www.usatoday.com/story/news/nation-now/2017/10/11/rodins-long-lost-bust-napoleon-found/756557001/" style="font-family: Times;"><span style="color: blue;">https://www.usatoday.com/story/news/nation-now/2017/10/11/rodins-long-lost-bust-napoleon-found/756557001</span>/</a><br style="font-family: Times;" /><br style="font-family: Times;" /><span style="font-family: "times";"><i>"The sculpture is estimated to be worth between $4 million to $12 million..."</i></span><br style="font-family: Times;" /><span class="s2" style="font-family: "times";"><a href="https://www.washingtonpost.com/...rodin.../c5e30564-af4a-11e7-9b93-b97043e57a22_s">https://www.washingtonpost.com/...rodin.../c5e30564-af4a-11e7-9b93-b97043e57a22_s</a></span><span class="s1" style="font-family: "times";">…</span><br style="font-family: Times;" /><br style="font-family: Times;" /><span style="font-family: "times";"><i>"The foundation has announced that the bust, which Mr. Platt said could be worth $4 million to $12 million, would be lent to the Philadelphia Museum of Art."</i></span><br style="font-family: Times;" /><span style="font-family: "times";"><span style="color: blue;">https://www.nytimes.com/2017/10/20/nyregion/a-rodin-hiding-in-plain-sight-in-a-new-jersey-suburb.html</span></span></span></li>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;"><br /></span></span>
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<a href="https://4.bp.blogspot.com/-fMpEx8b_UdQ/WiwA0WUB6cI/AAAAAAAAEPI/cfOE2i-h_28Hi8i0Ee-WYPgc2o0g_5X4QCLcBGAs/s1600/Screen%2BShot%2B2017-12-09%2Bat%2B10.24.51%2BAM.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="445" data-original-width="566" height="313" src="https://4.bp.blogspot.com/-fMpEx8b_UdQ/WiwA0WUB6cI/AAAAAAAAEPI/cfOE2i-h_28Hi8i0Ee-WYPgc2o0g_5X4QCLcBGAs/s400/Screen%2BShot%2B2017-12-09%2Bat%2B10.24.51%2BAM.png" width="400" /></a></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">Faint markings on the marble include Rodin’s signature.</span></span><br />
<span style="color: blue; font-family: "times" , "times new roman" , serif; font-size: x-small;">http://www.philamuseum.org/galleries/</span><br />
<b style="font-family: times, "times new roman", serif;"><i>A RODIN</i> SIGNATURE?</b></div>
<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;"><br /></span></span>
<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">Remember, since Auguste Rodin did not carve this marble, he cannot be the author. If Auguste Rodin is not the author, it cannot be an original work of visual art i.e., sculpture attributable to him even if signed by him if in fact he signed it. Therefore, to paraphrase a quote attributed to Oscar Wilde: <i>"some know the price of everything but the value of nothing."</i></span></span></div>
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<span class="s1"><br /></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">Caveat Emptor!</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif;"><span style="font-size: small;"><br /></span></span></span>
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<div style="line-height: normal;">
<span new="" roman="" serif="" times=""><span style="font-family: "times new roman"; font-size: medium;"><b>FOOTNOTES</b>:</span></span></div>
<div class="p2">
<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">1. Copyright © 1999, By West Group, ISBN 0-314-22864-0</span></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><span class="s1"></span><br /></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">2. <a href="http://theartnewspaper.com/news/long-lost-rodin-sculpture-turns-up-in-new-jersey-town-hall"><span class="s2">http://theartnewspaper.com/news/long-lost-rodin-sculpture-turns-up-in-new-jersey-town-hall</span></a></span></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><span class="s1"></span><br /></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">3.Ibid</span></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><span class="s1"></span><br /></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">4. <a href="http://www.copyright.gov/title17/92chap1.html106a"><span class="s2">http://www.copyright.gov/title17/92chap1.html106a</span></a></span></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><span class="s1"></span><br /></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">5. <a href="http://wwwphilly.com/philly/entertainment/arts/rodin-bust-of-napolean-found-in-n-j-town-hall-20171012.html"><span class="s2">http://wwwphilly.com/philly/entertainment/arts/rodin-bust-of-napolean-found-in-n-j-town-hall-20171012.html</span></a></span></span></div>
<div class="p1">
<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><span class="s1"></span><br /></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">6. <a href="http://www.vam.ac.uk/content/articles/a/rodin-working-methods/"><span class="s2">http://www.vam.ac.uk/content/articles/a/rodin-working-methods/</span></a></span></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><span class="s1"></span><br /></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">7. <a href="http://www.musee-rodin.fr/en/collections/sculptures/nymphs-playing"><span class="s2">http://www.musee-rodin.fr/en/collections/sculptures/nymphs-playing</span></a></span></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><span class="s1"></span><br /></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">8.<span class="Apple-converted-space"> </span>National Gallery of Art,Washington (October 26, 1981), ISBN-10: 0894680005, ISBN-13: 978-0894680007</span></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><span class="s1"></span><br /></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">9. Ibid</span></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><span class="s1"></span><br /></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">10. Ibid, [57. Steinberg, "Rodin," Other Criteria, 330; cf. William Tucker, "Rodin," The Language of Sculpture (London: Thames and Hudson, 1974, 30-31]</span></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><span class="s1"></span><br /></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">11. National Gallery of Art,Washington (October 26, 1981), ISBN-10: 0894680005, ISBN-13: 978-0894680007</span></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><span class="s1"></span><br /></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">12. <a href="http://www.copyright.gov/title17/92chap1.html106a"><span class="s2">http://www.copyright.gov/title17/92chap1.html106a</span></a></span></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><span class="s1"></span><br /></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">13. <a href="http://www.copyright.gov/title17/92chap1.html101"><span class="s2">http://www.copyright.gov/title17/92chap1.html101</span></a></span></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><span class="s1"></span><br /></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">14. <a href="http://www.philly.com/philly/entertainment/arts/rodin-bust-of-napolean-found-in-n-j-town-hall-20171012.html"><span class="s2">http://www.philly.com/philly/entertainment/arts/rodin-bust-of-napolean-found-in-n-j-town-hall-20171012.html</span></a></span></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><span class="s1"></span><br /></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">15. Copyright © 1999, By West Group, ISBN 0-314-22864-0</span></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><span class="s1"></span><br /></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">16. <a href="http://www.jeromeleblay.com/2en.aspx"><span class="s2">http://www.jeromeleblay.com/2en.aspx</span></a></span></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p2">
<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">17. Copyright © 1999, By West Group, ISBN 0-314-22864-0</span></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><span class="s1"></span><br /></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">18. <a href="http://www.copyright.gov/title17/92chap1.html106a"><span class="s2">http://www.copyright.gov/title17/92chap1.html106a</span></a></span></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><span class="s1"></span><br /></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">19. <a href="http://www.copyright.gov/title17/92chap1.html101"><span class="s2">http://www.copyright.gov/title17/92chap1.html101</span></a></span></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><span class="s1"></span><br /></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">20. http://www.philly.com/philly/entertainment/arts/rodin-bust-of-napolean-found-in-n-j-town-hall-20171012.html</span></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><span class="s1"></span><br /></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">21 © Kluwer Law International 1998, ISBN: 90-411-0697-9</span></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><span class="s1"></span><br /></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">22. Ibid</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">23. Ibid</span></span></div>
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</style>Gary Arseneauhttp://www.blogger.com/profile/10379667479866306615noreply@blogger.comtag:blogger.com,1999:blog-34909527.post-8050697435432922442017-06-10T01:35:00.000-04:002017-08-20T20:39:10.533-04:00Museum of Modern Art's non-disclosed FAKES falsely attributed as Frank Lloyd Wright lithographs<div class="separator" style="clear: both; text-align: center;">
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<span style="font-family: "times" , "times new roman" , serif;">NOTE: Footnotes are enclosed as <span style="color: blue; font-size: x-small;">[FN]</span><span style="color: blue; font-size: xx-small;">.</span></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">Frank Lloyd Wright, American System-Built Houses for The Richards Company project (Exterior perspective of model D101), 1915–1917, Medium: <u>Lithograph</u>, Dimensions: 11 x 8 1/2" (27.9 x 21.6 cm), Delineator Antonin Raymond, Credit: Gift of David Rockefeller, Jr. Fund, Ira Howard Levy Fund, and Jeffrey P. Klein Purchase Fund, Object number: 155.1993.13, Copyright: © 2017 Frank Lloyd Wright Foundation / Artists Rights Society (ARS), New York, Department: Architecture and Design</span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: small;"><b>NON-DISCLOSED REPRODUCTION</b></span></div>
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<span style="font-size: x-small;"><span style="font-family: "times" , "times new roman" , serif;"></span><span style="font-family: "times" , "times new roman" , serif;">[underline mine]</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: x-large;"><b>T</b></span><span style="font-family: "times" , "times new roman" , serif; font-size: small;">he Museum of Modern Art [MOMA], in their June 12–October 1, 2017 <i>Frank Lloyd Wright at 150: Unpacking the Archive </i>exhibition [and/or collection] contains some three dozen or more non-disclosed reproductions [from MOMA and/or outside collections] falsely attributed to Frank Lloyd Wright as lithographs a.k.a. original works of visual art making them "something that is not what it purports to be"</span><span style="color: blue; font-family: "times" , "times new roman" , serif; font-size: x-small;">[FN 1] </span><span style="font-family: "times" , "times new roman" , serif; font-size: small;"> which is one legal definition of fake.</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">Frank Lloyd Wright never created a lithograph in his life.</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">What evidence is there to prove this allegation?</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">One example can for found on MOMA's website where it states: "You Can Own an American Home," trumpeted a 1917 Chicago newspaper's full-page advertisement for Frank Lloyd Wright's new "System-Built Houses"-low-cost houses assembled from factory-produced elements. Customers requesting plans and brochures from the Richards Company would have received prints like these illustrating the many house models from which they could have chosen. Modeled on Japanese woodblock prints, the style of <u>Wright's lithographs</u> evinces his life-long love of Japanese art. The high horizon line, the planar flatness of foreground and sky, the silhouetted foliage, and the red square (or "chop") framed by the text-all suggest a studied japonisme. Most likely the <u>originals were prepared by Antonin Raymond</u>, Wright's assistant on the contemporary Imperial Hotel project in Tokyo." </span><span style="font-family: "times" , "times new roman" , serif;"><span style="background-color: white; color: blue; font-size: x-small;">[FN 2]</span><span style="font-size: small;"> </span></span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">[underline mine]</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">Even if the "originals were prepared" by the assistant Antonin Raymond, instead of Frank Lloyd Wright, would that make Antonin Raymond the true artist who created his own original drawings or a chromist who reproduces by their hands, fingers and fingerprints the drawings of Frank Lloyd Wright? Either way drawings by Frank Lloyd Wright or chromist-made reproductions by Antonin Raymond or some combination of the two reproduced would result in reproductions, not lithographs.</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">Who was Antonin Raymond? That is answered in the October 12, 2006 publication titled <i>Crafting a Modern World: The Architecture and Design of Antonin and Noémi Raymond</i> by Mari Sakamoto Nakahara, Ken Tadashi Oshima, and Christine Vendredi-Auzanneau. On page 22, the authors wrote: "Wright's method of instructing Antonin at Taliesin remained similar to the way in which he had trained his apprentices at the Oak Park studio before 1909. Initially the apprentice learned to master Wright's forms or mannerisms through a role process, which he likened to a kind of total immersion using the term 'saturation.'"</span><span style="color: blue; font-family: "times" , "times new roman" , serif; font-size: x-small;">[FN 3] </span><span style="font-family: "times" , "times new roman" , serif; font-size: small;">So, once "Raymond had thoroughly mastered this vocabulary of forms by the end of his stay at Taliesin, achieving a level of proficiency on which Wright relied. Wright allowed Raymond to prepare drawings on which Wright himself would subsequently work."</span><span style="font-family: "times" , "times new roman" , serif;"><span style="color: blue; font-size: x-small;">[FN 4]</span><span style="font-size: small;"> </span></span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">So, Frank Lloyd Wright was an architect who mentored his architect apprentices like Antonin Raymond to become a Frank Lloyd Wright mini-me a.k.a. "a person closely resembling a smaller or younger version of another." The original creative medium of lithography requires a shop with a press and support group of equipment and material, along with those with the knowledge and training to successfully create and print their editions of lithographs. Not one reference to this labor intensive creative medium by the hands and fingers of Frank Lloyd Wright, much less his mini-me Antonin Raymond is mentioned even once.</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">Any artist who actually creates and prints an edition of lithographs would take pride not only in the aesthetic accomplishment of the original works of visual art i.e., lithographs he created but the labor and technical skill to successfully pull it off. This aesthetic accomplishment and labor was not mentioned by Frank Lloyd Wright and his mini-me Antonio Raymond [or referenced by the authors of any known publication] because they were not artist/printmakers of original works of visual art i.e., lithographs. Frank Lloyd Wright was an architect with his mini-me apprentices who were trying to make money selling houses, along with reproductions of those architectural drawings, or his mini-me aprentices' chromist-made reproductions and/or some combination thereof and it seems no one until now has successfully tried to call them and others out on it.</span></span></div>
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<a href="https://1.bp.blogspot.com/-_aPmI6WzvpQ/WT3shsVB1LI/AAAAAAAAEEk/BiEryHRTFyIsvEd_0X3og9OCSjcdXjcPwCLcB/s1600/Wright%2BAntonin%2BRaymond%2BFig%2B17%2B%2526%2B18.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="568" data-original-width="815" height="223" src="https://1.bp.blogspot.com/-_aPmI6WzvpQ/WT3shsVB1LI/AAAAAAAAEEk/BiEryHRTFyIsvEd_0X3og9OCSjcdXjcPwCLcB/s320/Wright%2BAntonin%2BRaymond%2BFig%2B17%2B%2526%2B18.png" width="320" /></a></div>
<span style="font-size: x-small;"><b>Figure 17.</b> Antonin Raymond for Frank Lloyd Wright, perspective of a typical American System-Built House, Richards Company, 1916.</span><br />
<span style="font-size: x-small;"><b>Figure 18.</b> </span><span style="font-size: x-small;">Antonin Raymond for Frank Lloyd Wright, perspective of a typical living room of an American System-Built House, Richards Company, 1916.</span><br />
<span style="font-size: x-small;">Excerpt from page 22 from <i style="-webkit-text-stroke-color: rgb(0, 0, 0); font-family: Times, "Times New Roman", serif;">Crafting a Modern World: The Architecture and Design of Antonin and Noémi Raymond</i><span style="-webkit-text-stroke-color: rgb(0, 0, 0); font-family: "times" , "times new roman" , serif;"> by Mari Sakamoto Nakahara, Ken Tadashi Oshima, and Christine Vendredi-Auzanneau</span></span><br />
<b><span style="font-family: "times" , "times new roman" , serif;">ANTONIN RAYMOND FOR FRANK LLOYD WRIGHT</span></b><br />
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">In other words, mini-me Antonin Raymond was being trained to be a chromist for Frank Lloyd Wright. Remember, a chromist is someone who copies the work of another. </span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">Just in case there was any doubt, the authors for the same publication wrote: "Once a mastery of forms had been achieved, the pupil was assigned a project carefully conceived in Wright's mind, the development of which he followed 'throughout all its phrases in drawing room and field, meeting with the client himself on occasion, gaining a all-round development impossible otherwise, and insuring an enthusiasm and a grasp of detail decidedly to the best interest of the client." Wright's project for Antonin began with the creation of an abstracted logo-embodying the symbolism within Wright's geometrical forms for his ongoing American System-Built Homes for the Milwaukee entrepreneur Arthur L. Richards (1877-1955). Wright then asked Raymond to prepare presentation drawings (printed using a special woodblock print inspired lithograph process) associated with the promotional pamphlet he produced [Figs. 17, 18]."</span><span style="font-family: "times" , "times new roman" , serif;"><span style="color: blue; font-size: x-small;">[FN 5]</span><span style="font-size: small;"> </span></span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">The chromist a.k.a. mini-me Antonin Raymond's "prepared drawings" that were reproduced resulting in reproductions, not lithographs. Lithograph is being used as an euphemism for reproduction. The non-disclosed reproductions of mini-me Antonin Raymond's "prepared drawings" was a marketing strategy to sell houses. Either then and/or somewhere along the line the term lithograph was used to mask their true disclosure as reproductions. This misrepresentation by MOMA in their collection website of reproductions of [chromist-made and/or original] drawings as Frank Lloyd Wright lithographs continues to this day.</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">To belabor a fact, lithographs are original works of visual art and would never be trivialized as being from "prepared drawings" even if they were actually by Frank Lloyd Wright. That fact is confirmed by U.S. Custom's May 2006 An Informed Compliance Publication titled Works of Art, Collector`s Pieces Antiques, and Other Cultural Property, which -in part- 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."</span><span style="color: blue; font-family: "times" , "times new roman" , serif; font-size: x-small;">[FN 6]</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">So, what now should be quiet obvious, Frank Lloyd Wright never created a lithograph in his life. </span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">Therefore, despite MOMA's assertions that the "exhibition seeks to open up Wright’s work to critical inquiry and debate, and to introduce experts and general audiences alike to new angles and interpretations of this extraordinary architect"</span><span style="color: blue; font-family: "times" , "times new roman" , serif; font-size: x-small;">[FN 7]</span><span style="font-family: "times" , "times new roman" , serif; font-size: small;">, will the organizers MOMA's Department of Architecture and Design curator Barry Bergdoll, and Project Research Assistant Jennifer Gray continue the misrepresentation of MOMA's collection of non-disclosed reproductions as Frank Lloyd Wright "lithographs?"</span><span style="color: blue; font-family: "times" , "times new roman" , serif; font-size: x-small;">[FN 8]</span><span style="font-family: "times" , "times new roman" , serif; font-size: small;"> and "Wright's work?"</span><span style="color: blue; font-family: "times" , "times new roman" , serif; font-size: x-small;">[FN 9]</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">This monograph will briefly document that Frank Lloyd Wright's drawings were, at best, reproduced resulting in reproductions not lithographs using the history surrounding the <i>1910 Wasmuth Portfolio</i> published by Ernst Wasmuth Verlag which raises serious doubts that Frank Lloyd Wright even did the drawings that were subsequently reproduced resulting in at best reproductions, not lithographs.</span></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><span class="x_s1" style="line-height: normal;">Frank Lloyd Wright, </span>American System-Built Houses for The Richards Company project (Exterior perspective of model A231), <span class="x_s1" style="line-height: normal;">1915–1917, </span><span class="x_s1" style="line-height: normal;">Medium: </span><u>Lithograph</u>, <span class="x_s1" style="line-height: normal;">Dimensions: </span>11 x 8 1/2" (27.9 x 21.6 cm), <span class="x_s1" style="line-height: normal;">Credit: </span>Gift of David Rockefeller, Jr. Fund, Ira Howard Levy Fund, and Jeffrey P. Klein Purchase Fund, <span class="x_s1" style="line-height: normal;">Object number: </span>155.1993.3, <span class="x_s1" style="line-height: normal;">Copyright: </span>© 2017 Frank Lloyd Wright Foundation / Artists Rights Society (ARS), New York, <span class="x_s1" style="line-height: normal;">Department: </span>Architecture and Design</span></div>
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<b style="font-family: Times, "Times New Roman", serif;">NON-DISCLOSED REPRODUCTION</b></div>
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<span style="font-family: "times" , "times new roman" , serif;"><span style="font-size: x-small;">[underline mine]</span></span><span style="background-color: white; font-family: "times" , "times new roman" , serif; text-align: justify;"> </span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">The Museum of Modern Art [MOMA] is located in the United States of America at 11 West 53 Street, New York, NY 10019.</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">Under U.S. Copyright Law 106A, the Rights of Attribution "shall not apply to any reproduction."</span><span style="color: blue; font-family: "times" , "times new roman" , serif; font-size: x-small;">[FN 10] </span><span style="font-family: "times" , "times new roman" , serif; font-size: small;">Therefore, Frank Lloyd Wrights' drawings reproduced result at best in reproductions that under U.S. Copyright Law 106a cannot not be attributed to him.</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">Additionally, New York Civil Code 15.01 (2.) states: "Article fifteen of the New York arts and cultural affairs law provides for disclosure in writing of certain information concerning multiples of prints and photographs when sold for more than one hundred dollars ($100) - whether the multiple is a reproduction."</span><span style="color: blue; font-family: "times" , "times new roman" , serif; font-size: x-small;">[FN 11]</span><span style="font-family: "times" , "times new roman" , serif; font-size: small;"> The penalties for violation of New York Civil Code statutes under 15.15 may include but not limited to refund, treble damages, court costs, expert witness fees, attorney fees and civil fines.</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">Now, aside the $25 price of adult admission for the exhibition, MOMA is not selling these non-disclosed reproductions of Frank Lloyd Wright but would MOMA want to argue that artists in New York are held to a higher standard of disclosure that the museum?</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">Furthermore, the MOMA is a member of the Association of Art Museum Directors [AAMD].</span><span style="color: blue; font-family: "times" , "times new roman" , serif; font-size: x-small;">[FN 12]</span><span style="font-family: "times" , "times new roman" , serif; font-size: small;"> As an AAMD member it endorses the 2011 <i>Professional Practices in Art Museum </i>publication. On page 32 in the AAMD's published 2011 <i>Professional Practices in Art Museum </i>publication, it states: "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, editions numbers, and/or foundry marks on sculpture must not appear on the reproduction. - The touting of exaggerated investment value of reproductions must be avoided because the object or work being offered for purchase is not original and the resale value is highly in doubt. - 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."</span><span style="color: blue; font-family: "times" , "times new roman" , serif; font-size: x-small;">[FN 13]</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">In other words, the MOMA's own endorsed ethical guidelines require disclosure of reproductions as reproductions because failure to do so could lead the potential buyer of a $25 admission ticket to their Frank Lloyd Wright exhibition to believe and act on the belief that they are viewing original works of art a.k.a. lithographs when they are not. </span></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><span class="x_s1" style="line-height: normal;">Frank Lloyd Wright, </span>American System-Built Houses for The Richards Company project (Exterior perspective of model B11), <span class="x_s1" style="line-height: normal;">1915–1917, </span>Medium: <u>Lithograph</u>, Dimensions: 11 x 8 1/2" (27.9 x 21.6 cm), Credit: Gift of David Rockefeller, Jr. Fund, Ira Howard Levy Fund, and Jeffrey P. Klein Purchase Fund, Object number: 155.1993.5, Copyright: © 2017 Frank Lloyd Wright Foundation / Artists Rights Society (ARS), New York, Department: Architecture and Design</span><br />
<span style="color: blue; font-family: "times" , "times new roman" , serif; font-size: x-small;">https://www.moma.org/collection/works/84846?locale=en</span></div>
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<span style="font-family: "times" , "times new roman" , serif;"><b><span style="color: black;"></span><span style="font-size: small;"><span style="color: black;"><span style="text-align: start;">NON-DISCLOSED REPRODUCTION</span></span></span></b></span><br />
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<span style="color: black; font-family: "times" , "times new roman" , serif; font-size: x-small;">[undeline mine]</span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">ERNST WASMUTH VERLAG</span></span></div>
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<span class="s1"><span style="color: #444444; font-family: "times" , "times new roman" , serif; font-size: small;">In 1908, Frank Lloyd Wright "received a letter from the Berlin publishing firm Ernst Wasmuth Verlag, soliciting his cooperation in the publication of a book of photographs of his executed work."</span><span style="color: blue; font-family: "times" , "times new roman" , serif; font-size: x-small;">[FN 14]</span><span style="color: #444444; font-family: "times" , "times new roman" , serif; font-size: small;"> Ernst Wasmuth Verlag was a Berlin publisher of expensive art books who invited Frank Lloyd Wright "to produced a monograph of his best buildings."</span><span style="color: blue; font-family: "times" , "times new roman" , serif; font-size: x-small;">[FN 15]</span></span></div>
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<span class="s1"><span style="color: #444444; font-family: "times" , "times new roman" , serif; font-size: small;">On page 38 of the 2002 published <i>Frank Lloyd Wright, Graphic Artist </i>by Penny Fowler, the author wrote: "Wright signed a publishing contract with Wasmuth on 24 November 1909. The contract allowed Wright total control over the presentation of his work."</span><span style="color: blue; font-family: "times" , "times new roman" , serif; font-size: x-small;">[FN 16]</span></span></div>
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<span class="s1"><span style="color: #444444; font-family: "times" , "times new roman" , serif; font-size: small;">Additionally, on page 42 of the 2002 published<i> Frank Lloyd Wright, Graphic Artist</i> by Penny Fowler, the author wrote: "According to Lloyd Wright, 'The medium for regularizing and transferring the drawings was crow quill on tracing paper. When finished, the drawings were taken to Germany where they were photographed, at which time they were reduced or enlarged to a uniform size and then transferred to lithographic stones and printed in proof.'"</span><span style="color: blue; font-family: "times" , "times new roman" , serif; font-size: x-small;">[FN 17]</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">As noted earlier, Frank Lloyd Wright drawings a.k.a. renderings photographically reproduced, reduced or enlarged, result in reproductions, not lithographs. </span></span></div>
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<span class="s1"><span style="color: #444444; font-family: "times" , "times new roman" , serif; font-size: small;">Once again, this factual perspective is confirmed by U.S. Custom`s May 2006 An Informed Compliance Publication titled Works of Art, Collector`s Pieces Antiques, and Other Cultural Property, which -in part- 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."</span><span style="color: blue; font-family: "times" , "times new roman" , serif; font-size: x-small;">[FN 18]</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">Lithographs are original works of visual art wholly executed by hand by the artist and would never be trivialized as photographically reduced and/or enlarged and transferred to lithographic stones. </span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">In other words, in 1909 Frank Lloyd Wright hired chromists to reproduce his drawings and German publisher Ernst Wasmuth Verlag to publish those reproductions. The resulting 1,000 sets of reproductions titled: <i>1910 Wasmuth Portfolio</i>, were then falsely attributed as original works of visual art i.e., lithographs to Frank Lloyd Wright for sale to the vastly unsuspecting public and this deception by many in the academia, museum and auction house industry continues till this day. </span></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><span class="x_s1" style="line-height: normal;">Frank Lloyd Wright, </span>American System-Built Houses for The Richards Company project (Exterior perspective of model B23)</span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><span class="x_s1" style="line-height: normal;">1915–1917, </span>Medium: <u>Lithograph</u>, Dimensions: 11 x 8 1/2" (27.9 x 21.6 cm), Credit: Gift of David Rockefeller, Jr. Fund, Ira Howard Levy Fund, and Jeffrey P. Klein Purchase Fund, Object number: 155.1993.6, Copyright: © 2017 Frank Lloyd Wright Foundation / Artists Rights Society (ARS), New York, Department: Architecture and Design</span></div>
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<span class="x_s1" style="line-height: normal;"><span style="color: blue; font-family: "times" , "times new roman" , serif; font-size: x-small;">https://www.moma.org/collection/works/250?locale=en</span></span></div>
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<b style="color: black;"><span style="font-family: "times" , "times new roman" , serif;">NON-DISCLOSED REPRODUCTION</span></b></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">Reproductions of drawings <i>versus</i> original works of visual art i.e., lithographs wholly executed by hand by the artist are -not- interchangeable, much less the same.</span></span></div>
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<span class="s1"><span style="color: #444444; font-family: "times" , "times new roman" , serif; font-size: small;">This factual perspective is confirmed in the 1991 <i>The Fifth Edition of the Artist’s Handbook of Materials and Techniques </i>by Ralph Mayer, 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.”</span><span style="color: blue; font-family: "times" , "times new roman" , serif; font-size: x-small;">[FN 19]</span></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">Frank Lloyd Wright, American System-Built Houses for The Richards Company project (Exterior perspective of model C3),1915–1917, Medium: <u>Lithograph</u>, Dimensions: 1 x 8 1/2" (27.9 x 21.6 cm), Credit: Gift of David Rockefeller, Jr. Fund, Ira Howard Levy Fund, and Jeffrey P. Klein Purchase Fund, Object number: 155.1993.8, Copyright: © 2017 Frank Lloyd Wright Foundation / Artists Rights Society (ARS), New York, Department: Architecture and Design</span></div>
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<span style="color: blue; font-family: "times" , "times new roman" , serif; font-size: x-small;">https://www.moma.org/collection/works/83010?locale=en</span></div>
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<b><span style="font-family: "times" , "times new roman" , serif;">NON-DISCLOSED REPRODUCTION</span></b></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">TAYLOR WOOLLEY, CHROMIST</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">So, were these even reproductions of Frank Lloyd Wright's drawings? Not according to a "Frank Lloyd Wright's <i>Wasmuth Portfolio</i>" monograph by ArchiTech Gallery's David Jameson who wrote: "Wright brought the only renderer left in his office, Taylor Woolley, to Italy to work on the transfers. 20 year old Frank Lloyd Wright Jr. (preferring to be known by the sole name, Lloyd) was a gifted renderer as well and was brought to the villa in Fiesole to draw for the project."</span><span style="color: blue; font-family: "times" , "times new roman" , serif; font-size: x-small;">[FN 20]</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">BAU published research article titled: "The Red Square: Frank Lloyd Wright, Theosophy and Modern Conceptions of Space," the "Endnote 9" stated: "All the drawings were not actually in Wright's own hand, he was assisted by his son Lloyd and his draftsman Taylor Woolley. In H. Allen Brooks, "Frank Lloyd Wright and the Wasmuth Drawings," The Art Bulletin 48/2 (June 1966), 193-202, the author discusses the various assistants' contributions to the drawings."</span><span style="color: blue; font-family: "times" , "times new roman" , serif; font-size: x-small;">[FN 21]</span></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">“Figure 7. Frank Lloyd Wright. American System-Built Houses for the Richards Company, 1915-17. Interior perspective, model C3; <u>lithoprint</u>. The Museum of Modern Art, New York. David Rockefeller, Jr. Fund, Ira Howard Levy Fund and Jeffrey P. Klein Fund” </span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">MOMA published 1994 <i>Frank Lloyd Wright, Architect</i> catalogue edited by Terence Riley with Peter Reed, essays by Anthony Alofsin, William Cronon, Kenneth Frampton, Terence Riley and Gwendolyn Wright</span></div>
<span style="font-family: "times" , "times new roman" , serif;"><b><span style="font-family: "times" , "times new roman" , serif;"></span>NON-DISCLOSED REPRODUCTION IN 1994</b></span><br />
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<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><span style="-webkit-text-stroke: rgb(0, 0, 0);">Frank Lloyd Wright, American System-Built Houses for The Richards Company project (Interior perspective of model A101), 1915–1917, Medium: <u>Lithograph</u>, Dimensions: 11 x 8 1/2" (27.9 x 21.6 cm), Credit Gift of David Rockefeller, Jr. Fund, Ira Howard Levy Fund, and Jeffrey P. Klein Purchase Fund, Object number 155.1993.9, Copyright: © 2017 Frank Lloyd Wright Foundation / Artists Rights Society (ARS), New York, Department: Architecture and Design</span><span style="-webkit-text-stroke: rgb(0, 0, 0);"> </span></span><br />
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<b><span style="font-family: "times" , "times new roman" , serif;">NON-DISCLOSED REPRODUCTION IN 2017</span></b></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">Rhetorically, what is the difference between MOMA using "lithoprint" in their 1994 published <i>Frank Lloyd Wright, Architect </i>catalogue as an euphemism for reproduction than 23 years later in 2017 listing the same non-disclosed reproduction as a "lithograph" on their collection website?</span></span></div>
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<span class="s1"><span style="color: #444444; font-family: "times" , "times new roman" , serif; font-size: small;">Once again, in the 1991 <i>The Fifth Edition of the Artist`s Handbook of Materials and Techniques </i>by Ralph Mayer, 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."</span><span style="color: blue; font-family: "times" , "times new roman" , serif; font-size: x-small;">[FN 22]</span></span></div>
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<span class="s1"><span style="color: #444444; font-family: "times" , "times new roman" , serif; font-size: small;">Remember, Taylor Woolley and Frank Lloyd Wright Jr. were some of the chromists who reproduced by their hands, fingers and fingerprints the drawings of Frank Lloyd Wright. Therefore, some, if not all, of the subsequent "1,000 copies, 500 for sale in Europe and 500 for exportation to America"</span><span style="color: blue; font-family: "times" , "times new roman" , serif; font-size: x-small;">[FN 23] </span><span style="color: #444444; font-family: "times" , "times new roman" , serif; font-size: small;">a.k.a. non-disclosed reproductions reproduced from those chromist-made reproductions in the <i>1910 Wasmuth Portfolio</i> were not even direct reproductions of Frank Lloyd Wright's drawings but 2nd-generation-removed fakes.</span></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">Frank Lloyd Wright, American System-Built Houses for The Richards Company project (Exterior perspective of model A101), 1915–1917, Medium: <u>Lithograph,</u> Dimensions: 11 x 8 1/2" (27.9 x 21.6 cm), Credit Gift of David Rockefeller, Jr. Fund, Ira Howard Levy Fund, and Jeffrey P. Klein Purchase Fund, Object number 155.1993.1, Copyright: © 2017 Frank Lloyd Wright Foundation / Artists Rights Society (ARS), New York, Department: Architecture and Design </span></div>
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<span style="color: blue; font-family: "times" , "times new roman" , serif; font-size: x-small;">https://www.moma.org/collection/works/84844?locale=en</span></div>
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<b style="font-family: times, "times new roman", serif;">NON-DISCLOSED REPRODUCTION</b></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">MARION MAHONY, CHROMIST</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">Then as if the chromist Taylor Woolley and Frank Lloyd Wright Jr. were not enough, some of the drawings, reproduced in the <i>1910 Wasmuth Portfolio</i>, were actually drawn by the chromist Marion Mahony. This is confirmed in "Frank Lloyd Wright's <i>Wasmuth Portfolio</i>" monograph by ArchiTech Gallery's David Jameson who wrote: "The studio renderings of Marion Mahony for various Oak Park houses and unbuilt projects were retraced down to the foliage for the lithographic stones. Her foliage is almost the only way to tell that the image originated with her drawing, being more naturalistic with outlines in an "Arts and Crafts" language. Wright's trees and flowers are constructed, at close inspection, like architectural forms; triangles, circles and snowflakes."</span><span style="color: blue; font-family: "times" , "times new roman" , serif; font-size: x-small;">[FN 24]</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">Rhetorically, if the MOMA were to fully disclosed that chromists actually made, with their hands, fingers and fingerprints, the images reproduced in the <i>1910 Wasmuth Portfolio</i> and not Frank Lloyd Wright, might the public be able to give informed consent on whether to attend this exhibition with non-disclosed fakes, much less pay the $25 price of adult admission?</span></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><span class="x_s1" style="line-height: normal;">Frank Lloyd Wright, </span>American System-Built Houses for The Richards Company project (Exterior perspective of model E3), <span class="x_s1" style="line-height: normal;">1915–1917, </span>Medium: <u>Lithograph</u>, Dimensions: 11 x 8 5/8" (27.9 x 21.9 cm), Credit: Gift of David Rockefeller, Jr. Fund, Ira Howard Levy Fund, and Jeffrey P. Klein Purchase Fund, Object number: 155.1993.14, Copyright: © 2017 Frank Lloyd Wright Foundation / Artists Rights Society (ARS), New York, Department: Architecture and Design</span></div>
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<span class="x_s1" style="line-height: normal;"><span style="color: blue; font-family: "times" , "times new roman" , serif; font-size: x-small;">https://www.moma.org/collection/works/243?locale=en</span></span></div>
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<b style="font-family: Times, "Times New Roman", serif;">NON-DISCLOSED REPRODUCTION</b></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">Unfortunately, for over a hundred years this misrepresentation of 2nd-generation-removed reproductions, reproduced in part from chromist-made 1st-generation-removed reproductions of drawings, as Frank Lloyd Wright's <i>1910 Wasmuth Portfolio </i>of Lithographs has been perpetuated for monetary considerations including but not limited to: museum admission fees, city-state-federal grants, corporate sponsorship, outright sales and tax write-offs.</span></span></div>
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<span class="s1"><span style="color: #444444; font-family: "times" , "times new roman" , serif; font-size: small;">Remember, reproductions of an artist's work are not attributable to that artist. That factual perspective is confirmed by U.S. Copyright Law 106 A, “The Rights of Attribution - shall not apply to any reproduction.”</span><span style="color: blue; font-family: "times" , "times new roman" , serif; font-size: x-small;">[FN 25]</span></span></div>
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<span class="x_s1" style="line-height: normal;"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">Frank Lloyd Wright, American System-Built Houses for The Richards Company project (Exterior perspective of model J401), </span></span><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">1915–1917, Medium: <u>Lithograph</u>, Dimensions: 11 x 8 1/2" (27.9 x 21.6 cm), Credit: Gift of David Rockefeller, Jr. Fund, Ira Howard Levy Fund, and Jeffrey P. Klein Purchase Fund, Object number: 155.1993.19, Copyright: © 2017 Frank Lloyd Wright Foundation / Artists Rights Society (ARS), New York, Department: Architecture and Design</span></div>
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<span class="x_s1" style="line-height: normal;"><span style="color: blue; font-family: "times" , "times new roman" , serif; font-size: x-small;">https://www.moma.org/collection/works/163801?locale=en</span></span></div>
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<b style="font-family: Times, "Times New Roman", serif;">NON-DISCLOSED REPRODUCTION</b></div>
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<span class="s1"><span style="color: #444444; font-family: "times" , "times new roman" , serif; font-size: small;">Additionally, this perspective: “the Rights of Attribution - shall not apply to any reproduction" is confirmed by the Printing Industries of America, Inc. in their published Printing Trade Customs, which, in part, states: “6. PREPARATORY MATERIALS Working mechanical art, type, negatives, positives, flats, plates, and other items when supplied by the printer, shall remain his exclusive property unless otherwise agreed in writing.”</span><span style="color: blue; font-family: "times" , "times new roman" , serif; font-size: x-small;">[FN 26]</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">In other words, if an artist, and/or a company, authorizes a printer and/or chromist to reproduce their work, the resulting reproductions cannot be attributed to the artist and/or company artist. That printer that reproduced those reproductions would own them. That printer would only be contractually obligated to give the artist the reproductions they paid for. The artist pays for 1,000 reproductions, they get a 1,000 reproductions. All of the reproduction overruns [potentially dozens or more], all plates, negatives, digital files and the like used to reproduce those reproductions, would be owned by the printer and if they chose to do so that printer [or future new owner] could reproduce more reproductions without the knowledge or permission of the artist.</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">U.S. COPYRIGHT LAW COMPILATIONS AND DERIVATIVE WORKS</span></span></div>
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<span class="s1"><span style="color: #444444; font-family: "times" , "times new roman" , serif; font-size: small;">Furthermore, under U.S. Copyright Law 103. “Subject matter of copyright: Compilations and derivative works,” it states: “The copyright in a compilation or derivative work extends only to the material contributed by the author of such work.”</span><span style="color: blue; font-family: "times" , "times new roman" , serif; font-size: x-small;">[FN 27]</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">So, the artist and/or the company owns the "material" i.e., painting contributed by the artist and/or company, but not the derivative work a.k.a. reproductions. Those reproductions manufactured by the printer, may have been authorized by the artist and/or company but until they are paid for, the printer owns them. </span></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">This is an undated German edition [1924] and was published by Wasmuth in Berlin. 100 Plates but reduced to 13 x 19". All one hundred plates are placed in one portfolio like the 1963 version, and the portfolio is similar to that version. The emboss is missing. This was an <u>unauthorized version</u>, and Wright was not pleased by the poor quality of printing. The text and list of plates included as a separate booklet (see 157b). (1st Edition) (Sweeney 157)" (quoted from steinerag) This is quite a rare edition, though not as rare as the 1910 one which sold at auction for c$90,000 . The one hundred plates are in excellent condition, though some are damaged at the edges where they overshot the portfolio; the portfolio is chipped at the edges and only one of the cloth ties is left, and that is damaged. The text and list of prints in this copy is made up of 7 double sized loose folio sized sheets.</span></div>
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<b style="font-family: times, "times new roman", serif, serif, EmojiFont;">UNAUTHORIZED VERSION</b></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">Just in case anyone would doubt the fact that reproductions have no limitation. On page 37 of the <i>Architectural Excursions: Frank Lloyd Wright, Holland and Europe,</i> the authors Donald Langmead and Donald Leslie Johnson wrote: “in 1924 when Wasmuth reissued the 1910 portfolio (without Wright’s knowledge).”</span><span style="color: blue; font-family: "times" , "times new roman" , serif; font-size: x-small;">[FN 28]</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">To be absolutely clear, in 1910 no lithographs were created by Frank Lloyd Wright, any more than lithographs were created in 1924 without Frank Lloyd Wright. The <i>1910 Wasmuth Portfolio</i> were at best reproductions and in 1924 they were at best reproductions. The only difference is instead of Frank Lloyd Wright and his publisher Ernst Wasmuth Verlag cashing in at the expense of the public along with unfairly competing against artist/printmakers of lithographs, the publisher Ernst Wasmuth Verlag alone [without Frank Lloyd Wright's knowledge] cashed in at the expense of everyone including Frank Lloyd Wright.</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">A den of thieves.</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">Yet, the MOMA states: "we're committed to sharing the most thought-provoking modern and contemporary art, and hope you will join us in exploring the art, ideas, and issues of our time."[FN 29] 1st to 2nd-generation-removed chromist-made reproductions of Frank Lloyd Wright's drawings can never be "thought-provoking modern and contemporary art." That is an oxymoron.</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">So, once again, despite the MOMA's assertions that the "exhibition seeks to open up Wright’s work to critical inquiry and debate, and to introduce experts and general audiences alike to new angles and interpretations of this extraordinary architect"</span><span style="color: blue; font-family: "times" , "times new roman" , serif; font-size: x-small;">[FN 30],</span><span style="font-family: "times" , "times new roman" , serif; font-size: small;"> organizers for the exhibition continue the 100 year plus deception of falsely attributing non-disclosed 1st to 2nd-generation-removed reproductions as "Wright's work"</span><span style="color: blue; font-family: "times" , "times new roman" , serif; font-size: x-small;">[FN 31]</span><span style="font-family: "times" , "times new roman" , serif; font-size: small;"> and as original works of visual art i.e., "lithographs."</span><span style="color: blue; font-family: "times" , "times new roman" , serif; font-size: x-small;">[FN 32]</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">On page 933 of the <i>Seventh Edition of Black's Law Dictionary</i>, lie is defined as: "To tell an untruth; to speak or write falsely."</span><span style="color: blue; font-family: "times" , "times new roman" , serif; font-size: x-small;">[FN 33] </span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">Museum of Modern Art [MOMA] is only one of many cultural institutions, corporations, and academic institutions who have drank the Kool-aid and are perpetuating a lie, with or without intent, that Frank Lloyd Wright created lithographs. Here are just a few of those cultural institutions, corporations and academic institutions.</span></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">Date: 1985, Title: Frank Lloyd Wright - The Early Years. Presented by IC Industries and The Art Institute of Chicago. (Published by IC Industries, Inc., and The Art Institute of Chicago), Author: Zukowsky, John; Glassman, Paul</span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">Description: The Frank Lloyd Wright <i>1910 Wasmuth Portfolio </i>Calendar. IC Industries and The Art Institute of Chicago presents this calendar featuring illustrations from the <u>1910 Frank Lloyd Wright Wasmuth Portfolio. The portfolio consists of one hundred original lithographs documenting Wright’s architectural designs from 1891-1909</u>. This historic document is part of the extensive collection of architectural materials owned by the Art Institute of Chicago. IC Industries acquired the <i>Wasmuth Portfolio</i> for the Corporate art Collection in the summer of 1985. (From page 1.) A spiral bound week by week 1986 desk calendar, inserted into a paper covered hard cover case. Includes 31 illustration from the <i>Wasmuth Portfolio</i>, and an earlier Wright drawing while he worked for Adler and Sullivan. Two Copies. (First Edition), Size: 11.5 x 8.3, Pages: Pp 88</span></div>
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<span style="color: blue; font-family: "times" , "times new roman" , serif; font-size: x-small;">http://www.steinerag.com/flw/Books/a0087.htm</span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">Frank Lloyd Wright (American, 1867–1959), Bank and Office Building for the City National Bank in Mason City, Iowa (Tafel IL Bank-und Bureaugebäude für die City, National Bank in Mason City, Iowa), plate 49 from the portfolio Ausgeführte Bauten und Entwürfe von Frank Lloyd Wright, 1910, Lithograph, sheet: 15 15/16 × 25 3/8 in. (40.48 × 64.45 cm), Purchase, with funds from the Edward U. Demmer Foundation M2014.54.55b, Photo credit: John R. Glembin, © Frank Lloyd Wright Foundation / Artists Rights Society (ARS), New York</span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">Frank Lloyd Wright: Buildings for the Prairie</span><br />
<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">July 28–October 15, 2017</span><br />
<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">Bradley Family Gallery</span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">Frank Lloyd Wright: Buildings for the PrairieIn celebration of Frank Lloyd Wright’s 150th birthday, the Milwaukee Art Museum presents Frank Lloyd Wright: Buildings for the Prairie featuring a selection of the famed architect’s designs from the <i>Wasmuth Portfolio</i> and examples of his furniture, stained glass and textiles. Named for its German publisher, the <u><i>Wasmuth Portfolio</i> is considered the most significant collection of Wright’s early work</u>, showcasing the breadth and beauty of his output. The portfolio lends insight into the master’s early development and affords the opportunity to see the evolution of the Prairie School of architecture.</span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">Although highly regarded as one of the best American architects of his generation, by 1909 Wright had reached a professional impasse. Spurred by his inability to gain commercial commissions and his scandalous affair with a former client, Wright left for Italy and Germany in 1910. In Florence, Wright found inspiration in his architectural surroundings, and there he worked on illustrations and text for a monograph on his work to be published by the Berlin firm of Ernst Wasmuth. The <i>Wasmuth Portfolio</i> introduced the architect’s work to his European contemporaries and is largely credited with profoundly influencing the direction of 20th-century architecture. Collectors and museums alike prize the portfolio for its historic importance and for the beauty of the images.</span></div>
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<a class="x_OWAAutoLink" disabled="true" href="https://mam.org/exhibitions/details/Frank.php" id="LPlnk334226" rel="noopener noreferrer" tabindex="-1" target="_blank"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">https://mam.org/exhibitions/details/Frank.php</span></a></div>
<b><span style="font-family: "times" , "times new roman" , serif;"></span>MILWAUKEE ART MUSEUM</b><br />
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<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">Cottage for Mrs. Gale in the Suburb of Oak Park, Illinois (Landhaus für Frau Gale im Vorort Oak Park, Illinois), ARCHITECT: Frank Lloyd Wright (American, 1867 - 1959), DATE: 1910–1911, DEPARTMENT: Decorative Arts And Design, DIMENSIONS: Sheet dimensions: 25 1/4 × 15 5/8 in. (64.14 × 39.69 cm), MEDIUM: <u>Lithograph</u>, LOCATION: Currently Not On View, CREDIT LINE: Dallas Museum of Art, gift of the Robert O. Lane Estate in memory of Roy E. Lane, A.I.A., ACCESSION NUMBER: 2000.372.45</span></div>
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<span style="color: blue; font-family: "times" , "times new roman" , serif; font-size: x-small;">https://www.dma.org/collection/artwork/decorative-arts-and-design/cottage-mrs-gale-suburb-oak-park-illinois-landhaus-f-r</span><br />
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<b><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">Dallas Museum of Art Debuts New European Art Galleries Reconfigured and Redesigned to Provide More Intimate Viewing Experiences</span></b></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">On View January 30-July 11. Exhibition Complements Gustav Stickley and the American Arts & Crafts Movement Opening February 13</span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">On January 30, the Dallas Museum of Art presents an exhibition of sixteen <u>Frank Lloyd Wright prints from a rare example of the <i>Wasmuth portfolio</i></u>, first published in 1910 and now widely recognized as one of the most important architectural publications of the 20th century. The portfolio includes ground plans, sections, perspective views, and interior details of Wright’s work to that date. The designs for residences, churches, and commercial buildings, skillfully presented in amazing detail, are drawn from the Museum’s collections.</span></div>
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<a class="x_OWAAutoLink" disabled="true" href="https://www.dma.org/press-release/dallas-museum-art-debuts-new-european-art-galleries-reconfigured-and-redesigned" id="LPlnk345351" rel="noopener noreferrer" tabindex="-1" target="_blank"><span style="color: blue; font-family: "times" , "times new roman" , serif; font-size: x-small;">https://www.dma.org/press-release/dallas-museum-art-debuts-new-european-art-galleries-reconfigured-and-redesigned</span></a></div>
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<span style="font-family: "times" , "times new roman" , serif;"></span><span style="font-family: "times" , "times new roman" , serif;"><b>DALLAS MUSEUM OF ART</b></span><br />
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<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">Perspective, plan, and detail elevation of the city dwelling for Isidore Heller, Chicago, Illinois, Architect: Designed by Frank Lloyd Wright (American, Richland Center, Wisconsin 1867–1959 Phoenix, Arizona), Publisher: Ernst Wasmuth (Berlin), Published in: Berlin, Date: 1910, Medium: <u>Lithographic print with dark grey ink</u>, Dimensions: sheet: 25 1/4 x 17 5/8 in. (64.1 x 44.8 cm), Classification: Prints, Credit Line: Purchase, Emily Crane Chadbourne Bequest, 1972, Accession Number: 1972.607.49(4), Rights and Reproduction:© 2017 Artists Rights Society (ARS), New York</span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">Photo: <span style="color: blue;">http://metmuseum.org/pubs/bulletins/1/pdf/3258755.pdf.bannered.pdf</span></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">Text:<span style="color: blue;">http://metmuseum.org/art/collection/search/381644?sortBy=Relevance&deptids=9&ft=FRANK+LLOYD+WRIGHT+LITHOGRAPHIC+PRINTS&offset=0&rpp=100&pos=30</span></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">Photo:<span style="color: blue;"> <a disabled="true" href="http://www.prnewswire.com/news-releases/sc-johnson-kicks-off-tour-season-with-exclusive-access-to-frank-lloyd-wrights-rare-world-renowned-wasmuth-portfolio-300074718.html" id="LPlnk214437" rel="noopener noreferrer" tabindex="-1" target="_blank"><span style="color: blue;">http://www.prnewswire.com/news-releases/sc-johnson-kicks-off-tour-season-with-exclusive-access-to-frank-lloyd-wrights-rare-world-renowned-wasmuth-portfolio-300074718.html</span></a></span></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">The <i>Wasmuth Portfolio</i>- Hailed by contemporary architectural scholars as one of the most important publications of the early modern architecture movement, visitors will have the unprecedented opportunity to see Wright’s rare <i>Wasmuth Portfolio</i> up close.</span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">Following a tumultuous time in Wright’s life filled with creative and personal struggles - he was broke and embroiled in a scandal over his estranged marriage and relationship with a client’s wife - he retreated to Europe where he focused on the creation of the Portfolio and worked with the notable architectural publisher Ernst Wasmuth beginning in 1909. The completed collection of<u> 100 commercial and residential lithograph prints</u> provides a one-of-a-kind view into Wright’s most famous works, including the Larkin Administration Building in Buffalo, N.Y.; the Robie House in Chicago; and Unity Temple in Oak Park, Ill.</span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">The Portfolio signaled a turning point in his career as it established him as one of the most prominent American architects of the 20th century and influenced his style for decades, including his work seen on SC Johnson’s campus. Starting in May, nearly 50 of the <u>lithographs</u> will be on display in The SC Johnson Gallery.</span></div>
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<span style="color: blue; font-family: "times" , "times new roman" , serif; font-size: x-small;">http://www.scjohnson.com/en/press-room/press-releases/04-30-2015/SC-Johnson-Kicks-Off-Tour-Season-With-Exclusive-Access-to-Frank-Lloyd-Wright-Wasmuth-Portfolio.aspx</span></div>
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<span style="font-family: "times" , "times new roman" , serif;"><b>S.C. JOHNSON</b></span><br />
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<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">Wright, Frank Lloyd. Ausgeführte Bauten und Entwürfe von Frank Lloyd Wright. Berlin (Ernst Wasmuth), [1910]. </span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">2 portfolios 30, (2)pp., <u>100 lithographs</u> on 100 full-page plates (of which 28 printed on tissue, as overlays to plates 1-64). All contents loose, as issued. Folio. 640 x 400 mm. Publisher's original cloth-backed board portfolios, ties. Tissue overlay no. 58 restored, portfolios with very slight scratches, one slightly stained at upper corner). A very fine set. </span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">First edition of this magnificent and monumental work, a legendary rarity described by Hitchcock as “practically unobtainable and lacking even in many large libraries.” Apart from its fragility, and from the widespread practice of breaking up copies for individual plates, most of the sets reserved for America were damaged or destroyed in a fire at Wright’s home, Taliesin. </span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">“A total of one hundred plates prepared from drawings made at Wright’s Oak Park studio illustrate seventy buildings and projects between 1893 and 1909. Seventy-two of the plates are numbered I-LXIV and include eight plates with a or b numbers. The remaining twenty-eight are tissue overlays printed with drawings related to the plates to which they are attached. The plates include perspective views, plans, sections, and interior and exterior details. The illustrations are printed variously in brown, gray, gold and white inks on gray and white papers and tissue. Each plate and tissue is embossed with the stamp of Frank Lloyd Wright. Some of the drawings are by Wright; others are the work of his assistants. According to conversations with Lloyd Wright, the architect’s son, the drawings were taken to Fiesole, Italy, where they were <u>traced in their original size and scale during the years 1909-1910 by a team of draftsmen including Lloyd Wright and Taylor Wooley</u> working under Frank Lloyd Wright’s supervision. The <u>tracings were then photographically reduced or enlarged</u> to a uniform size and the images transferred to lithographic stones for printing” (Sweeney). </span></div>
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<span style="color: blue; font-family: "times" , "times new roman" , serif; font-size: x-small;">https://library.osu.edu/documents/rarebooks/AlbrechtLibrary/AlbrechtLibraryNewAcq2014.html</span></div>
<span style="font-family: "times" , "times new roman" , serif;"><b style="font-family: times, "times new roman", serif;">OHIO STATE UNIVERSITY</b></span><br />
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">PUBLIC DOMAIN WORK HAS NO COPYRIGHT</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">Despite the <i>1910 Wasmuth Portfolio</i> and other non-disclosed reproductions [falsely attributed to Frank Lloyd Wright as original works of visual art i.e, lithographs] being in the public domain, the Museum of Modern Art [MOMA], Milwaukee Art Museum [MAM], and others have applied a copyright "Copyright © 2017 Frank Lloyd Wright Foundation / Artists Rights Society (ARS), New York" to photographs of public domain work posted on their websites. The following court case is applicable:</span></span></div>
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<li><span style="font-family: "times" , "times new roman" , serif; font-size: small;">"<i>Bridgeman Art Library v. Corel Corp.,</i> 36 F. Supp. 2d 191 (S.D.N.Y. 1999), was a decision by the United States District Court for the Southern District of New York, which ruled that exact photographic copies of public domain of images could not be protected by copyright in the United States because the copies lack originality.”</span><span style="color: blue; font-family: "times" , "times new roman" , serif; font-size: x-small;">[FN 34]</span></li>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">In other words, a slavish reproduction of a public domain work has no inherent copyright.</span></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">Frank Lloyd Wright, </span><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">American System-Built Houses for The Richards Company project (Perspective of model A221), </span><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">1915–1917, </span><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">Medium: </span><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><u>Lithograph,</u></span></span><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"> </span><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">Dimensions: 11 1/8 x 8 5/8" (28.3 x 21.9 cm), </span><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">Credit: Gift of David Rockefeller, Jr. Fund, Ira, Howard Levy Fund, and Jeffrey P. Klein Purchase Fund, </span><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">Object number: 155.1993.2, </span><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">Copyright: © 2017 Frank Lloyd Wright Foundation / Artists Rights Society (ARS), New York, </span><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">Department: Architecture and Design</span><br />
<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><span style="color: blue;">https://www.moma.org/collection/works/248?locale=en</span></span><br />
<b><span style="font-family: "times" , "times new roman" , serif;">NON-DISCLOSED REPRODUCTION</span></b></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">LAW, ETHICS AND THE VISUAL ARTS</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">On page 816-817 of Kluwer Law International’s published 1998 <i>Law, Ethics and the Visual Arts, Third Edition </i>by John Henry Merryman and Albert E. Elsen, they wrote about “Counterfeit Art.” 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.”</span><span style="color: blue; font-family: "times" , "times new roman" , serif; font-size: x-small;">[FN 35]</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">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.”</span><span style="color: blue; font-family: "times" , "times new roman" , serif; font-size: x-small;">[FN 36]</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">Furthermore, 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…”</span><span style="color: blue; font-family: "times" , "times new roman" , serif; font-size: x-small;">[FN 37]</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">Frank Lloyd Wright, American System-Built Houses for The Richards Company project, Milwaukee, Wisconsin (Exterior perspective), 1915-17, Medium: <u>Lithograph</u>, Dimensions: 11 x 8 1/2" (27.9 x 21.6 cm), Credit: Gift of David Rockefeller, Jr. Fund, Ira Howard Levy Fund, and Jeffrey P. Klein Purchase Fund, Object number: 155.1993.10, Copyright: © 2017 Frank Lloyd Wright Foundation / Artists Rights Society (ARS), New York, Department: Architecture and Design </span></span><br />
<span style="color: blue; font-family: "times" , "times new roman" , serif; font-size: x-small;">https://www.moma.org/collection/works/84849?locale=en</span></div>
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<b style="font-family: times, "times new roman", serif;"></b><b style="font-family: times, "times new roman", serif;">NON-DISCLOSED REPRODUCTION</b><br />
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">CONCLUSION</span></span><br />
<span style="font-family: "times" , "times new roman" , serif; font-size: small;">Finally, would it be "a knowing misrepresentation of the truth or concealment of a material fact to induce another to act to his or her detriment"</span><span style="color: blue; font-family: "times" , "times new roman" , serif; font-size: x-small;">[FN 38] </span><span style="font-family: "times" , "times new roman" , serif; font-size: small;">which is one legal definition of fraud by the Museum of Modern Art [MOMA], if it leads the public to believe and act on the belief, for monetary consideration including but not limited to: adult admission fees of $25</span><span style="color: blue; font-family: "times" , "times new roman" , serif; font-size: x-small;">[FN 39]</span><span style="font-family: "times" , "times new roman" , serif; font-size: small;">, city-state-federal grants, and corporate sponsorship,</span><span style="color: blue; font-family: "times" , "times new roman" , serif; font-size: x-small;">[FN 40]</span><span style="font-family: "times" , "times new roman" , serif; font-size: small;"> that they are viewing Frank Lloyd Wright lithographs in one of their exhibitions when in fact they are not?</span></div>
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<b><span style="font-family: "times" , "times new roman" , serif;">FOOTNOTES:</span></b></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">1. p 617, <i>Seventh Edition of Black's Law Dictionary</i>, Copyright © 1999, By West Group, ISBN 0-314-22864-0</span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">2. </span><span style="text-align: start;"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">https://www.moma.org/collection/works/242?locale=en</span></span><br />
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">"Publication excerpt from Matilda McQuaid, ed., Envisioning Architecture: Drawings from The Museum of Modern Art, New York: The Museum of Modern Art, 2002, pp. 44-45"</span></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><br /></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">3.https://books.google.com/books?id=SyzU6DG0TloC&pg=PA22&lpg=PA22&dq=%22frank+lloyd+wright%22+%22Richards+Company%22+and+%22lithograph%22&source=bl&ots=n6OlJGV35O&sig=79a4YPOligfvsPLWdbzzpS4FmUY&hl=en&sa=X&ved=0ahUKEwiB0Krk6LbUAhVBKCYKHXPBBSMQ6AEIXjAK#v=onepage&q=richards&f=false</span><br />
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">Publisher: Princeton Architectural Press; 1 edition (October 12, 2006)</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">ISBN-10: 1568985835</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">ISBN-13: 978-1568985831</span></span></div>
<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><br /></span>
<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">4. Ibid</span><br />
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<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">5. Ibid</span><br />
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<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">6.Works of Art, Collector's Pieces, Antiques, and Other Cultural Property</span></div>
<div style="line-height: normal; text-align: start;">
<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"> icp061.pdf</span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">http://www.cbp.gov/document/publications/works-art-collectors-pieces-antiques-and-other-cultural-property</span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><br /></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">7. https://www.moma.org/calendar/exhibitions/1660?locale=en</span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><br /></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">8. </span><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">https://www.moma.org/collection/works/84844?locale=en</span><br />
<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><br /></span>
<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">9. </span><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">https://www.moma.org/calendar/exhibitions/1660?locale=en</span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><br /></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">10. http://www.copyright.gov/title17/92chap1.html106a</span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><br /></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">11.http://public.leginfo.state.ny.us/LAWSSEAF.cgi?QUERYTYPE=LAWS+&QUERYDATA=$$ACA15.01$$@TXACA015.01+&LIST=LAW+&BROWSER=BROWSER+&TOKEN=27067392+&TARGET=VIEW</span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><br /></span></div>
<div style="line-height: normal; text-align: start;">
<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">12. https://aamd.org/our-members/members</span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><br /></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">13. Published in 2001 by the Association of Art Museum Directors, <span class="contextualExtensionHighlight ms-font-color-themePrimary ms-border-color-themePrimary ident_962_1007" role="button" style="border-bottom-style: dashed; border-bottom-width: 1px; border-color: rgb(0 , 75 , 139); color: #004b8b; cursor: pointer;" tabindex="0">41 East 65th Street, New York, New York 10021</span>, ISBN 1-880974-02-9</span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><br /></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">14. page 27, Wright on Exhibit: Frank Lloyd Wright's Architectural Exhibitions By Kathryn Smith</span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><br /></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">15.http://www.architechgallery.com/arch_info/exhibit_docs/exhibits_2007/wright_wasmuth_essay.html</span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><br /></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">16. ISBN 0-7649-2017-0</span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><br /></span></div>
<div style="line-height: normal; text-align: start;">
<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">17. ISBN 0-7649-2017-0</span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><br /></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">18. Works of Art, Collector's Pieces, Antiques, and Other Cultural Property</span></div>
<div style="line-height: normal; text-align: start;">
<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"> icp061.pdf</span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">http://www.cbp.gov/document/publications/works-art-collectors-pieces-antiques-and-other-cultural-property</span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><br /></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">19. Viking Adult; 5 Rev Upd edition (May 31, 1991), ISBN-10: 0670837016, ISBN-13: 978-0670837014 [This fifth edition has been prepared by Steven Sheehan, Director of the Ralph Mayer Center, Yale University School of Art.]</span></div>
<div style="line-height: normal; text-align: start;">
<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">https://books.google.com/books?id=fe6mQgAACAAJ&dq=1991+FIFTH+EDITION+OF+ARTIST%27S+HANDBOOK+BY+Ralph+Mayer&hl=en&sa=X&ei=_zuQVLr-PMerggTE-IOQCw&ved=0CDIQ6AEwAA</span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><br /></span></div>
<div style="line-height: normal; text-align: start;">
<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">20.http://www.architechgallery.com/arch_info/exhibit_docs/exhibits_2007/wright_wasmuth_essay.html</span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><br /></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">21. http://www.bauarchitecture.com/research.redsquare.shtml</span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><br /></span></div>
<div style="line-height: normal; text-align: start;">
<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">22. Viking Adult; 5 Rev Upd edition (May 31, 1991), ISBN-10: 0670837016, ISBN-13: 978-0670837014 [This fifth edition has been prepared by Steven Sheehan, Director of the Ralph Mayer Center, Yale University School of Art.]</span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><br /></span></div>
<div style="line-height: normal; text-align: start;">
<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">23. http://www.bauarchitecture.com/research.redsquare.shtml</span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><br /></span></div>
<div style="line-height: normal; text-align: start;">
<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">24.http://www.architechgallery.com/arch_info/exhibit_docs/exhibits_2007/wright_wasmuth_essay.html</span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><br /></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">25. http://www.copyright.gov/title17/92chap1.html#106a</span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><br /></span></div>
<div style="line-height: normal; text-align: start;">
<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">26. http://www.brown.edu/Facilities/Graphic_Services/pdf/trade.pdf</span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><br /></span></div>
<div style="line-height: normal; text-align: start;">
<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">27. http://www.copyright.gov/title17/92chap1.html#103</span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><br /></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">28. ASIN: B001GIOFKQ</span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><br /></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">29. https://www.moma.org/about/ </span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><br /></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">30. https://www.moma.org/calendar/exhibitions/1660?locale=en</span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><br /></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">31. Ibid</span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><br /></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">32. https://www.moma.org/collection/works/84844?locale=en</span><br />
<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><br /></span>
<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">33. </span><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">Copyright © 1999, By West Group, ISBN 0-314-22864-0</span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><br /></span></div>
<div style="line-height: normal; text-align: start;">
<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><span style="font-family: "times" , "times new roman" , serif;">34</span><span style="font-family: "times" , "times new roman" , serif;">. </span></span><span style="color: blue;"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">http://en.wikipedia.org/wiki/Bridgeman_Art_Library_v._Corel_Corp.</span></span><br />
<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><br /></span>
<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">35 © Kluwer Law International 1998, ISBN: 90-411-0697-9</span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><br /></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">36. Ibid</span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><br /></span></div>
<div style="line-height: normal; text-align: start;">
<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">37. Ibid</span><br />
<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><br /></span>
<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">38. </span><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">Copyright © 1999, By West Group, ISBN 0-314-22864-0</span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><br /></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">39. https://www.moma.org/tickets/select</span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">Adults $25, Seniors [65 and over with ID] $18, Students [Full-time with ID] $14</span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><br /></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">40. https://www.moma.org/support/corporate/</span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><br /></span>
<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><br /></span>
<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><br /></span></div>
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<span style="font-family: "times" , "times new roman" , serif;"><span style="text-align: start;"><b>MOMA PRINCIPALS:</b></span></span><br />
<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><span style="font-family: "times" , "times new roman" , serif; text-align: start;"><span style="border: 0px; color: #242424; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"><br /></span></span></span>
<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><span style="font-family: "times" , "times new roman" , serif; text-align: start;"><span style="border: 0px; color: #242424; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Link: </span><span style="border: 0px; margin: 0px; outline: 0px; padding: 0px; text-align: start; vertical-align: baseline;"><span style="color: blue;">http://press.moma.org/2016/06/frank-lloyd-wright-150/</span></span></span></span><br />
<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><span style="font-family: "times" , "times new roman" , serif; text-align: start;"><span style="border: 0px; color: #242424; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"><br /></span></span></span>
<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><span style="font-family: "times" , "times new roman" , serif; text-align: start;"><span style="border: 0px; color: #242424; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Organized by Barry Bergdoll, Curator, Department of Architecture and Design, The Museum of Modern Art, and the Meyer Schapiro Professor of Art History and Archaeology, Columbia University; with Jennifer Gray, Project Research Assistant, Department of Architecture and Design, The Museum of Modern Art.</span></span></span><br />
<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><br /></span>
<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">Link: </span><span style="color: blue; font-family: "times" , "times new roman" , serif; font-size: x-small;">https://www.moma.org/about/senior-staff/</span><br />
<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><br /></span>
<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">Glenn D. Lowry</span><br />
<div style="line-height: normal; text-align: start;">
<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">Director </span><br />
<span style="-webkit-text-stroke: rgb(0, 0, 0); font-family: "times" , "times new roman" , serif; font-size: x-small;">The Museum of Modern Art</span><br />
<span style="-webkit-text-stroke: rgb(0, 0, 0); font-family: "times" , "times new roman" , serif; font-size: x-small;">11 West 53 Street</span><br />
<span style="-webkit-text-stroke: rgb(0, 0, 0); font-family: "times" , "times new roman" , serif; font-size: x-small;">New York, NY 10019</span><br />
<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><br /></span>
<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">Quentin Bajac</span><br />
<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">The Joel and Anne Ehrenkranz Chief Curator for Photography</span><br />
<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><br /></span>
<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">Ramona Bronkar Bannayan</span><br />
<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">Senior Deputy Director of Exhibitions and Collections</span><br />
<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><br /></span>
<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">Klaus Biesenbach</span><br />
<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">Director MOMA PS1, and Chief Curator at Large, MOMA</span><br />
<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><br /></span>
<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">Todd Bishop</span><br />
<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">Senior Deputy Director of External Affairs</span><br />
<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><br /></span>
<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">Christophe Cherix</span><br />
<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">The Robert Lehman Foundation Chief Curator of Drawings and Prints</span><br />
<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><br /></span>
<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">Stuart Comer</span><br />
<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">Chief Curator of media and Performance Art</span><br />
<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><br /></span>
<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">James Gara</span><br />
<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">Chief Operating Officer and Assistant Treasurer</span><br />
<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><br /></span>
<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">Kathy Halbreich</span><br />
<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">Associate Director and Laurenz Foundation Curator</span><br />
<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><br /></span>
<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">Kate Lewis</span><br />
<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">The Agnes Gund Chief Conservator</span><br />
<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><br /></span>
<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">Peter Reed</span><br />
<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">Senior Deputy Director for Curatorial Affairs</span><br />
<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><br /></span>
<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">Rajendra Roy</span><br />
<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">The Celeste Bartos Chief Curator of Film</span><br />
<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><br /></span>
<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">Martino Stierli</span><br />
<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">The Philip Johnson Chief Curator of Architecture and Design</span><br />
<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><br /></span>
<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">Ann Temkin</span><br />
<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">The Marie-Josie and Henry Kravis Chief Curator of Painting and Sculpture</span><br />
<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><br /></span>
<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">Wendy Woon</span><br />
<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">The Edward John Noble Foundation Deptury Director for Education</span></div>
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<span style="font-family: "times" , "times new roman" , serif;"><span style="text-align: start;"><b><br /></b></span></span>
<span style="font-family: "times" , "times new roman" , serif;"><span style="text-align: start;"><b>MOMA's COLLECTION CHECKLIST:</b></span></span></div>
<div class="x_p1" style="line-height: normal;">
<span class="x_s1" style="line-height: normal;"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">LINK: <span style="color: blue;">https://www.moma.org/search?query=FRANK+LLOYD+WRIGHT+LITHOGRAPHS</span></span></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><span class="x_s1" style="line-height: normal;"></span></span></div>
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<span class="x_s1" style="line-height: normal;"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">1. Frank Lloyd Wright. American System-Built Houses for The ...</span></span></div>
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<span class="x_s1" style="line-height: normal;"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">... Medium Lithograph Credit Gift of David Rockefeller, Jr. ... Fund Object number 155.1993.35 Copyright © 2017 Frank Lloyd Wright Foundation / Artists ...</span></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><span class="x_s1" style="line-height: normal;"></span><br /></span></div>
<div class="x_p1" style="line-height: normal;">
<span class="x_s1" style="line-height: normal;"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">2. Frank Lloyd Wright. American System-Built Houses for The ...</span></span></div>
<div class="x_p1" style="line-height: normal;">
<span class="x_s1" style="line-height: normal;"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">... Medium Lithograph Dimensions 11 x 8 1/2" (27.9 x 21.6 ... Fund Object number 155.1993.8 Copyright © 2017 Frank Lloyd Wright Foundation / Artists ...</span></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><span class="x_s1" style="line-height: normal;"></span><br /></span></div>
<div class="x_p1" style="line-height: normal;">
<span class="x_s1" style="line-height: normal;"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">3. Frank Lloyd Wright. American System-Built Houses for The ...</span></span></div>
<div class="x_p1" style="line-height: normal;">
<span class="x_s1" style="line-height: normal;"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">... Medium Lithograph Dimensions 11 x 8 1/2" (27.9 x ... Fund Object number 155.1993.24 Copyright © 2017 Frank Lloyd Wright Foundation / Artists ...</span></span></div>
<div class="x_p2" style="line-height: normal; min-height: 13px;">
<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><span class="x_s1" style="line-height: normal;"></span><br /></span></div>
<div class="x_p1" style="line-height: normal;">
<span class="x_s1" style="line-height: normal;"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">4. Frank Lloyd Wright. American System-Built Houses for The ...</span></span></div>
<div class="x_p1" style="line-height: normal;">
<span class="x_s1" style="line-height: normal;"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">... Medium Lithograph Dimensions 11 x 8 1/2" (27.9 x ... Fund Object number 155.1993.33 Copyright © 2017 Frank Lloyd Wright Foundation / Artists ...</span></span></div>
<div class="x_p2" style="line-height: normal; min-height: 13px;">
<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><span class="x_s1" style="line-height: normal;"></span><br /></span></div>
<div class="x_p1" style="line-height: normal;">
<span class="x_s1" style="line-height: normal;"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">5. Frank Lloyd Wright. American System-Built Houses for The ...</span></span></div>
<div class="x_p1" style="line-height: normal;">
<span class="x_s1" style="line-height: normal;"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">... Medium Lithograph Dimensions 11 x 8 1/2" (27.9 x ... Fund Object number 155.1993.18 Copyright © 2017 Frank Lloyd Wright Foundation / Artists ...</span></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><span class="x_s1" style="line-height: normal;"></span><br /></span></div>
<div class="x_p1" style="line-height: normal;">
<span class="x_s1" style="line-height: normal;"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">6. Frank Lloyd Wright. American System-Built Houses for The ...</span></span></div>
<div class="x_p1" style="line-height: normal;">
<span class="x_s1" style="line-height: normal;"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">... Medium Lithograph Dimensions 8 5/8 x 11" (21.9 x ... Fund Object number 155.1993.16 Copyright © 2017 Frank Lloyd Wright Foundation / Artists ...</span></span></div>
<div class="x_p2" style="line-height: normal; min-height: 13px;">
<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><span class="x_s1" style="line-height: normal;"></span><br /></span></div>
<div class="x_p1" style="line-height: normal;">
<span class="x_s1" style="line-height: normal;"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">7. Frank Lloyd Wright. American System-Built Houses for The ...</span></span></div>
<div class="x_p1" style="line-height: normal;">
<span class="x_s1" style="line-height: normal;"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">... Medium Lithograph Dimensions 11 x 8 1/2" (27.9 x 21.6 ... Fund Object number 155.1993.4 Copyright © 2017 Frank Lloyd Wright Foundation / Artists ...</span></span></div>
<div class="x_p2" style="line-height: normal; min-height: 13px;">
<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><span class="x_s1" style="line-height: normal;"></span><br /></span></div>
<div class="x_p1" style="line-height: normal;">
<span class="x_s1" style="line-height: normal;"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">8. Frank Lloyd Wright. American System-Built Houses for The ...</span></span></div>
<div class="x_p1" style="line-height: normal;">
<span class="x_s1" style="line-height: normal;"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">... Medium Lithograph Dimensions 11 x 8 5/8" (27.9 x ... Fund Object number 155.1993.14 Copyright © 2017 Frank Lloyd Wright Foundation / Artists ...</span></span></div>
<div class="x_p2" style="line-height: normal; min-height: 13px;">
<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><span class="x_s1" style="line-height: normal;"></span><br /></span></div>
<div class="x_p1" style="line-height: normal;">
<span class="x_s1" style="line-height: normal;"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">9. Frank Lloyd Wright. American System-Built Houses for The ...</span></span></div>
<div class="x_p1" style="line-height: normal;">
<span class="x_s1" style="line-height: normal;"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">... Medium Lithograph Dimensions 8 1/2 x 11 1/8" (21.6 x ... Fund Object number 155.1993.15 Copyright © 2017 Frank Lloyd Wright Foundation / Artists ...</span></span></div>
<div class="x_p1" style="line-height: normal;">
<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><br /></span></div>
<div class="x_p1" style="line-height: normal;">
<span class="x_s1" style="line-height: normal;"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">10. Frank Lloyd Wright. American System-Built Houses for The ...</span></span></div>
<div class="x_p1" style="line-height: normal;">
<span class="x_s1" style="line-height: normal;"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">... Medium Lithograph Dimensions 11 1/8 x 8 5/8" (28.3 x ... Fund Object number 155.1993.2 Copyright © 2017 Frank Lloyd Wright Foundation / Artists ...</span></span></div>
<div class="x_p2" style="line-height: normal; min-height: 13px;">
<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><span class="x_s1" style="line-height: normal;"></span><br /></span></div>
<div class="x_p1" style="line-height: normal;">
<span class="x_s1" style="line-height: normal;"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">11. Frank Lloyd Wright. American System-Built Houses for The ...</span></span></div>
<div class="x_p1" style="line-height: normal;">
<span class="x_s1" style="line-height: normal;"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">... Medium Lithograph Dimensions 11 x 8 1/2" (27.9 x 21.6 ... Fund Object number 155.1993.5 Copyright © 2017 Frank Lloyd Wright Foundation / Artists ...</span></span></div>
<div class="x_p2" style="line-height: normal; min-height: 13px;">
<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><span class="x_s1" style="line-height: normal;"></span><br /></span></div>
<div class="x_p1" style="line-height: normal;">
<span class="x_s1" style="line-height: normal;"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">12. Frank Lloyd Wright. American System-Built Houses for The ...</span></span></div>
<div class="x_p1" style="line-height: normal;">
<span class="x_s1" style="line-height: normal;"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">... Medium Lithograph Dimensions 11 x 8 1/2" (27.9 x ... Fund Object number 155.1993.12 Copyright © 2017 Frank Lloyd Wright Foundation / Artists ...</span></span></div>
<div class="x_p2" style="line-height: normal; min-height: 13px;">
<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><span class="x_s1" style="line-height: normal;"></span><br /></span></div>
<div class="x_p1" style="line-height: normal;">
<span class="x_s1" style="line-height: normal;"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">13. Frank Lloyd Wright. American System-Built Houses for The ...</span></span></div>
<div class="x_p1" style="line-height: normal;">
<span class="x_s1" style="line-height: normal;"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">... Medium Lithograph Dimensions 11 x 8 1/2" (27.9 x 21.6 ... Fund Object number 155.1993.3 Copyright © 2017 Frank Lloyd Wright Foundation / Artists ...</span></span></div>
<div class="x_p2" style="line-height: normal; min-height: 13px;">
<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><span class="x_s1" style="line-height: normal;"></span><br /></span></div>
<div class="x_p1" style="line-height: normal;">
<span class="x_s1" style="line-height: normal;"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">14. Frank Lloyd Wright. American System-Built Houses for The ...</span></span></div>
<div class="x_p1" style="line-height: normal;">
<span class="x_s1" style="line-height: normal;"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">... Medium Lithograph Dimensions 11 x 8 1/2" (27.9 x 21.6 ... Fund Object number 155.1993.1 Copyright © 2017 Frank Lloyd Wright Foundation / Artists ...</span></span></div>
<div class="x_p2" style="line-height: normal; min-height: 13px;">
<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><span class="x_s1" style="line-height: normal;"></span><br /></span></div>
<div class="x_p1" style="line-height: normal;">
<span class="x_s1" style="line-height: normal;"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">15. Frank Lloyd Wright. American System-Built Houses for The ...</span></span></div>
<div class="x_p1" style="line-height: normal;">
<span class="x_s1" style="line-height: normal;"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">... Medium Lithograph Credit Gift of David Rockefeller, Jr. ... Fund Object number 155.1993.34 Copyright © 2017 Frank Lloyd Wright Foundation / Artists ...</span></span></div>
<div class="x_p2" style="line-height: normal; min-height: 13px;">
<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><span class="x_s1" style="line-height: normal;"></span><br /></span></div>
<div class="x_p1" style="line-height: normal;">
<span class="x_s1" style="line-height: normal;"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">16. Frank Lloyd Wright. American System-Built Houses for The ...</span></span></div>
<div class="x_p1" style="line-height: normal;">
<span class="x_s1" style="line-height: normal;"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">... Medium Lithograph Dimensions 11 x 8 1/2" (27.9 x 21.6 ... Fund Object number 155.1993.9 Copyright © 2017 Frank Lloyd Wright Foundation / Artists ...</span></span></div>
<div class="x_p2" style="line-height: normal; min-height: 13px;">
<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><span class="x_s1" style="line-height: normal;"></span><br /></span></div>
<div class="x_p1" style="line-height: normal;">
<span class="x_s1" style="line-height: normal;"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">17. Frank Lloyd Wright. American System-Built Houses for The ...</span></span></div>
<div class="x_p1" style="line-height: normal;">
<span class="x_s1" style="line-height: normal;"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">... Medium Lithograph Credit Gift of David Rockefeller, Jr. ... Fund Object number 155.1993.36 Copyright © 2017 Frank Lloyd Wright Foundation / Artists ...</span></span></div>
<div class="x_p2" style="line-height: normal; min-height: 13px;">
<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><span class="x_s1" style="line-height: normal;"></span><br /></span></div>
<div class="x_p1" style="line-height: normal;">
<span class="x_s1" style="line-height: normal;"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">18. Frank Lloyd Wright. American System-Built Houses for The ...</span></span></div>
<div class="x_p1" style="line-height: normal;">
<span class="x_s1" style="line-height: normal;"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">... Medium Lithograph Dimensions 11 x 8 1/2" (27.9 x 21.6 ... Fund Object number 155.1993.6 Copyright © 2017 Frank Lloyd Wright Foundation / Artists ...</span></span></div>
<div class="x_p2" style="line-height: normal; min-height: 13px;">
<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><span class="x_s1" style="line-height: normal;"></span><br /></span></div>
<div class="x_p1" style="line-height: normal;">
<span class="x_s1" style="line-height: normal;"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">19. Frank Lloyd Wright. American System-Built Houses for The ...</span></span></div>
<div class="x_p1" style="line-height: normal;">
<span class="x_s1" style="line-height: normal;"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">... Medium Lithograph Dimensions 11 x 8 1/2" (27.9 x ... Fund Object number 155.1993.17 Copyright © 2017 Frank Lloyd Wright Foundation / Artists ...</span></span></div>
<div class="x_p2" style="line-height: normal; min-height: 13px;">
<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><span class="x_s1" style="line-height: normal;"></span><br /></span></div>
<div class="x_p1" style="line-height: normal;">
<span class="x_s1" style="line-height: normal;"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">20. Frank Lloyd Wright. American System-Built Houses for The ...</span></span></div>
<div class="x_p1" style="line-height: normal;">
<span class="x_s1" style="line-height: normal;"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">... Medium Lithograph Credit Gift of David Rockefeller, Jr. ... Fund Object number 155.1993.27 Copyright © 2017 Frank Lloyd Wright Foundation / Artists ...</span></span></div>
<div class="x_p2" style="line-height: normal; min-height: 13px;">
<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><span class="x_s1" style="line-height: normal;"></span><br /></span></div>
<div class="x_p1" style="line-height: normal;">
<span class="x_s1" style="line-height: normal;"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">21. Frank Lloyd Wright. American System-Built Houses for The ...</span></span></div>
<div class="x_p1" style="line-height: normal;">
<span class="x_s1" style="line-height: normal;"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">... Medium Lithograph Credit Gift of David Rockefeller, Jr. ... Fund Object number 155.1993.30 Copyright © 2017 Frank Lloyd Wright Foundation / Artists ...</span></span></div>
<div class="x_p2" style="line-height: normal; min-height: 13px;">
<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><span class="x_s1" style="line-height: normal;"></span><br /></span></div>
<div class="x_p1" style="line-height: normal;">
<span class="x_s1" style="line-height: normal;"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">22. Frank Lloyd Wright. American System-Built Houses for The ...</span></span></div>
<div class="x_p1" style="line-height: normal;">
<span class="x_s1" style="line-height: normal;"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">... Medium Lithograph Credit Gift of David Rockefeller, Jr. ... Fund Object number 155.1993.31 Copyright © 2017 Frank Lloyd Wright Foundation / Artists ...</span></span></div>
<div class="x_p2" style="line-height: normal; min-height: 13px;">
<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><span class="x_s1" style="line-height: normal;"></span><br /></span></div>
<div class="x_p1" style="line-height: normal;">
<span class="x_s1" style="line-height: normal;"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">23. Frank Lloyd Wright. American System-Built Houses for The ...</span></span></div>
<div class="x_p1" style="line-height: normal;">
<span class="x_s1" style="line-height: normal;"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">... Medium Lithograph Dimensions 11 x 8 1/2" (27.9 x ... Fund Object number 155.1993.19 Copyright © 2017 Frank Lloyd Wright Foundation / Artists ...</span></span></div>
<div class="x_p2" style="line-height: normal; min-height: 13px;">
<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><span class="x_s1" style="line-height: normal;"></span><br /></span></div>
<div class="x_p1" style="line-height: normal;">
<span class="x_s1" style="line-height: normal;"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">24. Frank Lloyd Wright. American System-Built Houses for The ...</span></span></div>
<div class="x_p1" style="line-height: normal;">
<span class="x_s1" style="line-height: normal;"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">... Medium Lithograph Credit Gift of David Rockefeller, Jr. ... Fund Object number 155.1993.20 Copyright © 2017 Frank Lloyd Wright Foundation / Artists ...</span></span></div>
<div class="x_p2" style="line-height: normal; min-height: 13px;">
<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><span class="x_s1" style="line-height: normal;"></span><br /></span></div>
<div class="x_p1" style="line-height: normal;">
<span class="x_s1" style="line-height: normal;"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">25. Frank Lloyd Wright. American System-Built Houses for The ...</span></span></div>
<div class="x_p1" style="line-height: normal;">
<span class="x_s1" style="line-height: normal;"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">... Medium Lithograph Credit Gift of David Rockefeller, Jr. ... Fund Object number 155.1993.25 Copyright © 2017 Frank Lloyd Wright Foundation / Artists ...</span></span></div>
<div class="x_p2" style="line-height: normal; min-height: 13px;">
<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><span class="x_s1" style="line-height: normal;"></span><br /></span></div>
<div class="x_p1" style="line-height: normal;">
<span class="x_s1" style="line-height: normal;"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">26. Frank Lloyd Wright. American System-Built Houses for The ...</span></span></div>
<div class="x_p1" style="line-height: normal;">
<span class="x_s1" style="line-height: normal;"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">... Medium Lithograph Dimensions 11 x 8 1/2" (27.9 x ... Fund Object number 155.1993.10 Copyright © 2017 Frank Lloyd Wright Foundation / Artists ...</span></span></div>
<div class="x_p2" style="line-height: normal; min-height: 13px;">
<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><span class="x_s1" style="line-height: normal;"></span><br /></span></div>
<div class="x_p1" style="line-height: normal;">
<span class="x_s1" style="line-height: normal;"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">27. Frank Lloyd Wright. American System-Built Houses for The ...</span></span></div>
<div class="x_p1" style="line-height: normal;">
<span class="x_s1" style="line-height: normal;"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">... Medium Lithograph Credit Gift of David Rockefeller, Jr. ... Fund Object number 155.1993.28 Copyright © 2017 Frank Lloyd Wright Foundation / Artists ...</span></span></div>
<div class="x_p2" style="line-height: normal; min-height: 13px;">
<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><span class="x_s1" style="line-height: normal;"></span><br /></span></div>
<div class="x_p1" style="line-height: normal;">
<span class="x_s1" style="line-height: normal;"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">28. Frank Lloyd Wright. American System-Built Houses for The ...</span></span></div>
<div class="x_p1" style="line-height: normal;">
<span class="x_s1" style="line-height: normal;"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">... Medium Lithograph Credit Gift of David Rockefeller, Jr. ... Fund Object number 155.1993.22 Copyright © 2017 Frank Lloyd Wright Foundation / Artists ...</span></span></div>
<div class="x_p2" style="line-height: normal; min-height: 13px;">
<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><span class="x_s1" style="line-height: normal;"></span><br /></span></div>
<div class="x_p1" style="line-height: normal;">
<span class="x_s1" style="line-height: normal;"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">29. Frank Lloyd Wright. American System-Built Houses for The ...</span></span></div>
<div class="x_p1" style="line-height: normal;">
<span class="x_s1" style="line-height: normal;"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">... Medium Lithograph Credit Gift of David Rockefeller, Jr. ... Fund Object number 155.1993.21 Copyright © 2017 Frank Lloyd Wright Foundation / Artists ...</span></span></div>
<div class="x_p2" style="line-height: normal; min-height: 13px;">
<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><span class="x_s1" style="line-height: normal;"></span><br /></span></div>
<div class="x_p1" style="line-height: normal;">
<span class="x_s1" style="line-height: normal;"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">30. Frank Lloyd Wright. American System-Built Houses for The ...</span></span></div>
<div class="x_p1" style="line-height: normal;">
<span class="x_s1" style="line-height: normal;"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">... Medium Lithograph Dimensions 11 x 8 1/2" (27.9 x ... Fund Object number 155.1993.11 Copyright © 2017 Frank Lloyd Wright Foundation / Artists ...</span></span></div>
<div class="x_p2" style="line-height: normal; min-height: 13px;">
<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><span class="x_s1" style="line-height: normal;"></span><br /></span></div>
<div class="x_p1" style="line-height: normal;">
<span class="x_s1" style="line-height: normal;"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">31. Frank Lloyd Wright. American System-Built Houses for The ...</span></span></div>
<div class="x_p1" style="line-height: normal;">
<span class="x_s1" style="line-height: normal;"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">... Medium Lithograph Credit Gift of David Rockefeller, Jr. ... Fund Object number 155.1993.23 Copyright © 2017 Frank Lloyd Wright Foundation / Artists ...</span></span></div>
<div class="x_p2" style="line-height: normal; min-height: 13px;">
<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><span class="x_s1" style="line-height: normal;"></span><br /></span></div>
<div class="x_p1" style="line-height: normal;">
<span class="x_s1" style="line-height: normal;"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">32. Frank Lloyd Wright. American System-Built Houses for The ...</span></span></div>
<div class="x_p1" style="line-height: normal;">
<span class="x_s1" style="line-height: normal;"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">... Medium Lithograph Credit Gift of David Rockefeller, Jr. ... Fund Object number 155.1993.26 Copyright © 2017 Frank Lloyd Wright Foundation / Artists ...</span></span></div>
<div class="x_p2" style="line-height: normal; min-height: 13px;">
<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><span class="x_s1" style="line-height: normal;"></span><br /></span></div>
<div class="x_p1" style="line-height: normal;">
<span class="x_s1" style="line-height: normal;"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">33. Frank Lloyd Wright. American System-Built Houses for The ...</span></span></div>
<div class="x_p1" style="line-height: normal;">
<span class="x_s1" style="line-height: normal;"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">... Medium Lithograph Credit Gift of David Rockefeller, Jr. ... Fund Object number 155.1993.32 Copyright © 2017 Frank Lloyd Wright Foundation / Artists ...</span></span></div>
<div class="x_p2" style="line-height: normal; min-height: 13px;">
<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><span class="x_s1" style="line-height: normal;"></span><br /></span></div>
<div class="x_p1" style="line-height: normal;">
<span class="x_s1" style="line-height: normal;"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">34. Frank Lloyd Wright. American System-Built Houses for The ...</span></span></div>
<div class="x_p1" style="line-height: normal;">
<span class="x_s1" style="line-height: normal;"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">... Medium Lithograph Dimensions 11 x 8 1/2 ... full-page advertisement for Frank Lloyd Wright's new "System ... the style of Wright's lithographs evinces his ...</span></span></div>
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</style>Gary Arseneauhttp://www.blogger.com/profile/10379667479866306615noreply@blogger.comtag:blogger.com,1999:blog-34909527.post-74899048164687256012017-02-18T00:50:00.001-05:002017-02-28T13:29:18.792-05:00200 Arthur Ross' Fakes Not Meant to Be Disclosed at the University of Florida's Harn Museum of Art<style type="text/css">
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">NOTE: Footnotes are enclosed as </span><span style="color: blue; font-family: "times" , "times new roman" , serif; font-size: x-small;">[FN]</span><span style="font-family: "times" , "times new roman" , serif; font-size: small;">.</span></span></div>
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<span style="font-size: x-small;">PL. 40, Francisco Goya, <i>Disparate ridiculo</i> [Ridiculous Folly], also known as Andarse por las ramas [To Go among The Branches], from<i> Los disparates</i> (<i>Los proverbios</i>) (Follies [Proverbs]), ca. 1816-19, published 1864.</span><br />
<span style="font-size: x-small;">page 122, Collection Highlights in <i style="font-family: times, "times new roman", serif; text-align: justify;">Meant to Be Shared, Arthur Ross Collection of European Prints</i><span style="font-family: "times" , "times new roman" , serif; text-align: justify;"> catalogue</span></span><br />
<span style="font-family: "times" , "times new roman" , serif;">NON-DISCLOSED POSTHUMOUS FAKE</span><br />
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: x-large;">O</span><span style="font-family: "times" , "times new roman" , serif; font-size: small;">ne legal definition of fake is "something that is not what it purports to be."[</span><span style="color: blue; font-family: "times" , "times new roman" , serif; font-size: x-small;">FN 1]</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">The University of Florida and its Harn Museum of Art's January 31, 2017 to May 28, 2017 <i>Meant to Be Shared, The Arthur Ross Collection of European Prints </i>exhibition with its<i> Meant to Be Shared, Arthur Ross Collection of European Prints </i>catalogue, from Yale University and its Yale University Art Gallery, is riddled with 200 non-disclosed fakes falsely attributed as original works of visual art i.e., etchings, engravings and woodcuts to artists: Gauguin, Goya, Tiepolo, Pissarro, and Piranesi who were dead when they were made.</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">The dead don't etch, engrave or woodcut.</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">The above titled <i>Disparate ridiculo</i> with a "1864" date, falsely attributed as an original work of visual art i.e., etching to a Francisco de Goya y Lucientes [d 1828] is a prime example of "something that is not what it purports to be" in this exhibition and its catalogue.</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">Yet, the University of Florida Harn Museum of Art's <b>Mission</b> states: "The University of Florida’s Samuel P. Harn Museum of Art collaborates with university and community partners to inspire, educate and enrich people’s lives through art. The museum brings the joy of experiencing great works of art to diverse university, community, national and global audiences through relevant and enlightening art collections, exhibitions and learning opportunities."</span><span style="color: blue; font-family: "times" , "times new roman" , serif; font-size: x-small;">[FN 2]</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">"Great works of art" are created by living artists, not posthumously and then falsely attributed to them.</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">The University of Florida and its Harn Museum of Art solicit monetary considerations including but not limited to: "through a gift to the annual fund, documenting a commitment in your estate plans, making a life income gift to the museum, or establishing an endowment to ensure that your favorite programs continue in perpetuity."</span><span style="color: blue; font-family: "times" , "times new roman" , serif; font-size: x-small;">[FN 3]</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">Rhetorically, how can patrons give informed consent on whether to patronize a museum when an academic institution and its museum fails to give full and honest disclosure?</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">Additionally, the lending institution Yale University and its Yale University Art Gallery's states: "The mission of the Yale University Art Gallery is to encourage appreciation and understanding of art and its role in society through direct engagement with original works of art. The Gallery stimulates active learning about art and the creative process through research, teaching, and dialogue among communities of Yale students, faculty, artists, scholars, alumni, and the wider public. The Gallery organizes exhibitions and educational programs to offer enjoyment and encourage inquiry, while building and maintaining its collections in trust for future generations."</span><span style="color: blue; font-family: "times" , "times new roman" , serif; font-size: x-small;">[FN 4]</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">So, how can the public have "direct engagement with original works of art," in the University of Florida and its Harn Museum of Art's January 31, 2017 to May 28, 2017 <i>Meant to Be Shared, The Arthur Ross Collection of European Prints</i> exhibition from Yale University and its Yale University Art Gallery, if 200 of the so-called "original works of art" are actually non-disclosed posthumous fakes that were not created or approved by the artists because they were dead.</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">The dead don't create original works of art.</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">This monograph documents that fact.</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">Fig. 8. Paul Gauguin, <i>Noa Noa</i> (Fragrance), 1893-94, Woodcut, 14 X 8 1/8 in. (35.5 x 20.6 cm), Yale University Art Gallery, The Arthur Ross Collection, 2012.159.91 [page 9, <i>Meant to Be Shared, The Arthur Ross Collection of European Prints</i>]</span></span><br />
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">NON-DISCLOSED POSTHUMOUS FAKE</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">[Detail] Fig. 8. Paul Gauguin,<i> Noa Noa</i> (Fragrance), 1893-94, Woodcut, 14 X 8 1/8 in. (35.5 x 20.6 cm), Yale University Art Gallery, The Arthur Ross Collection, 2012.159.91 [page 9, <i>Meant to Be Shared, The Arthur Ross Collection of European Prints</i>]</span></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><span style="-webkit-text-stroke: rgb(0, 0, 0);"><i>Noa Noa </i>(Fragrant scent), Upper half of sheet; central woman in group, seen from waist upwards, with tree surmounted by cut inscription 'NoaNoa PGO'. The lower half of sheet is a central woman in group, seen from the waist downwards, with her dog. 1893/4. Colour woodcut printed in black over dark orange. Photograph shows both sections., </span><span class="s1" style="-webkit-text-stroke: rgb(0, 0, 0);">Museum number </span><span style="-webkit-text-stroke: rgb(0, 0, 0);">1949,0411.3679.a</span></span><br />
<span style="color: blue; font-family: "times" , "times new roman" , serif; font-size: x-small;">http://www.britishmuseum.org/research/collection_online/collection_object_details/collection_image_gallery.aspx?partid=1&assetid=23874001&objectid=684616</span><br />
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">LIFETIME WOODCUT BY PAUL GAUGUIN</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: x-large;">T</span><span style="font-family: "times" , "times new roman" , serif; font-size: small;">he <i>Noa Noa</i> image, in the Yale University and its Yale University Art Gallery's Arthur Ross collection, is signed in pencil: <i>"Paul Gauguin fait"</i> and <i>"Pola Gauguin imp"</i> with an 1893-94 date. </span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">Pola Gauguin, Paul Gauguin's son, was born in 1893. Since <i>"Pola Gauguin imp,"</i> penciled bottom right of the titled <i>Noa Noa,</i> means: "I am the printer," it should be clear Paul Gauguin's baby boy Pola could not have signed, much less printed anything in 1893-94.</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">In the 1920s, Pola Gauguin was the printer for posthumous impressions of his dead father Paul Gauguin's [d 1903] wood blocks. This non-disclosed posthumous impression titled <i>Noa Noa</i>, like all posthumous impressions from Paul Gauguin's wood blocks, could not have been approved, much less printed by a dead Paul Gauguin. Therefore, posthumous impressions from his wood blocks could never be an original work of visual art i.e., woodcuts, much less attributable to the dead Paul Gauguin [d 1903]. </span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">PHOTO: <span style="color: blue;">https://www.findagrave.com/cgi-bin/fg.cgi </span></span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">PAUL GAUGUIN [D 1903] </span></span><br />
<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">BURIED IN ATUONA, FRENCH POLYNESIA</span></span></div>
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<span style="font-family: "times" , "times new roman" , serif;"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">Pola Gauguin posthumous printing of his father Paul Gauguin's wood blocks is confirmed on page 42 of <i>Artists & Prints: Masterworks from the Museum of Modern Art</i>, Sarah Suzuki wrote: "In addition to the <i>Noa Noa </i>woodcuts printed by the artist, impressions were also pulled by the professional printer Louis Roy during the artist's lifetime, others were produced posthumously by Gauguin's son Pola, and by others."</span><span style="color: blue; font-family: "times" , "times new roman" , serif; font-size: x-small;">[FN 5]</span></span><br />
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">In other words, Arthur Ross' <i>Noa Noa</i>, falsely attributed to Paul Gauguin, is "something that is not what it purports to be" which is one legal definition of fake.</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">Additionally, the Art Gallery of Ontario [AGO] Assistant Curator of Prints and Drawings [Ph.D in Art History] Alexa A. Greist, a “specialist in Italian Renaissance works on paper who worked at the Yale University Art Gallery,”</span><span style="color: blue; font-family: "times" , "times new roman" , serif; font-size: x-small;">[FN 6]</span><span style="font-family: "times" , "times new roman" , serif; font-size: small;"> authored the “Arthur Ross: The Collector” essay in the Yale University published <i>Meant to Be Shared, Arthur Ross Collection of European Prints</i> catalogue. On page 8, this specialist wrote: </span></span><span style="font-family: "times" , "times new roman" , serif; font-size: small;">“In 1998 Ross began to acquire prints by nineteenth-century French artists, including Paul Cezanne, Jean-Baptiste-Camille Corot, Honore Daumier, Delacroix, Paul Gauguin, Manet, and Camille Pissarro works that reflected both what was available on the market at the time and the collector’s lifelong interest in craftsmanship and process. To Ross these works represented the creativity of artists “who transformed the development of printmaking with originality.”</span><span style="color: blue; font-family: "times" , "times new roman" , serif; font-size: x-small;">[FN 7]</span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">A posthumous [1920s] impression printed by Pola Gauguin from Paul Gauguin's <i>Noa Noa</i> wood block does not qualify as the "development of printmaking with originality."</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">Under U.S. Copyright Law 106A, the Rights of Attribution "shall not apply to any reproductions."</span><span style="color: blue; font-family: "times" , "times new roman" , serif; font-size: x-small;">[FN 8] </span><span style="font-family: "times" , "times new roman" , serif; font-size: small;">Rhetorically, if the Rights of Attribution does not apply to reproductions, would posthumous impressions, much less posthumous fakes be any different?</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">Now, in contrast, the Paul Gauguin lifetime printed woodcut [also above], in the British Museum collection, has the following "Curator Comment": </span></span></div>
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<span style="-webkit-text-stroke-width: initial; font-family: "times" , "times new roman" , serif; font-size: small;">"This is the upper half of an impression of one of the plates from the <i>Noa Noa</i> suite printed by Roy, which were first exhibited in Gauguin's studio in December 1894. The blocks were printed in black and the colours added through stencils. It is cut to the margins and pasted down onto a blue mottled backing paper (now discoloured to brown) in a way that is characteristic of the manner in which Gauguin himself used to mount the impressions printed for him by Roy in 1894. For a complete such impression dedicated to Mallarmé, see 'Gauguin', Grand Palais Paris, 1989, p.365. </span><span style="-webkit-text-stroke-width: initial; font-family: "times" , "times new roman" , serif; font-size: small;">This fragment (unrecorded in the Mongan/Kornfeld/Joachim catalogue) turned up in a French private collection, and was brought in to the BM by Sotheby's before the July 2004 auction. It was obvious that it joined precisely a fragment of the lower half that had come to the BM in the bequest of Campbell Dodgson in 1949 (1949-4-11-3679a). The estimate in the auction catalogue was £4/6,000. It was bought in, and the BM subsequently secured it by private treaty for £3,000 plus premiums, using funds previously donated by the Martineau Family Charity.</span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">"It is known that Gauguin was unhappy with the way in which Roy had printed the <i>Noa Noa </i>series, and that he frequently cut and re-used impressions to illustrate his writings. There is therefore every reason to think that it was Gauguin himself who tore this impression in halves, and that this is the first time that they have been reunited since the 1890s."</span><span style="color: blue; font-family: "times" , "times new roman" , serif; font-size: x-small;">[FN 9]</span></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: small;">Rhetorically, if the artist Paul Gauguin, when alive, was demanding about how his wood blocks were printed, shouldn't museum professionals and scholars, much less the public, demand full and honest disclosure to posthumous impressions i.e., fakes being falsely attributed to a dead Paul Gauguin? </span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">Francisco Goya, Spanish, 1746–1828, <i>Que valor! </i>(What Courage!), Plate 7, from <i>Los desastres de la guerra </i>(The Disasters of War), 1863, Etching, aquatint, drypoint, burin and burnisher, platemark: 15.5 x 21 cm (6 1/8 x 8 1/4 in.) framed: 45.4 x 50.5 x 2.55 cm (17 7/8 x 19 7/8 x 1 in.), The Arthur Ross Collection, 2012.159.37.8</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">NON-DISCLOSED POSTHUMOUS FORGERY NOT BY GOYA</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">[Francisco de Goya y Lucientes] <i>Los Desastres de la Guerra</i> (The Disasters of War) / <i>Que valor!</i> (What courage!), Plate 7: young woman standing on mound of corpses, lighting cannon fuse; from a bound album of working proofs, presented by the artist to Ceán Bermúde, 1810-12, Etching, drypoint, burin and burnisher, AN37955001, © The Trustees of the British Museum, Department: Prints & Drawings, Registration number: 1975,1025.421.9, Bibliographic reference Delteil 126 Harris 127.I.3</span></span></div>
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<span class="s1"><span style="color: blue; font-family: "times" , "times new roman" , serif; font-size: x-small;">http://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=1333694&partId=1&searchText=goya&page=6</span></span><br />
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">LIFETIME ETCHING BY GOYA</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">Francisco de Goya y Lucientes died in 1828. </span></span><br />
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">The Arthur Ross' collection of <i>The Disasters of War</i> etchings, listed with the "1863" date, are not even posthumous impressions from Francisco de Goya y Lucientes' original etching plates. Francisco de Goya y Lucientes' original <i>Disasters of War</i> etching plates were posthumously [1863] reworked and altered with aquatint [making them darker] and new lines [creating new compositions] with printed titles [correcting Goya's spelling] by the Royal Academy of Madrid. This was obscenely done to fit the sensibilities of mid-19th-century perspective, that despite Goya's attempt to bring light to these atrocities, dark subject matter should look dark. </span></span><br />
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">In other words, Arthur Ross' collection of <i>The Disasters of War</i>, falsely attributed to Francisco de Goya y Lucientes, is not only "something that is not what it purports to be" which is one legal definition of fake but with the reworking and altering of his original etching plates, the subsequent posthumous impressions becomes "the act of fraudulently making a false document or altering a real one to be used as if genuine"</span><span style="color: blue; font-family: "times" , "times new roman" , serif; font-size: x-small;">[FN 10] </span><span style="font-family: "times" , "times new roman" , serif; font-size: small;">which is one legal definition of forgery.</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">FRANCISCO GOYA [D 1828] </span></span><br />
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">BURIED IN SAN ANTONIO DEL LA FLORIDA, PROVINCIA DE MADRID, SPAIN</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">The posthumous reworking and alterations of Goya's lifetime etching plates, with aquatint, etched lines outlining the images and titles by the Royal Academy in Madrid, is confirmed, in part, by Janis A. Tomlinson, Lecturer [February 28, 2017] for the </span></span><span style="font-family: "times" , "times new roman" , serif; font-size: small;"><span style="-webkit-text-stroke: rgb(0, 0, 0);"><span style="font-family: "times" , "times new roman" , serif;"><i>Meant to Be Shared, The Arthur Ross Collection of European Prints</i></span></span><span style="font-family: "times" , "times new roman" , serif;"> exhibition at the University of Florida's Harn Museum of Art.</span></span><span style="color: blue; font-family: "times" , "times new roman" , serif; font-size: x-small;">[FN 11]</span><span style="font-family: "times" , "times new roman" , serif; font-size: small;"> In her 1992 <i>Goya In the Twilight of Enlightenment</i> catalogue, published by Yale University Press that after Goya's lifetime <i>Disasters of War</i> etching plates were acquired by the Academy of Fine Art of San Fernando in 1862, Janis A. Tomlinson wrote: </span><span style="font-family: "times" , "times new roman" , serif; font-size: small;">"To make the first edition of the series most of the plates were altered, completing the lines framing the scenes, adding scratches, and even brunienclo areas of aquatint (7) and tinkering with drypoint (1, 77), chisel (38) or etching (43, 57). Besides printing was performed following the style of the time by the effects of entrapado, a procedure which passes a muslin cloth over the plate and inked on the surface leaving a certain amount of ink that produces a very soft toned overall. The result was far from the force and clarity that can be seen in the many state tests are preserved."</span><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><span style="color: blue; font-size: x-small;">[FN 12]</span><span style="font-size: small;"> </span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">In 1863, the Royal Academy of Madrid printed 500 posthumous forgeries, falsely attributed as original works of visual art i.e., etchings to a dead Francisco de Goya y Lucientes [d 1828], from each of these 80 posthumously reworked and altered <i>The Disasters of War</i> etchings plates [totaling 40,000]. </span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">After these 40,000 posthumous forgeries from 80 posthumously reworked and altered <i>The Disasters of War </i>etching plates were printed, these etching plates were steel-plated, permanently codifying not only the posthumous changes made to them by the Royal Academy of Madrid but the wear and tear from their massive posthumous printing. </span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">Then as if that was not enough, from 1892 to 1937 or later, the Royal Academy of Madrid printed an additional 40,000 forgeries [now totaling 80,000] from the posthumously reworked, altered and steel-plated plates then continued to falsely attributed them as original works of visual art i.e., etchings to a dead Francisco de Goya y Lucientes.</span></span><br />
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">In contrast to the mythology perpetuated on page 162 in the <i>Meant to Be Shared, Arthur Ross Collection of European Prints</i> catalogue that the "first edition"</span><span style="color: blue; font-family: "times" , "times new roman" , serif; font-size: x-small;">[FN 13]</span><span style="font-family: "times" , "times new roman" , serif; font-size: small;"> of Goya's <i>The Disasters of War </i>was published in 1863, Francisco de Goya y Lucientes actually printed some 485 original works of visual art i.e., etchings total from his 80 <i>The Disasters of War</i> etching plates before his death. These lifetime <i>The Disasters of War</i> etchings are confirmed, in part, by the British Museum on their website. The British Museum Curators wrote: </span></span><span style="font-family: "times" , "times new roman" , serif; font-size: small;">"The album is in the original mottled calf binding with marbled endpapers and gold tooling, with a manuscript title page by Bermúdez with annotation (by Carderera?) at the base. There is also a manuscript insert, in two different hands; (see 1975,1025.421.1-2 for more detail). The album is also signed by Goya on the closed sheet edges. It contains the full set of eighty plates plus two unpublished, some touched with graphite, with an additional three touched impressions of H. 26-8 pasted in at the back, also with pencilled titles by Goya."</span><span style="color: blue; font-family: "times" , "times new roman" , serif; font-size: x-small;">[FN 14]</span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: small;">Yet, on page 3, of "Arthur Ross, The Collector" essay, Alexa A. Greist wrote: "According to Clifford Ross, the range of emotional tone that Goya displayed in his prints fascinated his father, from the bawdy hilarity of the <i>Caprichos</i> to the disturbing images of human cruelty in the <i>Disasters of War </i>and the profoundly enigmatic ones of the <i>Disparates</i>." </span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: small;">The collector Arthur Ross may of been fascinated, it is unfortunate it was not matched by authenticity.</span><br />
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<span style="font-family: "times" , "times new roman" , serif; font-size: small;">Additionally, </span><span style="font-family: "times" , "times new roman" , serif; font-size: small;">on page 3 in her "Arthur Ross, The Collector" essay<span style="-webkit-text-stroke-width: initial;"> </span></span><span style="-webkit-text-stroke-width: initial; font-family: "times" , "times new roman" , serif; font-size: small;">Alexa A. Greist perpetuate the the mythology of "edition" and oeuvre authenticity when she wrote: "Inspired by his initial purchase of prints by Goya, Ross Began to collect as much of the artist's printed oeuvre as he could, focusing on early editions or states and insisting on strong provenances."</span><span style="-webkit-text-stroke-width: initial; color: blue; font-family: "times" , "times new roman" , serif; font-size: x-small;">[FN 15]</span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">The term -provenance- is defined, under the Getty Vocabulary Program, as: “A record of previous ownership or previous locations of a work.”</span><span style="color: blue; font-family: "times" , "times new roman" , serif; font-size: x-small;">[FN 16]</span></span><br />
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">All 80 of the listed <i>The Disasters of War</i> "published 1863 [first edition]," falsely attributed to Francisco de Goya y Lucientes [d 1828] as original works of visual art i.e., etchings, is 35 years removed from any possibility of provenance to him.</span></span><br />
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">80 NON-DISCLOSED POSTHUMOUS FORGERIES</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">Yet, on page 162-163 of the <i>Meant to Be Shared, The Arthur Ross Collection of European Prints </i>catalogue, Francisco Goya [d 1828] is listed as the artist for <i>"Los desastre de la guerra, Coleccion de ochenta laminas inventadas y grabades al agua fuerte por Don Francisco Goya </i>(The Disasters of War, Collection of Eighty Plates Designed and Etched by Don Francisco Goya), ca. 1810-14, published 1863 (first edition).</span></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: small;">Remember, Francisco de Goya y Lucientes died in 1828. The dead don't etch. </span><br />
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<span style="font-family: "times" , "times new roman" , serif; font-size: small;">Then to add insult to injury, Francisco de Goya y Lucientes' original <i>The Disasters of War</i> plates, as documented earlier, were posthumously reworked and altered by the Royal Academy, Madrid. Therefore, anything posthumously printed those plates would never be a posthumous impression, much less an original work of visual art i.e., etching. Any posthumous printing of these reworked and altered plates would be the </span><span style="font-family: "times" , "times new roman" , serif; font-size: small;">"act of fraudulently making a false document or altering a real one to be used as if genuine," which as documented earlier is one legal definition of </span><span style="-webkit-text-stroke-width: initial; font-family: "times" , "times new roman" , serif; font-size: small;">forgery.</span><br />
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">Francisco Goya, Spanish, 1746–1828, El Cid Campeador lanceando otro toro (The Cid Campeador Spearing Another Bull), from the series La tauromaquia, 1876, Etching, burnished aquatint and burin, platemark: 25 x 35 cm (9 13/16 x 13 3/4 in.), The Arthur Ross Collection, 2012.159.39.11</span></span><br />
<span style="color: blue; font-family: "times" , "times new roman" , serif; font-size: x-small;">http://artgallery.yale.edu/collections/objects/179032</span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">NON-DISCLOSED POSTHUMOUS FAKE</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">Francisco de Goya y Lucientes died in 1828.</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">33 NON-DISCLOSED POSTHUMOUS FAKES</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">Yet, on pages 164 and 165 of the <i>Meant to Be Shared, The Arthur Ross Collection of European Prints </i>catalogue, the some 33 of the listed <i>La taureaumachie </i>[The Art of Bull-fighting] "published 1876 [third edition]," are being falsely attributed to Francisco de Goya y Lucientes [d 1828] as original works of visual art i.e., etchings, even though it is at least 48 years removed from any possibility of provenance to him. </span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">To belabor the obvious, in 1876, Francisco de Goya y Lucientes was some 48 years dead. The dead don't etch.</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">In other words, Arthur Ross' collection of 40 <i>La taureaumachie</i> [The Art of Bull-fighting] "published 1876 [third edition]," falsely attributed to Francisco de Goya y Lucientes, is "something that is not what it purports to be" which is one legal definition of fake.</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">Francisco Goya, Spanish, 1746–1828, Disparate desordenado (Disorderly Folly) or Disparate matrimonial (Matrimonial Folly), also known as La que mal marida nunca le falta que diga (She Who Is Ill Wed Never Misses a Chance to Say So, from the series Los disparates (Los proverbios), ca. 1816–19, published 1864 (first edition), Etching, aquatint and drypoint, platemark: 24.5 x 35 cm (9 5/8 x 13 3/4 in.) framed: 43.5 x 59.35 x 2.55 cm (17 1/8 x 23 3/8 x 1 in.), The Arthur Ross Collection, 2012.159.40.8</span></span><br />
<span style="color: blue; font-family: "times" , "times new roman" , serif; font-size: x-small;">http://artgallery.yale.edu/collections/objects/178251</span><br />
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">NON-DISCLOSED POSTHUMOUS FAKE</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">Goya y Lucientes, Francisco de (1746 - 1828) – Painter (Spanish), Born in Fuendetodos, Zaragoza, Spain. Dead in Bordeaux, France., Details of artist on Google Art Project, Title<span class="Apple-tab-span"> </span><i>Disorderly Folly</i>, Object type<span class="Apple-tab-span"> </span>Print, Date<span class="Apple-tab-span"> </span>(1815 - 1819), Dimensions, Height: 246 mm (9.69 in). Width: 357 mm (14.06 in)., Current location (Inventory), Museum of Lázaro Galdiano</span></span><br />
<span style="color: blue; font-family: "times" , "times new roman" , serif; font-size: x-small;">https://commons.wikimedia.org/wiki/File:Goya_y_Lucientes,_Francisco_de_-_Disorderly_Folly_-_Google_Art_Project.jpg</span><br />
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">LIFETIME ETCHING?</span></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">LEFT: <i>Disorderly Folly</i> with a "1815-1819" date in the Museum of Lazaro Galdiano</span><br />
<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">RIGHT: </span><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><i>Disorderly Folly</i> with a "1864" date in the Yale University and their Yale University Art Gallery's Arthur Ross Gallery</span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">22 NON-DISCLOSED POSTHUMOUS FAKES</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">On pages 165 and 166 of the <i>Meant to Be Shared, The Arthur Ross Collection of European Prints</i> catalogue, all 22 of the listed <i>Los disparates</i> "published 1864 [first edition]" to "published in <i>L'art</i>, 1877" falsely attributed to Francisco de Goya y Lucientes [d 1828] as original works of visual art i.e., etchings, is 36 to 49 years removed from any possibility of provenance to him. </span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">Once again, to belabor the obvious, in 1864 and 1877, Francisco de Goya y Lucientes was some 36 to 49 years dead. The dead don't etch.</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">In other words, Arthur Ross' collection of 40 <i>Los disparates </i>"published 1864 [first edition]," falsely attributed to Francisco de Goya y Lucientes, is "something that is not what it purports to be" which is one legal definition of fake.</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">So, is the above <i>Disorderly Folly</i>, attributed as a lifetime [1815-1819] "print" impression to Francisco de Goya y Lucientes in the Museum of Lazaro Galdiano, authentic? The above <i>Disorderly Folly</i>, attributed to Goya, with a "1815-1819" date in the Museum of Lazaro Galdiano is bright & airy versus the above <i>Disorderly Folly</i>, attributed to Goya, in Yale University Art Gallery's Arthur Ross collection which is not only dark but in reverse.</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">Rhetorically, if the Royal Academy of Madrid would have the hubris to posthumously reworked and altered Francisco de Goya y Lucientes' <i>The Disasters of War </i>plates in 1863, what makes any connoisseur believe that in 1864 and 1877 Goya's original <i>Disparates</i> plates were not also reworked and altered?</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">Now, on page 13 of the <i>Meant to Be Shared, The Arthur Ross Collection of European Prints </i>exhibition catalogue, Yale University Art Gallery The Robert L. Solley Curator of Prints and Drawings Suzanne Boorsch wrote: "the collection also includes close to two hundred prints by Francisco Goya. - who produced some of his greatest creations in his last years."</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">So, going from the ridiculous to the sublime, how can anyone with a straight face claim Goya "produced some of his greatest creations in his last years" when the non-disclosed posthumous fakes, falsely attributed to Francisco de Goya y Lucientes in this <i>Meant to Be Shared, The Arthur Ross Collection of European Prints</i> exhibition and catalogue, were posthumously impressed [in majority from posthumously reworked and altered plates] between 1863-1877 a.k.a. 35 to 49 years after Goya died in 1828. </span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">This <i>Meant to Be Shared, The Arthur Ross Collection of European Prints</i> exhibition does not operate in a vacuum. This exhibition of non-disclosed fakes and/or forgeries are for monetary consideration including but not limited to: admission fees, "gifts and donations,"</span><span style="color: blue; font-family: "times" , "times new roman" , serif; font-size: x-small;">[FN 17]</span><span style="font-family: "times" , "times new roman" , serif; font-size: small;"> city-state-federal grants, corporate sponsorships, tax write-offs and outright sales.</span></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: small;">Therefore, is this "a knowing misrepresentation of the truth or concealment of a material fact to induce another to act to his or her detriment</span><span style="color: blue; font-family: "times" , "times new roman" , serif; font-size: small;">"</span><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><span style="color: blue; font-size: xx-small;"><span style="color: blue; font-size: x-small;">[FN 18]</span> </span><span style="font-size: small;">which is one legal definition of fraud?</span></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: x-small; text-align: justify;">PL. 5, Giovanni Battista Tiepolo, <i>A Woman with Her Arms in Chains and Four Other Figures</i>, from <i>Vari capricci</i> (Various Cariccios), 1740-42</span><br />
<span style="font-family: "times" , "times new roman" , serif; font-size: x-small; text-align: justify;">page 92 of the </span><i style="font-family: times, "times new roman", serif; font-size: small; text-align: justify;">Meant to Be Shared, The Arthur Ross Collection of European Prints</i><br />
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">NON-DISCLOSED POSTHUMOUS FAKE</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: x-large;">I</span><span style="font-family: "times" , "times new roman" , serif; font-size: small;">n the <i>"Collection Checklist"</i> on page 180 of the 182 page <i>Meant to Be Shared, The Arthur Ross Collection of European Prints </i>exhibition catalogue, it lists 41 <i>Vari capricci</i> (Various Capriccios) etchings, attributed to Giovanni Battista Tiepolo [d 1770], as "published 1785."</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">Giovanni Battista Tiepolo died in 1770. In 1785, Tiepolo was some 15 years dead. The dead don't etch.</span></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: x-small; text-align: justify;">PHOTO: <span style="color: blue;">https://www.findagrave.com/cgi-bin/fg.cgi?</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">GIOVANNI BATTISTA TIEPOLO [D 1770] </span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">BURIED IN CHURCH OF MADONNA DELL' ORTO, VENICE, ITALY </span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">In other words, Arthur Ross' collection of 10 "<i>Vari capricci</i> (Various Cariccios)," falsely attributed to Giovanni Battista Tiepolo, is "something that is not what it purports to be" which is one legal definition of fake.</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">TEN NON-DISCLOSED POSTHUMOUS FAKES</span></span><br />
<span style="font-family: "times" , "times new roman" , serif; font-size: small;">In contrast to the documented fact of posthumous printing of these ten Giovanni Battista Tiepolo's <i>Vari capricci</i> etching plates in 1785, on page 35 of the <i>Meant to Be Shared, The Arthur Ross Collection of European Prints </i>exhibition catalogue the Yale University Art Gallery's The Robert L. Solley Curator of Prints and Drawings Suzanne Boorsch wrote: "Giovanni Battista Tiepolo, a year older than Canaletto, was the last of the three superb Venetian etchers whose works Ross acquired. The collection includes all ten of the <i>Vari capricci</i> [Various Capriccios], made in the early 1740's, which, as mentioned earlier, Piranesi would have seen on his return trip to Venice in the mid-1740s."</span><span style="color: blue; font-family: "times" , "times new roman" , serif; font-size: x-small;">[FN 19]</span><br />
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">It seems at best, the Yale University Art Gallery's The Robert L. Solley Curator of Prints and Drawings Suzanne Boorsch has not read the <i>"Collection Checklist"</i> on page 180 of <i>Meant to Be Shared, The Arthur Ross Collection of European Prints</i> exhibition catalogue.</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">Artist: Giovanni Domenico Tiepolo, Italian, 1727–1804, After: Giovanni Battista Tiepolo, Italian, Venice, 1696–1770, <i>Profile of an Old Man</i>, from the <i>Raccolta di Teste</i> (Collection of Heads), ca. 1771–74, Etching, platemark: 11.6 x 8.5 cm (4 9/16 x 3 3/8 in.) framed: 31.1 x 27.95 x 2.55 cm (12 1/4 x 11 x 1 in.), The Arthur Ross Collection, 2012.159.28.24</span></span><br />
<span style="color: blue; font-family: "times" , "times new roman" , serif; font-size: x-small;">http://artgallery.yale.edu/collections/objects/178125</span><br />
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">NON-DISCLOSED POSTHUMOUS FAKE</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">All 32 of the <i>Raccolta di Teste</i> (Collection of Heads) etchings are listed, on page 180 <i>Meant to Be Shared, The Arthur Ross Collection of European Prints</i> exhibition catalogue, as "after Giovannia Battista Tieplol (Italian 1696-1770).</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">The term "after" is being used as an euphemism for posthumous impressions and/or reproduction of Giovanni Battista Tiepolo's lifetime etchings and/or designs.</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">In other words, Arthur Ross' collection of 32 <i>"Vari capricci</i> (Various Cariccios)," falsely attributed to Giovanni Battista Tiepolo, is "something that is not what it purports to be" which is one legal definition of fake.</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">THIRTY-TWO NON-DISCLOSED POSTHUMOUS FAKES</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">In contrast to the documented fact of posthumous printing of these 32 Giovanni Battista Tiepolo's <i>Vari capricci</i> etching plates in 1785, on page 35 in the <i>Meant to Be Shared, The Arthur Ross Collection of European Prints </i>exhibition catalogue, Yale University Art Gallery The Robert L. Solley Curator of Prints and Drawings Suzanne Boorsch wrote: "Ross was also particularly attracted to the series <i>Raccolta di teste </i>[Collection of Heads] by Giovanni Domenico Tiepolo, after designs by Giovanni Battista - the collection includes thirty-two of the sixty etchings of these heads know to exist [see fig. 22]."</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">These so-called etchings are non-disclosed posthumous impressions either from Giovanni Battista Tiepolo created etching plates and/or chromist-made reproductions from his designs. Posthumous impressions from Giovanni Battista Tiepolo's etching plates if applicable and/or chromist-made reproductions from his designs cannot be attributed to the son Giovanni Domenico Tiepolo because he did not create them.</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">This is confirmed under U.S. Copyright Law 106A, the Rights of Attribution "shall not apply to any reproductions."</span><span style="color: blue; font-family: "times" , "times new roman" , serif; font-size: x-small;">[FN 20]</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">In other words, the posthumously printed impressions and/or posthumously reproduced designs, cannot be attributed as original works of visual art i.e., etchings to the father Giovanni Battista Tiepolo either because he did not create them, much less approve their posthumous printing because he was dead.</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">Artist: Giovanni Domenico Tiepolo, Italian, 1727–1804, After: Giovanni Battista Tiepolo, Italian, Venice, 1696–1770, <i>Old Man with a Large Hat</i>, from the Raccolta di Teste (Collection of Heads), ca. 1757, Etching, platemark: 15.3 x 11.5 cm (6 x 4 1/2 in.), The Arthur Ross Collection, 2012.159.29</span></span><br />
<span style="color: blue; font-family: "times" , "times new roman" , serif; font-size: x-small;">http://artgallery.yale.edu/collections/objects/178179</span><br />
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">NON-DISCLOSED POSTHUMOUS FAKE</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">On page 36 of the <i>Meant to Be Shared, The Arthur Ross Collection of European Prints</i> exhibition catalogue, Fig. 22 titled <i>Old Man with a Large Hat</i>, from <i>Raccolta di teste</i> [Collection of Heads] is listed with a "ca 1757" date.</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">Yet, in the <i>"Collection Checklist"</i> on page 180 of the 182 page <i>Meant to Be Shared, The Arthur Ross Collection of European Prints</i> exhibition catalogue it lists this <i>Old Man with a Large Hat</i> [Fig. 22] from this <i>Raccolta di teste</i> [Collection of Heads] is disclosed as posthumous "ca. 1771-74." Additionally on this same page, the "Collection Checklist" of the <i>Meant to Be Shared, The Arthur Ross Collection of European Prints </i>exhibition catalogue, lists: "Giovanni Domenico Tiepolo and "<i>Raccolta di Teste </i>[Collection of Heads], after Giovanni Battista Tiepolo [Italian, 1696-1770]."</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">The term "after" is being used as an euphemism for what at least is nothing more than posthumous impressions and/or reproductions.</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">On page 137 of the <i>Seventh Edition of Black's Law Dictionary</i>, -bait and switch- is defined as: "Most states prohibit the bait and switch when the original product is not actually available as advertised."</span><span style="color: blue; font-family: "times" , "times new roman" , serif; font-size: x-small;">[FN 21]</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">So, as noted earlier, posthumous impressions from Giovanni Battista Tiepolo's etching plates if applicable and/or chromist-made reproductions from his designs cannot be attributed to the son Giovanni Domenico Tiepolo because he did not create them.</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">Additionally, to belabor an earlier fact, the posthumously printed impressions and/or posthumously reproduced designs, cannot be attributed as original works of visual art i.e., etchings to the father Giovanni Battista Tiepolo because he did not create them, much less approve their posthumous printing because he was dead.</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">So, is the public to suspend disbelief or just believe when Yale University Art Gallery The Robert L. Solley Curator of Prints and Drawings Suzanne Boorsch, states: “her principal scholarly interest is in the Renaissance, especially in Italy and France.”</span><span style="color: blue; font-size: x-small;"><span style="font-family: "times" , "times new roman" , serif;">[FN 22]</span> </span></span></div>
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<span style="-webkit-text-stroke-width: initial;"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">Camille Pissarro, French, 1830–1903, <i>Portrait of Paul Cézanne</i>, 1874, second printing 1920</span></span><br />
<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">Etching, stone: 27 x 21.4 cm (10 5/8 x 8 7/16 in.) framed: 65.1 x 54.9 x 3.2 cm (25 5/8 x 21 5/8 x 1 1/4 in.), The Arthur Ross Collection, 2012.159.68</span><br />
<span style="color: blue; font-family: "times" , "times new roman" , serif; font-size: x-small;">http://artgallery.yale.edu/collections/objects/178175</span><br />
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">NON-DISCLOSED POSTHUMOUS FAKE</span></span></div>
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<span style="-webkit-text-stroke: rgb(0, 0, 0);"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">Detail of the above <i>Portrait of Paul Cezanne</i></span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">Camille Pissarro, French, 1830–1903, Paul Cézanne (Portrait of Cézanne), 1874 (printed 1920)</span></span><br />
<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">Etching, Plate: 27.2 x 21.7cm (10 11/16 x 8 9/16in.), Yale University Art Gallery. Edward B. Greene Fund, 1962.9.1</span><br />
<span style="color: blue; font-family: "times" , "times new roman" , serif; font-size: x-small;">http://artgallery.yale.edu/collections/objects/22747</span><br />
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">NON-DISCLOSED POSTHUMOUS FAKE</span></span></div>
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<i style="font-family: times, "times new roman", serif;"><span style="font-size: x-small;">Detail of the above <i>Portrait of Paul Cezanne</i> </span></i></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: x-large;">B</span><span style="font-family: "times" , "times new roman" , serif; font-size: small;">oth of the titled <i>Portrait of Paul Cezanne</i> [Arthur Ross and Edward B. Greene collection], in the University of Florida's Harn Musuem of Art's <i>Meant to be Shared, The Arthur Ross Collection of European Prints </i>exhibition, have Camille Pissarro's initials "CP," an edition numbers 17/75 and 4/75 respectively with both listed as printed in 1920.</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">Camille Pissarro died in 1903. The dead don't etch, much less sign and consecutively number.</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">This is confirmed under U.S. Copyright Law 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.”</span><span style="color: blue; font-family: "times" , "times new roman" , serif; font-size: x-small;">[FN 23]</span></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: x-small; text-align: justify;">PHOTO: <span style="color: blue;">https://www.findagrave.com/cgi-bin/fg.cgi?</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">CAMILLE PISSARRO [D 1903] </span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">BURIED IN THE CITY OF PARIS ILE-DE-FRANCE</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">In other words, the Arthur Ross and Edward B. Green' collection of these two <span style="font-family: "times" , "times new roman" , serif; font-size: small;"> "<i>Portrait of Paul Cezanne</i></span><span style="font-family: "times" , "times new roman" , serif; font-size: small;">,"</span> falsely attributed to Camille Pissarro, are "something that is not what it purports to be" which is one legal definition of fake.</span></span></div>
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<span class="s1" style="font-size: x-small; text-align: justify;"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">Giovanni Battista Piranesi, Italian, 1720–1778, </span></span><span style="font-family: "times" , "times new roman" , serif; font-size: x-small; text-align: justify;"><i>Autre vue de la Façade du Pronaos, dessiné et décrit dans la planche V … </i>(Another View of the Pronaos Façade Drawn and Described in Plate V … ), from Différentes Vues de … Pesto (Different Views of … Paestum), 1778–79, Etching, platemark: 47 x 70.5 cm (18 1/2 x 27 3/4 in.) framed: 78.4 x 95.55 x 3.2 cm (30 7/8 x 37 5/8 x 1 1/4 in.), The Arthur Ross Collection, 2012.159.17.7</span><span style="font-family: "times" , "times new roman" , serif; font-size: x-small; text-align: justify;"> </span><br />
<span style="color: blue; font-family: "times" , "times new roman" , serif; font-size: x-small;">http://artgallery.yale.edu/collections/objects/178034</span><br />
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">NON-DISCLOSED POSTHUMOUS FAKE</span></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: x-large;">G</span><span style="font-family: "times" , "times new roman" , serif; font-size: small;">iovanni Battista Piranesi died November 9, 1778. </span><br />
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<span style="font-family: "times" , "times new roman" , serif; font-size: small; text-align: justify;">TWENTY-ONE NON-DISCLOSED POSTHUMOUS FAKES</span><br />
<span style="font-family: "times" , "times new roman" , serif; font-size: small; text-align: justify;">Rhetorically, how did Giovanni Battista Piranesi take up to 13 months after his death in 1778 to complete the above etching, much less the 21 etchings </span><span style="font-family: "times" , "times new roman" , serif; font-size: small; text-align: justify;">[listed on page 178-179 of the <i>Meant to Be Shared, The Arthur Ross Collection of European Prints</i> catalogue] </span><span style="font-family: "times" , "times new roman" , serif; font-size: small; text-align: justify;">attributed to him with the dates 1778-79</span><span style="font-family: "times" , "times new roman" , serif; font-size: small; text-align: justify;">?</span><br />
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">PHOTO: h<span style="color: blue;">ttp://www.ada.ascari.name/CasaAda/studio/artec/artisti/piranesi.html</span></span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">GIOVANNI BATTISTA PIRANESI [D 1778] </span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">BURIED IN THE SANTO MARIA DEL PRIORATO, ROME, ITALY</span></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: small;">In <i>The Prisons / LE Carceri by John Howe and Philip Hofer</i>, the authors wrote about Giovanni Battista Piranesi: "In his fifties, his interest in archaeology took him on expeditions to the south of Italy. Ill health finally forced him to return to Rome, where he died in 1778. His son Francesco preserved his father's plates, and successfully exploited his <i>oeuvre</i>, reproducing and selling great quantities of prints after his father's death; twenty-nine folio volumes containing about 2,000 prints appeared in Paris between 1835 and 1837."</span><span style="color: blue; font-family: "times" , "times new roman" , serif; font-size: x-small;">[FN 24]</span><br />
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">In other words, these non-disclosed posthumous impressions falsely attributed to a dead Giovanni Battista Piranesi, are "something that is not what it purports to be" which is one legal definition of fake.</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">Édouard Manet, French, 1832–1883, <i>Polichinelle</i>, 1874–76, Lithograph printed in seven colors</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">platemark: 46 x 33.5 cm (18 1/8 x 13 3/16 in.) framed: 75.6 x 60.3 x 2.5 cm (29 3/4 x 23 3/4 x 1 in.), The Arthur Ross Collection, 2012.159.80</span></span><br />
<span style="color: blue; font-family: "times" , "times new roman" , serif; font-size: x-small;">http://artgallery.yale.edu/collections/objects/178188</span><br />
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">NON-DISCLOSED FAKE</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: x-large;">A</span><span style="font-family: "times" , "times new roman" , serif; font-size: small;"> chromist is someone who reproduces with their hands, fingers and fingerprints the art of another artist.</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">On page 192-193 of the <i>The Private Collection of Edgar Degas, Volume 1</i> by<i> </i>Ann Dumas, the author wrote: "Also of the greatest rarity is the proof from Manet's original chalk drawing on stone of Polichinelle, annotated by him 'Epreuve unique' (fig. 175); although there is in fact a second 'original' proof that Manet colored with gouache and watercolor (private collection, New York) to serve as the model from which the printer Lemercier's technicians could prepare the color stones after transfer of Manet's original lithograph 'drawing.' The 'unique' proof of <i>Polichinelle</i>, printed in black, is almost certainly identifiable hanging on the wall in Degas's apartment."</span><span style="color: blue; font-family: "times" , "times new roman" , serif; font-size: x-small;">[FN 25]</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">In other words, "Lemercier's technicians" were the chromists who reproduced by their hands, fingers and fingerprints a "proof that Manet colored with gouache and watercolor."</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">In the <i>Meant to Be Shared, The Arthur Ross Collection of European Prints</i> exhibition didactic panel, for <i>Polichinelle</i> [1874-1876] attributed to "Edouard Manet" [French, 1832-1883] as a "Lithograph printed in 7 colors," it additionally stated: "Edouard Manet was the first artist to make an original color lithograph. This print was intended to be printed in a run of eight thousand impressions and inserted into the periodical Le temps, but the French polic, seeing it as a caricature of the President of the Republic General Patrice de MacMahon, stopped its printing after only twenty-five impressions. At a later date, another print run was made."</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">NON-DISCLOSED POSTHUMOUS FAKE</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">Aside, it is now clear Edouard Manet did not "make an original color lithograph," how much time and labor consuming would it be to print 8,000 seven [7] color chromist-made reproductions?</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">A print run of 8,000 time 7 colors equals 56,000 times the chromist drawn colors on the limestone blocks would inked by hand, paper applied and registered, buffer sheet and template [with grease on top] laid on top, lined up with the scraper bar, pressure handle pulled down then physically run those individual sheets of paper through the press by the printer. If each run through the press could be accomplished by the hand of the printer in 3 minutes [which would be superhuman] that would be twenty an hour or 480 print runs in a twenty-four hour day. Therefore, if you divide 56,000 by 480 a day, it would take 116 consecutive 24 hour days or almost 4 continuous months to print 8,000 seven [7] color chromist-made reproductions.</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">This estimation does not even to take into consideration the time for each printed color's drying rate so there is no transfer of that printed color to the next stone used for the next color, potentially affecting the quality and success of printing an edition.</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">So, rhetorically, when the Harn Museum of Art's didactic panel for this titled "<i>Polichinelle</i>, 1874-1876, Lithograph printed in 7 colors," attributed to Edouard Manet, states: "Edouard Manet was the first artist to make an original color lithograph," is the public to suspend disbelief or just believe?</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">LAW, ETHICS AND THE VISUAL ARTS</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">On pages 816-817 of Kluwer Law International’s published 1998 <i>Law, Ethics and the Visual Arts, Third Edition</i> by John Henry Merryman and Albert E. Elsen, the authors wrote about “Counterfeit Art.” 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.”</span><span style="color: blue; font-family: "times" , "times new roman" , serif; font-size: x-small;">[FN 26]</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">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.”</span><span style="color: blue; font-family: "times" , "times new roman" , serif; font-size: x-small;">[FN 27]</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">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…”</span><span style="color: blue; font-family: "times" , "times new roman" , serif; font-size: x-small;">[FN 28]</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">CONCLUSION </span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">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 Florida and its Harn Museum of Art and the Yale University and its Yale University Art Gallery 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 exhibition of reproductions. </span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">But, if these objects are not reproductions by definition and law but "something that is not what it purports to be" i.e., fake and/or forgeries made to look genuine, then serious consequences of law may come into play for those who chose to misrepresent those fakes and/or forgeries for monetary consideration including but not limited to: admission fees, "g</span></span><span style="font-family: "times" , "times new roman" , serif; font-size: small;"><span style="-webkit-text-stroke-width: initial;">ifts and donations</span><span style="-webkit-text-stroke-width: initial;">,"</span></span><span style="-webkit-text-stroke-width: initial; color: blue; font-family: "times" , "times new roman" , serif; font-size: x-small;">[FN 29]</span><span style="-webkit-text-stroke-width: initial; font-family: "times" , "times new roman" , serif; font-size: small;"> city-state-federal grants, corporate sponsorships, tax write-offs and outright sales.</span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">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. </span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;"><b>FOOTNOTES:</b></span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">1. p 617, <i>Seventh Edition of Black's Law Dictionary</i>, Copyright © 1999, By West Group, ISBN 0-314-22864-0</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">2. http://harn.ufl.edu/about</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">3. http://harn.ufl.edu/support-give</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">4. http://artgallery.yale.edu/about-mission</span></span><br />
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">5. Publisher: The Museum of Modern Art, New York (April 2, 2004), ISBN-10: 0870701258, ISBN-13: 978-0870701252</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">6. http://artmatters.ca/wp/2016/11/meet-our-newest-curators/ </span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">7. Publisher: Yale University Art Gallery (January 12, 2016), ISBN-10: 0300214391, ISBN-13: 978-0300214390</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">8. http://www.copyright.gov/title17/92chap1.html106a</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">9.http://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=1457473&partId=1&searchText=gauguin&sortBy=fromDateDesc&page=1</span></span><br />
<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><br /></span></span>
<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">10. </span></span><span style="-webkit-text-stroke: rgb(0, 0, 0);"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">p 661, <i>Seventh Edition of Black's Law Dictionary</i>, Copyright © 1999, By West Group, ISBN 0-314-22864-0</span></span><br />
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">11. "In a February 28, 2017 “Etching Enlightenment’s Demise: The Print Series of Francisco Goya” Lecture at the University of Florida Harn Museum of Art, Janis A. Tomlinson, Director, University Museums, and Professor, Art History, University of Delaware will speak bout the “Four major etched series by Francisco Goya correspond with very distinct periods in Spanish history, tracing a trajectory from enlightened absolutism through a monarchy in crisis, the Napoleonic invasion, and restoration. This lecture will discuss Goya’s imagery on view in <i>Meant to be Shared</i> and changing techniques in relation to this context of a world transformed. This is a Harn Eminent Scholar Chair in Art History Lecture. A Reception will follow the lecture."</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">http://harn.ufl.edu/lectures-talks</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">12. Publisher: Yale University Press; 1st edition (October 28, 1992), ISBN-10: 0300054629, ISBN-13: 978-0300054620</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">13. Publisher: Yale University Press; 1st edition (October 28, 1992), ISBN-10: 0300054629, ISBN-13: 978-0300054620</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">14.http://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=1396149&partId=1&page=4&searchText=goya+disasters+of+war&images=&people=&place=&from=&fromDate=&to=&toDate=&object=&subject=&matcult=&technique=&school=&material=&ethname=&ware=&escape=&museumno=&bibliography=&citation=&peoA=&plaA=&termA=&sortBy=&view=</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">15. Ibid</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">16. www.getty.edu</span></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">17. http://harn.ufl.edu/belong-give</span><br />
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<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">18. </span><span style="-webkit-text-stroke: rgb(0, 0, 0);"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">p 670, <i>Seventh Edition of Black's Law Dictionary</i>, Copyright © 1999, By West Group, ISBN 0-314-22864-0</span></span><br />
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">19. Yale University Art Gallery, ISBN 978-0-300-21439-0</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">20. <a href="http://www.copyright.gov/title17/92chap1.html106a"><span class="s2">http://www.copyright.gov/title17/92chap1.html106a</span></a></span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">21. Copyright © 1999, By West Group, ISBN 0-314-22864-0</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">22. http://artgallery.yale.edu/prints-and-drawings</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">23. http://www.copyright.gov/title17/92chap1.html#101</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">24. Publisher: Dover Publications; Bilingual edition (May 20, 2010), ISBN-10: 0486475514, ISBN-13: 978-0486475516</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">25. Publisher: Abrams, N (November 1997), ISBN-10: 0810965127, ISBN-13: 978-0810965126</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">26. © Kluwer Law International 1998, ISBN: 90-411-0697-9 </span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">27. Ibid </span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">28 Ibid</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">29. http://harn.ufl.edu/belong-give</span></span><br />
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;"><b>ADDENDUM:</b></span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">PAUL GAUGUIN</span></span></div>
<div class="p1" style="font-weight: normal;">
<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">On pages 161 of the <i>Meant to Be Shared, The Arthur Ross Collection of European Prints</i> catalogue, <i>Noa Noa</i> is listed as "1893-94, Woodcut, 14 x 8 1/8 in. (35.5 x 20.6 cm), Mongan, Kornfeld, and Joachim 43, state ii/ii, 2012.159.93, Boorsch, Fig. 25</span></span><br />
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">FRANCISCO DE GOYA Y LUCIENTES</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">On pages 162-163 of the <i>Meant to Be Shared, The Arthur Ross Collection of European Prints </i>catalogue, Francisco Goya, is listed as the artist for the [80] <i>Los desastres del la guerra. coleccion de ochenta laminas inventadas y grabades al agua fuerte por don Franicso Goya</i> and listed as "published 1863 (first edition)."</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">On pages 164-165 of the <i>Meant to Be Shared, The Arthur Ross Collection of European Prints </i>catalogue, Francisco Goya, is listed as the artist for the [33] <i>La Taureaumachie</i> and listed as "published 1876 (third edition)."</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">On pages 165-166 of the <i>Meant to Be Shared, The Arthur Ross Collection of European Prints</i> catalogue, Francisco Goya, is listed as the artist for the [18]<i> Los disparates </i>(Los proverbios) and listed as "published 1864 (first edition)."</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">On page 166 of the <i>Meant to Be Shared, The Arthur Ross Collection of European Prints</i> catalogue, Francisco Goya, is listed as the artist for the [4] Los disparates (Los proverbios) and listed as "published in L'art 1877."</span></span><br />
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">GIOVANNI BATTISTA TIEPOLO </span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">On page 180 of the <i>Meant to Be Shared, The Arthur Ross Collection of European Prints</i> catalogue, Giovanni Battista Tiepolo, Italian, 1690-1770, is listed as the artist for the <i>Vari capricci </i>[Various Capriccios], published 1785, even though he was dead when they were done. Aside the "Title page, 1785," every single title, given for these <i>Vari capricci</i> posthumous impressions, has a date of "1740-42" that predates Giovanni Battista Tiepolo's death in 1770:</span></span></div>
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<li><span style="font-family: "times" , "times new roman" , serif; font-size: small;"><i>Seated Youth Leaning against an Urn</i>, 1740-42</span></li>
<li><span style="font-family: "times" , "times new roman" , serif; font-size: small;"><i>Three Soldiers and a Boy</i>, 1740-42</span></li>
<li><span style="font-family: "times" , "times new roman" , serif; font-size: small;"><i>Two Soldiers and Two Woman,</i> 1740-41</span></li>
<li><span style="font-family: "times" , "times new roman" , serif; font-size: small;"><i>A Woman with Her Hands on a Vase, a soldier, and a Slave, </i>1740-42</span></li>
<li><span style="font-family: "times" , "times new roman" , serif; font-size: small;"><i>A Nymph with a Small Satyr and Two Goats,</i> 1740-42</span></li>
<li><span style="font-family: "times" , "times new roman" , serif; font-size: small;"><i>Standing Philosopher and Two Other Figures,</i> 1740-42</span></li>
<li><span style="font-family: "times" , "times new roman" , serif; font-size: small;"><i>A Woman with Her Arms in Chains and four Other Figures, </i>1740-42</span></li>
<li><span style="font-family: "times" , "times new roman" , serif; font-size: small;"><i>Death Giving Audience, </i>1740-42</span></li>
<li><span style="font-family: "times" , "times new roman" , serif; font-size: small;"><i>The Astrologer and the Young Soldier, </i>1740-42</span></li>
<li><span style="font-family: "times" , "times new roman" , serif; font-size: small;"><i>The Rider Standing by His Horse, </i>1740-42</span></li>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">On page 180 of the <i>Meant to Be Shared, The Arthur Ross Collection of European Prints </i>catalogue, <i>Raccolta di Teste </i>[Fragrance] is listed as "after Giovanni Battista Tiepolo, Italian, [1690-1770]. Ten are listed as "after" with posthumous dates:</span></span></div>
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<li><span style="font-family: "times" , "times new roman" , serif; font-size: small;"><i>Portrait of Giambattista Tiepolo,</i> ca. 1771-74</span></li>
<li><span style="font-family: "times" , "times new roman" , serif; font-size: small;"><i>Profile of an Old Man,</i> ca 1771-74</span></li>
<li><span style="font-family: "times" , "times new roman" , serif; font-size: small;"><i>Old Man with a Beard</i>, ca. 1771-74</span></li>
<li><span style="font-family: "times" , "times new roman" , serif; font-size: small;"><i>Profile of an Old Man</i>, ca. 1771-74</span></li>
<li><span style="font-family: "times" , "times new roman" , serif; font-size: small;"><i>Turk Seen from the Front</i>, ca. 1771-74</span></li>
<li><span style="font-family: "times" , "times new roman" , serif; font-size: small;"><i>Turk with a Fur Hat</i>, ca 1771-74</span></li>
<li><span style="font-family: "times" , "times new roman" , serif; font-size: small;"><i>Old Man with a Beard and a Bare Head,</i> ca. 1771-74</span></li>
<li><span style="font-family: "times" , "times new roman" , serif; font-size: small;"><i>Turk Seen from Behind</i>, ca. 1771-74</span></li>
<li><span style="font-family: "times" , "times new roman" , serif; font-size: small;"><i>Old Man Looking Downward</i>, ca. 1771-74</span></li>
<li><span style="font-family: "times" , "times new roman" , serif; font-size: small;"><i>Old Man with a Hat</i>, 1773-74</span></li>
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<li><span style="font-family: "times" , "times new roman" , serif; font-size: small;"><i>Bearded Old Man</i>, ca. 1757</span></li>
<li><span style="font-family: "times" , "times new roman" , serif; font-size: small;"><i>Old Man with a Sword</i>, ca 1757</span></li>
<li><span style="font-family: "times" , "times new roman" , serif; font-size: small;"><i>Turbaned, Bearded Elderly Man,</i> ca. 1757</span></li>
<li><span style="font-family: "times" , "times new roman" , serif; font-size: small;"><i>Old Man with a Small Turban</i>, ca. 1757</span></li>
<li><span style="font-family: "times" , "times new roman" , serif; font-size: small;"><i>Old Man Meditating</i>, ca. 1757</span></li>
<li><span style="font-family: "times" , "times new roman" , serif; font-size: small;"><i>Old Man with a Large Hat</i>, ca. 1757</span></li>
<li><span style="font-family: "times" , "times new roman" , serif; font-size: small;"><i>Old Man with a Large Hat</i></span></li>
<li><span style="font-family: "times" , "times new roman" , serif; font-size: small;"><i>Old Man with a Bare Head,</i> ca. 1757</span></li>
<li><span style="font-family: "times" , "times new roman" , serif; font-size: small;"><i>Old Man with a Bare Head</i>, ca. 1757</span></li>
<li><span style="font-family: "times" , "times new roman" , serif; font-size: small;"><i>Head of an Oriental, a Book in Hand</i>, ca. 1757</span></li>
<li><span style="font-family: "times" , "times new roman" , serif; font-size: small;"><i>Old Man with a Helmet,</i> ca 1757</span></li>
<li><span style="font-family: "times" , "times new roman" , serif; font-size: small;"><i>Old Man with a Helmet,</i> ca 1757</span></li>
<li><span style="font-family: "times" , "times new roman" , serif; font-size: small;"><i>Old Man in the Manner of Rembrandts</i>, ca. 1757</span></li>
<li><span style="font-family: "times" , "times new roman" , serif; font-size: small;"><i>Old Man with a Bracelet</i>, ca. 1757</span></li>
<li><span style="font-family: "times" , "times new roman" , serif; font-size: small;"><i>Old Man with a Beard</i>, ca. 1757</span></li>
<li><span style="font-family: "times" , "times new roman" , serif; font-size: small;"><i>Old Man with His Hat on His Forehead</i>, ca. 1757</span></li>
<li><span style="font-family: "times" , "times new roman" , serif; font-size: small;"><i>The Mathematician,</i> ca. 1757</span></li>
<li><span style="font-family: "times" , "times new roman" , serif; font-size: small;"><i>Old Man with a Beard</i>, ca. 1757</span></li>
<li><span style="font-family: "times" , "times new roman" , serif; font-size: small;"><i>Old Man with a Turban,</i> ca 1770</span></li>
<li><span style="font-family: "times" , "times new roman" , serif; font-size: small;"><i>Old Man with a Beard and Long Hair,</i> ca. 1757</span></li>
<li><span style="font-family: "times" , "times new roman" , serif; font-size: small;"><i>Profile of an Old Man with a Beard</i>, ca. 1757</span></li>
<li><span style="font-family: "times" , "times new roman" , serif; font-size: small;"><i>Bearded Old Man with a Cap</i>, ca. 1770</span></li>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">On page 179 of the M<i>eant to Be Shared, The Arthur Ross Collection of European Prints </i>catalogue, Camille Pissarro is listed as the artist for the <i>Portrait of Paul Cezanne </i> "1874, second printing 1920."</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">On pages 178-179 of the <i>Meant to Be Shared, The Arthur Ross Collection of European Prints </i>catalogue, Giovanni Batista Piranesi, is listed as the artist for the [21] <i>Differentes vues de .... Pesto </i>(Different View of...Paestum), 1778-1779.</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">On pages 168 of the <i>Meant to Be Shared, The Arthur Ross Collection of European Prints</i> catalogue, Edouard Manet is listed as the artist for the <i>Polichinelle</i>, 1874-76, Lithograph printed in 7 colors.</span></span></div>
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</style>Gary Arseneauhttp://www.blogger.com/profile/10379667479866306615noreply@blogger.comtag:blogger.com,1999:blog-34909527.post-8113490527867376532017-01-22T22:14:00.002-05:002017-01-23T00:07:48.440-05:00Disasters of War Forgeries, falsely attributed to a dead Goya, in the Pomona College Museum of Art<div class="separator" style="clear: both; text-align: center;">
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;"><b>NOTE:</b> Footnotes are enclosed as:</span><span style="color: blue; font-family: "times" , "times new roman" , serif; font-size: x-small;"> [FN ]</span><span style="font-family: "times" , "times new roman" , serif; font-size: small;">.</span></span></div>
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<span style="-webkit-text-stroke-color: rgb(0, 0, 0); text-align: justify;"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">Los Desastres de la Guerra, 1st edition, plate 7, <i>Que Valor!</i> (What courage!), 1863. 19thc, 6 1/8 in. x 8 1/4 in. (15.5 cm. x 21 cm.), Francisco de Goya (aka Francisco de Goya y Lucientes, (Fuendetodos, Spain, March, 1746-April 16, 1828, Bordeaux, France), Object Type: Print, Medium and Support: Etching and aquatint on Paper, Credit Line: Gift of Norton Simon, Accession Number: P74,71, Edition: 1st edition, Plate 7, Exhibition: "Graphic Art of F. Goy," Montgomery Gallery 10.29-12/10/99</span></span><br />
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<span class="s1"><span style="color: blue; font-family: "times" , "times new roman" , serif; font-size: x-small;">http://embarkweb1.campus.pomona.edu/OBJ?sid=268&rec=92&port=0&art=0&page=92</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">NON-DISCLOSED POSTHUMOUS FORGERY FROM A REWORKED AND ALTERED PLATE </span></span></div>
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<a href="https://1.bp.blogspot.com/-C2vjy6j0A64/WIU1Tof17cI/AAAAAAAADx0/2jPPdhsLndsPy1XfYh98d51vri6eZfhpgCEw/s1600/Goya%2BBritishM%2BDofW%2B7.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="328" src="https://1.bp.blogspot.com/-C2vjy6j0A64/WIU1Tof17cI/AAAAAAAADx0/2jPPdhsLndsPy1XfYh98d51vri6eZfhpgCEw/s400/Goya%2BBritishM%2BDofW%2B7.png" width="400" /></a></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">[Francisco de Goya y Lucientes] </span><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">Los Desastres de la Guerra (The Disasters of War) / <i>Que valor!</i> (What courage!), Plate 7: young woman standing on mound of corpses, lighting cannon fuse; from a bound album of working proofs, presented by the artist to Ceán Bermúde, 1810-12, Etching, drypoint, burin and burnisher, AN37955001, © The Trustees of the British Museum, Department: Prints & Drawings, Registration number: 1975,1025.421.9, Bibliographic reference Delteil 126 Harris 127.I.3</span></div>
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<span class="s1"><span style="color: blue; font-family: "times" , "times new roman" , serif; font-size: x-small;">http://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=1333694&partId=1&searchText=goya&page=6</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">LIFETIME ETCHING BY FRANCISCO GOYA Y LUCIENTES</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: large;">F</span><span style="font-family: "times" , "times new roman" , serif; font-size: small;">rancisco de Goya y Lucientes died in 1828. </span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">Upon Goya's death, his career as an artist and printmaker, was over. Works of visual art, such as etchings require a living artist to create them, much less print and approve the subsequent images printed from their etching plates.</span></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: small;"><span class="s1">Yet, the Pomona College Museum of Art would have the public believe and act on the belief that they have </span><span style="-webkit-text-stroke-width: initial;">a "complete set of 80 etchings published as Los Desastres de la Guerra (<i>The Disasters of War</i>) in 1863"</span></span><span style="color: blue; font-family: "times" , "times new roman" , serif; font-size: x-small;">[FN 1]</span><span style="-webkit-text-stroke-width: initial; font-family: "times" , "times new roman" , serif; font-size: small;"> </span><span style="-webkit-text-stroke-width: initial; font-family: "times" , "times new roman" , serif; font-size: small;"><span style="font-family: "times" , "times new roman" , serif;"> in their </span><span style="font-family: "times" , "times new roman" , serif;">January 17 - May 14, 2017 <b>Goya: The Disasters of War </b></span></span><span style="font-family: "times" , "times new roman" , serif;"><span style="-webkit-text-stroke-width: initial; font-family: "times" , "times new roman" , serif; font-size: small;"> </span></span><span style="-webkit-text-stroke-width: initial; font-family: "times" , "times new roman" , serif; font-size: small;"><span style="font-family: "times" , "times new roman" , serif;">exhibition</span><span style="font-family: "times" , "times new roman" , serif;">.</span></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: small;"><span style="-webkit-text-stroke-width: initial;">Remember Francisco de Goya y Lucientes died in 1828. The dead don't etch. </span></span></div>
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<span style="-webkit-text-stroke-width: initial; font-family: "times" , "times new roman" , serif; font-size: small;">Then to add insult to injury, the Pomona College Museum of Art's so-called <b>Goya: The Disasters of War</b> collection is not even posthumous impressions from Francisco de Goya y Lucientes's original etching plates. Francisco de Goya y Lucientes' original <i>Disasters of War</i> etching plates were posthumously [1863] reworked and altered with aquatint [making them darker] and new lines [creating new compositions] with printed titles [correcting Goya's spelling] by the Royal Academy of Madrid. This was obscenely done to fit the sensibilities of mid-19th-century perspective, that despite Goya's attempt to bring light to these atrocities, dark subject matter should look dark. </span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">The posthumous reworking and alterations of Goya's lifetime etching plates, with aquatint, etched lines outlining the images and titles by the Royal Academy in Madrid, is confirmed, in part, by very -same- curator for this exhibition: Janis A. Tomlinson, twenty two years ago, in her 1992 <i>Goya In the Twilight of Enlightenment</i> catalogue published by Yale University Press. After Goya's lifetime <i>Disasters of War </i>etching plates were acquired by the Academy of Fine Art of San Fernando in 1862, the author wrote: </span></span></div>
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<li style="text-align: justify;"><span style="font-family: "times" , "times new roman" , serif;">"To make the first edition of the series most of the plates were altered, completing the lines framing the scenes, adding scratches, and even brunienclo areas of aquatint (7) and tinkering with drypoint (1, 77), chisel (38) or etching (43, 57). Besides printing was performed following the style of the time by the effects of entrapado, a procedure which passes a muslin cloth over the plate and inked on the surface leaving a certain amount of ink that produces a very soft toned overall. The result was far from the force and clarity that can be seen in the many state tests are preserved."<span style="-webkit-text-stroke-width: initial;"><span style="color: blue; font-size: x-small;">[FN 2]</span> </span></span></li>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">On page 661 of the <i>Seventh Edition of Black's Law Dictionary</i>, -forgery- is defined as: "The act of fraudulently making a false document or altering a real one to be used as if genuine."</span></span><span style="color: blue; font-family: "times" , "times new roman" , serif; font-size: x-small;">[FN 3]</span></div>
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<span style="-webkit-text-stroke-width: initial; font-family: "times" , "times new roman" , serif; font-size: small;">In 1863, the Royal Academy of Madrid had printed 500 posthumous forgeries </span><span style="font-size: small;"><span style="font-family: "times" , "times new roman" , serif;">from each of these 80 posthumously reworked and altered etchings plates [totaling 40,000]</span><span style="font-family: "times" , "times new roman" , serif;"> </span></span><span style="-webkit-text-stroke-width: initial; font-family: "times" , "times new roman" , serif; font-size: small;">that were subsequently falsely attributed as original works of visual art i.e., etchings to a dead Francisco de Goya y Lucientes [d 1828]. </span></div>
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<span style="-webkit-text-stroke-width: initial; font-family: "times" , "times new roman" , serif; font-size: small;">After these 40,000 posthumous forgeries from 80 posthumously reworked and altered etching plates were printed, these etching plates were steel-plated, permanently codifying not only the posthumous changes made to them by the Royal Academy of Madrid but the wear and tear from their massive posthumous printing. </span></div>
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<span style="-webkit-text-stroke-width: initial; font-family: "times" , "times new roman" , serif; font-size: small;">Then as if that was not enough, from 1892 to 1937 or later, the Royal Academy of Madrid printed an additional 40,000 forgeries [now totaling 80,000] from the posthumously reworked, altered and steel-plated plates then continued to falsely attributed them as original works of visual art i.e., etchings to a dead Francisco de Goya y Lucientes.</span></div>
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<span style="font-family: "times" , "times new roman" , serif;"><span style="font-size: small;">Francisco de Goya y Lucientes printed some 480 original works of visual art i.e., etchings total from his <i>Disasters of War</i> etching plates before his death, yet </span></span><span style="-webkit-text-stroke-width: initial; font-family: "times" , "times new roman" , serif; font-size: small;">the Pomona College Museum of Art would have the public believe:</span></div>
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<li style="text-align: justify;"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">"Los Desastres de la Guerra were not published during Goya's lifetime, possibly because the artist feared that some of the prints were politically dangerous or, perhaps, because he knew that the nation was too tired of war to be responsive. The prints finally appeared in 1863, revealing a theme that would continue to be expressed in the art of the twentieth century: the suffering of civilians when war is no longer confined to the battlefield."</span><span style="color: blue; font-family: "times" , "times new roman" , serif; font-size: x-small;">[FN 4]</span></li>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">Ironically, this fact that Francisco de Goya y Lucientes’ printed lifetime <i>Disasters of War</i> etchings is confirmed on the Norton Simon Museum website: </span></span></div>
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<li style="text-align: justify;"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">"The Norton Simon Museum presents The <i>Disasters of War</i>,<span style="-webkit-text-stroke-width: initial;"> </span><span style="-webkit-text-stroke-width: initial;">an exhibition of etchings by the Spanish artist Francisco de Goya y Lucientes (1746-1824). Goya created the series as a response to the brutality and desolation inflicted by the war between Spain and France (1808-1814), and his images do not offer a noble and heroic view of battle. Rather, they are an overwhelming, devastating description of war's barbarism. Created from 1810 to 1820, the set of prints featured in the exhibition is one of just two complete sets of rare working proofs printed during Goya's lifetime. The only other complete set is in the British Museum."</span></span><span style="color: blue; font-family: "times" , "times new roman" , serif; font-size: x-small;">[FN 5]</span></li>
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<span style="font-family: "times" , "times new roman" , serif;">This is the very same collector Norton Simon [of his namesake museum] who gifted, to Pomona College Museum of Art, their so-called </span><i style="font-family: times, "times new roman", serif;">Disasters of War</i><span style="font-family: "times" , "times new roman" , serif;"> collection of non-disclosed posthumous forgeries from posthumously reworked and altered plates falsely attributed to a dead Francisco de Goya y Lucientes.</span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">The Pomona College Museum of Art and the Norton Simon Museum are located in the United States of America. Under U.S. Copyright Law 106A, the Rights of Attribution "shall not apply to any reproductions."</span></span><span style="color: blue; font-family: "times" , "times new roman" , serif; font-size: x-small;">[FN 6]</span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">Rhetorically, if the Rights of Attribution does not apply to reproductions, would posthumous forgeries, much less posthumous impressions be any different?</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">Additionally, both the Pomona College Museum of Art and the Norton Simon Museum are located in the State of California. </span></span><span style="-webkit-text-stroke-width: initial;"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">Under California Civil Code 1741-1745, it states: "California law provides for disclosure in writing of information concerning - whether the multiple is a reproduction [when] offered for sale or sold at wholesale or retail for one hundred dollars ($100) or more, exclusive of any frame."</span></span><span style="color: blue; font-family: "times" , "times new roman" , serif; font-size: x-small;">[FN 7] </span><span style="-webkit-text-stroke: rgb(0, 0, 0); font-family: "times" , "times new roman" , serif; font-size: small;"><span style="-webkit-text-stroke-width: initial; font-family: "times new roman";">Failure to give disclosure may include but not limited to: refund, interest, treble damages, attorney fees, and $1,000 fine per occurrence.</span><span style="font-family: "times new roman"; font-size: 11px;"> </span></span><br />
<span style="-webkit-text-stroke: rgb(0, 0, 0); font-family: "times" , "times new roman" , serif; font-size: small;"><br /></span>
<span style="-webkit-text-stroke: rgb(0, 0, 0); font-family: "times" , "times new roman" , serif; font-size: small;">On page 670 of the <i>Seventh Edition of Black's Law Dictionary</i>, fraud is defined as: "a knowing misrepresentation of the truth or concealment of a material fact to induce another to act to his or her detriment."</span><span style="-webkit-text-stroke: rgb(0, 0, 0); color: blue; font-family: "times" , "times new roman" , serif; font-size: x-small;">[FN 8]</span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: small;">So, should museums, many of which collect monetary considerations including but not limited to: admission fees, city-state-federal grants, corporate sponsorship, outright sales and tax write-offs, want to argue that they should be held to a lesser standard of full and honest disclosure than artists who do business in the State of California?</span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">Then to go from the ridiculous to the sublime, Pomona College's Academic Honesty code addresses if a Pomona College student brought something to class they did not create and tried to pass it off as if they did and got caught:</span></span></div>
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<li style="text-align: justify;"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">"Pomona College is an academic community in which all members are expected to abide by ethical standards, both in their conduct and in their exercise of responsibilities toward other members of the community. The College expects students to understand and adhere to basic standards of honesty and academic integrity. These standards include, but are not limited to, the following: 1) In projects and assignments prepared independently, students never represent the ideas or the language of others as their own., 2) Students do not destroy or alter either the work of other students or the educational resources and materials of the College., 3) Students neither give nor receive assistance with examinations., 4) Students do not represent work completed for one course as original work for another or deliberately disregard course rules and regulations., [and] 5) In laboratory or research projects involving the collection of data, students accurately report data observed and do not alter these data for any reason."</span><span style="font-family: "times" , "times new roman" , serif;"><span style="color: blue; font-size: x-small;">[FN 9]</span><span style="font-size: small;"> </span></span></li>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">Now, should the Pomona College, its' Museum of Art and their collection of non-disclosed posthumous forgeries [from posthumously [1863] reworked and altered plates], falsely attributed to a dead Francisco de Goya y Lucientes [d 1828], be held to a lesser standard of academic honesty than their students?</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">LAW, ETHICS AND THE VISUAL ARTS</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">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.” 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.”</span><span style="color: blue; font-family: "times" , "times new roman" , serif; font-size: x-small;">[FN 10]</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">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.”</span><span style="color: blue; font-family: "times" , "times new roman" , serif; font-size: x-small;">[FN11]</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">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...”</span><span style="color: blue; font-family: "times" , "times new roman" , serif; font-size: x-small;">[FN 12]</span></span></div>
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<span style="background-color: white; font-family: "times" , "times new roman" , serif; font-size: small;">In closing, these links additionally document that this fraud does not operate in a vacuum:</span></div>
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<li style="text-align: justify;"><span style="color: blue; font-family: "times" , "times new roman" , serif; font-size: small;">http://garyarseneau.blogspot.com/2013/07/posthumous-impressions-from-reworked.html</span></li>
<li style="text-align: justify;"><span style="color: blue; font-family: "times" , "times new roman" , serif; font-size: small;">http://garyarseneau.blogspot.com/2012/06/goya-forgeries-in-university-of.html</span></li>
<li style="text-align: justify;"><span style="color: blue; font-family: "times" , "times new roman" , serif; font-size: small;">http://garyarseneau.blogspot.com/2010/03/dead-dont-etch-goya-disasters-of-war.html</span></li>
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<span style="font-family: "times" , "times new roman" , serif;">Particularly when there are over 80,000 of these non-disclosed posthumous forgeries from reworked and altered plates falsely attributed as original works of visual art i.e., etchings to a dead Francisco de Goya y Lucientes with the title: <i>Disasters of War</i> in museum collections everywhere.</span></div>
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<span style="font-family: "times" , "times new roman" , serif;">Caveat Emptor!</span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;"><b>FOOTNOTES:</b></span></span></div>
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<span style="font-size: x-small;"><span class="s1"><span style="font-family: "times" , "times new roman" , serif;">1. </span></span><span style="-webkit-text-stroke-width: initial;"><span style="font-family: "times" , "times new roman" , serif;">https://www.pomona.edu/museum/exhibitions/2017/goyas-war</span></span></span></div>
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<span style="font-size: x-small;"><span class="s1"><span style="font-family: "times" , "times new roman" , serif;">2. </span></span><span style="font-family: "times" , "times new roman" , serif;"><span style="background-color: white; box-sizing: border-box; color: #333333;">Publisher:</span><span style="background-color: white; color: #333333;"> </span><span style="background-color: white; color: #333333;">Yale University Press; 1st edition (October 28, 1992), </span><span style="background-color: white; color: #333333;">ISBN-10: </span><span style="background-color: white; color: #333333;">0300054629, </span><span style="background-color: white; box-sizing: border-box; color: #333333;">ISBN-13:</span><span style="background-color: white; color: #333333;"> </span><span style="background-color: white; color: #333333;">978-0300054620</span></span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><br /></span></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><span class="s1">3. </span><span style="background-color: white; color: #333333;">Copyright © 1999, By West Group, ISBN 0-314-22864-0</span></span></div>
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<span style="font-size: x-small;"><span class="s1"><span style="font-family: "times" , "times new roman" , serif;">4. </span></span><a href="https://www.pomona.edu/museum/collections/etchings-francisco-de-goya" style="-webkit-text-stroke-width: initial;"><span style="font-family: "times" , "times new roman" , serif;">https://www.pomona.edu/museum/collections/etchings-francisco-de-goya</span></a></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><br /></span></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><span class="s1">5. </span>https://www.nortonsimon.org/exhibitions/1990-1999/the-disasters-of-war-etchings-by-francisco-goya-/</span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><br /></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">6. <span style="-webkit-text-stroke-width: initial;">http://www.copyright.gov/title17/92chap1.html106a</span></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><span style="-webkit-text-stroke-width: initial;"><br /></span></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><span style="-webkit-text-stroke-width: initial;">7. </span></span><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">http://codes.lp.findlaw.com/cacode/CIV/5/d3/4/1/1/s1738</span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><br /></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">8. </span><span style="background-color: white; color: #333333; font-family: "times" , "times new roman" , serif; font-size: x-small;">Copyright © 1999, By West Group, ISBN 0-314-22864-0</span></div>
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<span style="font-size: x-small;"><span class="s1"><span style="font-family: "times" , "times new roman" , serif;">9. </span></span><span style="font-family: "times" , "times new roman" , serif;">http://catalog.pomona.edu/content.php?catoid=7&navoid=394</span></span></div>
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<span style="font-size: x-small;"><span class="s1"><span style="font-family: "times" , "times new roman" , serif;">10. </span></span><span style="-webkit-text-stroke-width: initial;"><span style="font-family: "times" , "times new roman" , serif;">© Kluwer Law International 1998, ISBN 90-411-0697-9</span></span></span></div>
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<span style="-webkit-text-stroke-width: initial;"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">12. Ibid</span></span></div>
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<span style="-webkit-text-stroke-width: initial;"><span style="font-family: "times" , "times new roman" , serif;"><b>PRINCIPALS:</b></span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">Kathleen S. Howe </span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">Sarah Rempel and Herbert S. Rempel '23 Director, Professor of Art</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">Claremont, CA 91711-6344</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">(909) 621-8283</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">Janis A. Tomlinson</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">Director, University Museums; Professor, Art History</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">University of Delaware</span></span></div>
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<span style="-webkit-text-stroke-width: initial;"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">302-831-8003</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">Pasadena, California 91105</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">626.449.6840</span></span></div>
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<span style="-webkit-text-stroke-width: initial;"><span style="font-family: "times" , "times new roman" , serif;"><b>POSTHUMOUS FORGERIES <i>VERSUS</i> LIFETIME ETCHINGS</b></span></span></div>
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<span style="font-family: "times" , "times new roman" , serif;">Examples of Pomona College Museum of Art's collection<i> </i>of posthumous forgeries from reworked and altered plates<i> versus </i>British Museum's collection of lifetime etchings "made by Francisco de Goya.' </span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><span style="-webkit-text-stroke-width: initial;">Los Desastres de la Guerra, 1st edition, plate 1, </span><i style="-webkit-text-stroke-width: initial;">Tristes presentimentos</i><span style="-webkit-text-stroke-width: initial;">…, 1863, 19th c, 6 7/8 in. x 8 11/16 in. (17.5 cm. x 22 cm.), Francisco de Goya (aka Francisco de Goya y Lucientes), (Fuendetodos, Spain, March 30, 1746 - April 16, 1828, Bordeaux, France), Object Type: Prints</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">Medium and Support: Etching and drypoint on Paper, Credit Line: Gift of Norton Simon, Accession Number: P74.72</span></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: small;">NON-DISCLOSED POSTHUMOUS FORGERY FROM A REWORKED AND ALTERED PLATE</span></div>
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<a href="https://1.bp.blogspot.com/-aBzWCo5Eq5g/WIVN78DA92I/AAAAAAAADyU/6QPSO8Fb7wYb6QYWcuLR_C5_oxQMTC-QQCEw/s1600/Goya%2BBritishM%2BDofW%2B1.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="562" src="https://1.bp.blogspot.com/-aBzWCo5Eq5g/WIVN78DA92I/AAAAAAAADyU/6QPSO8Fb7wYb6QYWcuLR_C5_oxQMTC-QQCEw/s640/Goya%2BBritishM%2BDofW%2B1.png" width="640" /></a></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">[Francisco de Goya y Lucientes] </span><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><span class="s1"><i>Tristes presentimientos de lo que ha de acontecer</i> (Sad forebodings of what is going to happen) / Los Desastres de la Guerra (The Disasters of War), Object type printbook term details, Museum number1975,1025.421.3, Title (object)Tristes presentimientos de lo que ha de acontecer (Sad forebodings of what is going to happen)Title (series)Los Desastres de la Guerra (The Disasters of War), DescriptionPlate 1: despairing man on his knees; from a bound album of working proofs, presented by the artist to Ceán Bermúdez. c. 1810-1813 Etching, burin, drypoint and burnisher, Producer name Print made by: Francisco de Goya, School/style Spanish, Date 1810-1813 (c.), Materials paper, Technique etching term details drypoint term details, Dimensions Height: 176 millimetresWidth: 218 millimetres, Inscriptions Inscription Content, Numbered on plate. Titled by the artist in pencil within platemark, below image. </span><span style="-webkit-text-stroke-width: initial;">Curator's comments The album is in the original mottled calf binding with marbled endpapers and gold tooling, with a manuscript title page by Bermúdez with annotation (by Carderera?) at the base. There is also a manuscript insert, in two different hands; (see 1975,1025.421.1-2 for more detail). The album is also signed by Goya on the closed sheet edges. It contains the full set of eighty plates plus two unpublished, some touched with graphite, with an additional three touched impressions of H. 26-8 pasted in at the back, also with pencilled titles by Goya.The preparatory drawing for this plate is in the Museo del Prado, Madrid (D.3964).For conservation reasons, prior permission is required to view this album in the Study Room. Please contact prints@britishmuseum.org</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">http://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectid=1396149&partid=1&</span></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: small;">LIFETIME ETCHING BY FRANCISCO GOYA Y LUCIENTES</span></div>
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<a href="https://4.bp.blogspot.com/-G5ApdxeqEXg/WIVN-EMJxQI/AAAAAAAADzY/igTaTf0xelQpZoNO--AAYeoyl5rTvljTACEw/s1600/Goya%2BPomona%2BDofW%2B12.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="440" src="https://4.bp.blogspot.com/-G5ApdxeqEXg/WIVN-EMJxQI/AAAAAAAADzY/igTaTf0xelQpZoNO--AAYeoyl5rTvljTACEw/s640/Goya%2BPomona%2BDofW%2B12.png" width="640" /></a></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">Los Desastres de la Guerra, 1st edition, plate 12, <i>Para eso habeis nacido</i>…, 1863, 19th c, 6 5/16 in. x 9 1/4 in. (16 cm. x 23.5 cm.), Francisco de Goya (aka Francisco de Goya y Lucientes), </span></span><span style="-webkit-text-stroke-width: initial; font-family: "times" , "times new roman" , serif; font-size: x-small;">(Fuendetodos, Spain, March 30, 1746 - April 16, 1828, Bordeaux, France), Object Type: Prints, Medium and Support: Etching and drypoint on Paper, Credit Line: Gift of Norton Simon, Accession Number: P74.47</span></div>
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<span class="s1"><span style="color: blue; font-family: "times" , "times new roman" , serif; font-size: x-small;">http://embarkweb1.campus.pomona.edu/OBJ?sid=1714&rec=137&port=0&art=0&page=137</span></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: small;">NON-DISCLOSED POSTHUMOUS FORGERY FROM A REWORKED AND ALTERED PLATE</span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><span class="s1">[Francisco de Goya y Lucientes] <i>Para eso habeis nacido</i> (This is what you were born for) / Los Desastres de la Guerra (The Disasters of War), Object type printbook term details, Museum number1975,1025.421.14, </span><span style="-webkit-text-stroke-width: initial;">Title (object)Para eso habeis nacido (This is what you were born for)Title (series)Los Desastres de la Guerra (The Disasters of War), DescriptionPlate 12: man being sick over heap of corpses; from a bound album of working proofs, presented by the artist to Ceán Bermúdez. c.1810-1813, Etching, lavis, drypoint and burin, Producer name Print made by: Francisco de Goya biography, School/styleSpanish, Date 1810-1813 (c.), Materials paper, Technique open-bite term details etching term details drypoint term details, DimensionsHeight: 160 millimetresWidth: 230 millimetres, Inscriptions Inscription Content, Signed and numbered on plate. Titled by the artist in pencil within platemark, below image., Curator’s commentsThe preparatory drawing for the print is in the Museo del Prado, Madrid (D.4241)., Bibliography Blas & Matilla 2000 12 bibliographic details Delteil 131 bibliographic detailsHarris 1964 132.I.3 bibliographic details</span></span></div>
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<span class="s1"><span style="color: blue; font-family: "times" , "times new roman" , serif; font-size: x-small;">http://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectid=1333680&partid=1&</span></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: small;">LIFETIME ETCHING BY FRANCISCO GOYA Y LUCIENTES</span></div>
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<a href="https://4.bp.blogspot.com/-2_JsqqIWpg0/WIVN-Xhd_AI/AAAAAAAADzY/9_-S2W5glAoRmtWUpXz2M2nzohvWQwgEQCEw/s1600/Goya%2BPomona%2BDofW%2B14.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="548" src="https://4.bp.blogspot.com/-2_JsqqIWpg0/WIVN-Xhd_AI/AAAAAAAADzY/9_-S2W5glAoRmtWUpXz2M2nzohvWQwgEQCEw/s640/Goya%2BPomona%2BDofW%2B14.png" width="640" /></a></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">Los Desastres de la Guerra, 1st edition, plate 14, <i>Duro es el paso!</i>, 1863, 19th c, 6 1/8 in. x 6 1/2 in. (15.5 cm. x 16.5 cm., Francisco de Goya (aka Francisco de Goya y Lucientes), </span></span><span style="-webkit-text-stroke-width: initial; font-family: "times" , "times new roman" , serif; font-size: x-small;">(Fuendetodos, Spain, March 30, 1746 - April 16, 1828, Bordeaux, France), Object Type: Prints, Medium and Support: Etching and drypoint on Paper, Credit Line: Gift of Norton Simon, Accession Number: P74.95</span></div>
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<span class="s2"><span style="color: blue; font-family: "times" , "times new roman" , serif; font-size: x-small;"><a href="http://embarkweb1.campus.pomona.edu/OBJ?sid=1714&rec=139&port=0&art=0&page=139">http://embarkweb1.campus.pomona.edu/OBJ?sid=1714&rec=139&port=0&art=0&page=139</a></span></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: small;">NON-DISCLOSED POSTHUMOUS FORGERY FROM A REWORKED AND ALTERED PLATE</span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><span class="s1">[Francisco de Goya y Lucientes] <i>Duro es el paso! </i>(It's a hard step!) / Los Desastres de la Guerra (The Disasters of War), Object typeprintbook term details, Museum number1975,1025.421.16, Title (object)Duro es el paso! (It's a hard step!)Title (series)Los Desastres de la Guerra (The Disasters of War), </span><span style="-webkit-text-stroke-width: initial;">DescriptionPlate 14: condemned man being guided up(?) ladder onto gibbet; from a bound album of working proofs, presented by the artist to Ceán Bermúdez. c.1810-1813 Etching, burnished lavis, drypoint and burin, Producer namePrint made by: Francisco de Goya biography, School/styleSpanish, Date1810-1813 (c.), Materials paper, Technique open-bite term details etching term details drypoint term details, DimensionsHeight: 143 millimetres Width: 165 millimetres, Inscriptions Inscription Content, Numbered on plate. Titled by the artist in pencil within platemark, below image., Curator’s commentsThe preparatory drawing for the print is in the Museo del Prado, Madrid (D.4384)., Bibliography Delteil 133 bibliographic detailsHarris 1964 134.I.2 bibliographic details Blas & Matilla 2000 14</span></span></div>
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<span class="s2"><a href="http://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectid=1333673&partid=1&"><span style="color: blue; font-family: "times" , "times new roman" , serif; font-size: x-small;">http://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectid=1333673&partid=1&</span></a></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: small;">LIFETIME ETCHING BY FRANCISCO GOYA Y LUCIENTES</span></div>
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<a href="https://1.bp.blogspot.com/-zRl0Gf11W_M/WIVN_EjBTSI/AAAAAAAADzY/XC4PQifLmvYuHLT_26xn0biY7JbB-aCOwCEw/s1600/Goya%2BPomona%2BDofW%2B28.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="522" src="https://1.bp.blogspot.com/-zRl0Gf11W_M/WIVN_EjBTSI/AAAAAAAADzY/XC4PQifLmvYuHLT_26xn0biY7JbB-aCOwCEw/s640/Goya%2BPomona%2BDofW%2B28.png" width="640" /></a></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><span class="s1">Los Desastres de la Guerra, 1st edition, plate 28, <i>Populacho</i> (Rabble), 1863, 19th c, 6 7/8 in. x 8 7/16 in. (17.5 cm. x 21.5 cm.), Francisco de Goya (aka Francisco de Goya y Lucientes), (Fuendetodos, Spain, March 30, 1746 - April 16, 1828, Bordeaux, France), Object Type: Prints </span><span style="-webkit-text-stroke-width: initial;">Medium and Support: Etching and drypoint on Paper, Credit Line: Gift of Norton Simon, Accession Number: P74.94</span></span></div>
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<span class="s2"><span style="color: blue; font-family: "times" , "times new roman" , serif; font-size: x-small;"><a href="http://embarkweb1.campus.pomona.edu/OBJ?sid=1714&rec=154&port=0&art=0&page=154">http://embarkweb1.campus.pomona.edu/OBJ?sid=1714&rec=154&port=0&art=0&page=154</a></span></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><span class="s1">[Francisco de Goya y Lucientes] <i>Populacho</i> (Rabble) / Los Desastres de la Guerra (The Disasters of War), Object typeprintbook term details, Museum number1975,1025.421.30, Title (object) Populacho (Rabble)Title (series) Los Desastres de la Guerra (The Disasters of War), DescriptionPlate 28: man and woman beating and abusing naked victim, bound at feet, lying face down on ground; with spectators; from a bound album of working proofs, presented by the artist to Ceán Bermúdez. c.1810-1813 Etching, lavis, drypoint, burin and burnisher, Producer namePrint made by: Francisco de Goya biography, School/styleSpanish, Date1810-1813 (c.), Materials paper, </span><span style="-webkit-text-stroke-width: initial;">Technique open-bite term details etching term details drypoint term details, DimensionsHeight: 176 millimetres Width: 215 millimetres, Inscriptions Inscription Content Numbered on plate. Titled by the artist in pencil within platemark, below image., Curator’s commentsThe preparatory drawing for the print is in the Museo del Prado, Madrid (D.4246)., Bibliography Delteil 147 bibliographic detailsHarris 1964 148.I.2 bibliographic details Blas & Matilla 2000 28</span><span style="-webkit-text-stroke-width: initial;"> </span></span></div>
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<span class="s2"><span style="color: blue; font-family: "times" , "times new roman" , serif; font-size: x-small;"><a href="http://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectid=1333649&partid=1&">http://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectid=1333649&partid=1&</a></span></span></div>
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<span class="s2"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">LIFETIME ETCHING BY FRANCISCO GOYA Y LUCIENTES</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">Los Desastres de la Guerra, 1st edition, plate 32, <i>Por qué?</i> (Why?), 1863, 19th c, 6 1/8 in. x 8 1/16 in. (15.5 cm. x 20.5 cm.), Francisco de Goya (aka Francisco de Goya y Lucientes), (Fuendetodos, Spain, March 30, 1746 - April 16, 1828, Bordeaux, France), Object Type: Prints</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">Medium and Support: Etching and drypoint on Paper, Credit Line: Gift of Norton Simon, Accession Number: P74.90</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">http://embarkweb1.campus.pomona.edu/OBJ?sid=1714&rec=159&port=0&art=0&page=159</span></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: small;">NON-DISCLOSED POSTHUMOUS FORGERY FROM A REWORKED AND ALTERED PLATE</span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">[Francisco de Goya y Lucientes] <i>Por que?</i> (Why?) / Los Desastres de la Guerra (The Disasters of War), Object type printbook term details, Museum number1975,1025.421.34, Title (object)Por que? (Why?)Title (series) Los Desastres de la Guerra (The Disasters of War), Description Plate 32: man, strung from tree, being garrotted by three soldiers; two pulling his legs, the other with his leg pushing down on his shoulders; from a bound album of working proofs, presented by the artist to Ceán Bermúdez. c.1810-1813 Etching, lavis, drypoint, burin and burnisher, Producer namePrint made by: Francisco de Goya biography, School/styleSpanish, Date1810-1813 (c.), Materials paper Technique open-bite term details etching term details drypoint term details, DimensionsHeight: 154 millimetres Width: 205 millimetres, Inscriptions Inscription Content Numbered on plate. Titled by the artist in pencil within platemark, below image., Bibliography Delteil 151 bibliographic details Harris 1964 152.I.3 bibliographic details Blas & Matilla 2000 32</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">http://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectid=1333725&partid=1&</span></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: small;">LIFETIME ETCHING BY FRANCISCO GOYA Y LUCIENTES</span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><span style="-webkit-text-stroke-width: initial;">Los Desastres de la Guerra, 1st edition, plate 37, <i>Esto es peor</i> (This is worse), 1863, 19th c, 6</span><span style="-webkit-text-stroke-width: initial;"> </span>1/8 in. x 8 1/16 in. (15.5 cm. x 20.5 cm.), Francisco de Goya (aka Francisco de Goya y Lucientes), (Fuendetodos, Spain, March 30, 1746 - April 16, 1828, Bordeaux, France), Object Type: Prints, Medium and Support: Etching and drypoint on Paper, Credit Line: Gift of Norton Simon, Accession Number: P74.53</span></span></div>
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<span class="s2"><a href="http://embarkweb1.campus.pomona.edu/OBJ?sid=1714&rec=164&port=0&art=0&page=164"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">http://embarkweb1.campus.pomona.edu/OBJ?sid=1714&rec=164&port=0&art=0&page=164</span></a></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: small;">NON-DISCLOSED POSTHUMOUS FORGERY FROM A REWORKED AND ALTERED PLATE</span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><span class="s1">[Francisco de Goya y Lucientes] <i>Esto es peor</i> (This is worse) / Los Desastres de la Guerra (The Disasters of War), Object type printbook term details, Museum number1975,1025.421.39, </span><span style="-webkit-text-stroke-width: initial;">Title (object)Esto es peor (This is worse)Title (series) Los Desastres de la Guerra (The Disasters of War), DescriptionPlate 37: male corpse impaled on tree stump, soldiers dragging and hacking at corpses beyond; from a bound album of working proofs, presented by the artist to Ceán Bermúdez. c.1810-1813 Etching, lavis and drypoint, Producer namePrint made by: Francisco de Goya biography, School/styleSpanish, Date1810-1813 (c.), Materials paper Technique open-bite term details etching term details drypoint term details, DimensionsHeight: 155 millimetres Width: 205 millimetres, Inscriptions Inscription Content Numbered on plate. Titled by the artist in pencil within platemark, below image., Bibliography Delteil 156 bibliographic detailsHarris 1964 157.I.3 bibliographic details Blas & Matilla 2000 37</span><span style="-webkit-text-stroke-width: initial;"> </span></span></div>
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<span class="s2"><a href="http://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectid=1333729&partid=1&"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">http://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectid=1333729&partid=1&</span></a></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: small;">LIFETIME ETCHING BY FRANCISCO GOYA Y LUCIENTES</span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">Los Desastres de la Guerra, 1st edition, plate 39, <i>Grande hazaña!</i>…, 1863, 19th c, 6 1/8 in. x 8 1/16 in. (15 1/2 cm. x 20.5 cm.), Francisco de Goya (aka Francisco de Goya y Lucientes)</span></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><span class="s1">(Fuendetodos, Spain, March 30, 1746 - April 16, 1828, Bordeaux, France), Object Type: Prints, </span><span style="-webkit-text-stroke-width: initial;">Medium and Support: Etching and drypoint on Paper, Credit Line: Gift of Norton Simon, Accession Number: P74.54</span></span></div>
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<span class="s2"><a href="http://embarkweb1.campus.pomona.edu/OBJ?sid=1714&rec=166&port=0&art=0&page=166"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">http://embarkweb1.campus.pomona.edu/OBJ?sid=1714&rec=166&port=0&art=0&page=166</span></a></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: small;">NON-DISCLOSED POSTHUMOUS FORGERY FROM A REWORKED AND ALTERED PLATE</span></div>
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<a href="https://2.bp.blogspot.com/-pTDox6jlD3k/WIVN8ZDIlqI/AAAAAAAADzY/JUCLDT9C_zcyAPUexVm_i91L1uuqOFqxwCEw/s1600/Goya%2BBritishM%2BDofW%2B39.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="536" src="https://2.bp.blogspot.com/-pTDox6jlD3k/WIVN8ZDIlqI/AAAAAAAADzY/JUCLDT9C_zcyAPUexVm_i91L1uuqOFqxwCEw/s640/Goya%2BBritishM%2BDofW%2B39.png" width="640" /></a></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><span class="s1">[Francisco de Goya y Lucientes] <i>Grande hazaña! Con muertos!</i> (An heroic feat! With dead men!) / Los Desastres de la Guerra (The Disasters of War), Object typeprintbook term details, Museum number1975,1025.421.41, </span><span style="-webkit-text-stroke-width: initial;">Title (object)Grande hazaña! Con muertos! (An heroic feat! With dead men!)Title (series)Los Desastres de la Guerra (The Disasters of War), DescriptionPlate 39: three corpses bound to tree stump, all castrated; one with arms amputated and decapitated, the head impaled on a branch; from a bound album of working proofs, presented by the artist to Ceán Bermúdez. c.1810-1813 Etching, lavis and drypoint, Producer namePrint made by: Francisco de Goya biography, School/styleSpanish, Date1810-1813 (c.), Materialspaper, Techniqueopen-bite term detailsetching term detailsdrypoint term details, DimensionsHeight: 155 millimetresWidth: 204 millimetres, Inscriptions Inscription Content Signed and numbered on plate. Titled by the artist in pencil within platemark, below image., Bibliography Blas & Matilla 2000 bibliographic details Delteil 158 bibliographic detailsHarris 1964 159.I.3</span></span></div>
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<a href="http://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectid=1333636&partid=1&" style="-webkit-text-stroke: rgb(4, 51, 255);"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">http://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectid=1333636&partid=1&</span></a></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: small;">LIFETIME ETCHING BY FRANCISCO GOYA Y LUCIENTES</span></div>
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<a href="https://1.bp.blogspot.com/-F83tlMAOp4g/WIVS-lou1PI/AAAAAAAAD0E/NuV0G4XufxE0RzFzKjmjzvm0ucP3Ye33QCEw/s1600/Goya%2BPomona%2BDofW%2B52.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="500" src="https://1.bp.blogspot.com/-F83tlMAOp4g/WIVS-lou1PI/AAAAAAAAD0E/NuV0G4XufxE0RzFzKjmjzvm0ucP3Ye33QCEw/s640/Goya%2BPomona%2BDofW%2B52.png" width="640" /></a></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">Los Desastres de la Guerra, 1st edition, plate 52,<i> No llegan á tiempo</i>…, 1863, 19th c, 6 1/8 in. x 8 1/16 in. (15.5 cm. x 20.5 cm.), Francisco de Goya (aka Francisco de Goya y Lucientes)</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">(Fuendetodos, Spain, March 30, 1746 - April 16, 1828, Bordeaux, France), Object Type: Prints</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">Medium and Support: Etching and drypoint on Paper, Credit Line: Gift of Norton Simon, Accession Number: P74.92</span></span></div>
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<span class="s2"><a href="http://embarkweb1.campus.pomona.edu/OBJ?sid=1714&rec=182&port=0&art=0&page=182"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">http://embarkweb1.campus.pomona.edu/OBJ?sid=1714&rec=182&port=0&art=0&page=182</span></a></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: small;">NON-DISCLOSED POSTHUMOUS FORGERY FROM A REWORKED AND ALTERED PLATE</span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">[Francisco de Goya y Lucientes] <i style="-webkit-text-stroke-width: initial;">No llegan á tiempo</i><span style="-webkit-text-stroke-width: initial;"> (They do not arrive in time) / Los Desastres de la Guerra (The Disasters of War), Object type printbook term details, Museum number1975,1025.421.54, Title (object)No llegan á tiempo (They do not arrive in time)Title (series)Los Desastres de la Guerra (The Disasters of War), DescriptionPlate 52: woman collapsed dead(?), held by another three; from a bound album of working proofs, presented by the artist to Ceán Bermúdez. c.1811-1813 Etching, lavis, drypoint and burin, Producer namePrint made by: Francisco de Goya biography, School/styleSpanish, Date1811-1813 (c.), Materials paper, Technique open-bite term details etching term details drypoint term details, Dimensions Height: 155 millimetres Width: 204 millimetres, Inscriptions Inscription Content, Numbered on plate. Titled by the artist in pencil below plate., Curator’s commentsThe preparatory drawing for the print is in the Museo del Prado, Madrid (D.4254)., Bibliography Delteil 171 bibliographic detailsHarris 1964 172.I.3 bibliographic details Blas & Matilla 2000 52</span><span style="-webkit-text-stroke-width: initial;"> </span></span></div>
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<span class="s2"><a href="http://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectid=1333944&partid=1&"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">http://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectid=1333944&partid=1&</span></a></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: small;">LIFETIME ETCHING BY FRANCISCO GOYA Y LUCIENTES</span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">Los Desastres de la Guerra, 1st edition, plate 61, <i>Si son de otro linage</i>…, 1863, 19th c, 6 1/8 in. x 8 1/16 in. (15.5 cm. x 20.5 cm.), Francisco de Goya (aka Francisco de Goya y Lucientes)</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">(Fuendetodos, Spain, March 30, 1746 - April 16, 1828, Bordeaux, France), Object Type: Prints</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">Medium and Support: Drypoint on Paper, Credit Line: Gift of Norton Simon, Accession Number: P74.107</span></span></div>
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<span class="s2"><a href="http://embarkweb1.campus.pomona.edu/OBJ?sid=1714&rec=192&port=0&art=0&page=192"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">http://embarkweb1.campus.pomona.edu/OBJ?sid=1714&rec=192&port=0&art=0&page=192</span></a></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: small;">NON-DISCLOSED POSTHUMOUS FORGERY FROM A REWORKED AND ALTERED PLATE</span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><span class="s1">[Francisco de Goya y Lucientes] <i>Si son de otro linage</i> (Perhaps they are of another breed) / Los Desastres de la Guerra (The Disasters of War), Object type printbook term details, Museum number1975,1025.421.63, </span><span class="s1" style="-webkit-text-stroke-width: initial;">Title (object)Si son de otro linage (Perhaps they are of another breed)Title (series)Los Desastres de la Guerra (The Disasters of War), DescriptionPlate 61: starving man begging for help for his family around him, mocked by officer and wealthy figures to right; from a bound album of working proofs, presented by the artist to Ceán Bermúdez. c.1811-1813 Etching, lavis, drypoint, burin and burnisher, Producer namePrint made by: Francisco de Goya biography </span><span style="-webkit-text-stroke-width: initial;">School/styleSpanish, Date1811-1813 (c.), Materials paper, Technique open-bite term details etching term details drypoint term details, DimensionsHeight: 153 millimetres Width: 205 millimetres, Inscriptions Inscription Content Numbered on plate. Titled by the artist in pencil within platemark, below image., Curator’s commentsThe preparatory drawing for the print is in the Museo del Prado, Madrid (D.4334)., Bibliography Delteil 180 bibliographic detailsHarris 1964 181.I.3 bibliographic details Blas & Matilla 2000 61</span></span></div>
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<span class="s2"><a href="http://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectid=1334011&partid=1&"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">http://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectid=1334011&partid=1&</span></a></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: small;">LIFETIME ETCHING BY FRANCISCO GOYA Y LUCIENTES</span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">Los Desastres de la Guerra, 1st edition, plate 40, <i>Algun Partido Saca</i>…, 1863, 19th c, 6 7/8 in. x 8 7/16 in. (17.5 cm. x 21.5 cm.), Francisco de Goya (aka Francisco de Goya y Lucientes), (Fuendetodos, Spain, March 30, 1746 - April 16, 1828, Bordeaux, France), Object Type: Prints, </span></span><span style="-webkit-text-stroke-width: initial; font-family: "times" , "times new roman" , serif; font-size: x-small;">Medium and Support: Etching and drypoint on Paper, Credit Line: Gift of Norton Simon, Accession Number: P74.100</span></div>
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<span class="s2"><a href="http://embarkweb1.campus.pomona.edu/OBJ?sid=1714&rec=169&port=0&art=0&page=169"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">http://embarkweb1.campus.pomona.edu/OBJ?sid=1714&rec=169&port=0&art=0&page=169</span></a></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: small;">NON-DISCLOSED POSTHUMOUS FORGERY FROM A REWORKED AND ALTERED PLATE</span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">[Francisco de Goya y Lucientes] <i>Algun partido saca</i> (He gets something out of it) / Los Desastres de la Guerra (The Disasters of War), Object type printbook term details, Museum number1975,1025.421.42, Title (object)Algun partido saca (He gets something out of it)Title (series)Los Desastres de la Guerra (The Disasters of War), DescriptionPlate 40: figure holding onto the neck of large dog; from a bound album of working proofs, presented by the artist to Ceán Bermúdez. c.1810-1813 Etching, drypoint and burin, Producer namePrint made by: Francisco de Goya biography, School/styleSpanish, Date1810-1813 (c.), Materials paper Technique etching term details drypoint term details, DimensionsHeight: 176 millimetres Width: 221 millimetres, Inscriptions Inscription Content Numbered on plate. Titled by the artist in pencil within platemark, below image., Curator’s commentsThe preparatory drawing for the print is in the Museo del Prado, Madrid (D.4250)., Bibliography Delteil 159 bibliographic detailsHarris 1964 160.I.2 bibliographic details Blas & Matilla 2000 40</span></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: small;">LIFETIME ETCHING BY FRANCISCO GOYA Y LUCIENTES</span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">Los Desastres de la Guerra, 1st edition, plate 71, <i>Contra el bien</i>…, 1863, 19th c, 6 7/8 in. x 8 11/16 in. (17.5 cm. x 22 cm.), Francisco de Goya (aka Francisco de Goya y Lucientes)</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">(Fuendetodos, Spain, March 30, 1746 - April 16, 1828, Bordeaux, France), Object Type: Prints Medium and Support: Etching on Paper, Credit Line: Gift of Norton Simon, Accession Number: P74.75</span></span></div>
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<a href="http://embarkweb1.campus.pomona.edu/OBJ?sid=1714&rec=203&port=0&art=0&page=203" style="-webkit-text-stroke: rgb(4, 51, 255);"><span style="color: blue; font-family: "times" , "times new roman" , serif; font-size: x-small;">http://embarkweb1.campus.pomona.edu/OBJ?sid=1714&rec=203&port=0&art=0&page=203</span></a></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: small;">NON-DISCLOSED POSTHUMOUS FORGERY FROM A REWORKED AND ALTERED PLATE</span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><span class="s1">[Francisco de Goya y Lucientes] <i>Contra el bien general </i>(Against the common good) / Los Desastres de la Guerra (The Disasters of War), Object type print book term details, Museum number 1975,1025.421.73, </span><span style="-webkit-text-stroke-width: initial;">Title (object)Contra el bien general (Against the common good)Title (series)Los Desastres de la Guerra (The Disasters of War), DescriptionPlate 71: demon with bat's wing ears sitting on chair writing in volume, with imploring figures below to right; from a bound album of working proofs, presented by the artist to Ceán Bermúdez. c.1814-1815 Etching and burnisher, Producer namePrint made by: Francisco de Goya biography, School/styleSpanish, Date1814-1815 (c.), Materials paper Technique etching term details, Dimensions Height: 174 millimetres Width: 218 millimetres, Inscriptions Inscription Content Numbered on plate. Titled by the artist in pencil within platemark, below image., Curator’s commentsLit.: M.P. McDonald, exhib.cat., BM, London, `Renaissance to Goya: Prints and drawings from Spain`, 2012, fig.26, p.250.The preparatory drawing for the print is in the Museo del Prado, Madrid (D.3976)., Bibliography Delteil 190 bibliographic detailsHarris 1964 191.I.2 bibliographic details Blas & Matilla 2000 71</span></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: small;">LIFETIME ETCHING BY FRANCISCO GOYA Y LUCIENTES</span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><span class="s1">Los Desastres de la Guerra, 1st edition, plate 77, <i>Que se rompe</i>…, 1863, 19th c, 6 7/8 in. x 8 11/16 in. (17.5 cm. x 22 cm.), Francisco de Goya (aka Francisco de Goya y Lucientes), (Fuendetodos, Spain, March 30, 1746 - April 16, 1828, Bordeaux, France), Object Type: Prints, </span><span style="-webkit-text-stroke-width: initial;">Medium and Support: Etching and aquatint on Paper, Credit Line: Gift of Norton Simon, Accession Number: P74.77</span></span></div>
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<span class="s2"><a href="http://embarkweb1.campus.pomona.edu/OBJ?sid=1714&rec=209&port=0&art=0&page=209"><span style="color: blue; font-family: "times" , "times new roman" , serif; font-size: x-small;">http://embarkweb1.campus.pomona.edu/OBJ?sid=1714&rec=209&port=0&art=0&page=209</span></a></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: small;">NON-DISCLOSED POSTHUMOUS FORGERY FROM A REWORKED AND ALTERED PLATE</span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><span class="s1">[Francisco de Goya y Lucientes] <i>Que se rompe la guerda</i> (May the cord break) / Los Desastres de la Guerra (The Disasters of War), Object type print book term details, Museum number1975,1025.421.79, Title (object)Que se rompe la guerda (May the cord break)Title (series)Los Desastres de la Guerra (The Disasters of War), DescriptionPlate 77: man balancing on threadbare tight rope, crowd below; from a bound album of working proofs, presented by the artist to Ceán Bermúdez. c.1814-1815 Etching, burnished aquatint or lavis, drypoint and burnisher, Producer name Print made by: Francisco de Goya biography, School/styleSpanish, Date1814-1815 (c.), </span><span style="-webkit-text-stroke-width: initial;">Materials paper Technique open-bite (?) term details fetching term details drypoint term details aquatint (?) term details, DimensionsHeight: 177 millimetres Width: 216 millimetres, Inscriptions Inscription Content Numbered on plate. Titled by the artist in pencil within platemark, below image., Curator’s commentsThe preparatory drawing for the print is in the Museo del Prado, Madrid (D.3982)., Bibliography Delteil 196 bibliographic detailsHarris 1964 197.I.3 bibliographic details Blas & Matilla 2000 77</span></span></div>
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<span style="-webkit-text-stroke: rgb(4, 51, 255); color: #0433ff;"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">http://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectid=1334049&partid=1&</span></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: small;">LIFETIME ETCHING BY FRANCISCO GOYA Y LUCIENTES</span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: small;"><b>POMONA COLLEGE MUSEUM OF ART COLLECTION OF NON-DISCLOSED POSTHUMOUS FORGERIES FROM REWORKED AND ALTERED PLATES:</b></span></div>
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<b style="font-family: Times, "Times New Roman", serif; font-size: medium;">POMONA COLLEGE MUSEUM OF ART COLLECTION OF NON-DISCLOSED POSTHUMOUS IMPRESSIONS:</b></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: small; text-align: justify;">[</span><span style="color: blue; font-family: "times" , "times new roman" , serif; font-size: x-small; text-align: justify;">http://embarkweb1.campus.pomona.edu/OBJ?sid=2246&rec=209&port=0&art=0&page=209</span><span style="font-family: "times" , "times new roman" , serif; font-size: small; text-align: justify;">]</span></div>
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<li style="text-align: justify;"><b style="font-family: times, "times new roman", serif;">NOTE:</b><span style="font-family: "times" , "times new roman" , serif;"> <i>Los Disparates</i> a.k.a. The Follies were posthumously printed in 1864 by the Royal Academy in Madrid. Since Francisco de Goya y Lucientes's <i>Disasters of War</i> plates were posthumously reworked and altered by the Royal Academy of Madrid, are we to believe or suspend disbelief the same posthumous reworking and altering wasn't done to these <i>Los Disparates</i> plates? The public may never know because there are no Goya lifetime printed <i>Los Disparates</i> etchings unlike for his <i>Disasters of War</i>.</span></li>
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</style>Gary Arseneauhttp://www.blogger.com/profile/10379667479866306615noreply@blogger.comtag:blogger.com,1999:blog-34909527.post-27615988691492072312016-11-30T09:51:00.002-05:002016-12-21T08:35:36.324-05:00Texas A&M's J. Wayne Stark Galleries FRAUD, "Rodin: Portraits of a Lifetime," Just Not Auguste Rodin's Lifetime<div class="separator" style="clear: both; text-align: center;">
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<b>NOTE:</b> Footnotes are enclosed as: <span style="color: blue; font-size: x-small;">[FN ]</span>.<br />
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<a href="https://1.bp.blogspot.com/-x74e2Y4ctrw/WDz2sTkx2iI/AAAAAAAADww/pX8xiAjx40sqI5enpZB8RrJLKNB3XLESwCLcB/s1600/Screen%2BShot%2B2016-11-28%2Bat%2B10.26.43%2BPM.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: "times" , "times new roman" , serif;"><img border="0" height="400" src="https://1.bp.blogspot.com/-x74e2Y4ctrw/WDz2sTkx2iI/AAAAAAAADww/pX8xiAjx40sqI5enpZB8RrJLKNB3XLESwCLcB/s400/Screen%2BShot%2B2016-11-28%2Bat%2B10.26.43%2BPM.png" width="348" /></span></a></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><i>The Creator (Bas-relief)</i>, c. 1900, Musee Rodin cast II/IV in 1984, Bronze, Coubertin, 10 x 14 1/4 x 2 1/2 in. (40.6 x 36.2 x 6.4 cm), Signed and numbered <i>A. Rodin</i> No. II/IV with Coubertin foundry mark and inscribed © By Musee Rodin 1984. Iris and B. Gerald Cantor Foundation, 1568. [page 178, Rodin, A Magnificent Obsession, ISBN 1 85894 1 143]</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">Photo: <span style="color: blue;">http://today.tamu.edu/2016/11/22/rare-opportunity-to-view-work-of-master-sculptor-rodin-through-dec-17/</span></span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">NON-DISCLOSED POSTHUMOUS FORGERY WITH A COUNTERFEIT SIGNATURE</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: large;">I</span><span style="font-family: "times" , "times new roman" , serif; font-size: small;">n the <b>Rodin, Portraits of a Lifetime, Selections from the Iris and B. Gerald Cantor Collections October 13 - December 17, 2016</b> exhibition at the Texas A&M's J. Wayne Stark Galleries, the above titled <i>The Creator (Bas-relief)</i> is 1 of 15 non-disclosed posthumous [1963-1993] 2nd-generation-removed forgeries with a counterfeit <i>"A Rodin"</i> signatures in bogus editions. </span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">On page 661 of the <i>Seventh Edition of Black's Law Dictionary</i>, -forgery- is defined as: "the act of fraudulently making a false document or altering a real one to be used as if genuine."</span><span style="color: blue; font-family: "times" , "times new roman" , serif; font-size: x-small;">[FN 1] </span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">Auguste Rodin died in 1917. From 1963 to 1993, Auguste Rodin [d 1917] was some 46 to 76 years dead. </span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">The dead don't sculpt, much less sign and number editions.</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">Yet, in the Texas A&M Today's published November 28, 2016 "Rare Opportunity To View Work of Master Sculptor Rodin Through Dec 17" media release by Leslie Henton, the communication specialist wrote: </span></span></div>
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<li style="text-align: justify;"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">"[Texas A&M University Art Galleries Department director Catherine] Hastedt notes the Rodin exhibition is a rare and valuable opportunity for people to view works from one of the world’s most treasured sculptors. 'Exhibitions of this caliber, especially sculpture exhibitions, are very expensive. We are grateful to the Cantor Foundation for making it possible to bring this to Texas A&M. Faculty, staff and students are awed that they can see original Rodin sculptures that normally they would have to travel across the country or over to France to appreciate.'" </span><span style="color: blue; font-family: "times" , "times new roman" , serif; font-size: x-small;">[FN 2]<span style="-webkit-text-stroke-width: initial;"> </span></span></li>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">[mine]</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">Rhetorically, would Texas A&M Faculty, staff and students still be in <i>"awe"</i> if it was fully and clearly disclosed there are no <i>"original Rodin sculptures"</i> in this exhibition, that the director Catherine Hastedt, the Iris and B. Gerald Cantor Foundation and others are so eager to falsely attribute as original works of visual art i.e., sculptures to a dead Auguste Rodin?</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">Remember, the dead don't sculpt.</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">On page 670 of the <i>Seventh Edition of Black's Law Dictionary</i>, -fraud- is defined as: "a knowing misrepresentation of the truth or concealment of a material fact to induce another to act to his or her detriment."</span><span style="color: blue; font-family: "times" , "times new roman" , serif; font-size: x-small;">[FN 3]</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">The Texas A&M University Galleries' inducement for this fraud, in part but not limited to, is listed on their website: "GIVING TO THE ARTS - Your gifts provide enrichment opportunities through special exhibitions, educational workshops and programs, art activities and care for the University Art Collection and the Permanent Collection of the J Wayne Stark Galleries and Forsyth Galleries."</span><span style="color: blue; font-family: "times" , "times new roman" , serif; font-size: x-small;">[FN 4]</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">So, despite "The University Art Galleries Department (UART) supports the educational mission of Texas A&M University by providing impactful visual arts experiences to diverse campus and regional community audiences - steward of its collections, promoting arts advocacy and engagement across the university,"</span><span style="color: blue; font-family: "times" , "times new roman" , serif; font-size: x-small;">[FN 5]</span><span style="font-family: "times" , "times new roman" , serif; font-size: small;"> Texas A&M's J. Wayne Stark Galleries, by exhibiting 15 non-disclosed posthumous [1963-1993] 2nd-generation-removed forgeries with a counterfeit <i>"A Rodin"</i> signatures in bogus editions as <i>"original Rodin sculptures,"</i> is making "a knowing misrepresentation of the truth or concealment of a material fact to induce another to act to his or her detriment" which is one legal definition of fraud.</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">This monograph documents the facts behind this fraud.</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">[2 pages] Written and Distributed by the Iris and B. Gerald Cantor Foundation Director Judith Sobol </span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">The term cover-up is defined as: "given to mean to hide a thing that is unlawful or to evade and impede investigations."</span><span style="color: blue; font-family: "times" , "times new roman" , serif; font-size: x-small;">[FN 6]</span></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: small;">SUMMARY AUTHORIZED POSTHUMOUS CASTING OF THE WORK OF AUGUSTE RODIN</span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">In an attempt to defuse and confuse the public, news media, exhibition venues and other interested parties seemingly to "evade and impede investigations" into legitimate issues of authenticity, the Iris and B. Gerald Cantor Foundation and many of its cultural museums and venues that exhibit the foundation's collection of non-disclosed posthumous 2nd-generation-removed forgeries with counterfeit <i>"A Rodin"</i> signatures in bogus editions, have received and distribute a 2 page "Summary: Authorized Posthumous Casting of the Work of Auguste Rodin" paper. In part, it states: "During his lifetime, Rodin at times licensed commercial foundries to cast unlimited editions of his works. - The concept of the 'limited edition,' as it is known today, came into being only at the beginning of the twentieth-century, when sculptors began to number their casts and new desire for a 'rare' work of art was born."</span><span style="color: blue; font-family: "times" , "times new roman" , serif; font-size: x-small;">[FN 7]</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">On page 70 of Ralph Mayer’s 1999 <i>Harper Collins Dictionary of Art Terms & Techniques</i>, -cast- is defined as: “to reproduce an object, such as a piece of sculpture, by means of a MOLD”</span><span style="color: blue; font-family: "times" , "times new roman" , serif; font-size: x-small;">[FN 8]</span><span style="font-family: "times" , "times new roman" , serif; font-size: small;"> which obviously results in reproductions.</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">Yet, the Iris and B. Gerald Cantor Foundation website would have the people believe and/or suspend disbelief that cast should be defined as: "a sculpture produced from a mold; (v) to make sculpture from a mold"</span><span style="color: blue; font-family: "times" , "times new roman" , serif; font-size: x-small;">[FN 9]</span><span style="font-family: "times" , "times new roman" , serif; font-size: small;"> which seems to fit into their mythology of "casting sculptures." </span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">So, which definition is accurate? </span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">U.S. COPYRIGHT LAW</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">Under U.S. Copyright Law 101. Definitions, a “work of visual art” i.e., -sculpture- is defined as: “multiple cast, carved, or fabricated sculptures of 200 or fewer that are consecutively numbered by the author and bear the signature or other identifying mark of the author.”</span><span style="color: blue; font-family: "times" , "times new roman" , serif; font-size: x-small;">[FN 10]</span><span style="font-family: "times" , "times new roman" , serif; font-size: small;"> Additionally, under U.S. Copyright Law 101. Definitions, a -derivative work- is defined as: “a work based upon one or more preexisting works, such as art reproduction.”</span><span style="color: blue; font-family: "times" , "times new roman" , serif; font-size: x-small;">[FN 11]</span><span style="font-family: "times" , "times new roman" , serif; font-size: small;"> Furthermore, under U.S. Copyright 106A, it states the “Rights of Attribution - shall not apply to any reproduction.”</span><span style="color: blue; font-family: "times" , "times new roman" , serif; font-size: x-small;">[FN 12]</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">In other words, under U.S. Copyright Law, reproductions are derivatives which cannot be -attributed- to a living artist, much less a dead one.</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">REPRODUCTION RIGHTS OF THOSE OBJECTS GIVEN BY HIM</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">So, does Musee Rodin in Paris acknowledge Auguste Rodin's posthumous casts as reproductions? Yes. This is confirmed on page 285 in the former Musee Rodin curator Monique Laurent’s “Observations on Rodin and His Founders” essay, published in the National Gallery of Art’s published 1981 <i>Rodin Rediscovered</i> catalogue, where the curator wrote about Auguste Rodin's 1916 <i>Will</i>: “notwithstanding the transfer of artistic ownership authorized to the State of M. Rodin, the latter expressly reserves for himself the enjoyment, during his life, of the reproduction rights of those objects given by him.”</span><span style="color: blue; font-family: "times" , "times new roman" , serif; font-size: x-small;">[FN 13]</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">ALL REPRODUCTION RIGHTS TO HIS ART</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">These specific details of Auguste Rodin’s <i>Will</i> are additional confirmed on page 504 of the Iris and B. Gerald Cantor Foundation assisted published 1993 <i>Rodin, Shape of Genius</i> biography by Ruth Butler. In part, the author wrote: “a draft of an act of donation was drawn up and signed in Meudon on April 1, 1916, in the presence of Clementel, Valention (representing the Ministere des Beaux-Arts), and Antole de Monzie, the lawyer and deputy who had helped prepare the deed. The document included a number of safeguards for Rodin: at the Hotel Biron--thenceforth to be called the Musee Rodin--he was to be in charge of personnel. He would have the right to use the building until the end of his life, and the state would install heat. All reproduction rights to his art would remain with Rodin during his lifetime.”</span><span style="color: blue; font-family: "times" , "times new roman" , serif; font-size: x-small;">[FN 14]</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">Therefore, aside "high standards of craftsmanship" which is argumentative, what is not argumentative is the Iris and B. Gerald Cantor Foundation's definition of cast is contradicted not only by independent published definitions but by Auguste Rodin, the State of France, some of the same Rodin scholars the foundation funds for catalogues and the Musee Rodin it purchases the vast majority of their collection of non-disclosed posthumous 2nd-generation-removed forgeries with counterfeit <i>"A. Rodin"</i> signatures in bogus editions.</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">CAST BRONZES FROM HIS ORIGINAL MOLDS AND MODELS</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">Then the Iris and B. Gerald Cantor Foundation and its director Judith Sobol would have the public believe and act on the belief that: "While some think that such posthumous casts take away from the purity of Rodin's work, others are confident that Rodin fully understood both the process and the result of posthumous casting and that he trusted his executors and the Musee Rodin when he authorized them to cast bronzes from his original molds and models."</span><span style="color: blue; font-family: "times" , "times new roman" , serif; font-size: x-small;">[FN 15]</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">Nothing could be further from the truth. The following February 1, 2016 correspondence from the Musee Rodin undermines the Iris and B. Gerald Cantor Foundation's written assertions that the Musee Rodin "cast bronzes from his original models and models."</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">The Musee Rodin does not cast from "sculptor's [Auguste Rodin] first conception in plaster or clay." This devastating admission was confirmed in a February 1, 2000 Fax from the Musee Rodin curator Antoinette Normand-Romain, where the curator wrote: </span></span></div>
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<li><span style="font-family: "times" , "times new roman" , serif; font-size: small;">“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] </span></li>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">Additionally, at one time this was confirmed on the Musee Rodin's website as late as April 2000 by the Musee Rodin curator Antoinette Le Normaid-Romain, who wrote:</span></span></div>
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<li><span style="font-family: "times" , "times new roman" , serif; font-size: small;">“Consequently, whenever it is decided to release a new ‘subject,’ a copy is first made from the old mould which can be sent without risk to the foundry where it undergoes the necessary preparations for casting. It is coated with an unmoulding agent, usually in a dark colour, and cut, before being cast again. This practice not only ensures absolute fidelity to the original but also preserves the old plasters which are obviously more valuable since they were made during the lifetime of Rodin.”</span><span style="color: blue; font-family: "times" , "times new roman" , serif; font-size: x-small;">[FN 16]</span></li>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">In other words, by the Musee Rodin avoiding sending the hypothetical original plasters to the foundry, they have willingly given up the authentic original surface details made by the working fingers of Auguste Rodin himself or that Auguste Rodin approved through his collaboration with his “sculpteur reproducteur habituel”</span><span style="color: blue; font-family: "times" , "times new roman" , serif; font-size: x-small;">[FN 17]</span><span style="font-family: "times" , "times new roman" , serif; font-size: small;"> Henri Lebosse and other assistants. Each time the surface of one of these subjects is approximated by the necessary crude handling of the materials used in the reproduction processes, there is visible change. The resulting pieces may be interesting to look at, but it is an absurdity to pretend they are just the way Rodin would have wanted and intended for them to appear.</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">Photo: <span style="color: blue;">http://today.tamu.edu/2016/11/22/rare-opportunity-to-view-work-of-master-sculptor-rodin-through-dec-17/</span></span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">RODIN, PORTRAITS OF A LIFETIME AT TEXAS A&M'S STARK GALLERIES</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">The following Iris and B. Gerald Cantor Foundation's own </span></span><span style="font-family: "times" , "times new roman" , serif;"><span style="font-size: small;"><b>Rodin, Portraits of a Lifetime, Selections from the Iris and B. Gerald Cantor Collections</b><i> </i></span></span><span style="-webkit-text-stroke-width: initial; font-family: "times" , "times new roman" , serif; font-size: small;">exhibition checklist from a prior venue, published catalogues and other sources confirms that Auguste Rodin was long dead when they were cast.</span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif;"><b><span style="font-size: large;">1963</span><span style="font-size: small;"> - 1 OF 15 Posthumous Forgeries </span></b></span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">The above<i> Balzac/Jean D’Aire, Nude Study B</i> <i>with the Head of Jean D’Aire</i> is a "Musee Rodin cast 8 in an edition of 12, 1963."</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">On page 68 of the Musee Rodin’s published <i>Bronzes of Rodin</i>, it is written: “The interministerial decree relating to the Musee Rodin, summarizing and complementing the rulings made concerning the museum’s commercial activities, on 5 September 1978 and 4 May 1995, stipulates that “these editions are limited to twelve…”</span><span style="color: blue; font-family: "times" , "times new roman" , serif; font-size: x-small;">[FN 18]</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">Yet, on page 176 of the Musee Rodin’s published <i>Bronzes of Rodin</i> by Antoinette Le Normand Romain, the <i>Balzac/Jean D’Aire, Nude Study B with the Head of Jean D’Aire</i> is listed as having two cast by Perzinka in December 1900 and twelve cast between 1951 and 1964 by Georges Rudier. The Musee Rodin’s is listed as “no. 0.”</span><span style="color: blue; font-family: "times" , "times new roman" , serif; font-size: x-small;">[FN 19]</span><span style="font-family: "times" , "times new roman" , serif; font-size: small;"> That adds up to 15 casts.</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">Rhetorically, if the Musee Rodin can't count, should we count on anything they say, much less from their surrogates?</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">Regardless, in 1963, Auguste Rodin [d 1917] died 46 years earlier. <b>The Rodin, Portraits of a Lifetime,</b> just not Auguste Rodin's lifetime.</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif;"><b><span style="font-size: large;">1976</span><span style="font-size: small;"> - 2 OF 15 Posthumous Forgeries</span></b></span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">On page 180, of the Iris and B. Gerald Cantor Foundation's published 2001 <i>Rodin, A Magnificent Obsession </i>catalogue, the above <i>Nude Study of Balzac (Type 'C')</i> is listed as follows: "Probably 1892, Musee Rodin cast 12 in 1976, Bronze, George Rudier, 50 1/4 x 27 1/4 x 22 1/4 in. (127.6 x 70.5 x 57.8 cm), Signed and numbered <i>A. Rodin</i> No. 12 and inscribed © By Musee Rodin 1976. Iris and B. Gerald Cantor Collection, promised gift to the Iris and B. Gerald Cantor Foundation, 16900." </span><span style="color: blue; font-family: "times" , "times new roman" , serif; font-size: x-small;">[FN 20] </span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">Additionally, on page 167 of the Musee Rodin’s published <i>Bronzes of Rodin </i>by Antoinette Le Normand Romain, the <i>Balzac, Nude Study C, Large Version</i> is listed as having four cast by Alexis Rudier and ten casts between 1957 and 1976 by Georges Rudier.</span><span style="color: blue; font-family: "times" , "times new roman" , serif; font-size: x-small;">[FN 21]</span><span style="font-family: "times" , "times new roman" , serif; font-size: small;"> The Cantor Foundation’s cast is inscribed “no. 12” even though it is the 16th one cast chronologically.</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">Remember, the Musee Rodin wants the public to believe and act on the belief that “these editions are limited to twelve.”</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">Regardless, in 1976, Auguste Rodin [d 1917] died 59 years earlier. <b style="font-weight: bold;">The Rodin, Portraits of a Lifetime</b>, just not Auguste Rodin's lifetime.</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif;"><b><span style="font-size: large;">1978</span><span style="font-size: small;"> - 3 OF 15 Posthumous Forgeries</span></b></span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">On page 183, of the Iris and B. Gerald Cantor Foundation's published 2001 <i>Rodin, A Magnificent Obsession </i>catalogue, the above <i>Head of Pope Benedict XV</i> is listed as follows: "1915, Musee Rodin cast 10 in 1978, Bronze, George Rudier, 10 x 7 x 18 1/2 in. (25.4 x 17.8 x 24.1 cm), Signed and numbered <i>A. Rodin</i> No. 10 and inscribed Georges Rudier Fondeur, Paris, Iris and B. Gerald Cantor Collection, 1608."</span><span style="color: blue; font-family: "times" , "times new roman" , serif; font-size: x-small;">[FN 22]</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">Additionally, on page 203 of the Musee Rodin’s published <i>Bronzes of Rodin</i> by Antoinette Le Normand Romain, the <i>Benedict XV</i> is listed as having three casts by Alexis Rudier in 1917, five between 1919 and 1930 and eight casts between 1958 and 1978. That totals sixteen. The Cantor Foundation’s “N’ 10”</span><span style="color: blue; font-family: "times" , "times new roman" , serif; font-size: x-small;">[FN 23]</span><span style="font-family: "times" , "times new roman" , serif; font-size: small;">, cast in 1978, is the sixteenth one cast chronologically.</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">Remember the Musee Rodin wants the public to believe and act on the belief that “these editions are limited to twelve.”</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">Regardless, in 1978, Auguste Rodin [d 1917] died 61 years earlier. <b style="font-weight: bold;">The Rodin, Portraits of a Lifetime</b>, just not Auguste Rodin's lifetime.</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif;"><b><span style="font-size: large;">1979</span><span style="font-size: small;"> - 4 OF 15 Posthumous Forgeries</span></b></span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">On page 183, of the Iris and B. Gerald Cantor Foundation's published 2001 <i>Rodin, A Magnificent Obsession</i> catalogue, the above <i>Mask of Hanako (Type 'D')</i> is listed as follows: "1908, Musee Rodin cast 8/12 in 1979, Bronze, Godard, 7 7/8 x 7 x 6 in. (20 x 17.8 x 15.2 cm), Signed and numbered <i>A. Rodin</i> No. 8 and inscribed © MUSEE RODIN 1979, Iris and B. Gerald Cantor Foundation, 4140." </span><span style="color: blue; font-family: "times" , "times new roman" , serif; font-size: x-small;">[FN 24]</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">Additionally, on page 403 of the Musee Rodin’s published <i>Bronzes of Rodin </i>by Antoinette Le Normand Romain, the <i>Hanako, Type D</i> is listed being cast in 1974 “Signed <i>A. Rodin</i> on the neck” with “No. 0 beneath the signature.”</span><span style="color: blue; font-family: "times" , "times new roman" , serif; font-size: x-small;">[FN 25]</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">Aside Auguste Rodin [d 1917] was some 57 years dead in 1974 and could not have signed anything, Numbering 0 to 12 is thirteen casts making the Cantor Foundation’s “8/12” actually number 9 chronologically.</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">Regardless, in 1979, Auguste Rodin [d 1917] died 62 years earlier. <b>The Rodin, Portraits of a Lifetime</b>, just not Auguste Rodin's lifetime.</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif;"><b><span style="font-size: large;">1979</span><span style="font-size: small;"> - 5 OF 15 Posthumous Forgeries</span></b></span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">On page 181, of the Iris and B. Gerald Cantor Foundation's published 2001 <i>Rodin, A Magnificent Obsession</i> catalogue, the above <i>Mask of the Man with a Broken Nose</i> is listed as follows: "1863-4, Musee Rodin cast 12/12 in 1979, Bronze, Coubertin, 18 1/4 x 7 3/8 x 6 1/2 in. (46.2 x 18.7 x 16.5 cm), Signed and numbered <i>A. Rodin</i> No. 12 with Coubertin foundry mark and inscribed © By Musee Rodin 1979, Iris and B. Gerald Cantor Collection, promised gift to Iris and B. Gerald Cantor Foundation, 1368."</span><span style="color: blue; font-family: "times" , "times new roman" , serif; font-size: x-small;">[FN 26]</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">Additionally, on page 413 of the Musee Rodin’s published <i>Bronzes of Rodin </i>by Antoinette Le Normand Romain, the <i>Man with the Broken Nose, Mask</i> is listed as having “twelve casts by Fonder de Coubertin, between 1975 and 1979”</span><span style="color: blue; font-family: "times" , "times new roman" , serif; font-size: x-small;">[FN 27] </span><span style="font-family: "times" , "times new roman" , serif; font-size: small;">with one “unnumbered.” </span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">Yet, the Musee Rodin’s cast is listed as “0/12”</span><span style="color: blue; font-family: "times" , "times new roman" , serif; font-size: x-small;">[FN 28]</span><span style="font-family: "times" , "times new roman" , serif; font-size: small;"> which taken to its logical conclusion would make 13 casts, 14 casts if you include the unnumbered one. That would possibly make the Cantor Foundation’s “cast 12/12” the thirteenth or fourteenth cast.</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">Regardless, in 1979, Auguste Rodin [d 1917] died 62 years earlier. <b>The Rodin, Portraits of a Lifetime</b>, just not Auguste Rodin's lifetime.</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><i>Mask of the Man with a Broken Nose</i> is listed as follows: "1863-4, Musee Rodin cast 12/12 in 1979, Bronze, Coubertin, 18 1/4 x 7 3/8 x 6 1/2 in. (46.2 x 18.7 x 16.5 cm), Signed and numbered <i>A. Rodin</i> No. 12 with Coubertin foundry mark and inscribed © By Musee Rodin 1979, Iris and B. Gerald Cantor Collection, promised gift to Iris and B. Gerald Cantor Foundation, 1368. [page 183, Rodin, A Magnificent Obsession, ISBN 1 85894 1 143]</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">Photo: <span style="color: blue;">http://today.tamu.edu/2016/11/22/rare-opportunity-to-view-work-of-master-sculptor-rodin-through-dec-17/</span></span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">NON-DISCLOSED POSTHUMOUS FORGERY WITH A COUNTERFEIT SIGNATURE</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">In the Texas A&M Today's published November 28, 2016 "Rare Opportunity To View Work of Master Sculptor Rodin Through Dec 17" media release by Leslie Henton, the communication specialist wrote: </span></span></div>
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<li><span style="font-family: "times" , "times new roman" , serif;"><span style="font-size: small;">"The exhibition, <i>'Rodin: Portraits of a Lifetime,'</i> underwritten by the Iris and B. Gerald Cantor Foundation in Los Angeles, explores the portraiture work that was the main source of income for Rodin during his life, [Texas A&M University Art Galleries Department director Catherine] Hastedt says, adding that her favorite piece in the exhibit is <i>'Mask of the Man with the Broken Nose.' </i>This piece was originally sculpted in clay as a full head but the back of the clay froze in Rodin’s studio and broke off,” she explains. 'Rodin was intrigued by the shape of what was left and cast it as a mask.</span><span style="-webkit-text-stroke-width: initial; font-size: small;"> </span><span style="-webkit-text-stroke-width: initial;"><span style="font-size: small;">This was an entirely new thing in the art world and it caused some uproar, not only because it was a mask, but also because the face was not aesthetically perfect.'"</span><span style="color: blue; font-size: x-small;">[FN 29]</span></span></span></li>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">Despite the <i>Alice in Wonderland</i> inference that "The exhibition, <i>'Rodin: Portraits of a Lifetime,'</i> underwritten by the Iris and B. Gerald Cantor Foundation in Los Angeles, explores the portraiture work that was the main source of income for Rodin during his life," the Texas A&M University Art Galleries Department director Catherine Hastedt's "favorite piece in the exhibit is <i>Mask of the Man with the Broken Nose</i>" was posthumously cast in 1979. A dead Auguste Rodin [d 1917] has never seen the "piece" that the director and others are so eager to falsely attribute to him. In addition, 14 other "pieces" in this exhibition were posthumously cast between 1963 and 1993, some 46 to 76 years after Auguste Rodin's death in 1917. Therefore, how does an exhibition "explores the portraiture work that was the main source of income for Rodin during his life," if 15 of the 17 "pieces," falsely attributed to dead Auguste Rodin [d 1917], are non-disclosed posthumous 2nd-generation-removed forgeries with counterfeit <i>"A Rodin" </i>signature in bogus editions?</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">Remember, <b>The Rodin, Portraits of a Lifetime</b>, just not Auguste Rodin's lifetime.</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif;"><b><span style="font-size: large;">1980</span><span style="font-size: small;"> - 6 OF 15 Posthumous Forgeries</span></b></span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">On page 180, of the Iris and B. Gerald Cantor Foundation's published 2001 <i>Rodin, A Magnificent Obsession</i> catalogue, the above <i>Monumental Head of Balzac </i>(Enlargement) is listed as follows: "1897, Musee Rodin cast 9/12 in 1980, Bronze, Georges Rudier, 10 x 17 1/2 x 16 in. (50.8 x 44.5 x 40.61 cm), Signed and numbered <i>A. Rodin</i> No. 9 and inscribed Georges Rudier and © Musee Rodin 1980, Iris and B. Gerald Cantor Foundation, 1301."</span><span style="color: blue; font-family: "times" , "times new roman" , serif; font-size: x-small;">[FN 30]</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">Additionally, on page 179 of the Musee Rodin’s published <i>Bronzes of Rodin</i> by Antoinette Le Normand Romain, the <i>Balzac, Monumental Head</i> is listed as one posthumous cast by the Alexis Rudier foundry [1902-1952] for Jules Mastbaum and twelve posthumous casts by the Georges Rudier foundry [1952 to 1980’s] “nos. 0 to 11/11 and 1/1” and listed as “Signed <i>A. Rodin</i>.”</span><span style="color: blue; font-family: "times" , "times new roman" , serif; font-size: x-small;">[FN 31]</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">Aside Auguste Rodin [d 1917] was dead and could not have signed anything, thirteen casts makes the Cantor Foundation’s “No. 9” the tenth one cast chronologically.</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">Regardless, in 1980, Auguste Rodin [d 1917] died 63 years earlier. <b>The Rodin, Portraits of a Lifetime</b>, just not Auguste Rodin's lifetime.</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">On page 180, of the Iris and B. Gerald Cantor Foundation's published 2001 <i>Rodin, A Magnificent Obsession</i> catalogue, the above <i>Monumental Head of Balzac</i> (Enlargement) is listed as follows: "1897, Musee Rodin cast 9/12 in 1980, Bronze, Georges Rudier, 10 x 17 1/2 x 16 in. (50.8 x 44.5 x 40.61 cm), Signed and numbered <i>A. Rodin</i> No. 9 and inscribed Georges Rudier and © Musee Rodin 1980, Iris and B. Gerald Cantor Foundation, 1301."</span><span style="color: blue; font-family: "times" , "times new roman" , serif; font-size: x-small;"> [FN 30]</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">Additionally, on page 179 of the Musee Rodin’s published <i>Bronzes of Rodin</i> by Antoinette Le Normand Romain, the <i>Balzac, Monumental Head</i> is listed as one posthumous cast by the Alexis Rudier foundry [1902-1952] for Jules Mastbaum and twelve posthumous casts by the Georges Rudier foundry [1952 to 1980’s] “nos. 0 to 11/11 and 1/1” and listed as “Signed <i>A. Rodin</i>.”</span><span style="color: blue; font-family: "times" , "times new roman" , serif; font-size: x-small;">[FN 31]</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">Aside Auguste Rodin [d 1917] was dead and could not have signed anything, thirteen casts makes the Cantor Foundation’s “No. 9” the tenth one cast chronologically.</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">Regardless, in 1980, Auguste Rodin [d 1917] died 63 years earlier. <b>The Rodin, Portraits of a Lifetime</b>, just not Auguste Rodin's lifetime.</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif;"><b><span style="font-size: large;">1981</span><span style="font-size: small;"> - 8 OF 15 Posthumous Forgeries</span></b></span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">On page 180, of the Iris and B. Gerald Cantor Foundation's published 2001 <i>Rodin, A Magnificent Obsession </i>catalogue, the above <i>Balzac in a Dominican Robe</i> is listed as follows: "1893-94, Musee Rodin cast 9 in 1981, Bronze, Georges Rudier, 41 3/4 x 20 1/8 x 20 in. (106 x 51.2 x 50.8 cm), Inscribed Musee Rodin 1981, Iris and B. Gerald Cantor Collection, promised gift to the Iris and B. Gerald Cantor Foundation, 1491."</span><span style="color: blue; font-family: "times" , "times new roman" , serif; font-size: x-small;">[FN 34]</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">Additionally, on page 171 of the Musee Rodin’s published <i>Bronzes of Rodin</i> by Antoinette Le Normand Romain, the <i>Balzac, in a Monk’s Habit</i> a.k.a. <i>Balzac in Dominican Robe</i> is listed as “twelve casts by Georges Rudier, between 1971 and 1983 [nos. 0 to 10/10 and I and II.II].”</span><span style="color: blue; font-family: "times" , "times new roman" , serif; font-size: x-small;">[FN 35]</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">Unfortunately, “0 to 10” is eleven with “I and II/II” is two totaling thirteen making the Cantor Foundation’s “cast 9” either the 10th or 12th one cast depending on which order you count it.</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">Regardless, in 1981, Auguste Rodin [d 1917] died 64 years earlier. <b>The Rodin, Portraits of a Lifetime</b>, just not Auguste Rodin's lifetime.</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif;"><b><span style="font-size: large;">1981</span><span style="font-size: small;"> - 9 OF 15 Posthumous Forgeries</span></b></span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">On page 182, of the Iris and B. Gerald Cantor Foundation's published 2001 <i>Rodin, A Magnificent Obsession</i> catalogue, the above <i>Maquette of General Lynch</i> is listed as follows: "1886, Musee Rodin cast 5 in 1981, Bronze, Godard, 17 3/4 x 13 3/4 x 7 7/8 in. (45.1 x 34.9 x 20cm), Signed and numbered <i>A. Rodin</i>/ No. 5 and inscribed E Godard/Fondr and © Musee Rodin 1981, Iris and B. Gerald Cantor Foundation, 1597."</span><span style="color: blue; font-family: "times" , "times new roman" , serif; font-size: x-small;">[FN 36]</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">Additionally, on page 490 of the Musee Rodin’s published <i>Bronzes of Rodin</i> by Antoinette Le Normand Romain, the <i>General Lynch</i> is listed as two casts by Leon Perzinka, one by Alexis Rudier, one by Georges Rudier and three casts by E. Godard.</span><span style="color: blue; font-family: "times" , "times new roman" , serif; font-size: x-small;">[FN 37]</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">Once again, another one of the Cantor Foundation’s casts “cast 5” is chronologically the sixth one cast.</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">Regardless, in 1981, Auguste Rodin [d 1917] died 64 years earlier. <b>The Rodin, Portraits of a Lifetime</b>, just not Auguste Rodin's lifetime.</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif;"><b><span style="font-size: large;">1981</span><span style="font-size: small;"> - 10 OF 15 Posthumous Forgeries</span></b></span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">On page 180, of the Iris and B. Gerald Cantor Foundation's published 2001 <i>Rodin, A Magnificent Obsession</i> catalogue, the above <i>Heroic bust of Victor Hugo</i> is listed as follows: "1890-97 or 1901-02, Musee Rodin cast 7/12 in 1981, Bronze, Coubertin, 29 1/4 x 23 1/2 x 21 1/4 in. (74.3 x 59.7 x 54 cm), Signed and numbered <i>A. Rodin</i>/No. 7, and inscribed Musee Rodin 1981 with Coubertin foundry mark, , Iris and B. Gerald Cantor Collection, promised gift to the Iris and B. Gerald Cantor Foundation, 1181."</span><span style="color: blue; font-family: "times" , "times new roman" , serif; font-size: x-small;"> [FN 38]</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">Under U.S. Copyright Law § 101. Definitions, a work of visual art i.e., sculpture is defined as: “multiple cast, carved, or fabricated sculptures of 200 or fewer that are consecutively numbered by the author and bear the signature or other identifying mark of the author.”</span><span style="color: blue; font-family: "times" , "times new roman" , serif; font-size: x-small;">[FN 39]</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">In 1981, Auguste Rodin [d 1917] was some 64 years dead. The dead don’t sign and number.</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">Regardless, in 1981, Auguste Rodin [d 1917] died 54 years earlier. <b>The Rodin, Portraits of a Lifetime</b>, just not Auguste Rodin's lifetime.</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif;"><b><span style="font-size: large;">1983 </span><span style="font-size: small;">- 11 OF 15 Posthumous Forgeries</span></b></span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">On page 180, of the Iris and B. Gerald Cantor Foundation's published 2001 <i>Rodin, A Magnificent Obsession</i> catalogue, the above <i>Bust of Young Balzac</i> is listed as follows: "1893, Musee Rodin cast 1/8 in 1983, Bronze, Godard, 28 1/8 x 13 3/8 x 14 5/8 in. (71.4 x 34 x 37.1 cm), Inscribed E Godard/Fondr and © Musee Rodin 1983 and E. Godard/Fondeur, Iris and B. Gerald Cantor Collection, promised gift to the Iris and B. Gerald Cantor Foundation, 1456." </span><span style="color: blue; font-family: "times" , "times new roman" , serif; font-size: x-small;">[FN 40]</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">Additionally, on page 172 of the Musee Rodin’s published <i>Bronzes of Rodin</i> by Antoinette Le Normand Romain, the <i>Balzac, Smiling Bust</i> a.k.a. <i>Bust of Young Balzac </i>is listed as being “twelve casts by E. Godard, from 1988” and “Signed <i>A. Rodin</i>.”</span><span style="color: blue; font-family: "times" , "times new roman" , serif; font-size: x-small;">[FN 41]</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">In 1983, Auguste Rodin was some 66 years dead. The dead don’t sign.</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">Regardless, in 1983, Auguste Rodin [d 1917] died 54 years earlier. <b>The Rodin, Portraits of a Lifetime</b>, just not Auguste Rodin's lifetime.</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif;"><b><span style="font-size: large;">1983</span><span style="font-size: small;"> - 12 OF 15 Posthumous Forgeries</span></b></span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">On page 183, of the Iris and B. Gerald Cantor Foundation's published 2001 <i>Rodin, A Magnificent Obsession</i> catalogue, the above <i>Study for the Monument to Whistler</i> is listed as follows: "1905-06, Musee Rodin cast 53/8 in 1983, Bronze, Godard, 24 3/4 x 13 x 13 1/2 in. (62.9 x 33 x 34.3 cm), Signed and numbered <i>A. Rodin</i>/ No. 3/8 and inscribed E Godard/Fondr and © By Musee Rodin 1983, Iris and B. Gerald Cantor Foundation, 1569."</span><span style="color: blue; font-family: "times" , "times new roman" , serif; font-size: x-small;">[FN 42]</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">Additonally, on page 710 of the Musee Rodin’s published <i>Bronzes of Rodin</i> by Antoinette Le Normand Romain, the <i>Monument to Whistler </i>is listed as having “twelve casts from 1962, the first two by Georges Rudier then by E. Godard from 1983 and “Signed <i>A. Rodin</i>.”</span><span style="color: blue; font-family: "times" , "times new roman" , serif; font-size: x-small;">[FN 43]</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">In the Association of Art Museum Directors’ 2001 <i>Professional Practices in Art Museum</i> publication, it states: "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, editions numbers, and/or foundry marks on sculpture must not appear on the reproduction.”</span><span style="color: blue; font-family: "times" , "times new roman" , serif; font-size: x-small;">[FN 44]</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">Regardless, in 1983, Auguste Rodin [d 1917] died 66 years earlier.<i> </i><b>The Rodin, Portraits of a Lifetime</b>, just not Auguste Rodin's lifetime.</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif;"><b><span style="font-size: large;">1984</span><span style="font-size: small;"> - 13 OF 15 Posthumous Forgeries</span></b></span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">On page 178, of the Iris and B. Gerald Cantor Foundation's published 2001 <i>Rodin, A Magnificent Obsession </i>catalogue, the above <i>The Creator (Bas-relief)</i> is listed as c. 1900, Musee Rodin cast II/IV in 1984, Bronze, Coubertin, 16 x 14 1/4 x 2 1/2 in. (40.6 x 36.2 x 6.4 cm), Signed and numbered <i>A. Rodin</i> No. II/IV with Coubertin foundry mark and inscribed © By Musee Rodin 1984. Iris and B. Gerald Cantor Foundation, 1568. </span><span style="color: blue; font-family: "times" , "times new roman" , serif; font-size: x-small;">[FN 45]</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">Additonally, on page 274 of the Musee Rodin’s published <i>Bronzes of Rodin</i> by Antoinette Le Normand Romain, The Creator is listed as having “eleven cast by Fonder de Coubertin, from 1983”and “Signed <i>A. Rodin</i>.”</span><span style="color: blue; font-family: "times" , "times new roman" , serif; font-size: x-small;">[FN 46]</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">Auguste Rodin died in 1917, along with his ability to sign.</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">Regardless, in 1984, Auguste Rodin [d 1917] died 67 years earlier. <b>The Rodin, Portraits of a Lifetime</b>, just not Auguste Rodin's lifetime.</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif;"><b><span style="font-size: large;">1992</span><span style="font-size: small;"> - 14 OF 15 Posthumous Forgeries</span></b></span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">On page 182, of the Iris and B. Gerald Cantor Foundation's published 2001 <i>Rodin, A Magnificent Obsession</i> catalogue, the above <i>Claude Lorrain</i> is listed as 1880, Musee Rodin cast 5/8 in 1992, Bronze, Coubertin, 84 1/2 x 42 1/2 x 46 in. (214.6 x 108 x 116.8 cm), Signed and numbered <i>A. Rodin </i>No. 5/8 with Coubertin foundry mark and inscribed © By Musee Rodin 1992. Iris and B. Gerald Cantor Collection, promised gift to the Iris and B. Gerald Cantor Foundation, 1572.</span><span style="color: blue; font-family: "times" , "times new roman" , serif; font-size: x-small;">[FN 47]</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">Additionally, on page 486 of the Musee Rodin’s published <i>Bronzes of Rodin</i> by Antoinette Le Normand Romain, <i>Claude Lorrain</i> is listed as having one “cast by Griffoul & Lorge“ in 1892 and “ten casts by Fonderie de Coubertin, from 1983” and “Signed <i>A. Rodin</i>.”</span><span style="color: blue; font-family: "times" , "times new roman" , serif; font-size: x-small;">[FN 48]</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">Except for the lifetime cast by Griffon & Lorge, Auguste Rodin’s signing days died in 1917 some sixty-six years prior to 1983 and forty-six years prior to the Coubertin foundry’s going into business in 1963.</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">Regardless, in 1992, Auguste Rodin [d 1917] died 75 years earlier. <b>The Rodin, Portraits of a Lifetime</b>, just not Auguste Rodin's lifetime.</span></span></div>
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<a href="https://3.bp.blogspot.com/-gZSyEgvAQYU/WCpopqo9qqI/AAAAAAAADvU/2GQKjdU0cEIffypSFYjgrjmmrtp4T88pgCEw/s1600/Screen%2BShot%2B2016-11-14%2Bat%2B8.44.41%2BPM.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="43" src="https://3.bp.blogspot.com/-gZSyEgvAQYU/WCpopqo9qqI/AAAAAAAADvU/2GQKjdU0cEIffypSFYjgrjmmrtp4T88pgCEw/s400/Screen%2BShot%2B2016-11-14%2Bat%2B8.44.41%2BPM.png" width="400" /></a></div>
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<b><span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: large;">1993</span><span style="font-family: "times" , "times new roman" , serif; font-size: small;"> - </span></span><span style="-webkit-text-stroke-width: initial; font-family: "times" , "times new roman" , serif; font-size: small;">15 OF 15 Posthumous Forgeries</span></b></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">On page 182, of the Iris and B. Gerald Cantor Foundation's published 2001 <i>Rodin, A Magnificent Obsession</i> catalogue, the above <i>Bust of Mrs. Russell</i> is listed as 1888, Musee Rodin cast II in 1993, Bronze, George Rudier, 13 3/4 x 10 x 10 1/4 in. (34.9 x 25.4 x 26 cm), Signed and numbered <i>A. Rodin</i> No. II and inscribed Georges Rudier Fondeur Paris, Iris and B. Gerald Cantor Collection, promised gift to the Iris and B. Gerald Cantor Foundation, 1611. </span><span style="color: blue; font-family: "times" , "times new roman" , serif; font-size: x-small;">[FN 49]</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">Additionally, on page 1386 in the <i>Seventh Edition of Black’s Law Dictionary</i>, signature is defined as: “a person’s name or mark written by that person or at the person’s direction.”</span><span style="color: blue; font-family: "times" , "times new roman" , serif; font-size: x-small;">[FN 50]</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">In 1993, much less in 1963 to 1992 with the prior fourteen forgeries, Auguste Rodin could not have applied his name or mark and certainly not at his direction. The dead don’t give directions.</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">Regardless, in 1993, Auguste Rodin [d 1917] died 76 years earlier. <b>The Rodin, Portraits of a Lifetime</b>, just not Auguste Rodin's lifetime.</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">TEXAS A&M'S AGGIE CODE OF HONOR:</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">"For many years Aggies have followed a Code of Honor, which is stated in this very simple verse: An Aggie does not lie, cheat or steal or tolerate those who do. The Aggie Code of Honor is an effort to unify the aims of all Texas A&aM men and women toward a high code of ethics and personal dignity. For most, living under this code will be no problem, as it asks nothing of a person that is beyond reason. It only calls for honesty and integrity, characteristics that Aggies have always exemplified. The Aggie Code of Honor functions as a symbol to all Aggies, promoting understanding and loyalty to truth and confidence in each other."</span><span style="color: blue; font-family: "times" , "times new roman" , serif; font-size: x-small;">[FN 51]</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">PROFESSIONAL PRACTICES IN ART MUSEUMS</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">On page 32, Appendix D of the June 2009 Association of Art Museum Director’s <i>Professional Practices in Art Museums</i> booklet, it is written that the: “misleading marketing of reproductions, has created such widespread confusion as to require clarification in order to maintain professional standards. - When producing and/or selling reproductions, 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."</span><span style="color: blue; font-family: "times" , "times new roman" , serif; font-size: x-small;">[FN 52]</span><span style="font-family: "times" , "times new roman" , serif; font-size: small;"> The AAMD requires of their members that:</span></span></div>
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<li>“When producing and/or selling reproductions - signatures, edition numbers, and/or foundry marks on sculpture must not appear on the reproduction.,</li>
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<li>"...the fact that they are reproductions should be clearly indicated on the object, [and]</li>
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<li><span style="font-family: "times" , "times new roman" , serif; font-size: small;">"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 reproductions, he or she is acquiring an original work of art.”</span><span style="color: blue; font-family: "times" , "times new roman" , serif; font-size: x-small;">[FN 53]</span></li>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">Once again, by the Musee Rodin avoiding sending the hypothetical original plasters to the foundry, they have willingly given up the authentic original surface details made by the working fingers of Auguste Rodin himself or that Auguste Rodin approved through his collaboration with his “sculpteur reproducteur habituel”</span><span style="color: blue; font-family: "times" , "times new roman" , serif; font-size: x-small;">[FN 54]</span><span style="font-family: "times" , "times new roman" , serif; font-size: small;"> Henri Lebosse and other assistants. Each time the surface of one of these subjects is approximated by the necessary crude handling of the materials used in the reproduction processes, there is visible change. The resulting pieces may be interesting to look at, but it is an absurdity to pretend they are just the way Rodin would have wanted and intended for them to appear.</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">Additionally to be obvious, it is the 21st-century, not the "twentieth-century" and the pressing tongue-in-check question that should be on everyone's mind: When in the near future will a dead Auguste Rodin stop coming out with new sculpture? </span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">LAW, ETHICS AND THE VISUAL ARTS</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">On pages 816-817 of Kluwer Law International’s published 1998 <i>Law, Ethics and the Visual Arts, Third Edition </i>by John Henry Merryman and Albert E. Elsen, the authors wrote about “Counterfeit Art.” 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.”</span><span style="color: blue; font-family: "times" , "times new roman" , serif; font-size: x-small;">[FN 55]</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">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.”</span><span style="color: blue; font-family: "times" , "times new roman" , serif; font-size: x-small;">[FN 56]</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">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…”</span><span style="color: blue; font-family: "times" , "times new roman" , serif; font-size: x-small;">[FN 57]</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;"><b>CONCLUSION</b> </span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">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 Texas A&M, its Stark Galleries 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 exhibition of reproductions, much less forgeries. </span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">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 fees, "giving to the arts,"</span><span style="color: blue; font-family: "times" , "times new roman" , serif; font-size: x-small;">[FN 58]</span><span style="font-family: "times" , "times new roman" , serif; font-size: small;"> city-state-federal grants, corporate sponsorships, tax write-offs and outright sales.</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">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. </span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">Under U.S. Copyright Law "Section 107 contains a list of the various purposes for which the reproduction of a particular work may be considered fair, such as criticism, comment, news reporting, teaching, scholarship, and research. Section 107 also sets out four factors to be considered in determining whether or not a particular use is fair. [one of which is:] The purpose and character of the use, including whether such use is of commercial nature or is for nonprofit educational purposes."</span></span></div>
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<span class="s1"><span style="color: blue; font-family: "times" , "times new roman" , serif; font-size: small;">http://www.copyright.gov/fls/fl102.html</span></span></div>
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<span class="s1"><span style="color: black; font-family: "times" , "times new roman" , serif; font-size: small;"><b>FOOTNOTES:</b></span></span><br />
<span style="-webkit-text-stroke: rgb(0, 0, 0);"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">1. Copyright © 1999, By West Group, ISBN 0-314-22864-0</span></span></div>
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<span class="s2"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">2. <a href="http://today.tamu.edu/2016/11/22/rare-opportunity-to-view-work-of-master-sculptor-rodin-through-dec-17/"><span class="s3">http://today.tamu.edu/2016/11/22/rare-opportunity-to-view-work-of-master-sculptor-rodin-through-dec-17/</span></a></span></span></div>
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<span class="s2"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">3. Copyright © 1999, By West Group, ISBN 0-314-22864-0</span></span></div>
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<span class="s2"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">4. <a href="https://uart.tamu.edu/"><span class="s3">https://uart.tamu.edu/</span></a></span></span></div>
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<span class="s2"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">5. <a href="https://uart.tamu.edu/mission/"><span class="s3">https://uart.tamu.edu/mission/</span></a></span></span></div>
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<span class="s2"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">6.. <a href="http://thelawdictionary.org/cover-up/"><span class="s3">http://thelawdictionary.org/cover-up/</span></a></span></span></div>
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<span class="s2"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">7. [2 pages] Written and Distributed by the Iris and B. Gerald Cantor Foundation Director Judith Sobol</span></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><span class="s2"></span><br /></span></div>
<div class="p1">
<span class="s2"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">8. Publisher: Collins; 2 edition (January 15, 1992), ISBN-10: 0064610128, ISBN-13: 978-0064610124</span></span></div>
<div class="p2">
<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><span class="s2"></span><br /></span></div>
<div class="p1">
<span class="s2"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">9. <a href="http://www.cantorfoundation.org/resources/glossary-of-terms/"><span class="s3">http://www.cantorfoundation.org/resources/glossary-of-terms/</span></a></span></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><span class="s2"></span><br /></span></div>
<div class="p1">
<span class="s2"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">10. http://www.copyright.gov/title17/92chap1.html#101</span></span></div>
<div class="p2">
<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><span class="s2"></span><br /></span></div>
<div class="p1">
<span class="s2"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">11. Ibid</span></span></div>
<div class="p2">
<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><span class="s2"></span><br /></span></div>
<div class="p1">
<span class="s2"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">12. http://www.copyright.gov/title17/92chap1.html#106a </span></span></div>
<div class="p2">
<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><span class="s2"></span><br /></span></div>
<div class="p1">
<span class="s2"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">13. Publisher: National Gallery of Art,Washington (October 26, 1981), ISBN-10: 0894680005, ISBN-13: 978-0894680007</span></span></div>
<div class="p2">
<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><span class="s2"></span><br /></span></div>
<div class="p1">
<span class="s2"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">14. Publisher: Yale University Press; First Edition edition (October 27, 1993), ISBN-10: 0300054009, ISBN-13: 978-0300054002</span></span></div>
<div class="p2">
<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><span class="s2"></span><br /></span></div>
<div class="p1">
<span class="s2"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">15. [2 pages] Written and Distributed by the Iris and B. Gerald Cantor Foundation Director Judith Sobol</span></span></div>
<div class="p2">
<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><span class="s2"></span><br /></span></div>
<div class="p1">
<span class="s2"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">16. <a href="http://www.musee-rodin.fr/meudo-e.htm"><span class="s3">www.musee-rodin.fr/meudo-e.htm</span></a></span></span></div>
<div class="p2">
<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><span class="s2"></span><br /></span></div>
<div class="p1">
<span class="s2"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">17. Publisher: National Gallery of Art,Washington (October 26, 1981), ISBN-10: 0894680005, ISBN-13: 978-0894680007</span></span></div>
<div class="p2">
<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><span class="s2"></span><br /></span></div>
<div class="p1">
<span class="s2"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">18. Musee Rodin: 978-2-9014-2892-3 © Musee Rodin, Paris 2007, 19, boulevard des Invalides, 75007 Paris</span></span></div>
<div class="p2">
<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><span class="s2"></span><br /></span></div>
<div class="p1">
<span class="s2"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">19. Ibid</span></span></div>
<div class="p2">
<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><span class="s2"></span><br /></span></div>
<div class="p1">
<span class="s2"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">20. Publisher: Merrell; First Edition edition (October 2001), ISBN-10: 1858941431, ISBN-13: 978-1858941431</span></span></div>
<div class="p2">
<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><span class="s2"></span><br /></span></div>
<div class="p1">
<span class="s2"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">21. Musee Rodin: 978-2-9014-2892-3 © Musee Rodin, Paris 2007, 19, boulevard des Invalides, 75007 Paris</span></span></div>
<div class="p2">
<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><span class="s2"></span><br /></span></div>
<div class="p1">
<span class="s2"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">22. Musee Rodin: 978-2-9014-2892-3 © Musee Rodin, Paris 2007, 19, boulevard des Invalides, 75007 Paris</span></span></div>
<div class="p2">
<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><span class="s2"></span><br /></span></div>
<div class="p1">
<span class="s2"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">23. Publisher: Merrell; First Edition edition (October 2001), ISBN-10: 1858941431, ISBN-13: 978-1858941431</span></span></div>
<div class="p2">
<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><span class="s2"></span><br /></span></div>
<div class="p1">
<span class="s2"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">24. Publisher: Merrell; First Edition edition (October 2001), ISBN-10: 1858941431, ISBN-13: 978-1858941431</span></span></div>
<div class="p2">
<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><span class="s2"></span><br /></span></div>
<div class="p1">
<span class="s2"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">25. Musee Rodin: 978-2-9014-2892-3 © Musee Rodin, Paris 2007, 19, boulevard des Invalides, 75007 Paris</span></span></div>
<div class="p2">
<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><span class="s2"></span><br /></span></div>
<div class="p1">
<span class="s2"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">26. Publisher: Merrell; First Edition edition (October 2001), ISBN-10: 1858941431, ISBN-13: 978-1858941431</span></span></div>
<div class="p2">
<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><span class="s2"></span><br /></span></div>
<div class="p1">
<span class="s2"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">27. Musee Rodin: 978-2-9014-2892-3 © Musee Rodin, Paris 2007, 19, boulevard des Invalides, 75007 Paris</span></span></div>
<div class="p2">
<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><span class="s2"></span><br /></span></div>
<div class="p1">
<span class="s2"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">28. Ibid</span></span></div>
<div class="p2">
<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><span class="s2"></span><br /></span></div>
<div class="p1">
<span class="s2"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">29. <a href="http://today.tamu.edu/2016/11/22/rare-opportunity-to-view-work-of-master-sculptor-rodin-through-dec-17/"><span class="s3">http://today.tamu.edu/2016/11/22/rare-opportunity-to-view-work-of-master-sculptor-rodin-through-dec-17/</span></a></span></span></div>
<div class="p2">
<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><span class="s2"></span><br /></span></div>
<div class="p1">
<span class="s2"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">30. Publisher: Merrell; First Edition edition (October 2001), ISBN-10: 1858941431, ISBN-13: 978-1858941431</span></span></div>
<div class="p2">
<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><span class="s2"></span><br /></span></div>
<div class="p1">
<span class="s2"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">31. Musee Rodin: 978-2-9014-2892-3 © Musee Rodin, Paris 2007, 19, boulevard des Invalides, 75007 Paris</span></span></div>
<div class="p2">
<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><span class="s2"></span><br /></span></div>
<div class="p1">
<span class="s2"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">32. Publisher: Merrell; First Edition edition (October 2001), ISBN-10: 1858941431, ISBN-13: 978-1858941431</span></span></div>
<div class="p2">
<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><span class="s2"></span><br /></span></div>
<div class="p1">
<span class="s2"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">33. Musee Rodin: 978-2-9014-2892-3 © Musee Rodin, Paris 2007, 19, boulevard des Invalides, 75007 Paris</span></span></div>
<div class="p2">
<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><span class="s2"></span><br /></span></div>
<div class="p1">
<span class="s2"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">34. Publisher: Merrell; First Edition edition (October 2001), ISBN-10: 1858941431, ISBN-13: 978-1858941431</span></span></div>
<div class="p2">
<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><span class="s2"></span><br /></span></div>
<div class="p1">
<span class="s2"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">35. Musee Rodin: 978-2-9014-2892-3 © Musee Rodin, Paris 2007, 19, boulevard des Invalides, 75007 Paris</span></span></div>
<div class="p2">
<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><span class="s2"></span><br /></span></div>
<div class="p1">
<span class="s2"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">36. Publisher: Merrell; First Edition edition (October 2001), ISBN-10: 1858941431, ISBN-13: 978-1858941431</span></span></div>
<div class="p2">
<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><span class="s2"></span><br /></span></div>
<div class="p1">
<span class="s2"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">37. Musee Rodin: 978-2-9014-2892-3 © Musee Rodin, Paris 2007, 19, boulevard des Invalides, 75007 Paris</span></span></div>
<div class="p2">
<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><span class="s2"></span><br /></span></div>
<div class="p1">
<span class="s2"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">38. Publisher: Merrell; First Edition edition (October 2001), ISBN-10: 1858941431, ISBN-13: 978-1858941431</span></span></div>
<div class="p2">
<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><span class="s2"></span><br /></span></div>
<div class="p1">
<span class="s2"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">39. Musee Rodin: 978-2-9014-2892-3 © Musee Rodin, Paris 2007, 19, boulevard des Invalides, 75007 Paris</span></span></div>
<div class="p2">
<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><span class="s2"></span><br /></span></div>
<div class="p1">
<span class="s2"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">40. Publisher: Merrell; First Edition edition (October 2001), ISBN-10: 1858941431, ISBN-13: 978-1858941431</span></span></div>
<div class="p2">
<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><span class="s2"></span><br /></span></div>
<div class="p1">
<span class="s2"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">41. Musee Rodin: 978-2-9014-2892-3 © Musee Rodin, Paris 2007, 19, boulevard des Invalides, 75007 Paris</span></span></div>
<div class="p2">
<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><span class="s2"></span><br /></span></div>
<div class="p1">
<span class="s2"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">42. Publisher: Merrell; First Edition edition (October 2001), ISBN-10: 1858941431, ISBN-13: 978-1858941431</span></span></div>
<div class="p2">
<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><span class="s2"></span><br /></span></div>
<div class="p1">
<span class="s2"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">43. Musee Rodin: 978-2-9014-2892-3 © Musee Rodin, Paris 2007, 19, boulevard des Invalides, 75007 Paris</span></span></div>
<div class="p2">
<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><span class="s2"></span><br /></span></div>
<div class="p1">
<span class="s2"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">44. https://aamd.org/sites/default/files/document/2011ProfessionalPracitiesinArtMuseums.pdf</span></span></div>
<div class="p2">
<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><span class="s2"></span><br /></span></div>
<div class="p1">
<span class="s2"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">45. Publisher: Merrell; First Edition edition (October 2001), ISBN-10: 1858941431, ISBN-13: 978-1858941431</span></span></div>
<div class="p2">
<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><span class="s2"></span><br /></span></div>
<div class="p1">
<span class="s2"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">46. Musee Rodin: 978-2-9014-2892-3 © Musee Rodin, Paris 2007, 19, boulevard des Invalides, 75007 Paris</span></span></div>
<div class="p2">
<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><span class="s2"></span><br /></span></div>
<div class="p1">
<span class="s2"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">47. Publisher: Merrell; First Edition edition (October 2001), ISBN-10: 1858941431, ISBN-13: 978-1858941431</span></span></div>
<div class="p2">
<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><span class="s2"></span><br /></span></div>
<div class="p1">
<span class="s2"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">48. Musee Rodin: 978-2-9014-2892-3 © Musee Rodin, Paris 2007, 19, boulevard des Invalides, 75007 Paris</span></span></div>
<div class="p2">
<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><span class="s2"></span><br /></span></div>
<div class="p1">
<span class="s2"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">49. Publisher: Merrell; First Edition edition (October 2001), ISBN-10: 1858941431, ISBN-13: 978-1858941431</span></span></div>
<div class="p2">
<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><span class="s2"></span><br /></span></div>
<div class="p1">
<span class="s2"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">50. Musee Rodin: 978-2-9014-2892-3 © Musee Rodin, Paris 2007, 19, boulevard des Invalides, 75007 Paris</span></span></div>
<div class="p2">
<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><span class="s2"></span><br /></span></div>
<div class="p1">
<span class="s2"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">51. <a href="http://student-rules.tamu.edu/aggiecode"><span class="s3">http://student-rules.tamu.edu/aggiecode</span></a></span></span></div>
<div class="p2">
<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><span class="s2"></span><br /></span></div>
<div class="p1">
<span class="s2"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">52. <a href="https://aamd.org/sites/default/files/document/2011ProfessionalPracitiesinArtMuseums.pdf"><span class="s3">https://aamd.org/sites/default/files/document/2011ProfessionalPracitiesinArtMuseums.pdf</span></a></span></span></div>
<div class="p2">
<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><span class="s2"></span><br /></span></div>
<div class="p1">
<span class="s2"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">53. Ibid</span></span></div>
<div class="p2">
<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><span class="s2"></span><br /></span></div>
<div class="p1">
<span class="s2"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">54. Publisher: National Gallery of Art,Washington (October 26, 1981), ISBN-10: 0894680005, ISBN-13: 978-0894680007</span></span></div>
<div class="p2">
<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><span class="s2"></span><br /></span></div>
<div class="p1">
<span class="s2"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">55. © Kluwer Law International 1998, ISBN: 90-411-0697-9 </span></span></div>
<div class="p2">
<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><span class="s2"></span><br /></span></div>
<div class="p1">
<span class="s2"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">56. Ibid </span></span></div>
<div class="p2">
<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><span class="s2"></span><br /></span></div>
<div class="p1">
<span class="s2"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">57. Ibid</span></span></div>
<div class="p2">
<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><span class="s2"></span><br /></span></div>
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<span class="s2"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">58. <a href="https://uart.tamu.edu/"><span class="s3">https://uart.tamu.edu/</span></a></span></span></div>
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</style>Gary Arseneauhttp://www.blogger.com/profile/10379667479866306615noreply@blogger.comtag:blogger.com,1999:blog-34909527.post-18385736415808082712016-10-22T16:42:00.000-04:002017-12-27T09:00:20.483-05:00All brass and no Degas, the National Gallery of Victoria and Museum of Fine Arts Houston's "Degas: A New Vision" exhibition fraud<div style="background-color: white; font-family: "Times New Roman", Times, serif; text-align: justify;">
<b>NOTE:</b> Footnotes are enclosed with <span style="color: blue; font-size: x-small;">[FN]</span></div>
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<span style="font-family: Times, Times New Roman, serif; font-size: x-small;">"Edgar Degas, <i>The little fourteen-year-old dancer,</i> 1878-81, bronze with cotton skirt and satin ribbon, Museu de Are de Sao Paulo, Assis Chateaubriand"</span><br />
<span style="color: blue;"><span style="font-family: Times, Times New Roman, serif; font-size: x-small;">https://www.mfah.org/calendar/not-your-typical-impressionist-music</span></span><br />
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NON-DISCLOSED POSTHUMOUS BRASS FORGERY</div>
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<span style="font-size: x-large;">T</span><span style="font-size: 16px;">he <b>Degas: A New Vision</b> exhibition at the National Gallery of Victoria [NGV] and the Museum of Fine Arts Houston [MFAH] has, at least, 20 non-disclosed posthumous 3rd-generation-removed brass [not bronze] forgeries with counterfeit <i>"Degas"</i> signatures in bogus editions falsely attributed as original works of visual art i.e., <i>"sculpture"</i> to a dead Edgar Degas [d 1917].</span><br />
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<span style="font-size: 16px;">The dead don't sculpt.</span><br />
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<span style="font-size: 16px;">On page 661 of the <i>Seventh Edition of Black's Law Dictionary</i>, -forgery- is defined as: "the act of fraudulently making a false document or altering a real one to be used as if genuine."</span><span style="color: blue; font-size: x-small;">[FN 1] </span></div>
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<span style="font-size: 12pt;">These </span><span style="font-size: 12pt;">non-disclosed posthumous </span><span style="font-size: 12pt;">3rd-generation-removed brass [not bronze] forgeries with counterfeit </span><i style="font-size: 12pt;">"Degas" </i><span style="font-size: 12pt;">signatures in bogus editions are not even direct reproductions of Edgar Degas's original lifetime mixed-media sculpture. Any attempt to cast them directly into bronze or brass by use of a mold would explode from the resulting gases <u>destroying</u> the mold and Edgar Degas's original lifetime mixed-media sculpture. </span><span style="font-family: "times new roman" , "times" , serif , "apple color emoji" , "segoe ui emoji" , "notocoloremoji" , "segoe ui symbol" , "android emoji" , "emojisymbols";">T</span><span style="font-family: "times new roman" , "times" , serif , "apple color emoji" , "segoe ui emoji" , "notocoloremoji" , "segoe ui symbol" , "android emoji" , "emojisymbols";">he Hebrard </span><span style="font-family: "times new roman" , "times" , serif , "apple color emoji" , "segoe ui emoji" , "notocoloremoji" , "segoe ui symbol" , "android emoji" , "emojisymbols";">foundry and its workers made posthumous wax reproductions with their hands, fingers and fingerprints, subsequently reproducing in brass their imitation of Edgar Degas' mixed-media sculptures. Those 2nd-generation-removed brass reproductions were then used as a masters a.k.a. modeles to cast the resulting 3rd-generation-removed surmoulages [brass from brass]. A copy of a copy of a copy. Adding insult to injury, a counterfeit </span><i style="font-family: "Times New Roman", Times, serif, "Apple Color Emoji", "Segoe UI Emoji", NotoColorEmoji, "Segoe UI Symbol", "Android Emoji", EmojiSymbols;">"Degas"</i><span style="font-family: "times new roman" , "times" , serif , "apple color emoji" , "segoe ui emoji" , "notocoloremoji" , "segoe ui symbol" , "android emoji" , "emojisymbols";"> signature was inscribed. Then the Hebrard foundry exceeded the contract limitation of 22 mandated by Degas's heirs. These references confirm these devastating facts:</span></div>
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DEGAS NEVER CAST IN BRONZE</div>
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On page 180 in the National Gallery of Art’s published 1998 <i>Degas at the Races </i>catalogue in Daphne S. Barbour’s and Shelly G. Sturman’s “The Horse in Wax and Bronze” essay, these authors wrote: “Degas never cast his sculpture in bronze, claiming that it was a “tremendous responsibility to leave anything behind in bronze -- the medium is for eternity.”<span style="color: blue; font-size: x-small;">[FN 2]</span></div>
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MIXED-MEDIA SCULPTURE</div>
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<span class="s1">On page 180 in the National Gallery of Art’s published 1998 <i>Degas at the Races </i>catalogue in Daphne S. Barbour’s and Shelly G. Sturman’s “The Horse in Wax and Bronze” essay, these authors wrote: “Not a single sculpture has been found to be made exclusively of wax, and none was intended to be sacrificed and melted during lost-wax casting.”</span><span style="color: blue; font-size: x-small;">[FN 3]</span></div>
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<span class="s1">POSTHUMOUS WAX REPRODUCTIONS</span></div>
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<span class="s1">On page 356 in the National Gallery of Art’s published 2010 <i>Edgar Degas Sculpture</i> catalogue, under the subtitle: “Glossary,” -intermodel- is defined as: “Wax copy of an original artist’s model made in a mold taken of the original; also referred to as a sacrificial wax. It is a wax melted out and lost in an indirect cast. As a method, it preserves the original artist’s model.”<span style="color: blue; font-size: x-small;">[FN 4]</span></span></div>
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<span class="s1">FOUNDER & FOUNDRY WORKERS' FINGERPRINTS</span></div>
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<span class="s1">On page 28 of the “Degas’ Bronzes Analyzed” essay by Shelley G. Sturman and Daphne S. Barbour in the National Gallery of Art’s published 2010 <i>Edgar Degas Sculpture</i> catalogue, the authors wrote: “In terms of overall surface quality, the bronzes appear to be smooth, faithful reproductions of the waxes. In some cases, however, tooling is not visible on the bronze where it is present on a wax. This discrepancy may be the result of additional work to the waxes after casting or to degeneration of the molds used for the casting, with the result that some of the casts, regardless of their letter sequence, may have less detail tha others. For instance, there is a finger print on the bronze version of Horse Racing (cat. 10) that is no present on the wax (cat. 9). Here even a foundryman’s fingerprint while handling the wax intermodel was reproduced in bronze. Adhemar notes that Palazzolo was able to detect a fake Degas bronze because he knew where to find his own fingerprints on the originals.”<span style="color: blue; font-size: x-small;">[FN 5]</span></span></div>
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SURMOULAGES</div>
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<span class="s1">On page 78 n the essay “Degas; The Sculptures,” by Hirshhorn Curator of Sculpture Valerie J. Fletcher, published in Ann Dumas and David A. Brenneman’s 2001 <i>Degas and America The Early Collectors</i> catalogue, the author wrote: “In 1919-20 Hebrard’s founder Albino Palazzolo, made a first set of [Degas] bronzes. -- Those 'masters' served to make molds for casting edition of twenty-two bronzes. Technically, all bronzes except the master set are surmoulages.” </span>In the ARTnews' published November 1974 "Flagrant Abuses, Pernicious Practices and Counterfeit Sculpture are Widespread" article, the Associate Editor Sylvia Hochfield defines -surmoulage- as: “smaller in scale and of demonstrably diminished definition than the bronze from which it was cast.”<span style="color: blue; font-size: x-small;">[FN 6]</span></div>
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COUNTERFEIT SIGNATURES</div>
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<span class="s1">On page 32-33 in Charles W. Milliard’s 1976 <i>The Sculpture of Edgar Degas</i>, the author wrote: “Each cast is stamped with the legend 'cire perdue A.A. Hebrard' in relief, and incised with the signature ‘Degas.’” Later on page 34, the author wrote: “At least some of the casts were set on wooden bases into which the signature “Degas” was burned.”<span style="color: blue; font-size: x-small;">[FN 7]</span></span></div>
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<span class="s1">BOGUS EDITIONS</span></div>
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<span class="s1">On page 14 of the <i>Degas Sculpture </i>catalogue, in Joseph S. Czestochowski’s "Degas’s Sculptures Re-examined” essay, the author wrote: “Almost eight months after Degas died in September 1917, a contract to cast the sculptures in bronze was signed on 13 May 1918. - The contract authorized that the number of casts be strictly limited to only twenty-two examples of each of the sculptures, with only twenty of the cast available for sale - first set reserved for the artist’s heirs and another set reserved for the Hebrard Foundry.” </span>Yet, Joseph S. Czestochowski wrote that Hebrard created “duplicates” by misleading marking them as “HER,” created an unauthorized set of bronzes “marked MODELE” and “released an unknown number of test casts, marked AP (founder’s initials), - FR MODELE (founder’s model), - FR (founder), - and a number of other exceptions to the 1918 contract.”<span style="color: blue; font-size: x-small;">[FN 8]</span></div>
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<span class="s1">On page 670 of the <i style="font-size: 16px;">Seventh Edition of Black's Law Dictionary,</i> -fraud- is defined as: "A knowing misrepresentation of the truth or concealment of a material fact to induce another to act to his or her detriment." <span style="color: blue; font-size: x-small;">[FN 9]</span></span></div>
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The following briefly documents this fraud being perpetuated in the 2016 <i>Degas: A New Vision</i> exhibition.</div>
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<span class="s1"><span style="color: blue; font-size: x-small;">Photo: https://www.mfah.org/calendar/conversations-with-the-director-gary-tinterow-talks-with-henri-loyrette</span></span></div>
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<span class="s1">MFAH DIRECTOR GARY TINTEROW</span></div>
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<b>FIRST,</b> MFAH director Gary Tinterow is a member of the Association of Art Museum Directors [AAMD].<span style="color: blue; font-size: x-small;">[FN 10]</span> As a AAMD member, he endorses the College Art Association's ethical guidelines on sculptural reproduction. In part, those guidelines state: "Any transfer into new material unless specifically condoned by the artist is to be considered inauthentic and should not be acquired or exhibited as works of art."<span style="color: blue; font-size: x-small;">[FN 11]</span> So, MFAH director is violating his own endorsed ethical guidelines by exhibiting at least 20 non-disclosed posthumous 3rd-generation-removed brass [not bronze] forgeries with counterfeit <i>"Degas" </i>signatures in bogus editions.</div>
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The dead don't sculpt, sign or number, much less condone.<span style="font-family: "times";"> </span></div>
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<b>NOTE:</b> These are additional AAMD members, who endorse those same ethical guidelines, that are participating in this <i>Degas: A New Vision</i> exhibition at the MFAH:</div>
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<span class="s1">Smith College Museum of Art, Museum of Fine Arts, Boston, The Metropolitan Museum of Art, National Gallery of Canada, Ottawa, Harvard Art Museum/Fogg Museum, National Gallery of Art, Rhode Island School of Design Museum of Art, Art Institute of Chicago, The Morgan Library, Los Angeles County Museum of Art, Sterling and Francine Clark Art Institute, Brooklyn Museum, Albright-Knox Art Gallery, Philadelphia Museum of Art, Toledo Museum of Art, The Phillips Collection, New York, Minneapolis Institute of Arts, Carnegie Museum of Art, Tacoma Art Museum, Baltimore Museum of Art, Virginia Museum of Fine Arts, Richmond, Kimbell Art Museum, Hammer Museum, Los Angeles, Yale University Art Gallery, Art Gallery of Ontario, Dallas Museum of Art, High Museum of Art, Wadsworth Atheneum Museum of Art, North Carolina Museum of Art, The J. Paul Getty Museum, Chrysler Museum of Art, Columbus Museum of Art, Saint Louis Art Museum, Princeton University Art Museum, and Arkansas Arts Center. </span></div>
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<span class="s1">With a few just listed as "Private Collection," these are commercial galleries and private collectors participating in this <i>Degas: A New Vision</i> exhibition at the MFAH:</span></div>
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<span class="s1">Acquavalla Galleries, House Collection, Dumbarton Oaks, Kate Ganz, New York, Richard and Mary L. Gray Collection Trust, Chicago, The Lewis Collection, Houston, Collection of Andre Bromberg, Paris, Reading Public Museum, Pennsylvania, Collection of Mme Catherine Treves, Collection of Jean Bonna, Geneva, and Collection of R. Stanley Johnson and Ursula M. Johnson, Chicago. </span></div>
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<span class="s1">These are foreign museums participating in this <i>Degas: A New Vision</i> exhibition at the MFAH:</span></div>
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<span class="s1">Musee d'Art modern Andre Malraux, Musee d'Orsay, Paris, Birmingham Museum and Art Gallery, Institue national d'historie de l'art (INHA), Bibliotheque, Paris, Galerie Beres, Paris, Bibliotheque nationale de France, Paris, Kunstmauseum, Basel, Musee des Beaux-Arts de Lyon, Hiroshima Museum of Art, Museu de Arte de Sao Paulo, Assis Chateaubriand, British Museum, Glasgo Life (Glasgow Museums), Galerie Neue Meister, Staatliche, Victoria and Albert Museum, London, Acquavalla Galleries, Ordrupgaard, Charlottenlund, Denmark, Musee national Picasso-Paris, National Gallery of Victoria, Melbourne, Staatliche Kunsthalle Karsruhe, Tate, London, Kunshaus, Zurich, Ny Carlsberg Glyptotek, Koninklijk Museum voor Schone, Museo Thyssen-Bornemisza, Madrid, Ordrupgaard, Charlottenlund, Musee departmental Stephane Mallarme, Von der Heydt Museum, Foundation Beyeler, Basel, Musee des Arts Decoratifs, Paris, National Gallery, London, Scottish National Gallery, Edinburgh, and Leicester Arts and Museum Service. </span></div>
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<span style="font-size: 12pt;"><b>SECOND</b>, </span><span style="font-size: 12pt;">on </span><span style="font-size: 12pt; text-align: justify;">page 31 in the Association of Art Museum Directors' published </span><i style="color: #333333; font-family: Georgia, serif; font-size: small; text-align: justify;"><span style="color: black; font-family: "times new roman" , "times" , serif; font-size: 12pt;">Professional Practices in Art Museum</span></i><span style="font-size: 12pt; text-align: justify;"> publication, it states: "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, editions numbers, and/or foundry marks on sculpture must not appear on the reproduction."</span><span style="color: blue; font-size: x-small;">[FN 12]</span></div>
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<span style="font-family: "times new roman" , "times" , serif;">In other words, the 20 non-disclosed posthumous 3rd-generation-removed brass [not bronze] forgeries with counterfeit <i>"Degas"</i> signatures in bogus editions could not even be displayed in the MFAH's gift shop.</span></div>
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<span style="font-family: "times new roman" , "times" , serif;"><b>THIRD</b>, the MFAH's <b>Degas: A New Vision</b> exhibition is indemnified by the National Endowment for the Arts. The NEA was mandated by Congress to indemnify works of visual art excluding reproductions.</span><span style="color: blue; font-size: x-small;">[FN 13]</span> At best, by definition, rule of law and laws of nature, anything posthumously reproduced are reproductions. Under U.S. Copyright Law 106a, the <i>Rights of Attribution</i> shall not apply to reproductions.<span style="color: blue; font-size: x-small;">[FN 14]</span><br />
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<a href="https://3.bp.blogspot.com/-XFJt9tFh_1s/WAv_26QXJmI/AAAAAAAADuE/yD8Qw8GsiUMkEMtYOuFVlBBdD2-r6n7QwCLcB/s1600/Screen%2BShot%2B2016-10-22%2Bat%2B8.07.44%2BPM.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="173" src="https://3.bp.blogspot.com/-XFJt9tFh_1s/WAv_26QXJmI/AAAAAAAADuE/yD8Qw8GsiUMkEMtYOuFVlBBdD2-r6n7QwCLcB/s400/Screen%2BShot%2B2016-10-22%2Bat%2B8.07.44%2BPM.png" width="400" /></a></div>
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<span style="font-family: "times new roman" , "times" , serif;"><span style="font-family: "times new roman" , "times" , serif , "apple color emoji" , "segoe ui emoji" , "notocoloremoji" , "segoe ui symbol" , "android emoji" , "emojisymbols";"><b>FOURTH</b>, on page 609 of the 610 page </span></span><span style="font-family: "times new roman" , "times" , serif , "apple color emoji" , "segoe ui emoji" , "notocoloremoji" , "segoe ui symbol" , "android emoji" , "emojisymbols";">1988 </span><i style="font-family: "Times New Roman", Times, serif, "Apple Color Emoji", "Segoe UI Emoji", NotoColorEmoji, "Segoe UI Symbol", "Android Emoji", EmojiSymbols;">Degas</i><span style="font-family: "times new roman" , "times" , serif , "apple color emoji" , "segoe ui emoji" , "notocoloremoji" , "segoe ui symbol" , "android emoji" , "emojisymbols";"> exhibition catalogue,</span><span style="font-family: "times new roman" , "times" , serif , "apple color emoji" , "segoe ui emoji" , "notocoloremoji" , "segoe ui symbol" , "android emoji" , "emojisymbols";"> </span><span style="font-family: "times new roman" , "times" , serif , "apple color emoji" , "segoe ui emoji" , "notocoloremoji" , "segoe ui symbol" , "android emoji" , "emojisymbols";">under the subtitle: "A Note on Degas's Bronzes," the [Metropolitan Museum of Art curator] Gary Tinterow wrote:<i> "The bronzes included in this exhibition, like those widely distributed throughout the world, are posthumous, second-generation casts of the original wax sculptures by Degas." The current Museum of Fine Arts Houston director Gary Tinterow went on to write in the 1988 catalogue: "But the virtue of saving the original sculptures exacted a cost in the manufacture of the final edition bronzes, because with each the two generations after the original modele there was ineviably a significant loss of precision. Incidental details, such as fingerprints - appear indistinct or blurred in the final editions of the bronzes."</i></span><span style="color: blue; font-size: x-small;">[FN 15]</span><span style="font-family: "times new roman" , "times" , serif , "apple color emoji" , "segoe ui emoji" , "notocoloremoji" , "segoe ui symbol" , "android emoji" , "emojisymbols";"> The Metropolitan Museum of Art curator when on to write: </span><span style="font-family: "times new roman" , "times" , serif , "apple color emoji" , "segoe ui emoji" , "notocoloremoji" , "segoe ui symbol" , "android emoji" , "emojisymbols";"><i>"[Edgar Degas] would have deplored the casting of his sculptures."</i></span><span style="color: blue; font-size: x-small;">[FN 16]</span></div>
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<a href="https://4.bp.blogspot.com/-fuYff0wxCe0/WAwkXPLHDoI/AAAAAAAADuU/4O_0Miy_Q0YTlmWjh8FHjf0RsSlUSs4qQCLcB/s1600/Screen%2BShot%2B2016-10-22%2Bat%2B10.41.44%2BPM.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://4.bp.blogspot.com/-fuYff0wxCe0/WAwkXPLHDoI/AAAAAAAADuU/4O_0Miy_Q0YTlmWjh8FHjf0RsSlUSs4qQCLcB/s400/Screen%2BShot%2B2016-10-22%2Bat%2B10.41.44%2BPM.png" width="265" /></a></div>
<span style="font-family: "times new roman" , "times" , serif;"><span style="font-family: "times new roman" , "times" , serif , "apple color emoji" , "segoe ui emoji" , "notocoloremoji" , "segoe ui symbol" , "android emoji" , "emojisymbols"; font-size: x-small;"><i>The Little Fourteen-Year-Old Dancer</i>, 1879-81, Bronze, partly tinted, cotton skirt, satin hair ribblon, wooden bass, Height: 17 1/2 in. (95.2 cm), Original: wax, cotton skirt, satin hair ribbon, hair, now covered with wax, wooden base, Collection of Mr. and Mrs. Paul Mellon, Upperville, Virginia. See figs. 150-160 [page 350, 1988 <i>Degas</i> exhibition catalogue]</span></span><br />
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<span style="font-family: "times new roman" , "times" , serif;"><span style="font-family: "times new roman" , "times" , serif , "apple color emoji" , "segoe ui emoji" , "notocoloremoji" , "segoe ui symbol" , "android emoji" , "emojisymbols";">NON-DISCLOSED POSTHUMOUS BRASS FORGERY</span></span></div>
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<span style="font-family: "times new roman" , "times" , serif;"><span style="font-family: "times new roman" , "times" , serif , "apple color emoji" , "segoe ui emoji" , "notocoloremoji" , "segoe ui symbol" , "android emoji" , "emojisymbols";"><br /></span></span></div>
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<span style="font-family: "times new roman" , "times" , serif , "apple color emoji" , "segoe ui emoji" , "notocoloremoji" , "segoe ui symbol" , "android emoji" , "emojisymbols";"><b>FIFTH</b>, every date listed for the so-called Degas bronzes, in the 1988 <i>Degas</i> exhibition catalogue </span><span style="font-family: "times new roman" , "times" , serif , "apple color emoji" , "segoe ui emoji" , "notocoloremoji" , "segoe ui symbol" , "android emoji" , "emojisymbols";">by Jean Sutherland Boggs, Douglas W. Druick, MIchael Pantazzi, Henri Loyrette and Gary Tinterow, predated his death. Yet, it took 609 pages in a 610 page 1988 <i>Degas</i> exhibition catalogue</span><span style="font-family: "times new roman" , "times" , serif , "apple color emoji" , "segoe ui emoji" , "notocoloremoji" , "segoe ui symbol" , "android emoji" , "emojisymbols";"> before anyone, much less the Metropolitan Museum of Art curator Gary Tinterow, disclosed that they </span><span style="font-family: "times new roman" , "times" , serif , "apple color emoji" , "segoe ui emoji" , "notocoloremoji" , "segoe ui symbol" , "android emoji" , "emojisymbols";">were actually posthumous.</span></div>
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<span style="font-family: "times new roman" , "times" , serif , "apple color emoji" , "segoe ui emoji" , "notocoloremoji" , "segoe ui symbol" , "android emoji" , "emojisymbols";"><br /></span>
<span style="font-family: "times new roman" , "times" , serif , "apple color emoji" , "segoe ui emoji" , "notocoloremoji" , "segoe ui symbol" , "android emoji" , "emojisymbols";">So, what are we to make of the MFAH's published July 25, 2016 "</span>Degas Retrospective Debuts in the U.S. at the Museum of Fine Arts, Houston, in October" press release, where it stated: “The objective of <i>Degas</i> in 1988 was to piece together Degas’s work as a whole, in an accurate chronology; though it may seem surprising now, that had never been done,” said MFAH director Gary Tinterow."<span style="color: blue; font-family: "times new roman" , "times" , serif; font-size: x-small;">[FN 17]</span></div>
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<span style="font-family: "times new roman" , "times" , serif;"><span style="font-family: "times new roman" , "times" , serif , "apple color emoji" , "segoe ui emoji" , "notocoloremoji" , "segoe ui symbol" , "android emoji" , "emojisymbols";"><br /></span></span></div>
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<span style="font-family: "times new roman" , "times" , serif;"><span style="font-family: "times new roman" , "times" , serif , "apple color emoji" , "segoe ui emoji" , "notocoloremoji" , "segoe ui symbol" , "android emoji" , "emojisymbols";">In other words, as for the so-called "accurate chronology" for "Degas' work," it wasn't done in the 1988 <i>Degas</i> exhibition catalogue and 28 years later in the 2016 <i>Degas: A New Vision</i> exhibition catalogue, it is still not being done.</span></span></div>
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<a href="https://3.bp.blogspot.com/-lcZZXPL2Bc8/WAuuf7wd61I/AAAAAAAADq0/OSnhUdYoOFgYjXcjxYpga4DE-Se1zRy_QCLcB/s1600/Screen%2BShot%2B2016-10-22%2Bat%2B2.18.50%2BPM.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="231" src="https://3.bp.blogspot.com/-lcZZXPL2Bc8/WAuuf7wd61I/AAAAAAAADq0/OSnhUdYoOFgYjXcjxYpga4DE-Se1zRy_QCLcB/s400/Screen%2BShot%2B2016-10-22%2Bat%2B2.18.50%2BPM.png" width="400" /></a></div>
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<span class="s1" style="font-size: x-small;"><span style="background-color: white; color: blue; font-family: "times new roman" , "times" , serif , "apple color emoji" , "segoe ui emoji" , "notocoloremoji" , "segoe ui symbol" , "android emoji" , "emojisymbols"; text-align: justify;">http://abc7chicago.com/news/dead-men-dont-sculpt-forgery-allegation-at-art-institute-/1132824/</span></span><br />
<span style="font-size: x-small;"><span class="s1">"Dead Men Don't Sculpt: Forgery Allegation at the Art Institute," </span>An ABC7 I-Team Investigation By Chuck Goudie and Ann Pistone</span></div>
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<span style="font-family: "times new roman" , "times" , serif;"><span style="font-family: "times new roman" , "times" , serif , "apple color emoji" , "segoe ui emoji" , "notocoloremoji" , "segoe ui symbol" , "android emoji" , "emojisymbols";"><br /></span></span></div>
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<span style="font-family: "times new roman" , "times" , serif;"><span style="font-family: "times new roman" , "times" , serif , "apple color emoji" , "segoe ui emoji" , "notocoloremoji" , "segoe ui symbol" , "android emoji" , "emojisymbols";"><b>SIXTH</b>, in a WLS ABC Chicago broadcast December 22, 2015 "</span></span><span style="background-color: transparent;">Dead men don't sculpt: forgery allegation at Art Institute" </span><span style="font-family: "times new roman" , "times" , serif;"><span style="font-family: "times new roman" , "times" , serif , "apple color emoji" , "segoe ui emoji" , "notocoloremoji" , "segoe ui symbol" , "android emoji" , "emojisymbols";">investigative story b</span></span><span style="background-color: transparent;">y Chuck Goudie and Ann Pistone</span><span style="font-family: "times new roman" , "times" , serif;"><span style="font-family: "times new roman" , "times" , serif , "apple color emoji" , "segoe ui emoji" , "notocoloremoji" , "segoe ui symbol" , "android emoji" , "emojisymbols";">, </span></span><span style="font-family: "times new roman" , "times" , serif , "apple color emoji" , "segoe ui emoji" , "notocoloremoji" , "segoe ui symbol" , "android emoji" , "emojisymbols";">the now Museum of Fine Arts Houston director Gary Tinterow</span><span style="font-family: "times new roman" , "times" , serif , "apple color emoji" , "segoe ui emoji" , "notocoloremoji" , "segoe ui symbol" , "android emoji" , "emojisymbols";"> </span><span style="font-family: "times new roman" , "times" , serif , "apple color emoji" , "segoe ui emoji" , "notocoloremoji" , "segoe ui symbol" , "android emoji" , "emojisymbols";">made the following statement about Edgar Degas and bronze casting: </span><span style="background-color: transparent;"><i>“No, he's on record saying absolutely not. When dealers and friends would come by and say you really should cast these in bronze he said 'no, no, no. Bronze is for the ancients, bronze is too permanent. What I love is the malleability of these works."</i></span><span style="color: blue; font-size: x-small;">[FN 18]</span></div>
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<span style="font-family: "times new roman" , "times" , serif;"><span style="font-family: "times new roman" , "times" , serif , "apple color emoji" , "segoe ui emoji" , "notocoloremoji" , "segoe ui symbol" , "android emoji" , "emojisymbols";"><br /></span></span></div>
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<span style="font-family: "times new roman" , "times" , serif , "apple color emoji" , "segoe ui emoji" , "notocoloremoji" , "segoe ui symbol" , "android emoji" , "emojisymbols";">So, when the MFAH and its director Gary Tinterow promotes on their website </span><span style="font-family: "times new roman" , "times" , serif , "apple color emoji" , "segoe ui emoji" , "notocoloremoji" , "segoe ui symbol" , "android emoji" , "emojisymbols";">their </span><b style="font-family: "Times New Roman", Times, serif, "Apple Color Emoji", "Segoe UI Emoji", NotoColorEmoji, "Segoe UI Symbol", "Android Emoji", EmojiSymbols;">Degas: A New Vision</b><span style="font-family: "times new roman" , "times" , serif , "apple color emoji" , "segoe ui emoji" , "notocoloremoji" , "segoe ui symbol" , "android emoji" , "emojisymbols";"> exhibition</span><span style="font-family: "times new roman" , "times" , serif , "apple color emoji" , "segoe ui emoji" , "notocoloremoji" , "segoe ui symbol" , "android emoji" , "emojisymbols";"> one of these 20 non-disclosed posthumous 3rd-generation-removed brass [not bronze] forgeries, with counterfeit</span><span style="font-family: "times new roman" , "times" , serif , "apple color emoji" , "segoe ui emoji" , "notocoloremoji" , "segoe ui symbol" , "android emoji" , "emojisymbols";"> </span><i style="font-family: "Times New Roman", Times, serif, "Apple Color Emoji", "Segoe UI Emoji", NotoColorEmoji, "Segoe UI Symbol", "Android Emoji", EmojiSymbols;">"Degas"</i><span style="font-family: "times new roman" , "times" , serif , "apple color emoji" , "segoe ui emoji" , "notocoloremoji" , "segoe ui symbol" , "android emoji" , "emojisymbols";"> </span><span style="font-family: "times new roman" , "times" , serif , "apple color emoji" , "segoe ui emoji" , "notocoloremoji" , "segoe ui symbol" , "android emoji" , "emojisymbols";">signatures in bogus editions, titled </span><i style="font-family: "Times New Roman", Times, serif, "Apple Color Emoji", "Segoe UI Emoji", NotoColorEmoji, "Segoe UI Symbol", "Android Emoji", EmojiSymbols;">Little Dancer Aged Fourteen</i><span style="font-family: "times new roman" , "times" , serif , "apple color emoji" , "segoe ui emoji" , "notocoloremoji" , "segoe ui symbol" , "android emoji" , "emojisymbols";"> </span><span style="font-family: "times new roman" , "times" , serif , "apple color emoji" , "segoe ui emoji" , "notocoloremoji" , "segoe ui symbol" , "android emoji" , "emojisymbols";">[website screenshot above] </span><span style="font-family: "times new roman" , "times" , serif , "apple color emoji" , "segoe ui emoji" , "notocoloremoji" , "segoe ui symbol" , "android emoji" , "emojisymbols";">with a false date of </span><i style="font-family: "Times New Roman", Times, serif, "Apple Color Emoji", "Segoe UI Emoji", NotoColorEmoji, "Segoe UI Symbol", "Android Emoji", EmojiSymbols;">"1879-81," </i><span style="font-family: "times new roman" , "times" , serif , "apple color emoji" , "segoe ui emoji" , "notocoloremoji" , "segoe ui symbol" , "android emoji" , "emojisymbols";">should the public suspend disbelief or just believe for the $23 price of adult admission?</span></div>
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<span style="font-family: "times new roman" , "times" , serif;"><span style="font-family: "times new roman" , "times" , serif , "apple color emoji" , "segoe ui emoji" , "notocoloremoji" , "segoe ui symbol" , "android emoji" , "emojisymbols";"><br /></span></span></div>
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<span style="font-family: "times new roman" , "times" , serif;"><span style="font-family: "times new roman" , "times" , serif , "apple color emoji" , "segoe ui emoji" , "notocoloremoji" , "segoe ui symbol" , "android emoji" , "emojisymbols";"><span style="font-family: "times new roman" , "times" , serif;">Rhetorically</span><span style="font-family: "times new roman" , "times" , serif;">, how can the museum patron give informed consent without full and honest disclosure</span><span style="font-family: "times new roman" , "times" , serif;">? </span></span></span></div>
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<span style="font-family: "times new roman" , "times" , serif;"><b>SEVENTH</b>, on pages 142 to 146 of the </span><span style="background-color: transparent; font-family: "times new roman" , "times" , serif , "apple color emoji" , "segoe ui emoji" , "notocoloremoji" , "segoe ui symbol" , "android emoji" , "emojisymbols";">2016 </span><i style="background-color: transparent; font-family: "Times New Roman", Times, serif, "Apple Color Emoji", "Segoe UI Emoji", NotoColorEmoji, "Segoe UI Symbol", "Android Emoji", EmojiSymbols;">Degas: A New Vision</i><span style="background-color: transparent; font-family: "times new roman" , "times" , serif , "apple color emoji" , "segoe ui emoji" , "notocoloremoji" , "segoe ui symbol" , "android emoji" , "emojisymbols";"> exhibition catalogue,</span><span style="background-color: transparent; font-family: "times new roman" , "times" , serif , "apple color emoji" , "segoe ui emoji" , "notocoloremoji" , "segoe ui symbol" , "android emoji" , "emojisymbols";"> </span><span style="background-color: transparent; font-family: "times new roman" , "times" , serif , "apple color emoji" , "segoe ui emoji" , "notocoloremoji" , "segoe ui symbol" , "android emoji" , "emojisymbols";">under the subtitle: "The Little Dancer," the so-called <i>"eminent scholar and former Director of the Musee d'Orsay and the Musee du Louvre,"</i></span><span style="color: blue; font-size: x-small;">[FN 19]</span><span style="background-color: transparent; font-family: "times new roman" , "times" , serif , "apple color emoji" , "segoe ui emoji" , "notocoloremoji" , "segoe ui symbol" , "android emoji" , "emojisymbols";"> the exhibition curator Henri Loyrette wrote about Edgar Degas' 1881 exhibition of </span><i style="background-color: transparent; font-family: "Times New Roman", Times, serif, "Apple Color Emoji", "Segoe UI Emoji", NotoColorEmoji, "Segoe UI Symbol", "Android Emoji", EmojiSymbols;">The little fourteen-year-old dancer</i><span style="background-color: transparent; font-family: "times new roman" , "times" , serif , "apple color emoji" , "segoe ui emoji" , "notocoloremoji" , "segoe ui symbol" , "android emoji" , "emojisymbols";">. In part, the curator wrote: <i>"It was not so much the surprise of discovering Degas the sculptor as the appearance of the this little wax body with a muslin petticoat falling on stockinged legs 'shod in real dance-shoes', crowned with a wig of plaited hair held by a pear-green ribbon and decorated with a choker of the same colour."</i></span><span style="color: blue; font-size: x-small;">[FN 20]</span><i style="background-color: transparent; font-family: "Times New Roman", Times, serif, "Apple Color Emoji", "Segoe UI Emoji", NotoColorEmoji, "Segoe UI Symbol", "Android Emoji", EmojiSymbols;"> </i></div>
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<a href="https://4.bp.blogspot.com/-jS6t_g0-EMY/WAu7zxpmK-I/AAAAAAAADrU/u6qs-NZz1ys80gJjel6Uj9J1mMbyLEsPACLcB/s1600/Screen%2BShot%2B2016-10-22%2Bat%2B3.16.39%2BPM.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://4.bp.blogspot.com/-jS6t_g0-EMY/WAu7zxpmK-I/AAAAAAAADrU/u6qs-NZz1ys80gJjel6Uj9J1mMbyLEsPACLcB/s1600/Screen%2BShot%2B2016-10-22%2Bat%2B3.16.39%2BPM.png" /></a></div>
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<span style="font-family: "times new roman" , "times" , serif; font-size: x-small;"><span style="font-family: "times new roman" , "times" , serif;">Photo:</span><span style="color: blue;"> </span><span style="background-color: transparent;"><span style="color: blue; font-family: "times new roman" , "times" , serif;">https://www.mfah.org/calendar/conversations-with-the-director-gary-tinterow-talks-with-henri-loyrette</span></span></span><br />
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<span style="font-family: "times new roman" , "times" , serif;">CURATOR HENRI LOYRETTE</span></div>
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<span style="background-color: transparent; font-family: "times new roman" , "times" , serif , "apple color emoji" , "segoe ui emoji" , "notocoloremoji" , "segoe ui symbol" , "android emoji" , "emojisymbols";">Yet, on the subsequent pages 143 to 146 of this catalogue, photographs of a non-disclosed posthumous 3rd-generation-removed brass [not bronze] forgery with a counterfeit <i>"Degas"</i> signature on the wooden base in a bogus edition titled <i>The little fourteen-year-old dancer</i> were shown with the listed dates <i>"1879-81, cast 1922-37."</i></span><span style="color: blue; font-size: x-small;">[FN 21]</span><span style="background-color: transparent; font-family: "times new roman" , "times" , serif , "apple color emoji" , "segoe ui emoji" , "notocoloremoji" , "segoe ui symbol" , "android emoji" , "emojisymbols";"> </span><span style="background-color: transparent; font-family: "times new roman" , "times" , serif , "apple color emoji" , "segoe ui emoji" , "notocoloremoji" , "segoe ui symbol" , "android emoji" , "emojisymbols";">Edgar Degas never worked exclusively in wax for casting, never cast in bronze and never signed his lifetime mixed-media sculpture.</span></div>
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<span style="background-color: transparent;">On page 137 of the <i>Seventh Edition of Black's Law Dictionary</i>, -bait and switch- is defined as: "Most states prohibit the bait and switch when the original product is not actually available as advertised."</span><span style="color: blue; font-size: x-small;">[FN 22]</span></div>
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<span style="background-color: transparent; font-family: "times new roman" , "times" , serif , "apple color emoji" , "segoe ui emoji" , "notocoloremoji" , "segoe ui symbol" , "android emoji" , "emojisymbols";">Henri Loyrette baited with his "The Little Dancer" essay about Edgar Degas' lifetime mixed-media sculpture titled <i>The little fourteen-year-old dancer </i>then switched with the photographs of the </span><span style="font-family: "times new roman" , "times" , serif , "apple color emoji" , "segoe ui emoji" , "notocoloremoji" , "segoe ui symbol" , "android emoji" , "emojisymbols";">non-disclosed posthumous 3rd-generation-removed brass [not bronze] forgery with a counterfeit </span><i style="font-family: "Times New Roman", Times, serif, "Apple Color Emoji", "Segoe UI Emoji", NotoColorEmoji, "Segoe UI Symbol", "Android Emoji", EmojiSymbols;">"Degas"</i><span style="font-family: "times new roman" , "times" , serif , "apple color emoji" , "segoe ui emoji" , "notocoloremoji" , "segoe ui symbol" , "android emoji" , "emojisymbols";"> signature on the wooden base in a bogus edition titled </span><i style="font-family: "Times New Roman", Times, serif, "Apple Color Emoji", "Segoe UI Emoji", NotoColorEmoji, "Segoe UI Symbol", "Android Emoji", EmojiSymbols;">The little fourteen-year-old dancer.</i></div>
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<a href="https://2.bp.blogspot.com/-4UbRqjh3sRA/WAurR6diWqI/AAAAAAAADqk/iqYyinEbybwpNduzBasnXCkNw21lwH-lQCLcB/s1600/Screen%2BShot%2B2016-10-22%2Bat%2B2.06.37%2BPM.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="166" src="https://2.bp.blogspot.com/-4UbRqjh3sRA/WAurR6diWqI/AAAAAAAADqk/iqYyinEbybwpNduzBasnXCkNw21lwH-lQCLcB/s400/Screen%2BShot%2B2016-10-22%2Bat%2B2.06.37%2BPM.png" width="400" /></a></div>
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<span style="background-color: transparent; font-family: "times new roman" , "times" , serif;"><span style="font-family: "times new roman" , "times" , serif , "apple color emoji" , "segoe ui emoji" , "notocoloremoji" , "segoe ui symbol" , "android emoji" , "emojisymbols";"><b>EIGHTH,</b> on pages 240, 244, 249, and 251 of the </span></span><span style="background-color: transparent; font-family: "times new roman" , "times" , serif , "apple color emoji" , "segoe ui emoji" , "notocoloremoji" , "segoe ui symbol" , "android emoji" , "emojisymbols";">2016 </span><i style="background-color: transparent; font-family: "Times New Roman", Times, serif, "Apple Color Emoji", "Segoe UI Emoji", NotoColorEmoji, "Segoe UI Symbol", "Android Emoji", EmojiSymbols;">Degas: A New Vision</i><span style="background-color: transparent; font-family: "times new roman" , "times" , serif , "apple color emoji" , "segoe ui emoji" , "notocoloremoji" , "segoe ui symbol" , "android emoji" , "emojisymbols";"> exhibition catalogue,</span><span style="background-color: transparent; font-family: "times new roman" , "times" , serif , "apple color emoji" , "segoe ui emoji" , "notocoloremoji" , "segoe ui symbol" , "android emoji" , "emojisymbols";"> </span><span style="background-color: transparent; font-family: "times new roman" , "times" , serif , "apple color emoji" , "segoe ui emoji" , "notocoloremoji" , "segoe ui symbol" , "android emoji" , "emojisymbols";">under the subtitle: "Edgar Degas: Chronology," the [National Gallery of Victoria curator of International Painting and Sculpture] Dr. Sophie Matthiesson listed the following non-disclosed posthumous 3rd-generation-removed brass [not bronze] forgeries with counterfeit <i>"Degas"</i> signatures in bogus editions with dates that predated Edgar Degas's death in 1917:</span></div>
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<li><span style="font-family: "times new roman" , "times" , serif , "apple color emoji" , "segoe ui emoji" , "notocoloremoji" , "segoe ui symbol" , "android emoji" , "emojisymbols";">"Edgar Degas, <i>Horse at trough</i>, 1867-68, Museu de Arte de Sao Paulo, Assis Chateaubriand,</span></li>
<li><span style="font-family: "times new roman" , "times" , serif , "apple color emoji" , "segoe ui emoji" , "notocoloremoji" , "segoe ui symbol" , "android emoji" , "emojisymbols";">"Edgar Degas, <i>The little fourteen-year-old dancer</i>, 1879-81, Museu de Arte de Sao Paulo, Assis Chateaubriand,</span></li>
<li><span style="font-family: "times new roman" , "times" , serif , "apple color emoji" , "segoe ui emoji" , "notocoloremoji" , "segoe ui symbol" , "android emoji" , "emojisymbols";">"Edgar Degas, <i>Woman washing her left leg,</i> c. 1890, Museu de Arte de Sao Paulo, Assis Chateaubriand, and</span></li>
<li><span style="font-family: "times new roman" , "times" , serif , "apple color emoji" , "segoe ui emoji" , "notocoloremoji" , "segoe ui symbol" , "android emoji" , "emojisymbols";">"Edgar Degas, <i>The masseuse</i>, c. 1896-1911, Museu de Arte de Sao Paulo, Assis Chateaubriand."<span style="color: blue; font-size: x-small;">[FN 23]</span></span></li>
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<span class="s1" style="font-size: x-small;"><i>Horse at trough</i>, 1867-68, cast 1919-32, bronze, 16.5 x 13.7 x 23.0 cm, Museu de Arte de Sao Paulo, Assis Chateaubriand, Donated by Alberto Jose Alves, Alberto Alves Filho and Alcino Riberiro de Lima [page 212, 2016 <i>Degas: A New Vision</i> exhibition catalogue]</span><br />
<span style="font-family: "times new roman" , "times" , serif , "apple color emoji" , "segoe ui emoji" , "notocoloremoji" , "segoe ui symbol" , "android emoji" , "emojisymbols"; font-size: 16px; text-align: justify;">NON-DISCLOSED POSTHUMOUS FORGERY </span></div>
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<span style="font-family: "times new roman" , "times" , serif; text-align: justify;"><span style="font-family: "times new roman" , "times" , serif , "apple color emoji" , "segoe ui emoji" , "notocoloremoji" , "segoe ui symbol" , "android emoji" , "emojisymbols"; font-size: 16px;"><br /></span></span>
<span style="font-family: "times new roman" , "times" , serif; text-align: justify;"><span style="font-family: "times new roman" , "times" , serif , "apple color emoji" , "segoe ui emoji" , "notocoloremoji" , "segoe ui symbol" , "android emoji" , "emojisymbols"; font-size: 16px;">On pages 143-146, 210, and 212 - 219 of the </span></span><span style="font-family: "times new roman" , "times" , serif , "apple color emoji" , "segoe ui emoji" , "notocoloremoji" , "segoe ui symbol" , "android emoji" , "emojisymbols"; font-size: 16px; text-align: justify;">2016 </span><i style="font-family: "times new roman", times, serif, "apple color emoji", "segoe ui emoji", notocoloremoji, "segoe ui symbol", "android emoji", emojisymbols; font-size: 16px; text-align: justify;">Degas: A New Vision</i><span style="font-family: "times new roman" , "times" , serif , "apple color emoji" , "segoe ui emoji" , "notocoloremoji" , "segoe ui symbol" , "android emoji" , "emojisymbols"; font-size: 16px; text-align: justify;"> exhibition catalogue,</span><span style="font-family: "times new roman" , "times" , serif , "apple color emoji" , "segoe ui emoji" , "notocoloremoji" , "segoe ui symbol" , "android emoji" , "emojisymbols"; font-size: 16px; text-align: justify;"> </span><span style="font-family: "times new roman" , "times" , serif , "apple color emoji" , "segoe ui emoji" , "notocoloremoji" , "segoe ui symbol" , "android emoji" , "emojisymbols"; font-size: 16px; text-align: justify;">under the essay subtitled: "Degas: A New Vision," the exhibition curator Henri Loyette listed all 20 Museu de Arte de Sao Paulo, Assis Chateaubriand's owned bronzes, attributed to Edgar Degas, with the dates "cast 1919-32." </span></div>
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<span style="font-family: "times new roman" , "times" , serif , "apple color emoji" , "segoe ui emoji" , "notocoloremoji" , "segoe ui symbol" , "android emoji" , "emojisymbols"; font-size: 16px;"><br /></span></div>
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<span style="font-family: "times new roman" , "times" , serif , "apple color emoji" , "segoe ui emoji" , "notocoloremoji" , "segoe ui symbol" , "android emoji" , "emojisymbols"; font-size: 16px;">Edgar Degas died in 1917. </span><span style="font-family: "times new roman" , "times" , serif , "apple color emoji" , "segoe ui emoji" , "notocoloremoji" , "segoe ui symbol" , "android emoji" , "emojisymbols"; font-size: 16px;">The dead don't have a new vision.</span></div>
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<span style="font-family: "times new roman" , "times" , serif , "apple color emoji" , "segoe ui emoji" , "notocoloremoji" , "segoe ui symbol" , "android emoji" , "emojisymbols"; font-size: 16px;"><br /></span></div>
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<span style="font-family: "times new roman" , "times" , serif , "apple color emoji" , "segoe ui emoji" , "notocoloremoji" , "segoe ui symbol" , "android emoji" , "emojisymbols"; font-size: 16px;">So, does Dr. Sophie Matthiesson's left hand in her "Edgar Degas Chronology" know what Henri Loyette's right hand is doing in his "Degas: A New Vision" essay?</span></div>
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<a href="https://2.bp.blogspot.com/-sU9SAY75Gj4/WAu8bQ8UpGI/AAAAAAAADrY/86f7FUjFxwYWdUy3g2Uv5VjVnGMWGxpMACLcB/s1600/Screen%2BShot%2B2016-10-22%2Bat%2B3.21.53%2BPM.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://2.bp.blogspot.com/-sU9SAY75Gj4/WAu8bQ8UpGI/AAAAAAAADrY/86f7FUjFxwYWdUy3g2Uv5VjVnGMWGxpMACLcB/s1600/Screen%2BShot%2B2016-10-22%2Bat%2B3.21.53%2BPM.png" /></a></div>
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<span style="font-size: x-small;">Photo: </span><span style="color: blue; font-size: x-small;">http://www.theaustralian.com.au/arts/state-gallery-suggests-stroll-in-monets-garden/story-e6frg8n6-1226506935572</span><br />
NGV CURATOR DR. SOPHIE MATTHIESSON</div>
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<span style="font-family: "times new roman" , "times" , serif;"><span style="font-family: "times new roman" , "times" , serif , "apple color emoji" , "segoe ui emoji" , "notocoloremoji" , "segoe ui symbol" , "android emoji" , "emojisymbols";"><span style="font-family: "times new roman" , "times" , serif;"><span style="font-family: "times new roman" , "times" , serif , "apple color emoji" , "segoe ui emoji" , "notocoloremoji" , "segoe ui symbol" , "android emoji" , "emojisymbols";"><span style="font-family: "times new roman" , "times" , serif;"><span style="font-size: 16px;"><b>NINTH</b>, on page 233 of the 2016 <i>Degas: A New Vision</i> exhibition catalogue, under the subtitle: "The Life of Edgar Degas," the [National Gallery of Victoria Senior curator of International Art] Dr. Ted Gott wrote:</span><i style="font-size: 16px;"> "Sculpture was to be Degas's final artistic legacy. After his death in September 1917, about 150 wax sculptures were found in his studio, some broken but many intact. These depicted three subjects primarily: racehorses, ballerinas and women bathing. The artist's heirs subsequently authorised the casting in bronze, by the Adrien-A. Hebrard Foundry, Paris, and their Milanese caster Albino Palazzolo, of seventy-four of the most intact of Degas's wax sculptures."</i><span style="color: blue; font-size: x-small;">[FN 24] </span></span></span></span></span></span><br />
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<span style="font-size: x-small;">Photo: </span><span style="color: blue; font-size: x-small;">https://twitter.com/artsunimelb/status/777311204888883200</span><br />
NGV CURATOR DR. TED GOTT<br />
<span style="font-family: "times new roman" , "times" , serif;"><span style="font-family: "times new roman" , "times" , serif , "apple color emoji" , "segoe ui emoji" , "notocoloremoji" , "segoe ui symbol" , "android emoji" , "emojisymbols";"><span style="font-family: "times new roman" , "times" , serif;"><span style="font-family: "times new roman" , "times" , serif , "apple color emoji" , "segoe ui emoji" , "notocoloremoji" , "segoe ui symbol" , "android emoji" , "emojisymbols";"><br /></span></span></span></span></div>
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<span style="font-family: "times new roman" , "times" , serif;"><span style="font-family: "times new roman" , "times" , serif , "apple color emoji" , "segoe ui emoji" , "notocoloremoji" , "segoe ui symbol" , "android emoji" , "emojisymbols";"><span style="font-family: "times new roman" , "times" , serif;"><span style="font-family: "times new roman" , "times" , serif , "apple color emoji" , "segoe ui emoji" , "notocoloremoji" , "segoe ui symbol" , "android emoji" , "emojisymbols";">Remember, Edgar Degas created his lifetime sculpture in mixed-media, not exclusively in wax for casting as the NGV curator Dr. Ted Gott continues to perpetuate that mythology. </span></span></span></span><br />
<span style="font-family: "times new roman" , "times" , serif;"><span style="font-family: "times new roman" , "times" , serif , "apple color emoji" , "segoe ui emoji" , "notocoloremoji" , "segoe ui symbol" , "android emoji" , "emojisymbols";"><span style="font-family: "times new roman" , "times" , serif;"><span style="font-family: "times new roman" , "times" , serif , "apple color emoji" , "segoe ui emoji" , "notocoloremoji" , "segoe ui symbol" , "android emoji" , "emojisymbols";"><br /></span></span></span></span>
<span style="font-family: "times new roman" , "times" , serif;"><span style="font-family: "times new roman" , "times" , serif , "apple color emoji" , "segoe ui emoji" , "notocoloremoji" , "segoe ui symbol" , "android emoji" , "emojisymbols";"><span style="font-family: "times new roman" , "times" , serif;"><span style="font-family: "times new roman" , "times" , serif , "apple color emoji" , "segoe ui emoji" , "notocoloremoji" , "segoe ui symbol" , "android emoji" , "emojisymbols";"><b>CONCLUSION</b></span></span></span></span><br />
<span style="font-family: "times new roman" , "times" , serif;"><span style="font-family: "times new roman" , "times" , serif , "apple color emoji" , "segoe ui emoji" , "notocoloremoji" , "segoe ui symbol" , "android emoji" , "emojisymbols";"><span style="font-family: "times new roman" , "times" , serif;"><span style="font-family: "times new roman" , "times" , serif , "apple color emoji" , "segoe ui emoji" , "notocoloremoji" , "segoe ui symbol" , "android emoji" , "emojisymbols";">The</span><span style="font-family: "times new roman" , "times" , serif , "apple color emoji" , "segoe ui emoji" , "notocoloremoji" , "segoe ui symbol" , "android emoji" , "emojisymbols";"> </span><span style="font-family: "times new roman" , "times" , serif , "apple color emoji" , "segoe ui emoji" , "notocoloremoji" , "segoe ui symbol" , "android emoji" , "emojisymbols";">20 non-disclosed posthumous 3rd-generation-removed brass [not bronze] forgeries with counterfeit </span><i style="font-family: "Times New Roman", Times, serif, "Apple Color Emoji", "Segoe UI Emoji", NotoColorEmoji, "Segoe UI Symbol", "Android Emoji", EmojiSymbols;">"Degas"</i><span style="font-family: "times new roman" , "times" , serif , "apple color emoji" , "segoe ui emoji" , "notocoloremoji" , "segoe ui symbol" , "android emoji" , "emojisymbols";"> signatures in bogus editions, in the AAMD member Museum of Fine Art Houston's <i>Degas: A New Vision </i>exhibition, </span><span style="font-family: "times new roman" , "times" , serif , "apple color emoji" , "segoe ui emoji" , "notocoloremoji" , "segoe ui symbol" , "android emoji" , "emojisymbols";">were posthumously cast in <u>brass</u> which is made of copper & zinc with low levels of tin <i>versus </i></span><span style="font-family: "times new roman" , "times" , serif , "apple color emoji" , "segoe ui emoji" , "notocoloremoji" , "segoe ui symbol" , "android emoji" , "emojisymbols";">bronze which is made with copper & tin.</span></span></span></span><span style="color: blue; font-size: x-small;">[FN 25]</span><span style="font-family: "times new roman" , "times" , serif , "apple color emoji" , "segoe ui emoji" , "notocoloremoji" , "segoe ui symbol" , "android emoji" , "emojisymbols";"> </span></div>
</div>
<div style="background-color: white; font-family: "Times New Roman", Times, serif; font-size: 16px; text-align: justify;">
<span style="font-family: "times new roman" , "times" , serif , "apple color emoji" , "segoe ui emoji" , "notocoloremoji" , "segoe ui symbol" , "android emoji" , "emojisymbols";"><br /></span></div>
<div style="background-color: white; font-family: "Times New Roman", Times, serif; font-size: 16px; text-align: justify;">
<span style="font-family: "times new roman" , "times" , serif;"><span style="font-family: "times new roman" , "times" , serif , "apple color emoji" , "segoe ui emoji" , "notocoloremoji" , "segoe ui symbol" , "android emoji" , "emojisymbols";"></span></span><span style="font-family: "times new roman" , "times" , serif , "apple color emoji" , "segoe ui emoji" , "notocoloremoji" , "segoe ui symbol" , "android emoji" , "emojisymbols";">All brass and no Degas. </span></div>
<div style="background-color: white; font-family: "Times New Roman", Times, serif; font-size: 16px; text-align: justify;">
<span style="font-family: "times new roman" , "times" , serif , "apple color emoji" , "segoe ui emoji" , "notocoloremoji" , "segoe ui symbol" , "android emoji" , "emojisymbols";"><br /></span></div>
<div style="background-color: white; font-family: "Times New Roman", Times, serif; font-size: 16px; text-align: justify;">
<span style="font-family: "times new roman" , "times" , serif , "apple color emoji" , "segoe ui emoji" , "notocoloremoji" , "segoe ui symbol" , "android emoji" , "emojisymbols";"><br /></span></div>
<div style="background-color: white; font-family: "Times New Roman", Times, serif; font-size: 16px; text-align: justify;">
<span style="font-family: "times new roman" , "times" , serif , "apple color emoji" , "segoe ui emoji" , "notocoloremoji" , "segoe ui symbol" , "android emoji" , "emojisymbols";"><br /></span></div>
<div style="background-color: white; font-family: "Times New Roman", Times, serif; font-size: 16px; text-align: justify;">
<b>NOTES:</b><br />
<span style="font-size: 12pt;">Here are links to two of my online monographs to learn more about this fraud and attempts to obscure it by museum professionals:</span></div>
<ul style="background-color: white;">
<li style="font-family: "Times New Roman", Times, serif; font-size: 12pt;"><span style="color: blue;"><span style="font-size: 12pt;"></span><span style="font-size: 12pt;">http://garyarseneau.blogspot.com/2007/05/all-degas-bronze-sculptures-are-fake.html</span></span></li>
<li style="font-family: "Times New Roman", Times, serif; font-size: 12pt;"><span style="color: blue;"><span style="font-size: 12pt;">http://garyarseneau.blogspot.com/2010/01/propaganda-how-art-gallery-of-alberta.html </span></span></li>
</ul>
<ul style="background-color: white;">
</ul>
<div style="background-color: white; font-family: "Times New Roman", Times, serif; font-size: 16px;">
<div style="text-align: justify;">
<span style="font-family: "times new roman" , "times" , serif , "apple color emoji" , "segoe ui emoji" , "notocoloremoji" , "segoe ui symbol" , "android emoji" , "emojisymbols";">WTSP investigative reporter Mike Deeson did a wonderful investigative piece on a similar</span><span style="font-family: "times new roman" , "times" , serif , "apple color emoji" , "segoe ui emoji" , "notocoloremoji" , "segoe ui symbol" , "android emoji" , "emojisymbols";"> </span><b style="font-family: "Times New Roman", Times, serif, "Apple Color Emoji", "Segoe UI Emoji", NotoColorEmoji, "Segoe UI Symbol", "Android Emoji", EmojiSymbols;">Degas</b><span style="font-family: "times new roman" , "times" , serif , "apple color emoji" , "segoe ui emoji" , "notocoloremoji" , "segoe ui symbol" , "android emoji" , "emojisymbols";"> </span><span style="font-family: "times new roman" , "times" , serif , "apple color emoji" , "segoe ui emoji" , "notocoloremoji" , "segoe ui symbol" , "android emoji" , "emojisymbols";">exhibition at the Tampa Museum of Art in 2011. Here is the link: </span></div>
<div style="text-align: justify;">
</div>
<ul>
<li><a class="x_x_OWAAutoLink" href="https://www.youtube.com/watch?v=E7Q9gEMMDSs" id="LPlnk34077" style="font-family: "Times New Roman", Times, serif, "Apple Color Emoji", "Segoe UI Emoji", NotoColorEmoji, "Segoe UI Symbol", "Android Emoji", EmojiSymbols;" target="_blank"><span style="color: blue;">https://www.youtube.com/watch?v=E7Q9gEMMDSs</span></a></li>
</ul>
</div>
<div style="background-color: white; font-family: "Times New Roman", Times, serif; font-size: 16px;">
<b><br /></b></div>
<div style="background-color: white; font-family: "Times New Roman", Times, serif; font-size: 16px;">
<b><br /></b></div>
<div style="background-color: white; font-family: "Times New Roman", Times, serif; font-size: 16px;">
<b>FOOTNOTES:</b></div>
<div style="background-color: white;">
<div class="p1">
<span class="s1"><span style="font-size: x-small;">1. Copyright © 1999, By West Group, ISBN 0-314-22864-0</span></span></div>
<div class="p2">
<span style="font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p1">
<span class="s1"><span style="font-size: x-small;">2. © 1998 National Gallery of Art ISBN 0-300-07517-0</span></span></div>
<div class="p2">
<span style="font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p1">
<span class="s1"><span style="font-size: x-small;">3. Ibid</span></span></div>
<div class="p2">
<span style="font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p1">
<span class="s1"><span style="font-size: x-small;">4. © ISBN 978-0-691-14897-7 National Gallery of Art, Washington, www.nga.gov</span></span></div>
<div class="p2">
<span style="font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p1">
<span class="s1"><span style="font-size: x-small;">5. Ibid</span></span></div>
<div class="p2">
<span style="font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p1">
<span class="s1"><span style="font-size: x-small;">6. Copyright © 2000 by High Museum of Art, ISBN 0-8478-2340-7</span></span></div>
<div class="p2">
<span style="font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p1">
<span class="s1"><span style="font-size: x-small;">7. © 1976 by Princeton University Press ISBN 0-691-00318-1</span></span></div>
<div class="p2">
<span style="font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p1">
<span class="s1"><span style="font-size: x-small;">8. © 2002 International Arts and The Torch Press ISBN 0-9716408-07</span></span></div>
<div class="p2">
<span style="font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p1">
<span class="s1"><span style="font-size: x-small;">9. Copyright © 1999, By West Group, ISBN 0-314-22864-0</span></span></div>
<div class="p2">
<span style="font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p1">
<span class="s1"><span style="font-size: x-small;">10. https://aamd.org/our-members/members</span></span></div>
<div class="p2">
<span style="font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p1">
<span class="s1"><span style="font-size: x-small;">11.“A Statement on Standards for Sculptural Reproduction and Preventive Measures to Combat Unethical Casting in Bronze Approved by the CAA Board of Directors, April 27, 1974. Endorsed by the Association of Art Museum Directors and the Art Dealers Association of America.”</span></span></div>
<div class="p1">
<span class="s1"><span style="font-size: x-small;">www.collegeart.org/caa/ethics/sculpture.html</span></span></div>
<div class="p1">
<span class="s1"><span style="font-size: x-small;">Updated and Adopted by the Board of Directors on February 17, 2013. </span></span></div>
<div class="p1">
<span class="s1"><span style="font-size: x-small;">http://www.collegeart.org/guidelines/sculpture</span></span></div>
<div class="p2">
<span style="font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p1">
<span class="s1"><span style="font-size: x-small;">12. Under the title “Reproductions of Works of Art” and documented as “adopted by the membership of the AAMD, January 1979; amended 2001, Copyright 2001 by the Association of Art Museum Directors ( ISBN 1-880974-02-0 ) Address: 41 East 65th Street, New York, New York 10021</span></span></div>
<div class="p1">
<span class="s1"><span style="font-size: x-small;">“Art museums legitimately generate income through the sale of such educational materials as catalogues, books, postcards, and reproductions. The manufacture and knowledgeable use of reproductions for teaching purposes or in a decorative context is appropriate. However, a proliferation of “art-derived” materials, coupled with misleading marketing of reproductions, has created such widespread confusion as to require clarification in order to maintain professional standards.</span></span></div>
<div class="p1">
<span class="s1"><span style="font-size: x-small;">“When producing and/or selling reproductions, 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, print 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. Similarly, signatures, edition numbers, and/or foundry marks on sculpture must not appear on the reproduction.</span></span></div>
<div class="p1">
<span class="s1"><span style="font-size: x-small;">“Reproductions must be in materials and/or sizes other than those uses by the artist in the original works of art. Although reproductions of decorative arts serving functional purposes may pose special problems in this regard, the fact that they are reproductions should be clearly indicated on the object.</span></span></div>
<div class="p1">
<span class="s1"><span style="font-size: x-small;">“The touting of exaggerated investment value of reproductions must be avoided because of object or work being offered for purchase is not original and the resale value is highly in doubt.</span></span></div>
<div class="p1">
<span class="s1"><span style="font-size: x-small;">“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 reproductions, he or she is acquiring an original work of art.”</span></span></div>
<div class="p2">
<span style="font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p1">
<span class="s1"><span style="font-size: x-small;">13. https://www.arts.gov/sites/default/files/TheAct.pdf</span></span></div>
<div class="p2">
<span style="font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p1">
<span class="s1"><span style="font-size: x-small;">14. <a href="http://www.copyright.gov/title17/92chap1.html#106"><span class="s2">http://www.copyright.gov/title17/92chap1.html#106</span></a></span></span></div>
<div class="p2">
<span style="font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p1">
<span class="s1"><span style="font-size: x-small;">15.Publisher: Metropolitan Museum of Art/National Gallery of Canada; First edition (July 14, 1988), ISBN-10: 0888845812, ISBN-13: 978-0888845818</span></span></div>
<div class="p2">
<span style="font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p1">
<span class="s1"><span style="font-size: x-small;">16. Ibid</span></span></div>
<div class="p2">
<span style="font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p1">
<span class="s1"><span style="font-size: x-small;">17. https://www.mfah.org/press/degas-retrospective-debuts-us-museum-fine-arts-houston-october</span></span><br />
<ul>
<li><div class="p1">
<span class="s1"><span style="font-size: x-small;">Degas Retrospective Debuts in the U.S. at the Museum of Fine Arts, Houston, in October</span></span></div>
<div class="p2">
<span style="font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p1">
<span class="s1"><span style="font-size: x-small;">Former Louvre director Henri Loyrette and MFAH director Gary Tinterow revisit Degas’s work three decades after their landmark 1988 Degas exhibition</span></span></div>
<div class="p2">
<span style="font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p1">
<span class="s1"><span style="font-size: x-small;">Featuring more than 200 works, Degas: A New Vision builds on 30 years of scholarship</span></span></div>
<div class="p2">
<span style="font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p1">
<span class="s1"><span style="font-size: x-small;">HOUSTON—July 25, 2016—This fall, the Museum of Fine Arts, Houston, will be the exclusive U.S. venue for Degas: A New Vision, the most significant international survey in three decades of the work of Hilaire-Germain-Edgar Degas (1834–1917). While Degas’s reputation has often been confined to his ballet imagery, the artist’s oeuvre is rich, complex, and abundant, spanning the entire second half of the 19th century and the first years of the 20th. Opening October 16, Degas: A New Vision will assemble some 200 works from public and private collections around the world, and showcase Degas’s abiding interests across painting, drawing, photography, printmaking, and sculpture.</span></span></div>
<div class="p2">
<span style="font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p1">
<span class="s1"><span style="font-size: x-small;">The MFAH has developed this major retrospective with the National Gallery of Victoria, in association with Art Exhibitions Australia. Some 60 additional loans will be exclusive to the Houston presentation, including such major works as Dancers, Pink and Green, from the Metropolitan Museum of Art, as well as preparatory drawings reunited with the iconic paintings that evolved from them, including Ballet Scene from Meyerbeer's Opera “Robert the Devil.”</span></span></div>
<div class="p2">
<span style="font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p1">
<span class="s1"><span style="font-size: x-small;">Not since the 1988 landmark retrospective Degas—organized by Henri Loyrette, then at the Grand Palais in Paris; Gary Tinterow, then a curator at the Metropolitan Museum of Art in New York; and the late Jean Sutherland Boggs of the National Gallery of Canada in Ottawa—has the artist’s career been fully assessed. “The objective of Degas in 1988 was to piece together Degas’s work as a whole, in an accurate chronology; though it may seem surprising now, that had never been done,” said MFAH director Gary Tinterow. “That exhibition led to a revival of interest in Degas, and dozens of shows focused on individual subjects of his work—the bathers, the dancers, the jockeys, the portraits—or his influence on other artists. Now, we are able to benefit from that scholarship and, led by Henri Loyrette, the preeminent Degas biographer and scholar, put Degas back together again, and see the artist anew.”</span></span></div>
<div class="p2">
<span style="font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p1">
<span class="s1"><span style="font-size: x-small;">“Degas: A New Vision will explore Degas’s measured continuity, his journey as he reworks one painting after another, and his total refusal to settle on a definitive composition,” commented Henri Loyrette, the Paris-based Degas scholar and former director of the Louvre who is the organizing curator of the exhibition. “This is the distinctive genius of Degas, which makes him both a precursor and particularly relevant to today. Each period looks at the artist in a different way. What can he tell us today? That is the basic purpose of this show.”</span></span></div>
<div class="p2">
<span style="font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p1">
<span class="s1"><span style="font-size: x-small;">Exhibition Overview</span></span></div>
<div class="p1">
<span class="s1"><span style="font-size: x-small;">Degas: A New Vision reveals the continuity within Degas’s work from the beginning to the end of his career, as he restlessly moved among the media of oil painting, drawing, pastel, photography, printmaking, and sculpture, all the while employing common themes and approaches, revisiting poses and motifs that he had used decades earlier, and reworking paintings that he kept in his studio.</span></span></div>
<div class="p2">
<span style="font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p1">
<span class="s1"><span style="font-size: x-small;">Degas’s earliest work, from the mid-1850s, is rooted in the Renaissance; in one early self-portrait he depicts himself as a Florentine courtier. By the late 1850s, Degas had shifted to multi-figure compositions, among them the double portrait of his brother-in-law and sister, Edmondo and Thérèse Morbilli (1865). This vignette of daily life, set in a nondescript, bourgeois environment, reveals a fascinating interplay of the couples’ relationship: in this depiction, Thérèse remains no more than the shadow of her husband, half hidden behind the table, with one hand grasping her cheek and the other anxiously reaching for Edmondo. </span></span></div>
<div class="p2">
<span style="font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p1">
<span class="s1"><span style="font-size: x-small;">From paintings like the Morbilli portrait, Degas moved to modern history painting based on classical subjects, experimenting as he deployed multiple figures on a canvas. In two studies for Young Spartans Exercising and Scene of War, both from the mid-1860s, Degas uses a range of expressive posture and unusual pose that had not been seen before in painting. In addition, both works feature posed figures that Degas would revisit in very different contexts 20, even 40 years later.</span></span></div>
<div class="p2">
<span style="font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p1">
<span class="s1"><span style="font-size: x-small;">By the late 1860s, Degas had abandoned these mythological and classical subjects. “After a great many essays and experiments and trial shots in all directions, he has fallen in love with modern life,” the great critic, artist, and writer Edmond de Goncourt wrote in 1874, following a visit to Degas’s studio.</span></span></div>
<div class="p2">
<span style="font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p1">
<span class="s1"><span style="font-size: x-small;">At his height, in the 1870s and 1880s, Degas pursued every facet, high and low, of modern life: café scenes, in his iconic In a café (1875), also known as L’absinthe; jockeys and steeplechases, in Out of the Paddock (Racehorses) (1868–72) and Before the Race (c. 1882); student ballerinas in Dance Foyer of the Opera at Rue Le Peletier (1872), The Dance Class (1873), and Dancers, Pink and Green (1890); everyday routines in the brothel, in The Name Day of the Madam (1879); life below stairs, in Women Ironing (1884–86). A trip to visit his mother’s family in Louisiana produced his famous A Cotton Market in New Orleans (1873). All are complex, multi-figure compositions with the focus on the incidental or the moment of anticipation: a young dancer about to perform a step; the top-hatted silhouette of a standing man in a room crowded with young ballerinas; the man reading the newspaper amid the bustle of the cotton exchange.</span></span></div>
<div class="p2">
<span style="font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p1">
<span class="s1"><span style="font-size: x-small;">Still, Degas continued to mine his earlier work for poses and postures. The young lady leaning on her elbows toward a man at his desk in the 1870 interior Sulking, who looks up at the viewer as if interrupted, becomes the older woman in a pensive tête-à-tête in the 1885 Conversation. Degas would continue to explore variations on a single subject, such as the female nude, creating them in different media across more than half a century. A lesser-known aspect of this creative journey included a short, but intensive, foray into photography. Degas’s photographs—the majority of which were produced during the year 1895 and feature his inner circle of family members, friends, and fellow artists—reveal how the artist used the medium both as part of a creative continuum that included paintings and pastels and as an experiment with a new form of visual expression, resulting in photographic figure studies, portraits, and self-portraits that stand alone as works of art in their own right. Degas: A New Vision will unite over 20 of his surviving photographs for the first time since the 1998 exhibition Edgar Degas: Photographer, which debuted at the Metropolitan Museum of Art in New York and traveled to the J. Paul Getty Museum in Los Angeles and the Bibliothèque Nationale de France in Paris.</span></span></div>
<div class="p2">
<span style="font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p1">
<span class="s1"><span style="font-size: x-small;">“Thirty years ago, no one even considered Degas’s late work, but the 1988 exhibition changed the public’s mind,” Loyrette said. Tinterow added, “The revelation then was how strong and modern the end of Degas’s career was—allowing us to see, for example, how artists like Lucien Freud can show us the shocking modernity of late Degas, and how we can appreciate the extravagant color and expressive line.” Degas himself said that by the 1890s he had given himself over to “an orgy of color.” The two figures in Combing the Hair (The Coiffure, 1896; once owned by Henri Matisse) are rendered in a blaze of red; The Bathers and other late studies depict female nude figures—alone or in groups; some composed, others random. For Degas, these expressions of the female form showed women as they saw, rather than imagined, themselves.</span></span></div>
<div class="p2">
<span style="font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p1">
<span class="s1"><span style="font-size: x-small;">Although organized chronologically overall, the exhibition will also present specific groupings devoted to a particular theme or technique. In all, some 200 works will trace Degas’s career, across painting, drawing, photography, printmaking, and sculpture. The exhibition is drawn from private collections around the world as well as public collections that include those of the Musée d’Orsay in Paris, the National Gallery of London; the Metropolitan Museum of Art in New York, the Harvard Art Museums; Yale University Art Gallery; the Museum of Fine Arts, Boston; the Philadelphia Museum of Art; the Brooklyn Museum of Art; the J. Paul Getty Museum in Los Angeles; the Los Angeles County Museum of Art; the Thyssen-Bornemisza Museum in Madrid; and the Kunstmuseum Basel in Switzerland.</span></span></div>
<div class="p2">
<span style="font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p1">
<span class="s1"><span style="font-size: x-small;">Publication</span></span></div>
<div class="p1">
<span class="s1"><span style="font-size: x-small;">The exhibition will be accompanied by the monographic publication Degas: A New Vision, with principal essays by Henri Loyrette and a foreword by Tony Ellwood, director of the National Gallery of Victoria; Gary Tinterow, director of the MFAH; and Carol Henry, CEO of Art Exhibitions Australia.</span></span></div>
<div class="p2">
<span style="font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p1">
<span class="s1"><span style="font-size: x-small;">Organization and Funding</span></span></div>
<div class="p1">
<span class="s1"><span style="font-size: x-small;">This exhibition is organized by the Museum of Fine Arts, Houston; the National Gallery of Victoria, Melbourne; and Art Exhibitions Australia. This exhibition is supported by an indemnity from the Federal Council on the Arts and the Humanities.</span></span></div>
<div class="p2">
<span style="font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p1">
<span class="s1"><span style="font-size: x-small;">Lead foundation underwriting is provided by:</span></span></div>
<div class="p1">
<span class="s1"><span style="font-size: x-small;">Kinder Foundation</span></span></div>
<div class="p1">
<span class="s1"><span style="font-size: x-small;">The Hamill Foundation</span></span></div>
<div class="p2">
<span style="font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p1">
<span class="s1"><span style="font-size: x-small;">Lead corporate sponsor:</span></span></div>
<div class="p2">
<span style="font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p1">
<span class="s1"><span style="font-size: x-small;">BBVA Compass</span></span></div>
<div class="p2">
<span style="font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p1">
<span class="s1"><span style="font-size: x-small;">With additional generous funding from:</span></span></div>
<div class="p1">
<span class="s1"><span style="font-size: x-small;">Anchorage Foundation of Texas</span></span></div>
<div class="p1">
<span class="s1"><span style="font-size: x-small;">Mr. and Mrs. Meredith J. Long</span></span></div>
<div class="p1">
<span class="s1"><span style="font-size: x-small;">River Oaks District</span></span></div>
<div class="p1">
<span class="s1"><span style="font-size: x-small;">CHRISTIE’S</span></span></div>
<div class="p1">
<span class="s1"><span style="font-size: x-small;">National Endowment for the Arts</span></span></div>
<div class="p1">
<span class="s1"><span style="font-size: x-small;">Norton Rose Fulbright</span></span></div>
<div class="p1">
<span class="s1"><span style="font-size: x-small;">Carol and Michael Linn</span></span></div>
<div class="p1">
<span class="s1"><span style="font-size: x-small;">Scaler Foundation, Inc.</span></span></div>
<div class="p1">
<span class="s1"><span style="font-size: x-small;">Ann G. Trammell </span></span></div>
<div class="p2">
<span style="font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p2">
<span style="font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p1">
<span class="s1"><span style="font-size: x-small;">Official Promotional Partners:</span></span></div>
<div class="p2">
<span style="font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p1">
<span class="s1"><span style="font-size: x-small;">Houston Public Media<span class="Apple-tab-span"> </span>Telemundo Houston</span></span></div>
<div class="p2">
<span style="font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p1">
<span class="s1"><span style="font-size: x-small;">About the Museum of Fine Arts, Houston</span></span></div>
<div class="p1">
<span class="s1"><span style="font-size: x-small;">Founded in 1900, the Museum of Fine Arts, Houston, is among the 10 largest art museums in the United States. Located in the heart of Houston’s Museum District, the MFAH comprises two gallery buildings, a sculpture garden, theater, two art schools, and two libraries, with two house museums, for American and European decorative arts, nearby. The encyclopedic collection of the MFAH numbers more than 65,000 works and spans the art of antiquity to the present.</span></span></div>
<div class="p2">
<span style="font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p1">
<span class="s1"><span style="font-size: x-small;">Media Contacts</span></span></div>
<div class="p1">
<span class="s1"><span style="font-size: x-small;">Mary Haus, head of marketing and communications</span></span></div>
<div class="p1">
<span class="s1"><span style="font-size: x-small;">713.639.7554 / mhaus@mfah.org</span></span></div>
<div class="p2">
<span style="font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p1">
<span class="s1"><span style="font-size: x-small;">Laine Lieberman, publicist</span></span></div>
<div class="p1">
<span class="s1"><span style="font-size: x-small;">
</span></span></div>
<div class="p1">
<span class="s1"><span style="font-size: x-small;">713.639.7516 / llieberman@mfah.org</span></span></div>
</li>
</ul>
<div class="p1">
<br /></div>
<span class="s1"><span style="font-size: x-small;"><br /></span></span>
<span class="s1"><span style="font-size: x-small;"><span class="s2">18. <a href="http://abc7chicago.com/news/dead-men-dont-sculpt-forgery-allegation-at-art-institute-/1132824/">http://abc7chicago.com/news/dead-men-dont-sculpt-forgery-allegation-at-art-institute-/1132824/</a></span></span></span></div>
<div class="p2">
<span style="font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p1">
<span class="s1"><span style="font-size: x-small;">19.© National Gallery of Victoria, the Museum of Fine Arts, Houston, and Art Exhibitions Australia, 2016, ISBN: 978-0-89090-191-5 (paperback)</span></span></div>
<div class="p2">
<span style="font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p1">
<span class="s1"><span style="font-size: x-small;">20. Ibid</span></span></div>
<div class="p2">
<span style="font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p1">
<span class="s1"><span style="font-size: x-small;">21. Ibid</span></span></div>
<div class="p2">
<span style="font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p1">
<span class="s1"><span style="font-size: x-small;">22. Copyright © 1999, By West Group, ISBN 0-314-22864-0</span></span></div>
<div class="p2">
<span style="font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p1">
<span class="s1"><span style="font-size: x-small;">23. Ibid</span></span></div>
<div class="p2">
<span style="font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p1">
<span class="s1"><span style="font-size: x-small;">24. Ibid</span></span></div>
<div class="p2">
<span style="font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p1">
</div>
<div class="p1">
<span class="s1"><span style="font-size: x-small;">25.© 2010 ISBN 978-0-691-14897-7, National Gallery of Art, Washington, <a href="http://www.nga.gov/"><span class="s2">www.nga.gov</span></a></span></span></div>
</div>
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<b><br /></b></div>
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<b><br /></b></div>
<div style="background-color: white; font-family: "Times New Roman", Times, serif; font-size: 16px;">
<b><br class="Apple-interchange-newline" />CHECKLIST</b></div>
<div style="background-color: white; font-family: "Times New Roman", Times, serif; font-size: 16px;">
<span style="color: blue;">https://www.ngv.vic.gov.au/wp-content/uploads/2016/06/PCOL-FINAL-MWM2016-DEGAS-illustrated-checklist.pdf</span></div>
<div style="background-color: white; font-family: "Times New Roman", Times, serif; font-size: 16px;">
<br /></div>
<div style="background-color: white; font-family: "Times New Roman", Times, serif; font-size: 16px;">
<b>Protection of Cultural Objects on Loan</b></div>
<div style="background-color: white; font-family: "Times New Roman", Times, serif; font-size: 16px;">
Exhibition: Melbourne Winter Masterpieces 2016 Degas: A New Vision</div>
<div style="background-color: white; font-family: "Times New Roman", Times, serif; font-size: 16px;">
Exhibition Dates: 24 June – 18 Sept 2016</div>
<div style="background-color: white; font-family: "Times New Roman", Times, serif; font-size: 16px;">
All works are by: Edgar DEGAS, French 1834–1917</div>
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<div style="background-color: white; font-family: "Times New Roman", Times, serif; font-size: 16px;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://1.bp.blogspot.com/-CWgs3YpqEj0/WAvLOp9tQsI/AAAAAAAADsI/QiODr8hLaW41UYrpQsf1pcBhGUiEc4wAgCLcB/s1600/Screen%2BShot%2B2016-10-12%2Bat%2B12.44.38%2BAM.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://1.bp.blogspot.com/-CWgs3YpqEj0/WAvLOp9tQsI/AAAAAAAADsI/QiODr8hLaW41UYrpQsf1pcBhGUiEc4wAgCLcB/s1600/Screen%2BShot%2B2016-10-12%2Bat%2B12.44.38%2BAM.png" /></a></div>
<div style="background-color: white; font-family: "Times New Roman", Times, serif; font-size: 16px;">
<i>Horse at trough </i>(Cheval à l’abreuvoir) (1865–68), cast (1919–32)</div>
<div style="background-color: white; font-family: "Times New Roman", Times, serif; font-size: 16px;">
bronze</div>
<div style="background-color: white; font-family: "Times New Roman", Times, serif; font-size: 16px;">
16.5 x 13.7 x 23.0 cm</div>
<div style="background-color: white; font-family: "Times New Roman", Times, serif; font-size: 16px;">
Czestochowski/Pingeot 13 (cast S)</div>
<div style="background-color: white; font-family: "Times New Roman", Times, serif; font-size: 16px;">
Museu de Arte de São Paulo, Assis Chateaubriand</div>
<div style="background-color: white; font-family: "Times New Roman", Times, serif; font-size: 16px;">
Donated by Alberto José Alves, Alberto Alves Filho and Alcino Ribeiro de Lima (395 E)</div>
<div style="background-color: white; font-family: "Times New Roman", Times, serif; font-size: 16px;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://4.bp.blogspot.com/-uok4IYAq9Zk/WAvLU1nU1ZI/AAAAAAAADsM/GLX_vaGQjSAqbwu95EJCq02CYxHHB0TNwCLcB/s1600/Screen%2BShot%2B2016-10-12%2Bat%2B12.28.27%2BAM.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://4.bp.blogspot.com/-uok4IYAq9Zk/WAvLU1nU1ZI/AAAAAAAADsM/GLX_vaGQjSAqbwu95EJCq02CYxHHB0TNwCLcB/s1600/Screen%2BShot%2B2016-10-12%2Bat%2B12.28.27%2BAM.png" /></a></div>
<div style="background-color: white; font-family: "Times New Roman", Times, serif; font-size: 16px;">
<i>The little fourteen-year-old dancer </i>(La Petite danseuse de 14 ans) (1879–81), cast (1922–37)</div>
<div style="background-color: white; font-family: "Times New Roman", Times, serif; font-size: 16px;">
bronze with cotton skirt and satin ribbon</div>
<div style="background-color: white; font-family: "Times New Roman", Times, serif; font-size: 16px;">
99.0 x 35.2 x 24.5 cm</div>
<div style="background-color: white; font-family: "Times New Roman", Times, serif; font-size: 16px;">
Czestochowski/Pingeot 73 (cast unlettered)</div>
<div style="background-color: white; font-family: "Times New Roman", Times, serif; font-size: 16px;">
Museu de Arte de São Paulo, Assis Chateaubriand</div>
<div style="background-color: white; font-family: "Times New Roman", Times, serif; font-size: 16px;">
Donated by Alberto José Alves, Alberto Alves Filho and Alcino Ribeiro de Lima (426 E)</div>
<div style="background-color: white; font-family: "Times New Roman", Times, serif; font-size: 16px;">
<br /></div>
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<div style="background-color: white; font-family: "Times New Roman", Times, serif; font-size: 16px;">
<i>Horse walking</i> (Cheval en marche) (probably before 1881), cast (1919–32)</div>
<div style="background-color: white; font-family: "Times New Roman", Times, serif; font-size: 16px;">
bronze</div>
<div style="background-color: white; font-family: "Times New Roman", Times, serif; font-size: 16px;">
21.0 x 26.6 x 9.6 cm</div>
<div style="background-color: white; font-family: "Times New Roman", Times, serif; font-size: 16px;">
Czestochowski/Pingeot 10 (cast S)</div>
<div style="background-color: white; font-family: "Times New Roman", Times, serif; font-size: 16px;">
Museu de Arte de São Paulo, Assis Chateaubriand</div>
<div style="background-color: white; font-family: "Times New Roman", Times, serif; font-size: 16px;">
Donated by Alberto José Alves, Alberto Alves Filho and Alcino Ribeiro de Lima (405 E)</div>
<div style="background-color: white; font-family: "Times New Roman", Times, serif; font-size: 16px;">
<br /></div>
<div style="background-color: white; font-family: "Times New Roman", Times, serif; font-size: 16px;">
<br /></div>
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<div style="background-color: white; font-family: "Times New Roman", Times, serif; font-size: 16px;">
<i>Dancer adjusting the shoulder strap of her bodice </i>(Danseuse attachant l'épaulette de son corsage) (1882–95), cast</div>
<div style="background-color: white; font-family: "Times New Roman", Times, serif; font-size: 16px;">
(1919–32)</div>
<div style="background-color: white; font-family: "Times New Roman", Times, serif; font-size: 16px;">
bronze</div>
<div style="background-color: white; font-family: "Times New Roman", Times, serif; font-size: 16px;">
35.2 15.9 x 11.8 cm</div>
<div style="background-color: white; font-family: "Times New Roman", Times, serif; font-size: 16px;">
Czestochowski/Pingeot 64 (cast S)</div>
<div style="background-color: white; font-family: "Times New Roman", Times, serif; font-size: 16px;">
Museu de Arte de São Paulo, Assis Chateaubriand</div>
<div style="background-color: white; font-family: "Times New Roman", Times, serif; font-size: 16px;">
Donated by Alberto José Alves, Alberto Alves Filho and Alcino Ribeiro de Lima (381 E)</div>
<div style="background-color: white; font-family: "Times New Roman", Times, serif; font-size: 16px;">
<br /></div>
<div style="background-color: white; font-family: "Times New Roman", Times, serif; font-size: 16px;">
<br /></div>
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<div style="background-color: white; font-family: "Times New Roman", Times, serif; font-size: 16px;">
<i>Dancer rubbing her knee</i> (Danseuse se frottant le genou) (c. 1884–85), cast (1919–32)</div>
<div style="background-color: white; font-family: "Times New Roman", Times, serif; font-size: 16px;">
bronze</div>
<div style="background-color: white; font-family: "Times New Roman", Times, serif; font-size: 16px;">
31.0 x 24.0 x 14.1 cm</div>
<div style="background-color: white; font-family: "Times New Roman", Times, serif; font-size: 16px;">
Czestochowski/Pingeot 39 (cast S)</div>
<div style="background-color: white; font-family: "Times New Roman", Times, serif; font-size: 16px;">
Museu de Arte de São Paulo, Assis Chateaubriand</div>
<div style="background-color: white; font-family: "Times New Roman", Times, serif; font-size: 16px;">
Donated by Alberto José Alves, Alberto Alves Filho and Alcino Ribeiro de Lima (380 E)</div>
<div style="background-color: white; font-family: "Times New Roman", Times, serif; font-size: 16px;">
<br /></div>
<div style="background-color: white; font-family: "Times New Roman", Times, serif; font-size: 16px;">
<br /></div>
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<div style="background-color: white; font-family: "Times New Roman", Times, serif; font-size: 16px;">
<i>Head resting on one hand</i> (Portrait, tête appuyée sur la main) (c. 1885–88), cast (1919–32)</div>
<div style="background-color: white; font-family: "Times New Roman", Times, serif; font-size: 16px;">
bronze</div>
<div style="background-color: white; font-family: "Times New Roman", Times, serif; font-size: 16px;">
12.0 x 17.5 x 16.2 cm</div>
<div style="background-color: white; font-family: "Times New Roman", Times, serif; font-size: 16px;">
Czestochowski/Pingeot 62 (cast S)</div>
<div style="background-color: white; font-family: "Times New Roman", Times, serif; font-size: 16px;">
Museu de Arte de São Paulo, Assis Chateaubriand</div>
<div style="background-color: white; font-family: "Times New Roman", Times, serif; font-size: 16px;">
Donated by Alberto José Alves, Alberto Alves Filho and Alcino Ribeiro de Lima (424 E)</div>
<div style="background-color: white; font-family: "Times New Roman", Times, serif; font-size: 16px;">
<br /></div>
<div style="background-color: white; font-family: "Times New Roman", Times, serif; font-size: 16px;">
<br /></div>
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<div style="background-color: white; font-family: "Times New Roman", Times, serif; font-size: 16px;">
<i>The tub</i> (Le Tub) (1888–89), cast (1919–32)</div>
<div style="background-color: white; font-family: "Times New Roman", Times, serif; font-size: 16px;">
bronze</div>
<div style="background-color: white; font-family: "Times New Roman", Times, serif; font-size: 16px;">
22.5 x 45.0 x 42.0 cm</div>
<div style="background-color: white; font-family: "Times New Roman", Times, serif; font-size: 16px;">
Czestochowski/Pingeot 26 (cast S)</div>
<div style="background-color: white; font-family: "Times New Roman", Times, serif; font-size: 16px;">
Museu de Arte de São Paulo, Assis Chateaubriand</div>
<div style="background-color: white; font-family: "Times New Roman", Times, serif; font-size: 16px;">
Donated by Alberto José Alves, Alberto Alves Filho and Alcino Ribeiro de Lima (409 E)</div>
<div style="background-color: white; font-family: "Times New Roman", Times, serif; font-size: 16px;">
<br /></div>
<div style="background-color: white; font-family: "Times New Roman", Times, serif; font-size: 16px;">
<br /></div>
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<a href="https://4.bp.blogspot.com/-wXBem9zKHxg/WAvL_xn4NHI/AAAAAAAADsk/amZavvZkCv0V-ffHTFFGn4M_5Jq4PjbUgCLcB/s1600/Screen%2BShot%2B2016-10-12%2Bat%2B12.31.37%2BAM.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://4.bp.blogspot.com/-wXBem9zKHxg/WAvL_xn4NHI/AAAAAAAADsk/amZavvZkCv0V-ffHTFFGn4M_5Jq4PjbUgCLcB/s1600/Screen%2BShot%2B2016-10-12%2Bat%2B12.31.37%2BAM.png" /></a></div>
<div style="background-color: white; font-family: "Times New Roman", Times, serif; font-size: 16px;">
<i>Horse balking</i> (Cheval se dressant) (1880s), cast (1919–32)</div>
<div style="background-color: white; font-family: "Times New Roman", Times, serif; font-size: 16px;">
bronze</div>
<div style="background-color: white; font-family: "Times New Roman", Times, serif; font-size: 16px;">
28.0 x 41.0 x 24.5 cm</div>
<div style="background-color: white; font-family: "Times New Roman", Times, serif; font-size: 16px;">
Czestochowski/Pingeot 48 (cast S)</div>
<div style="background-color: white; font-family: "Times New Roman", Times, serif; font-size: 16px;">
Museu de Arte de São Paulo, Assis Chateaubriand</div>
<div style="background-color: white; font-family: "Times New Roman", Times, serif; font-size: 16px;">
Donated by Alberto José Alves, Alberto Alves Filho and Alcino Ribeiro de Lima (396 E)</div>
<div style="background-color: white; font-family: "Times New Roman", Times, serif; font-size: 16px;">
<br /></div>
<div style="background-color: white; font-family: "Times New Roman", Times, serif; font-size: 16px;">
<br /></div>
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<a href="https://3.bp.blogspot.com/-MvxK2fM4ZBk/WAvMD2aHkjI/AAAAAAAADso/nGHgteq9HlcrBTk5lmRVElXD0gs2O9dewCLcB/s1600/Screen%2BShot%2B2016-10-12%2Bat%2B12.31.46%2BAM.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://3.bp.blogspot.com/-MvxK2fM4ZBk/WAvMD2aHkjI/AAAAAAAADso/nGHgteq9HlcrBTk5lmRVElXD0gs2O9dewCLcB/s1600/Screen%2BShot%2B2016-10-12%2Bat%2B12.31.46%2BAM.png" /></a></div>
<div style="background-color: white; font-family: "Times New Roman", Times, serif; font-size: 16px;">
<i>Rearing horse</i> (Cheval se cabrant) (1880s), cast (1919–32)</div>
<div style="background-color: white; font-family: "Times New Roman", Times, serif; font-size: 16px;">
bronze</div>
<div style="background-color: white; font-family: "Times New Roman", Times, serif; font-size: 16px;">
30.9 x 23.7 x 23.5 cm</div>
<div style="background-color: white; font-family: "Times New Roman", Times, serif; font-size: 16px;">
Czestochowski/Pingeot 4 (cast E)</div>
<div style="background-color: white; font-family: "Times New Roman", Times, serif; font-size: 16px;">
Museu de Arte de São Paulo, Assis Chateaubriand</div>
<div style="background-color: white; font-family: "Times New Roman", Times, serif; font-size: 16px;">
Donated by Alberto José Alves, Alberto Alves Filho and Alcino Ribeiro de Lima (397 E)</div>
<div style="background-color: white; font-family: "Times New Roman", Times, serif; font-size: 16px;">
<br /></div>
<div style="background-color: white; font-family: "Times New Roman", Times, serif; font-size: 16px;">
<br /></div>
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<a href="https://4.bp.blogspot.com/-tbvg-vcpiRQ/WAvMJZhwx-I/AAAAAAAADss/9Bkb0_tzgjQbazSN3ZrB5Psj7NgYldimwCLcB/s1600/Screen%2BShot%2B2016-10-12%2Bat%2B12.32.10%2BAM.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://4.bp.blogspot.com/-tbvg-vcpiRQ/WAvMJZhwx-I/AAAAAAAADss/9Bkb0_tzgjQbazSN3ZrB5Psj7NgYldimwCLcB/s1600/Screen%2BShot%2B2016-10-12%2Bat%2B12.32.10%2BAM.png" /></a></div>
<div style="background-color: white; font-family: "Times New Roman", Times, serif; font-size: 16px;">
<i>Dancer at rest, hands behind her back, right leg forward</i> (Danseuse au repos, les mains sur les hanches, jambe</div>
<div style="background-color: white; font-family: "Times New Roman", Times, serif; font-size: 16px;">
droite en avant) (c. 1890), cast (1919–32)</div>
<div style="background-color: white; font-family: "Times New Roman", Times, serif; font-size: 16px;">
bronze</div>
<div style="background-color: white; font-family: "Times New Roman", Times, serif; font-size: 16px;">
44.7 x 14.7 x 23.5 cm</div>
<div style="background-color: white; font-family: "Times New Roman", Times, serif; font-size: 16px;">
Czestochowski/Pingeot 41 (cast S)</div>
<div style="background-color: white; font-family: "Times New Roman", Times, serif; font-size: 16px;">
Museu de Arte de São Paulo, Assis Chateaubriand</div>
<div style="background-color: white; font-family: "Times New Roman", Times, serif; font-size: 16px;">
Donated by Alberto José Alves, Alberto Alves Filho and Alcino Ribeiro de Lima (377 E)</div>
<div style="background-color: white; font-family: "Times New Roman", Times, serif; font-size: 16px;">
<br /></div>
<div style="background-color: white; font-family: "Times New Roman", Times, serif; font-size: 16px;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://2.bp.blogspot.com/-RMEVY102ZFE/WAvMOk5mBhI/AAAAAAAADsw/7pM_EFUBiTc0tIZs0YOkDgR1PsCwoH-4QCLcB/s1600/Screen%2BShot%2B2016-10-12%2Bat%2B12.32.18%2BAM.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://2.bp.blogspot.com/-RMEVY102ZFE/WAvMOk5mBhI/AAAAAAAADsw/7pM_EFUBiTc0tIZs0YOkDgR1PsCwoH-4QCLcB/s1600/Screen%2BShot%2B2016-10-12%2Bat%2B12.32.18%2BAM.png" /></a></div>
<div style="background-color: white; font-family: "Times New Roman", Times, serif; font-size: 16px;">
<i>Picking apples </i>(Cueillette des pommes) (c. 1890), cast (1919–32)</div>
<div style="background-color: white; font-family: "Times New Roman", Times, serif; font-size: 16px;">
bronze</div>
<div style="background-color: white; font-family: "Times New Roman", Times, serif; font-size: 16px;">
44.7 x 47.6 x 9.3 cm</div>
<div style="background-color: white; font-family: "Times New Roman", Times, serif; font-size: 16px;">
Czestochowski/Pingeot 37 (cast S)</div>
<div style="background-color: white; font-family: "Times New Roman", Times, serif; font-size: 16px;">
Museu de Arte de São Paulo, Assis Chateaubriand</div>
<div style="background-color: white; font-family: "Times New Roman", Times, serif; font-size: 16px;">
Donated by Alberto José Alves, Alberto Alves Filho and Alcino Ribeiro de Lima (425 E)</div>
<div style="background-color: white; font-family: "Times New Roman", Times, serif; font-size: 16px;">
<br /></div>
<div style="background-color: white; font-family: "Times New Roman", Times, serif; font-size: 16px;">
<br /></div>
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</div>
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<a href="https://1.bp.blogspot.com/-4osvFPRhmBc/WAvNTPytAaI/AAAAAAAADtQ/sOwWEg-RT4opeDDFwC2IkxmfNbCY2ArqACLcB/s1600/Screen%2BShot%2B2016-10-12%2Bat%2B12.32.50%2BAM.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://1.bp.blogspot.com/-4osvFPRhmBc/WAvNTPytAaI/AAAAAAAADtQ/sOwWEg-RT4opeDDFwC2IkxmfNbCY2ArqACLcB/s1600/Screen%2BShot%2B2016-10-12%2Bat%2B12.32.50%2BAM.png" /></a></div>
<div style="background-color: white; font-family: "Times New Roman", Times, serif; font-size: 16px;">
<i>Woman washing her left leg </i>(Femme se lavant la jambe gauche) (c. 1890), cast (1919–32)</div>
<div style="background-color: white; font-family: "Times New Roman", Times, serif; font-size: 16px;">
bronze</div>
<div style="background-color: white; font-family: "Times New Roman", Times, serif; font-size: 16px;">
20.0 x 14.5 x 19.3 cm</div>
<div style="background-color: white; font-family: "Times New Roman", Times, serif; font-size: 16px;">
Czestochowski/Pingeot 61 (cast S)</div>
<div style="background-color: white; font-family: "Times New Roman", Times, serif; font-size: 16px;">
Museu de Arte de São Paulo, Assis Chateaubriand</div>
<div style="background-color: white; font-family: "Times New Roman", Times, serif; font-size: 16px;">
Donated by Alberto José Alves, Alberto Alves Filho and Alcino Ribeiro de Lima (417 E)</div>
<div style="background-color: white; font-family: "Times New Roman", Times, serif; font-size: 16px;">
<br /></div>
<div style="background-color: white; font-family: "Times New Roman", Times, serif; font-size: 16px;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://4.bp.blogspot.com/-Hfz6PqPVnIM/WAvMY6EY5qI/AAAAAAAADs4/FOiAXfCSjeMo6QeCeq8cpYUoQQp-blhvACLcB/s1600/Screen%2BShot%2B2016-10-12%2Bat%2B12.35.16%2BAM.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://4.bp.blogspot.com/-Hfz6PqPVnIM/WAvMY6EY5qI/AAAAAAAADs4/FOiAXfCSjeMo6QeCeq8cpYUoQQp-blhvACLcB/s1600/Screen%2BShot%2B2016-10-12%2Bat%2B12.35.16%2BAM.png" /></a></div>
<div style="background-color: white; font-family: "Times New Roman", Times, serif; font-size: 16px;">
<i>Dancer looking at the sole of her right foot</i> (Danseuse regardant la plante de son pied droit) (c. 1890–1900), cast</div>
<div style="background-color: white; font-family: "Times New Roman", Times, serif; font-size: 16px;">
(1919–32)</div>
<div style="background-color: white; font-family: "Times New Roman", Times, serif; font-size: 16px;">
bronze</div>
<div style="background-color: white; font-family: "Times New Roman", Times, serif; font-size: 16px;">
45.5 x 20.0 x 19.5 cm</div>
<div style="background-color: white; font-family: "Times New Roman", Times, serif; font-size: 16px;">
Czestochowski/Pingeot 40 (cast C)</div>
<div style="background-color: white; font-family: "Times New Roman", Times, serif; font-size: 16px;">
Museu de Arte de São Paulo, Assis Chateaubriand</div>
<div style="background-color: white; font-family: "Times New Roman", Times, serif; font-size: 16px;">
Donated by Alberto José Alves, Alberto Alves Filho and Alcino Ribeiro de Lima (388 E)</div>
<div style="background-color: white; font-family: "Times New Roman", Times, serif; font-size: 16px;">
<br /></div>
<div style="background-color: white; font-family: "Times New Roman", Times, serif; font-size: 16px;">
<br /></div>
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</div>
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<a href="https://4.bp.blogspot.com/-QZqaNySIDUA/WAvNceGE6cI/AAAAAAAADtU/JSgliGstPuQOAXuDiOI7ewbKIa1xkvecwCLcB/s1600/Screen%2BShot%2B2016-10-12%2Bat%2B12.33.44%2BAM.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://4.bp.blogspot.com/-QZqaNySIDUA/WAvNceGE6cI/AAAAAAAADtU/JSgliGstPuQOAXuDiOI7ewbKIa1xkvecwCLcB/s1600/Screen%2BShot%2B2016-10-12%2Bat%2B12.33.44%2BAM.png" /></a></div>
<div style="background-color: white; font-family: "Times New Roman", Times, serif; font-size: 16px;">
<i>Woman taken unawares</i> (Femme surprise) (c. 1892), cast (1919–32)</div>
<div style="background-color: white; font-family: "Times New Roman", Times, serif; font-size: 16px;">
bronze</div>
<div style="background-color: white; font-family: "Times New Roman", Times, serif; font-size: 16px;">
40.7 x 28.0 x 19.0 cm</div>
<div style="background-color: white; font-family: "Times New Roman", Times, serif; font-size: 16px;">
Czestochowski/Pingeot 42 (cast S)</div>
<div style="background-color: white; font-family: "Times New Roman", Times, serif; font-size: 16px;">
Museu de Arte de São Paulo, Assis Chateaubriand</div>
<div style="background-color: white; font-family: "Times New Roman", Times, serif; font-size: 16px;">
Donated by Alberto José Alves, Alberto Alves Filho and Alcino Ribeiro de Lima (414 E)</div>
<div style="background-color: white; font-family: "Times New Roman", Times, serif; font-size: 16px;">
<br /></div>
<div style="background-color: white; font-family: "Times New Roman", Times, serif; font-size: 16px;">
<br /></div>
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</div>
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<div style="background-color: white; font-family: "Times New Roman", Times, serif; font-size: 16px;">
<i>The masseuse </i>(La Masseuse) (c. 1896–1911), cast (1919–32)</div>
<div style="background-color: white; font-family: "Times New Roman", Times, serif; font-size: 16px;">
bronze</div>
<div style="background-color: white; font-family: "Times New Roman", Times, serif; font-size: 16px;">
43.0 x 38.0 x 30.0 cm</div>
<div style="background-color: white; font-family: "Times New Roman", Times, serif; font-size: 16px;">
Czestochowski/Pingeot 55 (cast S)</div>
<div style="background-color: white; font-family: "Times New Roman", Times, serif; font-size: 16px;">
Museu de Arte de São Paulo, Assis Chateaubriand</div>
<div style="background-color: white; font-family: "Times New Roman", Times, serif; font-size: 16px;">
Donated by Alberto José Alves, Alberto Alves Filho and Alcino Ribeiro de Lima (421 E)</div>
<div style="background-color: white; font-family: "Times New Roman", Times, serif; font-size: 16px;">
<br /></div>
<div style="background-color: white; font-family: "Times New Roman", Times, serif; font-size: 16px;">
<br /></div>
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</div>
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<div style="background-color: white; font-family: "Times New Roman", Times, serif; font-size: 16px;">
<i>Woman rubbing her back with a sponge</i> (Femme se frottant le dos avec une éponge) (c. 1900), cast (1919–32)</div>
<div style="background-color: white; font-family: "Times New Roman", Times, serif; font-size: 16px;">
bronze</div>
<div style="background-color: white; font-family: "Times New Roman", Times, serif; font-size: 16px;">
49.5 x 29.5 x 17.6 cm</div>
<div style="background-color: white; font-family: "Times New Roman", Times, serif; font-size: 16px;">
Czestochowski/Pingeot 28 (cast C)</div>
<div style="background-color: white; font-family: "Times New Roman", Times, serif; font-size: 16px;">
Museu de Arte de São Paulo, Assis Chateaubriand</div>
<div style="background-color: white; font-family: "Times New Roman", Times, serif; font-size: 16px;">
Donated by Alberto José Alves, Alberto Alves Filho and Alcino Ribeiro de Lima (408 E)</div>
<div style="background-color: white; font-family: "Times New Roman", Times, serif; font-size: 16px;">
<br /></div>
<div style="background-color: white; font-family: "Times New Roman", Times, serif; font-size: 16px;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
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<div style="background-color: white; font-family: "Times New Roman", Times, serif; font-size: 16px;">
<i>Dancer looking at the sole of her right foot</i> (Second study) (Danseuse regardant la plante de son pied droit.</div>
<div style="background-color: white; font-family: "Times New Roman", Times, serif; font-size: 16px;">
Deuxième étude) (c. 1900–10), (cast 1919–37 or later)</div>
<div style="background-color: white; font-family: "Times New Roman", Times, serif; font-size: 16px;">
bronze</div>
<div style="background-color: white; font-family: "Times New Roman", Times, serif; font-size: 16px;">
47.3 x 24.3 x 20.8 cm</div>
<div style="background-color: white; font-family: "Times New Roman", Times, serif; font-size: 16px;">
Czestochowski/Pingeot 59 (cast T)</div>
<div style="background-color: white; font-family: "Times New Roman", Times, serif; font-size: 16px;">
National Gallery of Victoria, Melbourne</div>
<div style="background-color: white; font-family: "Times New Roman", Times, serif; font-size: 16px;">
Purchased with funds donated by Leigh Clifford AO and Sue Clifford, 2016</div>
<div style="background-color: white; font-family: "Times New Roman", Times, serif; font-size: 16px;">
<br /></div>
<div style="background-color: white; font-family: "Times New Roman", Times, serif; font-size: 16px;">
<br /></div>
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<div style="background-color: white; font-family: "Times New Roman", Times, serif; font-size: 16px;">
<i>Seated woman wiping the nape of her neck </i>(Femme assise s'essuyant la nuque) (c. 1901), cast (1919–32)</div>
<div style="background-color: white; font-family: "Times New Roman", Times, serif; font-size: 16px;">
bronze0 x 26.0 c</div>
<div style="background-color: white; font-family: "Times New Roman", Times, serif; font-size: 16px;">
31.5 x 30 x 26.0 c0.m</div>
<div style="background-color: white; font-family: "Times New Roman", Times, serif; font-size: 16px;">
Czestochowski/Pingeot 44 (cast S)</div>
<div style="background-color: white; font-family: "Times New Roman", Times, serif; font-size: 16px;">
Museu de Arte de São Paulo, Assis Chateaubriand</div>
<div style="background-color: white; font-family: "Times New Roman", Times, serif; font-size: 16px;">
Donated by Alberto José Alves, Alberto Alves Filho and Alcino Ribeiro de Lima (411 E)</div>
<div style="background-color: white; font-family: "Times New Roman", Times, serif; font-size: 16px;">
<br /></div>
<div style="background-color: white; font-family: "Times New Roman", Times, serif; font-size: 16px;">
<br /></div>
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<a href="https://3.bp.blogspot.com/-su4yWPLk8y0/WAvN8PzMspI/AAAAAAAADto/olQrxukP6IoU2Lpc3nnt7IW2G1oje9w3QCLcB/s1600/Screen%2BShot%2B2016-10-12%2Bat%2B12.36.21%2BAM.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://3.bp.blogspot.com/-su4yWPLk8y0/WAvN8PzMspI/AAAAAAAADto/olQrxukP6IoU2Lpc3nnt7IW2G1oje9w3QCLcB/s1600/Screen%2BShot%2B2016-10-12%2Bat%2B12.36.21%2BAM.png" /></a></div>
<div style="background-color: white; font-family: "Times New Roman", Times, serif; font-size: 16px;">
<i>Seated woman wiping her left side</i> (Femme assise s'essuyant la hanche gauche) (c. 1901–11), cast (1919–32)</div>
<div style="background-color: white; font-family: "Times New Roman", Times, serif; font-size: 16px;">
bronze</div>
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35.0 x 30.5 x 30.4 cm</div>
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Czestochowski/Pingeot 46 (cast S)</div>
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Museu de Arte de São Paulo, Assis Chateaubriand</div>
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Donated by Alberto José Alves, Alberto Alves Filho and Alcino Ribeiro de Lima (420 E)</div>
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<a href="https://1.bp.blogspot.com/-D6-GjCUZzV4/WAvOAeS_XUI/AAAAAAAADts/qN4Q6bYEQlERMSgKYnfIQgVt1QKsbFaJgCLcB/s1600/Screen%2BShot%2B2016-10-12%2Bat%2B12.37.04%2BAM.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://1.bp.blogspot.com/-D6-GjCUZzV4/WAvOAeS_XUI/AAAAAAAADts/qN4Q6bYEQlERMSgKYnfIQgVt1QKsbFaJgCLcB/s1600/Screen%2BShot%2B2016-10-12%2Bat%2B12.37.04%2BAM.png" /></a></div>
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<i>Woman seated in an armchair wiping her left armpit </i>(Femme assise dans un fauteuil s'essuyant l'aisselle gauche)</div>
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(c. 1901–11), cast (1919–32)</div>
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bronze</div>
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31.5 x 33.0 x 19.0 cm</div>
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Czestochowski/Pingeot 43 (cast S)</div>
<div style="background-color: white; font-family: "Times New Roman", Times, serif; font-size: 16px;">
Museu de Arte de São Paulo, Assis Chateaubriand</div>
<div style="background-color: white; font-family: "Times New Roman", Times, serif; font-size: 16px;">
Donated by Alberto José Alves, Alberto Alves Filho and Alcino Ribeiro de Lima (413 E)</div>
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Gary Arseneauhttp://www.blogger.com/profile/10379667479866306615noreply@blogger.comtag:blogger.com,1999:blog-34909527.post-70623942115585828882016-10-18T23:21:00.001-04:002016-11-26T00:54:52.412-05:00Art of Dr. Seuss Sculpture FORGERIES<div class="p1" style="text-align: justify;">
<span class="s1"><b>UPDATED: </b>November 25, 2016</span><br />
<span class="s1"><b><br /></b></span>
<span class="s1"><b>NOTE:</b> Footnotes are enclosed as: <span style="color: blue; font-size: x-small;">[FN]</span></span></div>
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<a href="https://4.bp.blogspot.com/-kOB8ddgT_g8/WAbtbOAWs2I/AAAAAAAADo4/imrL4FoIx4ceOhz9-QjTkmVCDRq-p28FACLcB/s1600/Screen%2BShot%2B2016-10-16%2Bat%2B9.54.25%2BAM.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em; text-align: justify;"><img border="0" height="147" src="https://4.bp.blogspot.com/-kOB8ddgT_g8/WAbtbOAWs2I/AAAAAAAADo4/imrL4FoIx4ceOhz9-QjTkmVCDRq-p28FACLcB/s400/Screen%2BShot%2B2016-10-16%2Bat%2B9.54.25%2BAM.png" width="400" /></a></div>
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<span class="s1">[Front]</span></div>
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<a href="https://2.bp.blogspot.com/-Fmi0uJhxyEU/WAbthcaC5QI/AAAAAAAADo8/iSCIR1PLiaAQZoBCET7AWTasxhOFnia6ACLcB/s1600/Screen%2BShot%2B2016-10-16%2Bat%2B9.54.08%2BAM.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em; text-align: justify;"><img border="0" height="143" src="https://2.bp.blogspot.com/-Fmi0uJhxyEU/WAbthcaC5QI/AAAAAAAADo8/iSCIR1PLiaAQZoBCET7AWTasxhOFnia6ACLcB/s400/Screen%2BShot%2B2016-10-16%2Bat%2B9.54.08%2BAM.png" width="400" /></a></div>
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<span class="s1"></span><br /></div>
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<span class="s1">[Back]</span></div>
<div class="p1" style="text-align: justify;">
<span class="s1" style="font-size: x-small;">"<i>Sawfish</i> -This is a hand-painted cast resin reproduction adapted and colorized from an original sculpture by Theodor Seuss Geisel ("Dr. Seuss") and produced after his death in a limited edition." [Excerpt from a "Certificate of Authenticity" and © 2013 Dr. Seuss Enterprises L.P]</span></div>
<div class="p1" style="text-align: justify;">
<span class="s1" style="font-size: x-small;">PHOTO SOURCE: <span style="color: blue;">http://www.ebay.com/itm/Rare-SOLD-OUT-Dr-Seuss-UNORTHODOX-TAXIDERMY-Numbered-COA-620-of-850-SAWFISH-/172360880374?hash=item28218250f6:g:O-MAAOSwPCVX8GGg</span></span></div>
<div class="p1" style="text-align: justify;">
<span class="s1"><b>1,104 NON-DISCLOSED POSTHUMOUS FORGERIES WITH COUNTERFEIT SIGNATURES IN A BOGUS EDITION</b></span></div>
<div class="p2" style="text-align: justify;">
<span class="s1"></span><br />
<span style="font-size: x-large;">T</span>he above titled <i>Sawfish</i>, falsely attributed to a dead Theodor Geisel [d 1991], is 1 of 1,104 non-disclosed posthumous [2014] chromist-made forgeries with a counterfeit <i>"Dr. Seuss"</i> signatures in a bogus edition. [A chromist is someone who copies with their hands, fingers and fingerprints the work of another. In this case, a dead Theodor Geisel.]<br />
<br /></div>
<div class="p1" style="text-align: justify;">
<span class="s1">On page 660 of the <i>Seventh Edition of Black's Law Dictionary</i>, -forgery- is defined as: "The act of fraudulently making a false document or altering a real one to be used as if genuine."<span style="color: blue; font-size: x-small;">[FN 1]</span> </span><br />
<span class="s1"><br /></span>
<span class="s1">The dead don't sculpt, much less sign and number.</span></div>
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<span class="s1"></span><br /></div>
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<span class="s1">On page 670 of the <i>Seventh Edition of Black’s Law Dictionary</i>, -fraud- is defined as: “a knowing misrepresentation of the truth or concealment of a material fact to induce another to act to his or her detriment.”<span style="color: blue; font-size: x-small;">[FN 2]</span> </span><br />
<span class="s1"><br /></span>
<span class="s1">The so-called <i>"Art of Dr. Seuss"</i> is a posthumous fraud by The Chase Group, Audrey Geisel and their authorized galleries to defraud the public. They use terms for original works of visual art, created by hand by the artist, such as lithographs, serigraphs and sculpture, signature and limited edition to misrepresent the sale of their tens of thousands of non-disclosed posthumous chromist-made forgeries with counterfeit <i>"Dr. Seuss"</i> signatures in bogus editions. </span></div>
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<span class="s1"></span><br /></div>
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<span class="s1">The following briefly documents these facts.</span></div>
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<a href="https://3.bp.blogspot.com/-mQBqvLDN_ok/WAbt9AyLtxI/AAAAAAAADpA/b0vT9l2rR3UjkybjX0IjPc8yT7JvQmwQwCLcB/s1600/Screen%2BShot%2B2016-10-16%2Bat%2B10.56.57%2BAM.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em; text-align: justify;"><img border="0" height="271" src="https://3.bp.blogspot.com/-mQBqvLDN_ok/WAbt9AyLtxI/AAAAAAAADpA/b0vT9l2rR3UjkybjX0IjPc8yT7JvQmwQwCLcB/s400/Screen%2BShot%2B2016-10-16%2Bat%2B10.56.57%2BAM.png" width="400" /></a></div>
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<span class="s1">[Back Detail]</span></div>
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<span class="s1" style="font-size: x-small;">"Each sculpture bears the authorized engraved signature <i>'Dr. Seuss' </i>This engraved signature was reproduced from Theodor Seuss Geisel;s original signature and has been authenticated by Audrey Geisel, widow of Theodor Seuss Geisel." [Excerpt from a "Certificate of Authenticity" and © 2013 Dr. Seuss Enterprises L.P]</span></div>
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<span class="s1" style="font-size: x-small;">PHOTO SOURCE: <span style="color: blue;">http://www.ebay.com/itm/Rare-SOLD-OUT-Dr-Seuss-UNORTHODOX-TAXIDERMY-Numbered-COA-620-of-850-SAWFISH-/172360880374?hash=item28218250f6:g:O-MAAOSwPCVX8GGg</span></span></div>
<div class="p1" style="text-align: justify;">
<span class="s1"><b>1,104 POSTHUMOUSLY APPLIED COUNTERFEIT SIGNATURES</b></span></div>
<div class="p2" style="text-align: justify;">
<span class="s1"></span><br /></div>
<div class="p1" style="text-align: justify;">
<span class="s1">The non-disclosed counterfeit "engraved signature Dr. Seuss" posthumously applied on the back of the titled <i>Sawfish </i>by someone other than the dead Theodor Geisel, in no way whatsoever discloses how it came to on this object. There is no disclosure listed with it or a posthumous date beside this so-called <i>"Dr. Seuss"</i> signature disclosing that it was applied after the death of Theodor Geisel [d 1991]. This creates a massively deceptive market where the public and future patrons might believe and act on the belief that the presence of what appears to be a <i>"Dr. Seuss"</i> signature means he created it, much less signed it. Theodor Geisel died in 1991. In 2013 when these 1,104 non-disclosed posthumous forgeries were copyrighted by Dr. Seuss Enterprises L.P., Theodor Geisel was 22 years dead. </span><br />
<span class="s1"><br /></span>
<span class="s1">On page 1386 of the <i>Seventh Edition of Black's Law Dictionary </i>definition of -signature-: "a person's name or mark written by that person or at the person's direction."<span style="color: blue; font-size: x-small;">[FN 3]</span> </span></div>
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<span class="s1"></span><br /></div>
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<span class="s1">The dead don't sign.</span></div>
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<span class="s1"></span><br /></div>
<div class="p1" style="text-align: justify;">
<span class="s1">Yet, on the Chase Group's website, The Chase Group [exclusive publisher for Dr. Seuss Artworks] states: "The <i>Art of Dr. Seuss</i> project were created after his lifetime, each limited edition lithograph and serigraph bears an Authorized Printed Signature and each sculpture an Authorized Engraved Signature."<span style="color: blue; font-size: x-small;">[FN 4] </span></span></div>
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<a href="https://3.bp.blogspot.com/-mQBqvLDN_ok/WAbt9AyLtxI/AAAAAAAADpA/k8Onq_57P4I6wmUNT7hfXneg9m08hH4qACEw/s1600/Screen%2BShot%2B2016-10-16%2Bat%2B10.56.57%2BAM.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em; text-align: justify;"><img border="0" height="271" src="https://3.bp.blogspot.com/-mQBqvLDN_ok/WAbt9AyLtxI/AAAAAAAADpA/k8Onq_57P4I6wmUNT7hfXneg9m08hH4qACEw/s400/Screen%2BShot%2B2016-10-16%2Bat%2B10.56.57%2BAM.png" width="400" /></a></div>
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<span class="s1"></span><br /></div>
<div class="p1" style="text-align: justify;">
<span class="s1">[Back Detail]</span></div>
<div class="p1" style="text-align: justify;">
<span class="s1" style="font-size: x-small;">"<i>Sawfish</i> -This is a hand-painted cast resin reproduction adapted and colorized from an original sculpture by Theodor Seuss Geisel ("Dr. Seuss") and produced after his death in a limited edition. - each sculpture was individually hand-numbered." [Excerpt from a "Certificate of Authenticity" and © 2013 Dr. Seuss Enterprises L.P]</span></div>
<div class="p1" style="text-align: justify;">
<span class="s1" style="font-size: x-small;">PHOTO SOURCE: <span style="color: blue;">http://www.ebay.com/itm/Rare-SOLD-OUT-Dr-Seuss-UNORTHODOX-TAXIDERMY-Numbered-COA-620-of-850-SAWFISH-/172360880374?hash=item28218250f6:g:O-MAAOSwPCVX8GGg</span></span></div>
<div class="p1" style="text-align: justify;">
<span class="s1"><b>1,104 IN BOGUS POSTHUMOUSLY NUMBERED EDITION</b></span></div>
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<span class="s1"></span><br /></div>
<div class="p1" style="text-align: justify;">
<span class="s1">Theodor Geisel died in 1991. In 2013 when these 1,104 non-disclosed posthumous forgeries were copyrighted by Dr. Seuss Enterprises L.P., Theodor Geisel was 22 years dead.</span><br />
<span class="s1"><br /></span>
<span class="s1">Under U.S. Copyright Law: § 101. Definitions, "A -work of visual art- is — (1) 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, or, in the case of a sculpture, in multiple cast, carved, or fabricated sculptures of 200 or fewer that are consecutively numbered by the author and bear the signature or other identifying mark of the author."<span style="color: blue; font-size: x-small;">[FN 5] </span></span></div>
<div class="p2" style="text-align: justify;">
<span class="s1"></span><br /></div>
<div class="p1" style="text-align: justify;">
<span class="s1">The dead don't consecutively number.</span></div>
<div class="p2" style="text-align: justify;">
<span class="s1"></span><br /></div>
<div class="p1" style="text-align: justify;">
<span class="s1">Yet, on the Chase Group's website, The Chase Group [exclusive publisher for Dr. Seuss Artworks] asks and answers the following question: "Are all works in the collection created in limited editions?" The answer given was: "Yes, these works are in extremely small editions."<span style="color: blue; font-size: x-small;">[FN 6]</span></span></div>
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<a href="https://4.bp.blogspot.com/-EXHc1-ztF2o/WAbultGj8VI/AAAAAAAADpE/viNL0DlNU5QsgkW_MCV8nh3-LPgghb7dQCLcB/s1600/Screen%2BShot%2B2016-10-16%2Bat%2B9.53.49%2BAM.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em; text-align: justify;"><img border="0" height="435" src="https://4.bp.blogspot.com/-EXHc1-ztF2o/WAbultGj8VI/AAAAAAAADpE/viNL0DlNU5QsgkW_MCV8nh3-LPgghb7dQCLcB/s640/Screen%2BShot%2B2016-10-16%2Bat%2B9.53.49%2BAM.png" width="640" /></a></div>
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<span class="s1"></span></div>
<div class="p1" style="text-align: justify;">
<span class="s1" style="font-size: x-small;">"<i>Sawfish</i> -This is a hand-painted cast resin reproduction adapted and colorized from an original sculpture by Theodor Seuss Geisel ("Dr. Seuss") and produced after his death in a limited edition. - each sculpture was individually hand-numbered." [Excerpt from a "Certificate of Authenticity" and © 2013 Dr. Seuss Enterprises L.P]</span></div>
<div class="p1" style="text-align: justify;">
<span class="s1" style="font-size: x-small;">PHOTO SOURCE: <span style="color: blue;">http://www.ebay.com/itm/Rare-SOLD-OUT-Dr-Seuss-UNORTHODOX-TAXIDERMY-Numbered-COA-620-of-850-SAWFISH-/172360880374?hash=item28218250f6:g:O-MAAOSwPCVX8GGg</span></span></div>
<div class="p1" style="text-align: justify;">
<span class="s1"><b>FALSE CERTIFICATE OF AUTHENTICITY FOR NON-DISCLOSED FORGERIES</b></span></div>
<div class="p2" style="text-align: justify;">
<span class="s1"></span><br /></div>
<div class="p1" style="text-align: justify;">
<span class="s1"><span class="s1">Non-disclosed posthumous forgeries with counterfeit <i>"Dr. Seuss"</i> signatures in bogus editions, like the above titled <i>Sawfish</i>, have no authenticity even when Dr. Seuss Enterprises, L.P. promotes that mythology in a published "Certificate of Authenticity." </span></span><br />
<span class="s1"><br /></span>
<span class="s1">On page 127 of the <i>Seventh Edition of Black's Law Dictionary</i>, -authentication- is defined as: "Broadly, the act of proving that something (as a document) is true or genuine, esp. so that it may be admitted as evidence."<span style="color: blue; font-size: x-small;">[FN 7]</span> </span><br />
<span class="s1"><br /></span>
<span class="s1">Promoting reproductions, much less forgeries as the <i>Art of Dr. Seuss</i> is not evidence of authenticity.</span></div>
<div class="p2" style="text-align: justify;">
<span class="s1"></span></div>
<div class="p2" style="text-align: justify;">
<span class="s1"></span><br /></div>
<div class="p1" style="text-align: justify;">
<span class="s1">Under U.S. Copyright Law 101. Definitions, a derivative work is defined as: “a work based upon one or more preexisting works, such as art reproduction.”<span style="color: blue; font-size: x-small;">[FN 8]</span> Additionally, under U.S. Copyright 106A, it states the “Rights of Attribution - shall not apply to any reproduction.”<span style="color: blue; font-size: x-small;">[FN 9]</span> </span><br />
<span class="s1"><br /></span>
<span class="s1">Therefore, under U.S. Copyright Law, derivatives of Theodor Geisel's sculptures are reproductions which cannot be -attributed- to a living Theodor Geisel, much less a dead one.</span></div>
<div class="p2" style="text-align: justify;">
<span class="s1"></span><br /></div>
<div class="p1" style="text-align: justify;">
<span class="s1">Now, notice how the above description states "hand-painted cast resin reproduction" then deceptively refers them as "each sculpture." Posthumous reproductions done by the hands, fingers and fingerprints of chromists of Theodor Geisel's sculpture <i>versus</i> lifetime sculptures created by the hands, fingers and fingerprints of Theodor Geisel are not interchangeable, much less the same.</span><br />
<span class="s1"><br /></span>
<span class="s1">Then to add insult to injury, despite the Dr. Seuss Enterprise, L.P. promotion in their COA that this "sculpture" [sic] titled <i>Sawfish</i> is in a "total size edition of 1,104," in the small print states they "reserve the right to reproduce this sculpture in future edition of different sizes and/or mediums."</span><br />
<span class="s1"><br /></span>
<span class="s1">So, when it comes to limitation, much less authenticity, the following confirms the Dr. Seuss Enterprises L.P. has none.</span><br />
<span class="s1"><br /></span>
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<a href="https://3.bp.blogspot.com/-nib4VcO0TXM/WDiOfHcZVHI/AAAAAAAADwM/JYiLHT2y37cwAfhMvHFe14pTs5NbW45qgCLcB/s1600/Screen%2BShot%2B2016-11-23%2Bat%2B9.37.44%2BPM.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="451" src="https://3.bp.blogspot.com/-nib4VcO0TXM/WDiOfHcZVHI/AAAAAAAADwM/JYiLHT2y37cwAfhMvHFe14pTs5NbW45qgCLcB/s640/Screen%2BShot%2B2016-11-23%2Bat%2B9.37.44%2BPM.jpg" width="640" /></a></div>
<span class="s1" style="font-size: x-small;">PHOTO SOURCE: <span style="color: blue;">http://www.ebay.com/itm/DR-SEUSS-THEODOR-GEISEL-SAWFISH-SCULPTURE-/282237646284?hash=item41b6acb5cc:g:QXgAAOSwHnFV1l1w</span></span></div>
<div class="p2" style="text-align: justify;">
<span class="s1"></span><b>FALSE CERTIFICATE OF AUTHENTICITY FOR NON-DISCLOSED FORGERIES</b><br />
<b><br /></b>
The above is an early example of the so-called "Certificate of Authenticity" The Chase Group's used in the beginning for their titled <i>Sawfish.</i> Aside, non-disclosed posthumous chromist-made forgeries with counterfeit <i>"Dr. Seuss"</i> signatures in bogus editions have no authenticity, The Chase Group's published COAs have been deceptively changed over time. This is confirmed by making the following comparison of excerpts from the two prior documented "Certificates of Authenticity" with two different edition numbers for The Chase Group's <i>Sawfish</i>.<br />
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<a href="https://2.bp.blogspot.com/-2c8p25MJ9Mw/WDid6KTN4PI/AAAAAAAADwc/PpV5E5-ArB0CkHnIWRx-zSBJ48XjIFuXwCLcB/s1600/Screen%2BShot%2B2016-11-25%2Bat%2B3.22.03%2BPM.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="216" src="https://2.bp.blogspot.com/-2c8p25MJ9Mw/WDid6KTN4PI/AAAAAAAADwc/PpV5E5-ArB0CkHnIWRx-zSBJ48XjIFuXwCLcB/s640/Screen%2BShot%2B2016-11-25%2Bat%2B3.22.03%2BPM.png" width="640" /></a></div>
[Excerpt]<br />
<div class="p1" style="text-align: justify;">
<span class="s1" style="font-size: x-small;">"<i>Sawfish</i> - This is a limited edition, hand-painted cast resin sculpture taken from Theodor Seuss Geisel's original sculpture entitled <i>Sawfish</i> (1934). - each sculpture was individually hand-numbered." [Excerpt from a "Certificate of Authenticity" and © 2013 Dr. Seuss Enterprises L.P]</span><br />
<span class="s1" style="font-size: x-small;">PHOTO SOURCE: <span style="color: blue;">http://www.ebay.com/itm/DR-SEUSS-THEODOR-GEISEL-SAWFISH-SCULPTURE-/282237646284?hash=item41b6acb5cc:g:QXgAAOSwHnFV1l1w</span></span></div>
<div class="p2" style="text-align: justify;">
<span class="s1"></span><b>FALSE CERTIFICATE OF AUTHENTICITY FOR NON-DISCLOSED FORGERIES</b></div>
<br />
In The Chase Group's earlier COA for their <i>Sawfish</i>, edition number 436/850, it stated: "850 sculptures numbered," "99 Patron's Collection sculptures," and "155 Collaborator's Proofs" totally 1,104 and that "the statements contained herein are true and correct." <br />
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<a href="https://4.bp.blogspot.com/-MEXmNbsZUKc/WDieDMO161I/AAAAAAAADwg/PuBXXOYxXAsbpduAG62ONUDoyVU_3j5SwCLcB/s1600/Screen%2BShot%2B2016-11-25%2Bat%2B3.23.05%2BPM.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="264" src="https://4.bp.blogspot.com/-MEXmNbsZUKc/WDieDMO161I/AAAAAAAADwg/PuBXXOYxXAsbpduAG62ONUDoyVU_3j5SwCLcB/s640/Screen%2BShot%2B2016-11-25%2Bat%2B3.23.05%2BPM.png" width="640" /></a></div>
[EXCERPT]<br />
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<span class="s1" style="font-size: x-small;">"<i>Sawfish</i> - This is a hand-painted cast resin reproduction adapted and colorized from an original sculpture by Theodor Seuss Geisel ("Dr. Seuss") and produced after his death in a limited edition. - each sculpture was individually hand-numbered." [Excerpt from a "Certificate of Authenticity" and © 2013 Dr. Seuss Enterprises L.P]</span></div>
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<span class="s1" style="font-size: x-small;">PHOTO SOURCE: <span style="color: blue;">http://www.ebay.com/itm/Rare-SOLD-OUT-Dr-Seuss-UNORTHODOX-TAXIDERMY-Numbered-COA-620-of-850-SAWFISH-/172360880374?hash=item28218250f6:g:O-MAAOSwPCVX8GGg</span></span></div>
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<span class="s1"><b>FALSE CERTIFICATE OF AUTHENTICITY FOR NON-DISCLOSED FORGERIES</b></span></div>
<br />
In The Chase Group's later COA for this same <i>Sawfish</i>, edition number 620/850, it stated: "850 sculptures numbered," "99 Patron's Collection sculptures," and "155 Collaborator's Proofs" totally 1,104.<br />
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But now in The Chase Group's later COA for this same <i>Sawfish</i>, edition number 620/850, it states: "Dr. Seuss Enterprises L.P. reserves all rights to the sculpture's copyrights and/or trademarks and the publisher and Dr. Seuss Enterprises L.P. reserve the right to reproduce this sculpture in future editions of different sizes and/or mediums. Once again, The Chase Group's COA states: "This is to certify that all the information and the statements contained herein are true and correct."<br />
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Rhetorically, if The Chase Group is willing to abuse the rule of law and the laws of nature to promote posthumously applied names as <i>"Dr. Seuss"</i> signatures, posthumous chromist-made reproductions as an original work of visual art i.e., sculpture and falsely attributed them to a dead Theodor Geisel a.k.a. Dr. Seuss, why would The Chase Group be constrained in practice, much less in their current or prior COAs, to adhere to a false limitation in bogus editions?<br />
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<span class="s1"><a href="https://2.bp.blogspot.com/-MpuYEDFeKDM/WAbu31LcHxI/AAAAAAAADpI/NHMezK1dAwwQhDIfzxDcC4T1BSqs3xWfACLcB/s1600/Screen%2BShot%2B2016-10-16%2Bat%2B11.36.02%2BAM.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em; text-align: justify;"><img border="0" height="118" src="https://2.bp.blogspot.com/-MpuYEDFeKDM/WAbu31LcHxI/AAAAAAAADpI/NHMezK1dAwwQhDIfzxDcC4T1BSqs3xWfACLcB/s400/Screen%2BShot%2B2016-10-16%2Bat%2B11.36.02%2BAM.png" width="400" /></a></span></div>
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<span class="s1" style="font-size: x-small;">"One of the primary goals of The <i>Art of Dr. Seuss</i> project is to educate the public with information detailing the history of this celebrated collection. From the project’s inception in 1997, we have educated thousands of people including collectors, galleries, museums, curators, and the media with precise information designed to edify Dr. Seuss enthusiasts and sophisticated art collectors alike. Following each collection below is a link for A Guide to the New York Print and Photograph Law www.collegeart.org/guidelines/photolaw.html. This is the foundation for this collection of artworks and is considered the gold standard in the art industry." </span></div>
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<span class="s1" style="color: blue; font-size: x-small;">http://www.drseussart.com/faq/</span></div>
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<span class="s1"><b>NON-DISCLOSED POSTHUMOUS FORGERIES ARE NOT ARTWORKS</b></span></div>
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<span class="s1">The Chase Group and its' director William Dreyer operate out of the State of Illinois at 305 Era Drive in Northbrook, Illinois. </span><br />
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<span class="s1">State of Illinois’s Chapter 815 statute requires, if sold for $60 or more, the following: "Describing the print as a "reproduction" eliminates the need to furnish further informational details unless such edition was allegedly published in a signed, numbered, or limited edition, or any combination thereof, in which case all of the informational details are required to be furnished.”<span style="color: blue; font-size: x-small;">[FN 10]</span> </span></div>
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<span class="s1">Additionally, the State of Illinois' Chapter 815 states: "Proof that no person has been misled or deceived or other wise damaged by any violation of this Act shall not constitute a defense in any prosecution under this Act.”<span style="color: blue; font-size: x-small;">[FN 11] </span></span></div>
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<span class="s1">In other words, The Chase Group, based in Illinois, is under Illinois law. Under Illinois law these so-called "artworks" would be required to be disclosed as "reproductions."</span></div>
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<span class="s1">The dead don't create artworks.</span></div>
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<span class="s1">On page 137 of the <i>Seventh Edition of Black's Law Dictionary</i>, -bait and switch- is defined as: "Most states prohibit the bait and switch when the original product is not actually available as advertised."<span style="color: blue; font-size: x-small;">[FN 12]</span> </span><br />
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<span class="s1">The Chase Group, on their website, bait & switch non-disclosed posthumous forgeries with counterfeit <i>"Dr. Seuss"</i> signatures in bogus editions with the title <i>"Art of Dr. Seuss"</i> and as: </span></div>
<ul>
<li><div class="p1" style="text-align: justify;">
<span class="s1">"a.) Hand-Pulled Lithography</span></div>
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<span class="s1">b.) Hand-Pulled Serigraphy</span></div>
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<span class="s1">c.) Pigment Print</span></div>
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<span class="s1">d.) Mixed-Media Pigment Print</span></div>
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<span class="s1">e.) Cast Resin Sculptures</span></div>
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f.) The Bronze Tribute Collection"<span style="color: blue; font-size: x-small;">[FN 13]</span> </div>
</li>
</ul>
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<span class="s1">U.S. Customs May 2006 An Informed Compliance Publication titled Works of Art, Collector`s Pieces Antiques, and Other Cultural Property, 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."<span style="color: blue; font-size: x-small;">[FN 14]</span> </span><br />
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<span class="s1">Theodor Geisel died in 1991. In the coming decades after 1997 when the tens of thousands so-called "Hand-Pulled Lithography, Hand-Pulled Serigraphy, Pigment Print, Mixed-Media Pigment Print, Cast Resin Sculptures and The Bronze Tribute Collection" were copyrighted by Dr. Seuss Enterprises L.P., Theodor Geisel [d 1991] was dead. </span></div>
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<span class="s1">The dead don't wholly executed anything.</span></div>
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<span class="s1">Yet, on the Chase Group's website, The Chase Group [exclusive publisher for Dr. Seuss Artworks] asks and answers the following question: “Were any Dr. Seuss serigraphs, lithographs or sculpture published during his lifetime?” and the answer given: “No.”<span style="color: blue; font-size: x-small;">[FN 15] </span> </span></div>
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<span class="s1">The Chase Group's Alice in Wonderland approach seems to be: why let the truth interfere with commerce, much less education?</span></div>
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<a href="https://3.bp.blogspot.com/-_HgZQL3_CzE/WAbvf6cAGlI/AAAAAAAADpM/o82NDxwrqasqFe79_Migks6UHIeyGmDjgCLcB/s1600/Screen%2BShot%2B2016-10-18%2Bat%2B11.15.31%2BPM.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em; text-align: justify;"><img border="0" height="48" src="https://3.bp.blogspot.com/-_HgZQL3_CzE/WAbvf6cAGlI/AAAAAAAADpM/o82NDxwrqasqFe79_Migks6UHIeyGmDjgCLcB/s400/Screen%2BShot%2B2016-10-18%2Bat%2B11.15.31%2BPM.png" width="400" /></a></div>
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<span class="s1">In the September 1998 Art World News trade magazine, the attorney Paul Winick (partner in the New York office of Thelen, Marrin, Johnson and Bridges), who specializes in intellectual property law, litigation and represents galleries, publishers and artists, wrote the article "Certificates of Authenticity: Dealer Liability."</span></div>
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<span class="s1">In his article he explains the application of the Uniform Commercial Code as it applies to the “sales of most forms of visual art.” The author wrote: “UCC express warranty arises from two sources: The description of the goods given by the seller, and the seller statements made to induce the sale.” Those statements are said to become part of the “basis of the bargain” made between buyer and seller and, therefore, a basis for legal action if the description or statements turn out later to have been false.”<span style="color: blue; font-size: x-small;">[FN 16]</span> </span></div>
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<span class="s1">The author also wrote: “Warranties need not depend on the sale document and can arise in statements made in advertisements or catalogues, so long as the buyer relied on those statements in formulating the bargain with the seller.” and that “Warranties are applicable regardless of fault or intent. It is no defense that the seller did not mean to make a misstatement, or that he thought the misstatement to be true. If the goods (the artwork) do not conform to the promise made (the warranty), the seller is liable, whether or not he knew it to be true.”<span style="color: blue; font-size: x-small;">[FN 17] </span></span></div>
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<span class="s1">When it comes to disclaimers, Paul Winick wrote: “Disclaimers are not viewed favorably by courts and, unless there is some way to reconcile the disclaimer and the representation, the disclaimer is disregarded and the representation is given effect.”<span style="color: blue; font-size: x-small;">[FN 18] </span></span></div>
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<a href="https://2.bp.blogspot.com/-LgO_Knu0XUI/WAbvvn7iH_I/AAAAAAAADpQ/nTUjY1z5VfgUwkVbz3clFR-RhfXOEZN8ACLcB/s1600/Screen%2BShot%2B2016-10-18%2Bat%2B11.06.16%2BPM.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em; text-align: justify;"><img border="0" height="400" src="https://2.bp.blogspot.com/-LgO_Knu0XUI/WAbvvn7iH_I/AAAAAAAADpQ/nTUjY1z5VfgUwkVbz3clFR-RhfXOEZN8ACLcB/s400/Screen%2BShot%2B2016-10-18%2Bat%2B11.06.16%2BPM.png" width="276" /></a></div>
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<span class="s1">On page 816-817 of Kluwer Law International’s published 1998 <i>Law, Ethics and the Visual Arts, Third Edition</i> by John Henry Merryman and Albert E. Elsen wrote about “Counterfeit Art.”</span></div>
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<span class="s1">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.”<span style="color: blue; font-size: x-small;">[FN 19]</span></span></div>
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<span class="s1">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.”<span style="color: blue; font-size: x-small;">[FN 20]</span></span></div>
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<span class="s1">Furthermore, 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...”<span style="color: blue; font-size: x-small;">[FN 21]</span></span></div>
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<span class="s1">To learn more about this <i>"Art of Dr. Seuss"</i> -fraud- and the subsequent -coverup-, click on these links:</span></div>
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<ul>
<li style="line-height: 1.5em; margin: 0px; padding: 0px 0px 0.25em 15px; text-indent: -15px;"><a href="http://garyarseneau.blogspot.com/2006/09/art-of-dr-seuss-fraud.html" style="text-decoration: none;"><span style="color: blue; font-family: "times" , "times new roman" , serif;">Art of Dr. Seuss FRAUD</span></a></li>
<li><a href="http://garyarseneau.blogspot.com/2007/05/art-of-dr-seuss-coverup.html" style="background-color: white; color: #3333ff; text-decoration: none;" target="_blank"><span style="font-family: "times" , "times new roman" , serif;">Art of Dr. Seuss Fraud COVERUP</span></a></li>
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<span class="s1"><b>FAIR USE:</b></span></div>
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<span class="s1">Under U.S. Copyright Law "Section 107 contains a list of the various purposes for which the reproduction of a particular work may be considered fair, such as criticism, comment, news reporting, teaching, scholarship, and research. Section 107 also sets out four factors to be considered in determining whether or not a particular use is fair. [one of which is:] The purpose and character of the use, including whether such use is of commercial nature or is for nonprofit educational purposes."</span></div>
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<span class="s1">http://www.copyright.gov/fls/fl102.html</span></div>
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<span class="s1"><b>FOOTNOTES:</b></span></div>
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<span class="s1"><span style="font-size: x-small;">1. Copyright © 1999, By West Group, ISBN 0-314-22864-0</span></span></div>
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<span class="s1"><span style="font-size: x-small;">2. Ibid</span></span></div>
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<span class="s1"><span style="font-size: x-small;">3. Ibid</span></span></div>
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<span class="s1"><span style="font-size: x-small;">4. www.drseussart.com/faq.html</span></span></div>
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<span class="s1"><span style="font-size: x-small;">5. http://www.copyright.gov/title17/92chap1.html#101</span></span></div>
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<span class="s1"><span style="font-size: x-small;">6. www.drseussart.com/faq.html</span></span></div>
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<span class="s1"><span style="font-size: x-small;">7. Copyright © 1999, By West Group, ISBN 0-314-22864-0</span></span></div>
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<span class="s1"><span style="font-size: x-small;">8. http://www.copyright.gov/title17/92chap1.html#101</span></span></div>
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<span class="s1"><span style="font-size: x-small;">9. http://www.copyright.gov/title17/92chap1.html#106a</span></span></div>
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<span class="s1"><span style="font-size: x-small;">10. On the www.legis.state.il.us/legislation/ilcs/ch815/ch815act345.htm website, the Illinois Fine Print Disclosure Act additionally states:</span></span></div>
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<span class="s1"><span style="font-size: x-small;">(815 ILCS 345/2)</span></span></div>
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<span class="s1"><span style="font-size: x-small;">Sec. 2.</span></span></div>
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<span class="s1"><span style="font-size: x-small;">“Nothing in this Act applies to any print when offered for sale or sold at wholesale or retail unframed for $50 or less, or framed for $60 or less. (Source: P. A. 77-1398.)</span></span></div>
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<span class="s1"><span style="font-size: x-small;">(815 ILCS 345/5) Sec. 5.</span></span></div>
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<span class="s1"><span style="font-size: x-small;">“No catalogue, prospectus or circular offering fine prints for sale in this State shall be knowingly published or distributed, or both, unless it clearly and conspicuously discloses the relevant informational detail concerning each edition of such prints so offered as required by Section 7.</span></span></div>
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<span class="s1"><span style="font-size: x-small;">“If the person offering such prints by means of such publication disclaims knowledge as to any relevant detail required by Section 7, he shall so state specifically and categorically with regard to each such detail to the end that the purchaser shall be enabled to judge the degree of uniqueness or scarcity of each print contained in the edition so offered. Describing the edition as an edition of "reproductions" eliminates the need to furnish further informational details unless such edition was allegedly published in a signed, numbered, or limited edition, or any combination thereof, in which case all of the informational details are required to be furnished. (Source: P. A. 77-1398.)”</span></span></div>
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<span class="s1"><span style="font-size: x-small;">11. Ibid</span></span></div>
<div class="p1">
<span class="s1"><span style="font-size: x-small;">12. Copyright © 1999, By West Group, ISBN 0-314-22864-0</span></span></div>
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<span class="s1"><span style="font-size: x-small;">13. http://www.drseussart.com/faq/</span></span></div>
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<span class="s1"><span style="font-size: x-small;">14. http://www.cbp.gov/xp/cgov/trade/legal/informed_compliance_pubs/</span></span></div>
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<span class="s1"><span style="font-size: x-small;">15. www.drseussart.com/faq.html</span></span></div>
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<span class="s1"><span style="font-size: x-small;">16. http://www.artworldnews.com/</span></span></div>
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<span class="s1"><span style="font-size: x-small;">17. Ibid</span></span></div>
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<span class="s1"><span style="font-size: x-small;">18. Ibid</span></span></div>
<div class="p1">
<span class="s1"><span style="font-size: x-small;">19. © Kluwer Law International 1998, ISBN 90-411-0697-9</span></span></div>
<div class="p1">
<span class="s1"><span style="font-size: x-small;">20. Ibid</span></span></div>
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<span class="s1"><span style="font-size: x-small;">21. Ibid</span></span></div>
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<span class="s1"><b>ADDENDUM:</b></span></div>
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<span class="s1">[List of non-disclosed posthumous chromist-made sculpture forgeries with counterfeit <i>"Dr. Seuss"</i> signatures in bogus editions]</span></div>
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<span class="s1"><i>ANDULOVIAN GRACKLER</i></span></div>
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<span class="s1">SOLD OUT AT PUBLISHER</span></div>
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<span class="s1">Due to the popularity of this artwork, it is now sold out from the publisher. However, an authorized dealer may still have this piece in their collection or be able to help you locate one to purchase. Contact your art consultant or preferred Authorized Gallery for an update on current availability.</span></div>
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<span class="s1">Hand-Painted Cast Resin Sculpture</span></div>
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<span class="s1">Authorized Estate Edition</span></div>
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<span class="s1">Dimensions: 19.5”x 6.5” x 13.75”</span></div>
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<span class="s1">Limited Edition of 850 Arabic Numbers</span></div>
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<span class="s1">99 Patrons’ Collection</span></div>
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<span class="s1">155 Collaborators’ Proofs</span></div>
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<span class="s1">Adapted posthumously from the original 1930s plaster, fur, beak, and oil on wood mount sculpture.</span></div>
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<span class="s1">http://www.drseussart.com/taxidermy/andulovian-grackler</span></div>
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<span class="s1"></span><br /></div>
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<span class="s1"><i>ANTHONY DREXEL GOLDFARB</i></span></div>
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<span class="s1">2,995 USD</span></div>
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<span class="s1">Hand-Painted Cast Resin</span></div>
<div class="p1">
<span class="s1">Authorized Estate Edition</span></div>
<div class="p1">
<span class="s1">Dimensions: 13”x 9.5” x 13” </span></div>
<div class="p1">
<span class="s1">Limited Edition of 850 Arabic Numbers</span></div>
<div class="p1">
<span class="s1">99 Patrons’ Collection</span></div>
<div class="p1">
<span class="s1">155 Collaborators’ Proofs</span></div>
<div class="p1">
<span class="s1">5 Hors d’Commerce</span></div>
<div class="p1">
<span class="s1">Adapted posthumously from the original 1930s plaster, leather (rabbit ears), and oil on wood mount sculpture.</span></div>
<div class="p1">
<span class="s1">http://www.drseussart.com/taxidermy/anthony-drexel-goldfarb</span></div>
<div class="p2">
<span class="s1"></span><br /></div>
<div class="p1">
<span class="s1"><i>BLUE GREEN ABELARD</i></span></div>
<div class="p1">
<span class="s1">SOLD OUT AT PUBLISHER</span></div>
<div class="p1">
<span class="s1">Due to the popularity of this artwork, it is now sold out from the publisher. However, an authorized dealer may still have this piece in their collection or be able to help you locate one to purchase. Contact your art consultant or preferred Authorized Gallery for an update on current availability.</span></div>
<div class="p1">
<span class="s1">Hand-Painted Cast Resin Sculpture</span></div>
<div class="p1">
<span class="s1">Authorized Estate Edition</span></div>
<div class="p1">
<span class="s1">Dimensions: 24” x 12” x 6” </span></div>
<div class="p1">
<span class="s1">Limited Edition of 375 Arabic Numbers</span></div>
<div class="p1">
<span class="s1">99 Patrons’ Collection</span></div>
<div class="p1">
<span class="s1">55 Collaborators’ Proofs</span></div>
<div class="p1">
<span class="s1">Adapted posthumously from the original 1930s plaster, horn, and oil on wood mount sculpture.</span></div>
<div class="p1">
<span class="s1">http://www.drseussart.com/taxidermy/blue-green-abelard</span></div>
<div class="p2">
<span class="s1"></span><br /></div>
<div class="p1">
<span class="s1"><i>CARBONIC WALRUS</i></span></div>
<div class="p1">
<span class="s1">2,995 USD</span></div>
<div class="p1">
<span class="s1">Hand-Painted Cast Resin Sculpture</span></div>
<div class="p1">
<span class="s1">Authorized Estate Edition</span></div>
<div class="p1">
<span class="s1">Dimensions: 13.5” x 13.5” x 9.5” </span></div>
<div class="p1">
<span class="s1">Limited Edition of 850 Arabic Numbers</span></div>
<div class="p1">
<span class="s1">99 Patrons’ Collection</span></div>
<div class="p1">
<span class="s1">155 Collaborators’ Proofs</span></div>
<div class="p1">
<span class="s1">5 Hors d’Commerce</span></div>
<div class="p1">
<span class="s1">Adapted posthumously from the original 1930s plaster, horn, and oil on wood mount sculpture.</span></div>
<div class="p1">
<span class="s1">http://www.drseussart.com/taxidermy/carbonic-walrus</span></div>
<div class="p2">
<span class="s1"></span><br /></div>
<div class="p1">
<span class="s1"><i>FLAMING HERRING</i></span></div>
<div class="p1">
<span class="s1">2,995 USD</span></div>
<div class="p1">
<span class="s1">Hand-Painted Cast Resin Sculpture</span></div>
<div class="p1">
<span class="s1">Authorized Estate Edition</span></div>
<div class="p1">
<span class="s1">Dimensions: 22.5” x 16” x 6.5” </span></div>
<div class="p1">
<span class="s1">Limited Edition of 850 Arabic Numbers</span></div>
<div class="p1">
<span class="s1">99 Patrons’ Collection</span></div>
<div class="p1">
<span class="s1">155 Collaborators’ Proofs</span></div>
<div class="p1">
<span class="s1">5 Hors d’Commerce</span></div>
<div class="p1">
<span class="s1">Adapted posthumously from the original 1930s plaster and oil on wood mount sculpture.</span></div>
<div class="p1">
<span class="s1">http://www.drseussart.com/taxidermy/flaming-herring</span></div>
<div class="p2">
<span class="s1"></span><br /></div>
<div class="p1">
<span class="s1"><i>GIMLET FISH</i></span></div>
<div class="p1">
<span class="s1">2,995 USD</span></div>
<div class="p1">
<span class="s1">Hand-Painted Cast Resin Sculpture</span></div>
<div class="p1">
<span class="s1">Authorized Estate Edition</span></div>
<div class="p1">
<span class="s1">Dimensions: 14.5” x 35.5” x 2.75” </span></div>
<div class="p1">
<span class="s1">Limited Edition of 850 Arabic Numbers</span></div>
<div class="p1">
<span class="s1">99 Patrons’ Collection</span></div>
<div class="p1">
<span class="s1">155 Collaborators’ Proofs</span></div>
<div class="p1">
<span class="s1">5 Hors d’Commerce</span></div>
<div class="p1">
<span class="s1">Adapted posthumously from the original 1930s plaster and oil on wood mount sculpture.</span></div>
<div class="p1">
<span class="s1">http://www.drseussart.com/taxidermy/gimlet-fish</span></div>
<div class="p2">
<span class="s1"></span><br /></div>
<div class="p1">
<span class="s1"><i>GOO-GOO-EYED TASMANIAN WOLGHAST</i></span></div>
<div class="p1">
<span class="s1">SOLD OUT AT PUBLISHER</span></div>
<div class="p1">
<span class="s1">Due to the popularity of this artwork, it is now sold out from the publisher. However, an authorized dealer may still have this piece in their collection or be able to help you locate one to purchase. Contact your art consultant or preferred Authorized Gallery for an update on current availability.</span></div>
<div class="p1">
<span class="s1">Hand-Painted Cast Resin Sculpture</span></div>
<div class="p1">
<span class="s1">Authorized Estate Edition</span></div>
<div class="p1">
<span class="s1">Dimensions: 17.75” x 15.25” x 15” </span></div>
<div class="p1">
<span class="s1">Limited Edition of 850 Arabic Numbers </span></div>
<div class="p1">
<span class="s1">99 Patrons’ Collection</span></div>
<div class="p1">
<span class="s1">155 Collaborators’ Proofs</span></div>
<div class="p1">
<span class="s1">5 Hors d’Commerce</span></div>
<div class="p1">
<span class="s1">Adapted posthumously from the original 1930s plaster, horn, and oil on wood mount sculpture.</span></div>
<div class="p1">
<span class="s1">http://www.drseussart.com/taxidermy/goo-goo-eyed-tasmanian-wolghast</span></div>
<div class="p2">
<span class="s1"></span><br /></div>
<div class="p1">
<span class="s1"><i>KANGAROO BIRD</i></span></div>
<div class="p1">
<span class="s1">3,695 USD</span></div>
<div class="p1">
<span class="s1">Hand-Painted Cast Resin Sculpture</span></div>
<div class="p1">
<span class="s1">Authorized Estate Edition</span></div>
<div class="p1">
<span class="s1">Dimensions: 22.5” x 9.5” x 17.5” </span></div>
<div class="p1">
<span class="s1">Limited Edition of 850 Arabic Numbers</span></div>
<div class="p1">
<span class="s1">99 Patrons’ Collection</span></div>
<div class="p1">
<span class="s1">155 Collaborators’ Proofs</span></div>
<div class="p1">
<span class="s1">5 Hors d’Commerce</span></div>
<div class="p1">
<span class="s1">Adapted posthumously from the original 1930s plaster, beak, and oil on wood mount sculpture.</span></div>
<div class="p1">
<span class="s1">http://www.drseussart.com/taxidermy/kangaroo-bird</span></div>
<div class="p2">
<span class="s1"></span><br /></div>
<div class="p1">
<span class="s1"><i>MULBERRY STREET UNICORN</i></span></div>
<div class="p1">
<span class="s1">SOLD OUT AT PUBLISHER</span></div>
<div class="p1">
<span class="s1">Due to the popularity of this artwork, it is now sold out from the publisher. However, an authorized dealer may still have this piece in their collection or be able to help you locate one to purchase. Contact your art consultant or preferred Authorized Gallery for an update on current availability.</span></div>
<div class="p1">
<span class="s1">Hand-Painted Cast Resin Sculpture</span></div>
<div class="p1">
<span class="s1">Authorized Estate Edition</span></div>
<div class="p1">
<span class="s1">Dimensions: 14” x 7” x 9.5” </span></div>
<div class="p1">
<span class="s1">Limited Edition of 850 Arabic Numbers</span></div>
<div class="p1">
<span class="s1">99 Patrons’ Collection</span></div>
<div class="p1">
<span class="s1">155 Collaborators’ Proofs</span></div>
<div class="p1">
<span class="s1">Adapted posthumously from the original 1930s plaster, horn, and oil on wood mount sculpture.</span></div>
<div class="p1">
<span class="s1">http://www.drseussart.com/taxidermy/mulberry-street-unicorn</span></div>
<div class="p2">
<span class="s1"></span><br /></div>
<div class="p1">
<span class="s1"><i>POWERLESS PUFFER</i></span></div>
<div class="p1">
<span class="s1">2,695 USD (Pre-Release)</span></div>
<div class="p1">
<span class="s1">This artwork is currently available for pre-order. It will begin delivering on a first-come, first-served basis beginning November 2016.</span></div>
<div class="p1">
<span class="s1">International Purchases: Prices are shown in US Dollars only and do not reflect local exchange rates. Local taxes, import duties or shipping & handling are not included. Please contact a gallery for local pricing.</span></div>
<div class="p1">
<span class="s1">Hand-Painted Cast Resin Sculpture</span></div>
<div class="p1">
<span class="s1">Authorized Estate Edition</span></div>
<div class="p1">
<span class="s1">Dimensions: 13.75” x 11” x 7.75” </span></div>
<div class="p1">
<span class="s1">Limited Edition of 850 Arabic Numbers</span></div>
<div class="p1">
<span class="s1">99 Patrons’ Collection</span></div>
<div class="p1">
<span class="s1">155 Collaborators’ Proofs</span></div>
<div class="p1">
<span class="s1">5 Hors d’Commerce</span></div>
<div class="p1">
<span class="s1">Adapted posthumously from the original 1930s plaster and oil on wood mount sculpture.</span></div>
<div class="p1">
<span class="s1">http://www.drseussart.com/taxidermy/powerless-puffer</span></div>
<div class="p2">
<span class="s1"></span><br /></div>
<div class="p1">
<span class="s1"><i>SAWFISH</i></span></div>
<div class="p1">
<span class="s1">Due to the popularity of this artwork, it is now sold out from the publisher. However, an authorized dealer may still have this piece in their collection or be able to help you locate one to purchase. Contact your art consultant or preferred Authorized Gallery for an update on current availability.</span></div>
<div class="p1">
<span class="s1">Hand-Painted Cast Resin Sculpture</span></div>
<div class="p1">
<span class="s1">Authorized Estate Edition</span></div>
<div class="p1">
<span class="s1">Dimensions: 8” x 27” x 3” </span></div>
<div class="p1">
<span class="s1">Limited Edition of 850 Arabic Numbers</span></div>
<div class="p1">
<span class="s1">99 Patrons’ Collection</span></div>
<div class="p1">
<span class="s1">155 Collaborators’ Proofs</span></div>
<div class="p1">
<span class="s1">Adapted posthumously from the original 1930s plaster, sawfish bill, and oil on wood mount sculpture</span></div>
<div class="p1">
<span class="s1">http://www.drseussart.com/taxidermy/sawfish</span></div>
<div class="p2">
<span class="s1"></span><br /></div>
<div class="p1">
<span class="s1"><i>SEA-GOING DILEMMA FISH</i></span></div>
<div class="p1">
<span class="s1">SOLD OUT AT PUBLISHER</span></div>
<div class="p1">
<span class="s1">Due to the popularity of this artwork, it is now sold out from the publisher. However, an authorized dealer may still have this piece in their collection or be able to help you locate one to purchase. Contact your art consultant or preferred Authorized Gallery for an update on current availability.</span></div>
<div class="p1">
<span class="s1">Hand-Painted Cast Resin Sculpture</span></div>
<div class="p1">
<span class="s1">Authorized Estate Edition</span></div>
<div class="p1">
<span class="s1">Dimensions: 36” x 21” x 14”</span></div>
<div class="p1">
<span class="s1">Limited Edition of 850 Arabic Numbers</span></div>
<div class="p1">
<span class="s1">99 Patrons’ Collection</span></div>
<div class="p1">
<span class="s1">155 Collaborators’ Proofs</span></div>
<div class="p1">
<span class="s1">5 Hors d’Commerce</span></div>
<div class="p1">
<span class="s1">Adapted posthumously from the original 1930s caribou antlers, plaster, and oil on wood mount sculpture.</span></div>
<div class="p1">
<span class="s1">http://www.drseussart.com/taxidermy/sea-going-dilemma-fish</span></div>
<div class="p2">
<span class="s1"></span><br /></div>
<div class="p1">
<span class="s1"><i>SEMI-NORMAL GREEN-LIDDED FAWN</i></span></div>
<div class="p1">
<span class="s1">SOLD OUT AT PUBLISHER</span></div>
<div class="p1">
<span class="s1">Due to the popularity of this artwork, it is now sold out from the publisher. However, an authorized dealer may still have this piece in their collection or be able to help you locate one to purchase. Contact your art consultant or preferred Authorized Gallery for an update on current availability.</span></div>
<div class="p1">
<span class="s1">Hand-Painted Cast Resin</span></div>
<div class="p1">
<span class="s1">Authorized Estate Edition</span></div>
<div class="p1">
<span class="s1">Dimensions: 23” x 30” x 13” </span></div>
<div class="p1">
<span class="s1">Limited Edition of 850 Arabic Numbers</span></div>
<div class="p1">
<span class="s1">99 Patrons’ Collection</span></div>
<div class="p1">
<span class="s1">155 Collaborators’ Proofs</span></div>
<div class="p1">
<span class="s1">5 Hors d’Commerce</span></div>
<div class="p1">
<span class="s1">Adapted posthumously from the original 1930s plaster, horn, and oil on wood mount sculpture.</span></div>
<div class="p1">
<span class="s1">http://www.drseussart.com/taxidermy/semi-normal-green-lidded-fawn</span></div>
<div class="p2">
<span class="s1"></span><br /></div>
<div class="p1">
<span class="s1"><i>SLUDGE TARPON</i></span></div>
<div class="p1">
<span class="s1">2,995 USD</span></div>
<div class="p1">
<span class="s1">International Purchases: Prices are shown in US Dollars only and do not reflect local exchange rates. Local taxes, import duties or shipping & handling are not included. Please contact a gallery for local pricing.</span></div>
<div class="p1">
<span class="s1">Hand-Painted Cast Resin Sculpture</span></div>
<div class="p1">
<span class="s1">Authorized Estate Edition</span></div>
<div class="p1">
<span class="s1">Dimensions: 13.25” x 37” x 7” </span></div>
<div class="p1">
<span class="s1">Limited Edition of 850 Arabic Numbers</span></div>
<div class="p1">
<span class="s1">99 Patrons’ Collection</span></div>
<div class="p1">
<span class="s1">155 Collaborators’ Proofs</span></div>
<div class="p1">
<span class="s1">5 Hors d’Commerce</span></div>
<div class="p1">
<span class="s1">Adapted posthumously from the original 1930s plaster and oil on wood mount sculpture.</span></div>
<div class="p1">
<span class="s1">http://www.drseussart.com/taxidermy/sludge-tarpon</span></div>
<div class="p2">
<span class="s1"></span><br /></div>
<div class="p1">
<span class="s1"><i>TUFTED GUSTARD</i></span></div>
<div class="p1">
<span class="s1">SOLD OUT AT PUBLISHER</span></div>
<div class="p1">
<span class="s1">Due to the popularity of this artwork, it is now sold out from the publisher. However, an authorized dealer may still have this piece in their collection or be able to help you locate one to purchase. Contact your art consultant or preferred Authorized Gallery for an update on current availability.</span></div>
<div class="p1">
<span class="s1">Hand-Painted Cast Resin Sculpture</span></div>
<div class="p1">
<span class="s1">Authorized Estate Edition</span></div>
<div class="p1">
<span class="s1">Dimensions: 22” x 22” x 6.5” </span></div>
<div class="p1">
<span class="s1">Limited Edition of 375 Arabic Numbers</span></div>
<div class="p1">
<span class="s1">99 Patrons’ Collection</span></div>
<div class="p1">
<span class="s1">155 Collaborators’ Proofs</span></div>
<div class="p1">
<span class="s1">Adapted posthumously from the original 1930s plaster, metal, screws, laminate, shaving brush, and oil on wood mount sculpture.</span></div>
<div class="p1">
<span class="s1">http://www.drseussart.com/taxidermy/tufted-gustard</span></div>
<div class="p2">
<i><span class="s1"></span><br /></i></div>
<div class="p1">
<span class="s1"><i>TURTLE-NECKED SEA-TURTLE</i></span></div>
<div class="p1">
<span class="s1">3,695 USD</span></div>
<div class="p1">
<span class="s1">International Purchases: Prices are shown in US Dollars only and do not reflect local exchange rates. Local taxes, import duties or shipping & handling are not included. Please contact a gallery for local pricing.</span></div>
<div class="p1">
<span class="s1">Hand-Painted Cast Resin Sculpture</span></div>
<div class="p1">
<span class="s1">Authorized Estate Edition</span></div>
<div class="p1">
<span class="s1">Dimensions: 12” x 22” x 16.75” </span></div>
<div class="p1">
<span class="s1">Limited Edition of 850 Arabic Numbers</span></div>
<div class="p1">
<span class="s1">99 Patrons’ Collection</span></div>
<div class="p1">
<span class="s1">155 Collaborators’ Proofs</span></div>
<div class="p1">
<span class="s1">5 Hors d’Commerce</span></div>
<div class="p1">
<span class="s1">Adapted posthumously from the original 1930s plaster, turtle shell, and oil on wood mount sculpture.</span></div>
<div class="p1">
<span class="s1">http://www.drseussart.com/taxidermy/turtle-necked-sea-turtle</span></div>
<div class="p2">
<span class="s1"></span><br /></div>
<div class="p1">
<span class="s1"><i>TWO HORNED DROUBERHANNIS</i></span></div>
<div class="p1">
<span class="s1">SOLD OUT AT PUBLISHER</span></div>
<div class="p1">
<span class="s1">Due to the popularity of this artwork, it is now sold out from the publisher. However, an authorized dealer may still have this piece in their collection or be able to help you locate one to purchase. Contact your art consultant or preferred Authorized Gallery for an update on current availability.</span></div>
<div class="p1">
<span class="s1">Hand-Painted Cast Resin Sculpture</span></div>
<div class="p1">
<span class="s1">Authorized Estate Edition</span></div>
<div class="p1">
<span class="s1">Dimensions: 27” x 17.5” x 12” </span></div>
<div class="p1">
<span class="s1">Limited Edition of 850 Arabic Numbers</span></div>
<div class="p1">
<span class="s1">99 Patrons’ Collection</span></div>
<div class="p1">
<span class="s1">155 Collaborators’ Proofs</span></div>
<div class="p1">
<span class="s1">Adapted posthumously from the original 1930s plaster, horn, and oil on wood mount sculpture.</span></div>
<div class="p1">
<span class="s1">http://www.drseussart.com/taxidermy/two-horned-drouberhannis</span></div>
<div class="p2">
<span class="s1"></span><br /></div>
<div class="p2">
<span class="s1"></span><br /></div>
<div class="p2">
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Gary Arseneauhttp://www.blogger.com/profile/10379667479866306615noreply@blogger.comtag:blogger.com,1999:blog-34909527.post-35582570756956338662016-09-15T01:01:00.002-04:002017-01-07T12:01:45.758-05:00Posthumous plaster reproductions and bronze forgeries falsely and ridiculously attributed to a dead Edgar Degas<div class="separator" style="clear: both; text-align: justify;">
<b style="text-align: left;">NOTE:</b><span style="text-align: left;"> Footnotes enclosed as: <span style="color: blue; font-size: x-small;">[FN ]</span></span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://4.bp.blogspot.com/-G7MUmJxqoAI/V9fv_yhehUI/AAAAAAAADm4/K15ATK_Z6BgQsqWusR2oHKPVW_IjY_I1QCLcB/s1600/Screen%2BShot%2B2016-09-13%2Bat%2B8.22.02%2BAM.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="270" src="https://4.bp.blogspot.com/-G7MUmJxqoAI/V9fv_yhehUI/AAAAAAAADm4/K15ATK_Z6BgQsqWusR2oHKPVW_IjY_I1QCLcB/s400/Screen%2BShot%2B2016-09-13%2Bat%2B8.22.02%2BAM.png" width="400" /></a></div>
<div style="text-align: center;">
<span style="font-size: x-small;">Photo: Joseph P. Coscia Jr./Metropolitan Museum of Art, New York</span></div>
<div style="text-align: center;">
NON-DISCLOSED POSTHUMOUS FORGERIES</div>
<div class="separator" style="clear: both; text-align: justify;">
<br /></div>
<div style="text-align: justify;">
<span style="font-size: large;"><b>A</b></span>ll 75 plasters found at the Valsuani foundry, falsely attributed to Edgar Degas [d 1917], are at best non-disclosed posthumous plaster reproductions by hands, fingers and fingerprints of someone other than a dead Degas.<br />
<br />
<b>FIRST</b>, the hands, fingers and fingerprints of others is addressed in "Degas The Sculptor" monograph by exhibition curator Walter Maibaum. On page 6 of his monograph, the exhibition curator Walter Maibaum wrote: "Most likely the plasters were made by Paul-Albert Bartholome (1848-1928), the artist's close friend and colleague who was also a sculptor."<span style="color: blue; font-size: x-small;">[FN 1]</span><br />
<br />
If true, Paul-Albert Bartholome hands, fingers and fingerprints would be all over these non-disclosed posthumous plaster reproductions.</div>
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<b>SECOND</b>, the exhibition curator Walter Maibaum further speculated: "Bartholome could have gone into the artist's studio in early 1918 after the waxes were photographed and decided to make the plasters for two reasons: (1), they would provide a record of what the waxes looked like upon the artist's death (and before the waxes deteriorated); and (2), since the heirs were interested in casting bronzes, he made masters thinking they would be used as masters to cast the editions."<span style="color: blue; font-size: x-small;">[FN 2]</span><br />
<br />
Yet, in the National Gallery of Art's published 2010 <i>Edgar Degas Sculpture</i> catalogue Walter Maibaum's speculation is contradicted by Suzanne Glover Lindsay's "Degas' Sculpture After His Death" monograph. On page 15, Suzanne Glover Lindsay wrote: "Degas' artist friend Paul-Albert Bartholome, claimed [critic Paul] Gsell, 'exhumed' and 'restored' the fragile works that the artist himself had left 'abandoned,' not only by having them cast in bronze but by storing the originals in the cellar of the founder charged with executing the bronzes, A.A. Hebrard, to protect them from the bombs that rocked Paris in the last year of World War 1."<span style="color: blue; font-size: x-small;">[FN 3]</span><br />
<div style="text-align: center;">
[mine]</div>
<br />
Those Edgar Degas "fragile works that the artist himself had left abandoned"<span style="color: blue; font-size: x-small;">[FN 4]</span> were actually mixed-media sculpture that critic Paul Gsell says in 1918 were posthumously "exhumed" and "restored" by Paul-Albert Bartholome. This is confirmed in the National Gallery of Art’s published 2010 <i>Edgar Degas Sculpture </i>catalogue by Daphne S. Barbour and Shelley G. Sturman. On page 35, the authors wrote: “As a material readily available, corks are found inside Degas’ sculpture thoughout his oeuvre, from his earliest to his latest works. In addition to cork, matches, paintbrushes, and rope are also found; perhaps, for the sake of economy and convenience, Degas used what was near at hand.”<span style="color: blue; font-size: x-small;">[FN 5]</span><br />
<br />
So, once again, according to critic Paul Gsell in 1918, Paul-Albert Bartholome "exhumed" and "restored" Edgar Degas' "fragile works" a.k.a. mixed-media sculptures.</div>
<div style="text-align: justify;">
<br />
<b>THIRD</b>, Walter Maibaum's speculation that Paul-Albert Bartholome was responsible for making the plasters is further muddled when on page 6 of his monograph, he wrote: "Upon first seeing the waxes and realizing their fragility, Hebrard's master caster, Albino Palazzolo (1883-1973), could have decided to make the plasters for the same reasons as Bartholome would have done."<span style="color: blue; font-size: x-small;">[FN 6]</span><br />
<br />
After Edgar Degas death in 1917, Hebrard foundry was contracted by Edgar Degas' heirs to cast Edgar Degas' mixed-media sculptures in brass [not bronze]. Hebrard foundry's Albino Palazzolo (1883-1973) was the one in charge of the serial production of them. So, does Walter Maibaum's speculation that Paul-Albert Bartholome or Albino Palazzolo "could have" made the plasters confirm that either one of them did?<br />
<br />
<b>FOURTH</b>, on page 32 in Joseph Czestochoewki's published 2002 <i>Degas Sculptures</i> and the "Degas and His Castings" monograph by Ann Pingeot, the former curator at the department of sculpture at the Louvre and the Musée d'Orsay quoted historian Jean Adhemar stating: "I asked M. Palazzolo if he would be able to recognize a false Degas bronze. Smiling, he said that he could, because he knew where to find his own fingerprints on the originals."<span style="color: blue; font-size: x-small;">[FN 7]</span><br />
<br /></div>
<div style="text-align: justify;">
Therefore, whether it was Paul-Albert Bartholome, Albino Palazzolo, and/or someone else including but not limited to someone from the Valsuani foundry that were responsible for making the plasters, those who made them would be chromists. A chromist is someone who copies with their hands, fingers and fingerprints the work of another resulting, at best, in reproductions.</div>
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<span class="s1">Under U.S. Copyright Law 101. Definitions, a <i>derivative work </i>is defined as: “a work based upon one or more preexisting works, such as art reproduction.”<span style="color: blue; font-size: x-small;">[FN 8]</span> Additionally, under U.S. Copyright 106A, it states the “Rights of Attribution - shall not apply to any reproduction.”<span style="color: blue; font-size: x-small;">[FN 9]</span></span></div>
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</span></div>
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<span class="s1">In other words, under U.S. Copyright Law, reproductions are derivatives which cannot be -attributed- to a living artist, much less a dead one.</span><br />
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<a href="https://1.bp.blogspot.com/-L4Tt419jmgQ/V9nvkmJydCI/AAAAAAAADnQ/iZ03ShaLr4kZwLQuqX1FMrM9DETnEV1AgCLcB/s1600/Screen%2BShot%2B2016-09-13%2Bat%2B8.32.43%2BAM.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="133" src="https://1.bp.blogspot.com/-L4Tt419jmgQ/V9nvkmJydCI/AAAAAAAADnQ/iZ03ShaLr4kZwLQuqX1FMrM9DETnEV1AgCLcB/s400/Screen%2BShot%2B2016-09-13%2Bat%2B8.32.43%2BAM.png" width="400" /></a></div>
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<span style="font-size: x-small;">DETAIL from Photo: Joseph P. Coscia Jr./Metropolitan Museum of Art, New York</span></div>
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NO SIGNATURE</div>
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<a href="https://3.bp.blogspot.com/-oGk7RmJbeuI/V9nv0TWdaAI/AAAAAAAADnU/2F2HiH9x10kDAq_4emhiYEZIvcMdeSbEwCLcB/s1600/Screen%2BShot%2B2016-09-13%2Bat%2B8.29.51%2BAM.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="138" src="https://3.bp.blogspot.com/-oGk7RmJbeuI/V9nv0TWdaAI/AAAAAAAADnU/2F2HiH9x10kDAq_4emhiYEZIvcMdeSbEwCLcB/s400/Screen%2BShot%2B2016-09-13%2Bat%2B8.29.51%2BAM.png" width="400" /></a></div>
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<span style="font-size: x-small;">DETAIL from Photo: Joseph P. Coscia Jr./Metropolitan Museum of Art, New York</span></div>
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COUNTERFEIT <i>"DEGAS"</i> SIGNATURE</div>
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<div style="text-align: justify;">
<b>FIFTH</b>, as if that was not enough, non-disclosed posthumous counterfeit <i>"Degas"</i> signatures were inscribed on these non-disclosed posthumous 2nd-generation-removed bronzes to deceptively foster the illusion that Edgar Degas [d 1917] signed them, much less created and approve them.<br />
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Edgar Degas never signed his lifetime mixed-media sculptures.<br />
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<div class="p1">
<span class="s1">This is confirmed on page 32-33 in Charles W. Milliard’s 1976 <i>The Sculpture of Edgar Degas</i>, where the author wrote: “Each cast is stamped with the legend 'cire perdue A.A. Hebrard' in relief, and incised with the signature ‘Degas.’” Later on page 34, the author wrote: “At least some of the casts were set on wooden bases into which the signature “Degas” was burned.”<span style="color: blue; font-size: x-small;">[FN 10]</span></span></div>
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<span class="s1"><br /></span></div>
<div class="p1">
<span class="s1">On page 1387 in the <i>Seventh Edition of Black’s Law Dictionary</i>, the term -signature- is defined as: “A person’s name or mark written by that person or at the person’s direction.”<span style="color: blue; font-size: x-small;">[FN 11]</span></span></div>
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<span class="s1"><br /></span></div>
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<span class="s1">Since, all Hebrard foundry casts in brass [not bronze] of Edgar Degas' mixed-media sculptures are posthumous, a signature attributed to dead Edgar Degas could not have been "written by that person or at the person's direction."</span></div>
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Notice in the above photograph of the wooden base for the late 20th-century - early 21st-century Valsuani foundry cast of a so-called <i>Little Dancer Aged Fourteen </i>attributed to Edgar Degas, has an inscribed <i>"Degas"</i> signature on the wooden base.</div>
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Edgar Degas died in 1917, the early 20th-century. The dead don't sign.</div>
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<div style="text-align: justify;">
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<div style="text-align: justify;">
<span class="s1"><span style="text-align: start;">On page 661 of the </span><i style="text-align: start;">Seventh Edition of Black's Law Dictionary</i><span style="text-align: start;">, -forgery- is defined as: "The act of fraudulently making a false document or altering a real one to be used as if genuine."<span style="color: blue; font-size: x-small;">[FN 12]</span></span></span></div>
<div style="text-align: justify;">
<span class="s1"><span style="text-align: start;"><br /></span></span></div>
<div style="text-align: justify;">
<span class="s1"><span style="text-align: start;">Rhetorically, would posthumous inscribed counterfeit <i>"Degas"</i> signatures to posthumous bronze casts reproduced from posthumous plasters be: "t</span></span><span style="text-align: start;">he act of fraudulently making a false document or altering a real one to be used as if genuine?"</span><br />
<span style="text-align: start;"><br /></span>
<span style="text-align: start;"><b>SIXTH</b>, in </span>"Degas The Sculptor" monograph, exhibition curator Walter Maibaum wrote: "The art historian, Dr. Gregory Hedberg, Director of European Art for New York's Hirschl & Adler Galleries, found strong evidence leading to his conclusion the <i>Little Dancer</i> plaster was made between 1887 and 1903. Dr. Hedberg also proposed that with the exception of numbers 3(b) and 59, it is possible that Bartholome could have made all the plasters during Degas' lifetime for (Bartholome's) personal collection. If so, the plasters would have been made over a period of years, from 1887 to 1912. Under this proposal the plasters most likely would have remained in the Bartholome family's collection until 1955 when they were brought to Valsuani."<span style="color: blue; font-size: x-small;">[FN 13]</span><br />
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Then in Dr. Gregory Hedberg's "Degas' <i>The Little Dancer, Aged Fourteen</i>, The Unknown First Version" monograph for an exhibition, he wrote: "All of the other Degas bronzes in this exhibition were also cast by Valsuani foundry from plasters that were made by Bartholome for his own collection while Degas was still alive.<span style="color: blue; font-size: x-small;">[FN 14]</span><br />
<br />
So, whether the plasters were made by Paul-Albert Bartholome and/or someone else before or after Edgar Degas' death in 1917, at best they would be chromist-made reproductions that could not be attributable to Edgar Degas because he did not create them and not attributable to Paul-Albert Bartholome and/or someone else because it was not their work.<br />
<br />
<b>SEVENTH,</b> what may be the motivation for the nonsense of attributing chromist-made plaster reproductions done by the hands, fingers and fingerprints of someone other than Edgar Degas and falsely attributing to Degas the subsequent non-disclosed posthumous 2nd-generation-removed bronze forgeries with posthumously inscribed counterfeit <i>"Degas"</i> signature?<br />
<br />
This is potentially addressed in an ArtNews published August 15, 2011 "Adding to the Confusion" article by William D. Cohen. In part, the author wrote: "In June 2006, at the request of Maibaum, [New York art dealer Stewart] Waltzer appraised a set of the 73 bronzes at just above $19 million, and another appraiser, Alex Rosenberg, valued the set at $20.5 million. In 2009, Waltzer appraised the Valsuani version of Little Dancer at $12 million, also at Maibaum’s request."<span style="color: blue; font-size: x-small;">[FN 15]</span><br />
<div style="text-align: center;">
[mine]</div>
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<b>EIGHTH</b> in this same published article, the William D. Cohen wrote: “This appraisal is accompanied by various letters and [a]ttestations from Leonardo Benatov, owner of the Valsuani foundry, stating explicitly that the plasters, which serve as the basis for the 74 Edgar Degas bronze sculptures from the 1998 Valsuani Edition marked ‘Set VII/XI,’ are authentic,” Waltzer wrote in his 2010 appraisal. “Therefore, these works have been appraised as authentic works by Edgar Degas. This appraiser and this appraisal [do] not warrant the authenticity of the 74 Edgar Degas bronze sculptures from the 1998 Valsuani Edition marked ‘Set VII/IX.'”<span style="color: blue; font-size: x-small;">[FN 16]</span><br />
<br />
Rhetorically, how can anything be considered "authentic works by Edgar Degas" if they were made in 1998 some 81 years after Edgar Degas died in 1917?<br />
<br />
Finally, on page 670 of the <i>Seventh Edition of Black’s Law Dictionary</i>, -fraud- is defined as: “a knowing misrepresentation of the truth or concealment of a material fact to induce another to act to his or her detriment.”<span style="color: blue; font-size: x-small;">[FN 17]</span><br />
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In closing, to learn more about one of the largest art frauds in the 20th/21st-century, link to:<br />
<br />
<ul>
<li><span style="color: blue;">http://garyarseneau.blogspot.com/2007/05/all-degas-bronze-sculptures-are-fake.html</span></li>
</ul>
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<br />
Caveat Emptor!<br />
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<span class="s1"><b>FOOTNOTES:</b></span></div>
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<span class="s1"><span style="font-size: x-small;">1.<span class="s2"><a href="http://degassculptureproject.org/Degas_the_Sculptor-Walter_Maibaum_Museum_Catalog_Essay.pdf">http://degassculptureproject.org/Degas_the_Sculptor-Walter_Maibaum_Museum_Catalog_Essay.pdf</a></span></span></span></div>
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<span class="s1"><span style="font-size: x-small;">2. Ibid</span></span></div>
<div class="p1">
<span class="s1"><span style="font-size: x-small;">3. National Gallery of Art Systematic Catalogues, Publisher: Princeton University Press (January 2, 2011), ISBN-10: 069114897X, ISBN-13: 978-0691148977</span></span></div>
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<span class="s1"><span style="font-size: x-small;">4. Ibid</span></span></div>
<div class="p1">
<span class="s1"><span style="font-size: x-small;">5. Ibid</span></span></div>
<div class="p1">
<span class="s1"><span style="font-size: x-small;">6.<span class="s2"><a href="http://degassculptureproject.org/Degas_the_Sculptor-Walter_Maibaum_Museum_Catalog_Essay.pdf">http://degassculptureproject.org/Degas_the_Sculptor-Walter_Maibaum_Museum_Catalog_Essay.pdf</a></span></span></span></div>
<div class="p1">
<span class="s1"><span style="font-size: x-small;">7. Publisher: The Torch Press (2002), ISBN-10: 0971640807, ISBN-13: 978-0971640801</span></span></div>
<div class="p1">
<span class="s1"><span style="font-size: x-small;">8. http://www.copyright.gov/title17/92chap1.html#101</span></span></div>
<div class="p1">
<span class="s1"><span style="font-size: x-small;">9. <span class="s2"><a href="http://www.copyright.gov/title17/92chap1.html#106a">http://www.copyright.gov/title17/92chap1.html#106a</a></span></span></span></div>
<div class="p1">
<span class="s1"><span style="font-size: x-small;">10. Publisher: Princeton University Press (March 21, 1980), ISBN-10: 0691003181, ISBN-13: 978-0691003184</span></span></div>
<div class="p1">
<span class="s1"><span style="font-size: x-small;">11. Publisher: West Group, ASIN: B00HMVMPKI</span></span></div>
<div class="p1">
<span class="s1"><span style="font-size: x-small;">12. Ibid</span></span></div>
<div class="p1">
<span class="s1"><span style="font-size: x-small;">13.http://degassculptureproject.org/Degas_the_Sculptor-Walter_Maibaum_Museum_Catalog_Essay.pdf</span></span></div>
<div class="p1">
<span class="s1"><span style="font-size: x-small;">14. <span class="s2"><a href="http://www.bhartex.com/Degas_The_Little_Dancer__Unknown_First_Version__Hedberg_.pdf">http://www.bhartex.com/Degas_The_Little_Dancer__Unknown_First_Version__Hedberg_.pdf</a></span></span></span></div>
<div class="p1">
<span class="s1"><span style="font-size: x-small;">15. <span class="s2"><a href="http://www.artnews.com/2011/08/15/adding-to-the-confusion/#">http://www.artnews.com/2011/08/15/adding-to-the-confusion/#</a></span></span></span></div>
<div class="p1">
<span class="s1"><span style="font-size: x-small;">16. Ibid</span></span></div>
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<span class="s1"><span style="font-size: x-small;">17. Publisher: West Group, ASIN: B00HMVMPKI</span></span></div>
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Gary Arseneauhttp://www.blogger.com/profile/10379667479866306615noreply@blogger.comtag:blogger.com,1999:blog-34909527.post-43820105324121191432016-09-05T18:36:00.000-04:002016-09-06T09:26:22.955-04:00The Coverup, University of Richmond and the Iris and B. Gerald Cantor Foundation's attempts to evade and impede investigations into the non-disclosed posthumous 2nd-generation-removed forgeries with counterfeit "A Rodin" signatures in bogus editions misrepresented as "Sculptures by Auguste Rodin"<div class="separator" style="clear: both; text-align: center;">
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<b>NOTE:</b> Footnotes are enclosed as: [FN]. Click on jpg[s] of text to enlarge.</div>
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<a href="https://1.bp.blogspot.com/-3lh6J5f9GZc/V84kvRMlxII/AAAAAAAADmo/QgHHS_3jTh0l3BZApOFDvNzg0ZHbcTujQCLcB/s1600/Screen%2BShot%2B2016-09-05%2Bat%2B10.05.16%2BPM.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="286" src="https://1.bp.blogspot.com/-3lh6J5f9GZc/V84kvRMlxII/AAAAAAAADmo/QgHHS_3jTh0l3BZApOFDvNzg0ZHbcTujQCLcB/s400/Screen%2BShot%2B2016-09-05%2Bat%2B10.05.16%2BPM.png" width="400" /></a></div>
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<b><span style="font-size: x-small;">SUMMARY AUTHORIZED POSTHUMOUS CASTING OF THE WORK OF AUGUSTE RODIN</span></b></div>
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<span style="font-size: x-small;"><span class="s1"></span></span></div>
<div style="text-align: center;">
<span style="font-size: x-small;">[2 pages] Written and Distributed by the Iris and B. Gerald Cantor Foundation Director Judith Sobol</span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif;"><span style="font-size: medium;"><b style="font-size: x-large;">T</b>he</span> term cover up is "given to mean to hide a thing that is unlawful or to evade and impede investigations."[FN 1]</span></span><br />
<span class="s1"><span style="font-family: "times" , "times new roman" , serif;"><br /></span></span>
<span class="s1"><span style="font-family: "times" , "times new roman" , serif;">The <b>Rodin, The Human Experience: Selections from the Iris and B. Gerald Cantor Collections </b>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 <i>"A Rodin"</i> signatures in bogus editions falsely attributed as "</span></span>thirty-two bronze sculptures by French artist Auguste Rodin (1840-1917)<span style="font-family: "times" , "times new roman" , serif;">."[FN 2]</span><span style="color: blue; font-family: "times" , "times new roman" , serif;"> </span></div>
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<span class="s1"><br /></span>
<span class="s1">The dead don't sculpt.</span><br />
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<span class="s1">Yet, in an attempt to </span>to defuse and confuse the public, news media, exhibition venues and other interested parties seemingly to "evade and impede investigations" into legitimate issues of authenticity, the Iris and B. Gerald Cantor Foundation and many of its cultural museums and venues, such as the University of Richmond's Joel and Lila Harnett Museum of Art that exhibit the foundation's collection of non-disclosed posthumous 2nd-generation-removed forgeries with counterfeit <i>"A Rodin" </i>signatures in bogus editions, have received and distribute a 2 page "Summary: Authorized Posthumous Casting of the Work of Auguste Rodin" paper. </div>
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<span style="font-family: "times" , "times new roman" , serif;"><br /></span></div>
<div class="p1" style="text-align: justify;">
<span style="font-family: "times" , "times new roman" , serif;">Hence, the coverup.</span></div>
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<span style="font-family: "times" , "times new roman" , serif;"><br /></span></div>
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<span style="font-family: "times" , "times new roman" , serif;">This monograph documents that fact.</span></div>
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<a href="https://1.bp.blogspot.com/-rJHK_Lpn8Hg/V828fKCB4YI/AAAAAAAADlI/ZeifczgUZiUqmCftuZprFy14rGwphw8iACLcB/s1600/Screen%2BShot%2B2016-09-03%2Bat%2B10.32.56%2BAM.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="205" src="https://1.bp.blogspot.com/-rJHK_Lpn8Hg/V828fKCB4YI/AAAAAAAADlI/ZeifczgUZiUqmCftuZprFy14rGwphw8iACLcB/s400/Screen%2BShot%2B2016-09-03%2Bat%2B10.32.56%2BAM.png" width="400" /></a></div>
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<b><span style="font-size: x-small;">SUMMARY AUTHORIZED POSTHUMOUS CASTING OF THE WORK OF AUGUSTE RODIN</span></b></div>
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<span style="font-size: x-small;">[Excerpt from page 1 of 2] Written and Distributed by the Iris and B. Gerald Cantor Foundation Director Judith Sobol</span></div>
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<span class="s1"></span></div>
<div class="p1" style="text-align: justify;">
<span class="s1">Under U.S. Copyright Law 101. Definitions, a “work of visual art” i.e., -sculpture- is defined as: “multiple cast, carved, or fabricated sculptures of 200 or fewer that are consecutively numbered by the author and bear the signature or other identifying mark of the author.”[FN 3]</span></div>
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<span class="s1"></span><br /></div>
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<span class="s1">In other words, since the 29 non-disclosed 2nd-generation-removed forgeries with counterfeit <i>"A Rodin"</i> signatures in bogus editions in the University of Richmond's <b>Rodin A Human Experience</b> exhibition were posthumously cast between 1925 and 1995 some eight to seventy-eight years after Auguste Rodin’s death in 1917, it should be overtly obvious Auguste Rodin could not have “consecutively numbered” anything, much less applied his “signature.”</span></div>
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<span class="s1"><br /></span></div>
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<span class="s1">The dead don't sculpt, much less sign and number.</span></div>
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<span class="s1"><br /></span></div>
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<span class="s1">To read monograph documenting this avarice, link to: </span></div>
<div class="p1" style="text-align: justify;">
</div>
<ul>
<li><span style="color: blue;">http://garyarseneau.blogspot.com/2016/08/double-standard-forgeries-in-university.html</span></li>
</ul>
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<span class="s1"></span></div>
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<span class="s1">Under U.S. Copyright Law 101. Definitions, a -derivative work- is defined as: “a work based upon one or more preexisting works, such as art reproduction.”</span>[FN 4]<span class="s1"> </span>Also, under U.S. Copyright 106A, it states the “Rights of Attribution - shall not apply to any reproduction.”[FN 5]</div>
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<span class="s1"></span><br /></div>
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<span class="s1">In other words, under U.S. Copyright Law, reproductions are derivatives which cannot be -attributed- to a living artist, much less a dead one.</span></div>
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<span class="s1"><br /></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><span class="s8"><i>“</i></span><span class="s1"><i>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.”</i></span><span class="s8"><i> </i>[Google Translate]</span></span></div>
<div style="text-align: center;">
<b style="font-family: times, "times new roman", serif; line-height: 20.8px;"><span style="font-size: x-small;">Musee Rodin curator Antoinette Le Normand-Romain</span></b></div>
<div style="text-align: center;">
<span style="font-family: "times" , "times new roman" , serif; font-size: x-small; line-height: 20.8px;">[February 1, 2000 FAX]</span></div>
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<span class="s1"><br /></span></div>
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<span class="s1">So, in a February 1, 2000 email correspondence, the Musee Rodin curator Antoinette Le Normand-Romain confirms the Musee Rodin posthumously cast in bronze from posthumous plasters "to avoid sending the [Auguste Rodin's] original plasters" to a foundry," the following French decree would be redundantly applicable.</span></div>
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<span class="s1">The March 3, 1981 French decree no. 81.255, Article 9, in part, states: “All facsimiles, casts of casts, copies, or other reproductions of an original work of art as set out in Article 71 of Appendix III of the General Code of Taxes, executed after the date of effectiveness of the present decree, must carry in a visible and indelible manner the notation ‘Reproduction’.”[FN 6]</span></div>
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<span class="s1">So, whether it is U.S. Copyright Law or a French decree, reproductions are at best -reproductions-, not a <i>"'rare' work of art."</i></span></div>
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<b><span style="font-size: x-small;">SUMMARY AUTHORIZED POSTHUMOUS CASTING OF THE WORK OF AUGUSTE RODIN</span></b></div>
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<span style="font-size: x-small;">[Excerpt from page 1 of 2] Written and Distributed by the Iris and B. Gerald Cantor Foundation Director Judith Sobol</span></div>
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The Iris and B. Gerald Cantor Foundation would have the public, news media and other believe and act on the belief that Auguste Rodin's lifetime plasters, made by his employed assistants, were used to "produce editions in bronze, " not reproduce.</div>
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Yet, on page 504 of the Iris and B. Gerald Cantor Foundation assisted published 1993 <i>Rodin, Shape of Genius</i> biography by Ruth Butler, the author wrote: “a draft of an act of donation was drawn up and signed in Meudon on April 1, 1916, in the presence of Clementel, Valention (representing the Ministere des Beaux-Arts), and Antole de Monzie, the lawyer and deputy who had helped prepare the deed. The document included a number of safeguards for Rodin: at the Hotel Biron--thenceforth to be called the Musee Rodin--he was to be in charge of personnel. He would have the right to use the building until the end of his life, and the state would install heat. All reproduction rights to his art would remain with Rodin during his lifetime.”[FN 7]</div>
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<span style="font-size: x-small;"><i>En consequence il gardait soigneusement ses moules et le musee, conscient de leur valeur, en a pris grand soin a son tour et les complete d'ailleurs au fur et a mesure. Ainsi, lorsqu'est decidee l'editions d'un nouveau 'sujet," commence-t-on par realiser dans le moule ancien une epreuve que l'on pourra envoyer sans crainte a la fonerie ou elle subirea le traitment indispensable a la presration de la fonte: elle sera enduite d'un agen de demoulage, de couleur generalement foncee, et coupee, avant d'etre a nouveau moulee. Cette pratique perment de preserver les platres anciens, evidemment plus precieux a nos yeux puisqu'ils ont ete realises du vivan de Rodin, tout en assurant une fidelite absolue a l'original." </i></span></div>
<div style="text-align: center;">
<span style="font-size: x-small;">http://www.musee-rodin.fr/meudon.htm [April 7, 2000]</span></div>
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<div class="p1">
<span class="s1">Then to go from bad to worse, we find out the Musee Rodin posthumously reproduces in bronze from posthumous plaster reproductions not from Auguste Rodin's lifetime plasters. These two references confirm this devastating fact:</span></div>
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</div>
<ul>
<li><span style="text-align: justify;">In a February 1, 2000 Fax from the Musee Rodin curator Antoinette Normand-Romain, the curator wrote: “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]</span></li>
</ul>
<ul>
<li style="text-align: justify;">As late as April 2000, on the Musee Rodin's website, Musee Rodin curator Antoinette Le Normaid-Romain wrote: “Consequently, whenever it is decided to release a new ‘subject,’ a copy is first made from the old mould which can be sent without risk to the foundry where it undergoes the necessary preparations for casting. It is coated with an unmoulding agent, usually in a dark colour, and cut, before being cast again. This practice not only ensures absolute fidelity to the original but also preserves the old plasters which are obviously more valuable since they were made during the lifetime of Rodin.”[FN 8]</li>
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<span class="s1">In other words, by the Musee Rodin avoiding sending the hypothetical original plasters to the foundry, they have willingly given up the authentic original surface details made by the working fingers of Auguste Rodin himself or that Auguste Rodin approved through his collaboration with his “sculpteur reproducteur habituel”[FN 9] Henri Lebosse and other assistants. Each time the surface of one of these subjects is approximated by the necessary crude handling of the materials used in the reproduction processes, there is visible change. The resulting pieces may be interesting to look at, but it is an absurdity to pretend they are just the way Rodin would have wanted and intended for them to appear.</span></div>
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<b><span style="font-size: x-small;">SUMMARY AUTHORIZED POSTHUMOUS CASTING OF THE WORK OF AUGUSTE RODIN</span></b></div>
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<div class="p1" style="text-align: start;">
<span style="font-size: x-small;"><span class="s1"></span></span></div>
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<span style="font-size: x-small;">[Excerpt from page 1 of 2] Written and Distributed by the Iris and B. Gerald Cantor Foundation Director Judith Sobol</span></div>
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The Iris and B. Gerald Cantor Foundation website defines cast as: "a sculpture produced from a mold; (v) to make sculpture from a mold"[FN 10] which seems to fit into their mythology of "casting sculptures." </div>
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<br /></div>
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Yet, on page 70 of Ralph Mayer’s 1999 <i>HarperCollins Dictionary of Art Terms & Techniques</i>, -cast- is defined as: “to reproduce an object, such as a piece of sculpture, by means of a MOLD”[FN 11] which obviously results in reproductions.</div>
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So, which definition is accurate? </div>
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Once again, under U.S. Copyright Law 101. Definitions, a “work of visual art” i.e., -sculpture- is defined as: “multiple cast, carved, or fabricated sculptures of 200 or fewer that are consecutively numbered by the author and bear the signature or other identifying mark of the author.”[FN 12] <span class="s1">Also, under U.S. Copyright Law 101. Definitions, a -derivative work- is defined as: “a work based upon one or more preexisting works, such as art reproduction.”[FN 13] </span>Additionally, under U.S. Copyright 106A, it states the “Rights of Attribution - shall not apply to any reproduction.”[FN 14]</div>
<br />
<div class="p1" style="text-align: justify;">
<span class="s1">In other words, under U.S. Copyright Law, reproductions are derivatives which cannot be -attributed- to a living artist, much less a dead one.</span></div>
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<span class="s1"></span><br /></div>
<div class="p1" style="text-align: justify;">
<span class="s1">On page 285 in the former Musee Rodin curator Monique Laurent’s “Observations on Rodin and His Founders” essay, published in the National Gallery of Art’s published 1981 <i>Rodin Rediscovered</i> catalogue the curator wrote about Auguste Rodin's 1916 <i>Will</i>: </span>“notwithstanding the transfer of artistic ownership authorized to the State of M. Rodin, the latter expressly reserves for himself the enjoyment, during his life, of the reproduction rights of those objects given by him.”[FN 15]</div>
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<span class="s1">These specific details of Auguste Rodin’s <i>Will</i> are additional confirmed on page 504 of the Iris and B. Gerald Cantor Foundation assisted published 1993 <i>Rodin, Shape of Genius </i>biography by Ruth Butler. In part, the author wrote: “a draft of an act of donation was drawn up and signed in Meudon on April 1, 1916, in the presence of Clementel, Valention (representing the Ministere des Beaux-Arts), and Antole de Monzie, the lawyer and deputy who had helped prepare the deed. The document included a number of safeguards for Rodin: at the Hotel Biron--thenceforth to be called the Musee Rodin--he was to be in charge of personnel. He would have the right to use the building until the end of his life, and the state would install heat. All reproduction rights to his art would remain with Rodin during his lifetime.”[FN 16]</span></div>
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Therefore, aside "high standards of craftsmanship" which is argumentative, what is not argumentative is the Iris and B. Gerald Cantor Foundation's definition of cast is contradicted not only by independent published definitions but by Auguste Rodin, the State of France, some of the same Rodin scholars it funds for catalogues and the Musee Rodin it purchases the vast majority of their collection of non-disclosed posthumous 2nd-generation-removed forgeries with counterfeit <i>"A Rodin"</i> signatures in bogus editions.</div>
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<div style="text-align: center;">
<b><span style="font-size: x-small;">SUMMARY AUTHORIZED POSTHUMOUS CASTING OF THE WORK OF AUGUSTE RODIN</span></b></div>
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<span style="font-size: x-small;">[Excerpt from page 2 of 2] Written and Distributed by the Iris and B. Gerald Cantor Foundation Director Judith Sobol</span></div>
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Aside a wave of a hand dismissing issues of authenticity as "purity," did Auguste Rodin have any reasons not to trust the executors of his estate and the State of France? On their website, the Musee Rodin states: </div>
<div style="text-align: justify;">
<ul>
<li>"Not until 1917 did Léonce Bénédite, the Musée Rodin’s first curator, manage to persuade the sculptor to allow him to reconstruct his masterpiece in order to have it cast in bronze. Rodin died before seeing the result of all these long years of effort." [FN 17]</li>
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This statement is contradicted by Albert Elsen's "The Gates of Hell: What They Are About and Something of Their History" monograph in the 1981 <i>Rodin Rediscovered</i> exhibition catalogue published the National Gallery of Art. In Footnote 33, on page 79, Albert Elsen wrote:</div>
<div style="text-align: justify;">
<ul>
<li>"Benedite insisted that the montage was done under 'the master's direction,' but from what we know of Rodin's health, this is extremely doubtful. If the montage was done at the Depot de marbres, it even more doubtful, as Rodin was very much retricted to Meudon the last year of his life. Benedite, Dante: Melanges de Criture et d'Eruditions Francaises (Paris: Librairie Francasie, 1921), 32. The first director of the Musee Rodin was not a paragon of truthful reporting, according to Rodin's more reliable long-time friend and biographer, Judith Cladel. In an article that appeared 16 December 1917, in Le Courrier de la Presse, one month after Rodin died, we read: 'M. Benedite and Mademoiselle Judith Cladel work without rest to arrange the Musee Rodin. They have begun by restoring the chapel of the Hotel Biron where a selection of the master's work will be installed. They will set up the plaster cast of the <i>Porte de l'Enfer.'</i> In the article Benedite makes no mention of Rodin having given the authorization for or supervising the assembly of the portal. In fact the article states, 'During Rodin's last days, M. Benedite gathered in the studio of the rue de l'Universite, all the morceaux of the <i>Porte de l'Enfer</i>, and he was greatly surprised to notice that the monument was complete. It was not lacking one piece. It was a question of joining together and superposing the parts of the portal in order to see it set up in its radiant ensemble.' Surely, if Rodin had initiated the final assembly, his first director would have so indicated to the world in 1917 rather than in 1921. Benedite took a large number of initiatives without Rodin's knowledge and consent, and, ethics asie, he seems to have had the legal authority to do so. Disturbing evidence of Benedite's meddling with Rodin's arrangement of The Gates of Hell is given by Judith Cladel when writing with bitterness during the years 1933-1936 about the last weeks of Rodin's life and the insensitive removal of the artist's sculpture from Meudon to Paris: 'Some of Rodin's scandalized assistants who cast his plasters made it known to me that charged with the reassembly of <i>The Gates of Hell </i>they received orders to place certain figures in a different arrangement than that which the artist wanted, because 'that would be better,' or because the figure of a woman representing a spring (une source) 'must not have the head below.'"[FN 18]</li>
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Once Auguste Rodin became an invalid, he did not stand a chance. Of course, once Auguste Rodin died all bets were off.</div>
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<b><span style="font-size: x-small;">SUMMARY AUTHORIZED POSTHUMOUS CASTING OF THE WORK OF AUGUSTE RODIN</span></b></div>
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<span style="font-size: x-small;">[Excerpt from page 2 of 2] Written and Distributed by the Iris and B. Gerald Cantor Foundation Director Judith Sobol</span></div>
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<span style="font-family: "timesnewromanps";">In 2003 the Oxford University Press 2003 published <i>Rodin's Art, The Rodin Collection Iris & B. Gerald Cantor Center for Visual Arts Stanford University </i>by Albert E. Elsen [d 1995] with Rosalyn Frankel Jamison and edited by Bernard Barryte. On page 174, <i>The Thinker</i> bronze, attributed to Auguste Rodin, is listed as: </span><br />
<i style="font-family: TimesNewRomanPS;"><br /></i>
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<span style="font-size: x-small;"><i style="font-family: TimesNewRomanPS;">The Thinker,</i><span style="font-family: "timesnewromanps";"> (</span><i style="font-family: TimesNewRomanPS;">Le penseur</i><span style="font-family: "timesnewromanps";">), 1880-81, enlarged 1902-04, Title variations: </span><i style="font-family: TimesNewRomanPS;">The Poet, The Thinker-Poet</i><span style="font-family: "timesnewromanps";">, Bronze, George Rudier Foundry, cast 1972, 10/12, 79 x 51 1/2 x 55 1/4 in (200 x 130.8 x 140.3 cm), Signed on bases, to left: A Rodin, Inscribed on back of base: Georges Rudier/Fondeur Paris, Iris and B. Gerald Cantor Foundation, promised gift to the Iris & B. Gerald Cantor Center for Visual Arts at Stanford University, 1988.106"[FN 19]</span></span><br />
<span style="font-family: "timesnewromanps";"><br /></span>
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<span style="font-family: "times" , "times new roman" , serif;"><span style="font-family: "timesnewromanps";"><i>The Thinker, </i> in the </span><span style="font-family: "timesnewromanps";">Iris & B. Gerald Cantor Center for Visual Arts at Stanford University </span><span style="font-family: "timesnewromanps";">listed as number "10/12," is the chronologically the 20th of 22 cast in bronze. This chronology listed below was gleaned from pages 586-587 in the <i>Bronzes of Rodin</i> published by the Musee Rodin in 2007.</span><span style="font-family: "timesnewromanps";">[FN 20]</span></span></div>
<span style="font-family: "timesnewromanps";"><br /></span>
<span style="font-family: "timesnewromanps";">A.A. Hebrard Foundry</span><br />
<span style="font-family: "timesnewromanps";">1 of 22 1903, University of Louisville, Alle R. Hite Art Institute,</span><br />
<span style="font-family: "timesnewromanps";">2 of 22 1904, Copenhagen, Ny Carlsberg Glyptotek,</span><br />
<span style="font-family: "timesnewromanps";"><br /></span>
<span style="font-family: "timesnewromanps";">Alexis Rudier Foundry</span><br />
<span style="font-family: "timesnewromanps";">3 of 22, Detroit Institute of Art,</span><br />
<span style="font-family: "timesnewromanps";">4 of 22 1904, [transferred to the Musee Rodin, 1921],</span><br />
<span style="font-family: "timesnewromanps";">5 of 22 1906, Buenos Aires, Plaza de los Dos Congresso,</span><br />
<span style="font-family: "timesnewromanps";">6 of 22 1909, Stockholm, Prince Eugens Waldemarsudde,</span><br />
<span style="font-family: "timesnewromanps";">7 of 22 1914, San Francisco, California Palace of the Legion of Honor,</span><br />
<span style="font-family: "timesnewromanps";">8 of 22 1916, Cleveland Museum of Art,</span><br />
<span style="font-family: "timesnewromanps";"><br /></span>
<span style="font-family: "timesnewromanps";">Auguste Rodin died November 17, 1917</span><br />
<span style="font-family: "timesnewromanps";"><br /></span>
<span style="font-family: "timesnewromanps";">9 of 22 1917, Rodin's Tomb [commissioned 1917, delivered 1918],</span><br />
<span style="font-family: "timesnewromanps";">10 of 22 1919, Philadelphia, Rodin Museum</span><br />
<span style="font-family: "timesnewromanps";">11 of 22 [acq. 1923], Kyoto, National Musesum [Japan],</span><br />
<span style="font-family: "timesnewromanps";">12 of 22 1925, Bruxelles, Laeken cemetary</span><br />
<span style="font-family: "timesnewromanps";">13 of 22 [acq. 1926], Tokyo, National Museum of Western Art</span><br />
<span style="font-family: "timesnewromanps";">14 of 22 1928, Baltimore Museum of Art</span><br />
<span style="font-family: "timesnewromanps";">15 of 22 1930, New York, Columbia University</span><br />
<span style="font-family: "timesnewromanps";">16 of 22 1942, Moscow, Pushkin Museum</span><br />
<span style="font-family: "timesnewromanps";">17 of 22 1950, Kansas City Parks and Recreation Department, on loan to, Nelson Atkins Museum of Art</span><br />
<span style="font-family: "timesnewromanps";"><br /></span>
<span style="font-family: "timesnewromanps";">Georges Rudier Foundry</span><br />
<span style="font-family: "timesnewromanps";">18 of 22 1965, Shizuoka Prefectoral Museum of Art</span><br />
<span style="font-family: "timesnewromanps";">19 of 22 1966, Bielefeld Kunsthalle</span><br />
<span style="font-family: "timesnewromanps";">20 of 22 [acq. 1968], Stanford Universtiy, Cantor Arts Center</span><br />
<span style="font-family: "timesnewromanps";">21 of 22 [acq. 1969], Pasadena, Norton Simon Art Foundation</span><br />
<span style="font-family: "timesnewromanps";">22 of 22 1974, Nagoya City Museum</span></div>
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<span class="s1">Rhetorically, would it seem the Musee Rodin can't count and the scholarship of the Iris and B. Gerald Cantor Foundation can't be counted on?</span></div>
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<a href="https://2.bp.blogspot.com/-XgCAgUb0PvA/V83HOjRk-AI/AAAAAAAADls/GMpMWporBlUH7rZcKCoJCbWZ_BIXPF6ggCLcB/s1600/Screen%2BShot%2B2016-09-03%2Bat%2B2.51.16%2BPM.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="165" src="https://2.bp.blogspot.com/-XgCAgUb0PvA/V83HOjRk-AI/AAAAAAAADls/GMpMWporBlUH7rZcKCoJCbWZ_BIXPF6ggCLcB/s400/Screen%2BShot%2B2016-09-03%2Bat%2B2.51.16%2BPM.png" width="400" /></a></div>
<div style="text-align: center;">
<b><span style="font-size: x-small;">SUMMARY AUTHORIZED POSTHUMOUS CASTING OF THE WORK OF AUGUSTE RODIN</span></b></div>
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<span style="font-size: x-small;">[Excerpt from page 2 of 2] Written and Distributed by the Iris and B. Gerald Cantor Foundation Director Judith Sobol</span></div>
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FIRST, on page 10 of the U.S. Customs Informed Compliance publication titled: Works of Art, Collector's Pieces, Antiques and other Cultural Property under the subtitle "Original Sculptures and Statuary, in any material," in part, states:</div>
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<ul>
<li>"Heading 9703 covers not only original sculpture made by the sculptor, but also the first 12 castings, replicas or reproductions made from a sculptor’s original work or model, by the sculptor himself or by another artist, with or without a change in scale and whether or not the sculptor is alive at the time the castings, replicas or reproductions are completed."[FN 21]</li>
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Then as if it was bad enough the artist did not even have to create the work attributed to them, in complete contradiction to U.S. Copyright Law 106a Rights of Attribution "shall not apply to any reproduction,"[FN 22] the museum committee recommendations, on page 10 of the U.S. Customs Informed Compliance publication titled: Works of Art, Collector's Pieces, Antiques and other Cultural Property under the subtitle "Original Sculptures and Statuary, in any material," discriminates against artists that do not fit their criteria on what constitutes a sculptor, when it states:</div>
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<li>"The term 'original' has been judicially defined as original in design, conception and execution, as distinguished from the works of skilled craftsmen that are representative of the decorative or industrial arts.<div class="p2">
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<span class="s1">"The standard used in determining whether a creator of a work is a professional </span>sculptor rather than a skilled craftsman is that he be a graduate of a course in sculpture at a recognized school of art (free fine art, not industrial art) or that he be recognized in art circles as a professional sculptor by the acceptance of his work in public exhibitions limited to the free fine arts. Thus, one who has not received the formal education may nevertheless be recognized as a professional sculptor by the merit of his publicly exhibited works.</div>
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<span class="s1">"The limit of sculptures that we allow under heading 9703 in an edition is 12. The </span>reason 12 is used (previously 10) is that fine art is normally very limited. If an artist such as Edgar Degas creates 15 of a particular sculpture only the first 12 or cast numbers 1 through 12 will be allowed in duty free. When an artist such as Salvadore Dali produces more than 50 in an edition, it is no longer fine art and none will be allowed duty free. "[FN 23]</div>
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So, this is a massively false market created by a museum committee and others in 1959 to legitimize non-disclosed lifetime and/or posthumous reproductions and/or forgeries as "originals." Obscenely, it perpetuates the a mythology that a living artist, though nice to have to create and approve their work attributed to them, is no longer necessary. The driving force behind this absurd and discriminatory practice is monetary considerations for the museums and collectors including but not limited to: duty fee customs, admission fees, city-state-federal grants, corporate sponsorship, tax write-offs and outright sales.</div>
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They have no shame.</div>
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SECOND, the College Art Association's <i>Statement of Standards for Sculptural Reproductions and Preventative Measures to Combat Unethical Casting in Bronze</i> was updated in February 17, 2013. The motivation for this updated version by the College Art Association has never been publicly acknowledged but had everything to do with eliminating the term "counterfeit" from the original 1974 text. On March 10, 2011, WTSP and investigative reporter Mike Deeson broadcast investigative piece titled "Tampa Museum's Degas exhibit called counterfeit." The byline was "Jacksonville Artist Gary Arseneau says the Edgar Degas bronze exhibit at the Tampa Museum is one of the largest art frauds in the 20th and 21st century." This exhibition encompassed so-called "Degas Sculptures" from the following museums and cultural institutions: </div>
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<ul>
<li>Ball State University Museum of Art,</li>
<li>Baltimore Museum of Art,</li>
<li>Columbus Museum of Art,</li>
<li>Dallas Museum of Art,</li>
<li>Denver Art Museum, </li>
<li>Flint Institute of Arts,</li>
<li>Musee d'Orsay,</li>
<li>Museum of Fine Arts, Houston,</li>
<li>Nahmed Collection,</li>
<li>National Gallery of Art, Washington, </li>
<li>San Diego Museum of Art,</li>
<li>Smart Museum of Art,</li>
<li>Smithsonian Institution, Hirshhorn Museum and Sculpture Garden,</li>
<li>Art Institute of Chicago,</li>
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and several from corporate collections: Rozven Company Limited and Ravidor Investments Inc. along with two "anonymous" donors.</div>
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These so-called "Degas Sculptures," in this exhibition at the Tampa Museum of Art, were non-disclosed 3rd-generation-removed brass [not bronze] forgeries with counterfeit <i>"Degas"</i> signatures in bogus editions that under the College Art Association's 1974 <i>Standards and Guidelines, Statement on Standards for the Production and Reproduction of Sculpture</i> would be considered "in authentic or counterfeit." Specifically, it states: "any transfer into new material unless specifically condoned by the artist is to be considered inauthentic or counterfeit and should not be acquired or exhibited as works of art."[FN 24]</div>
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Among many subsequent changes made in 2013 guidelines to these 1974 guidelines, the term "counterfeit" was eliminated. The term "counterfeit," referencing the non-disclosed posthumous 3rd-generation-removed brass [not bronze] forgeries with counterfeit <i>"Degas"</i> signatures in bogus editions, just happened to have been used over and over again by WTSP and its investigative reporter Mike Deeson in their March 10, 2011 broadcast investigative piece titled "Tampa Museum's Degas exhibit called counterfeit."</div>
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<span class="s1">Now contrast those ethical guidelines on sculptural reproductions to the Association of Art Museum Directors’ “Statement of Mission,” as adopted in June 1996, in part, states: “The purpose of the Association of Art Museum Directors is to aid its members in establishing and maintaining the highest professional standards for themselves and the museums they represent.”[FN 25]</span></div>
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<span class="s1">PROFESSIONAL PRACTICES IN ART MUSEUMS</span></div>
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<span class="s1">On page 32, Appendix D of the June 2009 Association of Art Museum Director’s <i>Professional Practices in Art Museums</i> booklet, it is written that the: “misleading marketing of reproductions, has created such widespread confusion as to require clarification in order to maintain professional standards. - When producing and/or selling reproductions, 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."[FN 26] The AAMD requires of their members that:</span></div>
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<li>“When producing and/or selling reproductions - signatures, edition numbers, and/or foundry marks on sculpture must not appear on the reproduction.,</li>
<li>"...the fact that they are reproductions should be clearly indicated on the object, [and]</li>
<li>"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 reproductions, he or she is acquiring an original work of art.”[FN 27]</li>
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Rhetorically, does it seem the AAMD's <i>Professional Practice in Art Museum's</i> guidelines <i>versus</i> the College Art Association's 1974 and updated 2013 <i>Standards and Guidelines, Statement on Standards for the Production and Reproduction of Sculpture </i>and the current May 2016 U.S. Customs Informed Compliance publication titled: <i>Works of Art, Collector's Pieces, Antiques and other Cultural under the subtitle "Original Sculptures and Statuary</i>,<i> in any material," </i>are very much like the left and right hand are unaware of each other?</div>
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<b><span style="font-size: x-small;">SUMMARY AUTHORIZED POSTHUMOUS CASTING OF THE WORK OF AUGUSTE RODIN</span></b></div>
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<span style="font-size: x-small;">[Excerpt from page 2 of 2] Written and Distributed by the Iris and B. Gerald Cantor Foundation Director Judith Sobol</span></div>
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Once again, by the Musee Rodin avoiding sending the hypothetical original plasters to the foundry, they have willingly given up the authentic original surface details made by the working fingers of Auguste Rodin himself or that Auguste Rodin approved through his collaboration with his “sculpteur reproducteur habituel”[FN 28] Henri Lebosse and other assistants. Each time the surface of one of these subjects is approximated by the necessary crude handling of the materials used in the reproduction processes, there is visible change. The resulting pieces may be interesting to look at, but it is an absurdity to pretend they are just the way Rodin would have wanted and intended for them to appear.</div>
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Additionally to be obvious, it is the 21st-century, not the "twentieth-century" and the pressing tongue-in-check question that should be on everyone's mind: When in the near future will a dead Auguste Rodin stop coming out with new sculpture? </div>
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LAW, ETHICS AND THE VISUAL ARTS</div>
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<span class="s1">Once again, on pages 816-817 of Kluwer Law International’s published 1998 <i>Law, Ethics and the Visual Arts, Third Edition</i> by John Henry Merryman and Albert E. Elsen, the authors wrote about “Counterfeit Art.” </span>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]</div>
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<span class="s1"> </span></div>
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<span class="s1">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]</span></div>
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<span class="s1"> </span></div>
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<span class="s1">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 31]</span></div>
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<span class="s1"><b>CONCLUSION</b> </span></div>
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<span class="s1">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 exhibition 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 32]</span></div>
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<span class="s1">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.</span></div>
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<span class="s1">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. </span></div>
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<span class="s1"><b>FOOTNOTES:</b></span></div>
<span style="font-size: x-small;">1. <a href="http://thelawdictionary.org/cover-up/">http://thelawdictionary.org/cover-up/</a></span></div>
<div style="text-align: justify;">
<span style="font-size: x-small;"><br /></span>
<br />
<div class="p2">
<span class="s1" style="font-size: x-small;">2.<a href="http://museums.richmond.edu/exhibitions/page.html?eventid=10501&informationid=casDataMuseumExhibition,startdate:2016-09-05,enddate:2016-12-04"><span class="s4">http://museums.richmond.edu/exhibitions/page.html?eventid=10501&informationid=casDataMuseumExhibition,startdate:2016-09-05,enddate:2016-12-04</span></a></span></div>
<div class="p1">
<span style="font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p2">
<span class="s1" style="font-size: x-small;">3. http://www.copyright.gov/title17/92chap1.html#101</span></div>
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<span style="font-size: x-small;"><span class="s1"></span><br /></span></div>
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<span class="s1" style="font-size: x-small;">4. Ibid</span><br />
<span class="s1" style="font-size: x-small;"><br /></span>
<span class="s1" style="font-size: x-small;">5.</span><span style="font-size: x-small;"> </span><span style="font-size: x-small;">http://www.copyright.gov/title17/92chap1.html#106a</span><span style="font-size: x-small;"> </span></div>
<div class="p1">
<span style="font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p2">
<span class="s1" style="font-size: x-small;">6. Page 281, Jean Chatelain’s “Original in Sculpture,” 1981 Rodin Rediscovered ISBN 0-89468-001-3 (pbk)</span></div>
<div class="p1">
<span style="font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p2">
<span class="s1" style="font-size: x-small;">7. Publisher: Yale University Press; First Edition edition (October 27, 1993), ISBN-10: 0300054009, ISBN-13: 978-0300054002</span></div>
<div class="p1">
<span style="font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p2">
<span class="s1" style="font-size: x-small;">8. <a href="http://www.musee-rodin.fr/meudo-e.htm"><span class="s4">www.musee-rodin.fr/meudo-e.htm</span></a></span></div>
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<span style="font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p2">
<span class="s1" style="font-size: x-small;">9. page 249, Publisher: National Gallery of Art,Washington (October 26, 1981), ISBN-10: 0894680005, ISBN-13: 978-0894680007</span></div>
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<span style="font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p2">
<span class="s1" style="font-size: x-small;">10. <a href="http://www.cantorfoundation.org/resources/glossary-of-terms/"><span class="s4">http://www.cantorfoundation.org/resources/glossary-of-terms/</span></a></span></div>
<div class="p1">
<span style="font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p2">
<span class="s1" style="font-size: x-small;">11. Publisher: Collins; 2 edition (January 15, 1992), ISBN-10: 0064610128, ISBN-13: 978-0064610124</span></div>
<div class="p1">
<span style="font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p2">
<span class="s1" style="font-size: x-small;">12. http://www.copyright.gov/title17/92chap1.html#101</span></div>
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<span style="font-size: x-small;"><span class="s1"></span><br /></span></div>
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<span class="s1" style="font-size: x-small;">13. Ibid</span></div>
<div class="p1">
<span style="font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p2">
<span class="s1" style="font-size: x-small;">14. http://www.copyright.gov/title17/92chap1.html#106a</span></div>
<div class="p1">
<span style="font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p2">
<span class="s1" style="font-size: x-small;">15. Publisher: National Gallery of Art,Washington (October 26, 1981), ISBN-10: 0894680005, ISBN-13: 978-0894680007</span></div>
<div class="p1">
<span style="font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p2">
<span class="s1" style="font-size: x-small;">16. Publisher: Yale University Press; First Edition edition (October 27, 1993), ISBN-10: 0300054009, ISBN-13: 978-0300054002</span></div>
<div class="p1">
<span style="font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p2">
<span class="s1" style="font-size: x-small;">17. <a href="http://www.musee-rodin.fr/en/collections/sculptures/gates-hell"><span class="s4">http://www.musee-rodin.fr/en/collections/sculptures/gates-hell</span></a></span></div>
<div class="p1">
<span style="font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p2">
<span class="s1" style="font-size: x-small;">18. Publisher: National Gallery of Art,Washington (October 26, 1981), ISBN-10: 0894680005, ISBN-13: 978-0894680007</span></div>
<div class="p1">
<span style="font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p2">
<span class="s1" style="font-size: x-small;">19. Publisher: Lund Humphries; New edition edition (November 1, 2007), ISBN-10: 2711849392, ISBN-13: 978-2711849390</span></div>
<div class="p1">
<span style="font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p2">
<span class="s1" style="font-size: x-small;">20. Musee Rodin: 978-2-9014-2892-3 © Musee Rodin, Paris 2007, 19, boulevard des Invalides, 75007 Paris</span></div>
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<span style="font-size: x-small;"><span class="s1"></span><br /></span></div>
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<span class="s1" style="font-size: x-small;">21. <a href="https://www.cbp.gov/sites/default/files/documents/icp061_3.pdf"><span class="s4">https://www.cbp.gov/sites/default/files/documents/icp061_3.pdf</span></a></span></div>
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<span style="font-size: x-small;"><span class="s1"></span><br /></span></div>
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<span class="s1" style="font-size: x-small;">22. http://www.copyright.gov/title17/92chap1.html#106a</span></div>
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<span style="font-size: x-small;"><span class="s1"></span><br /></span></div>
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<span class="s1" style="font-size: x-small;">23. <a href="https://www.cbp.gov/sites/default/files/documents/icp061_3.pdf"><span class="s4">https://www.cbp.gov/sites/default/files/documents/icp061_3.pdf</span></a></span></div>
<div class="p1">
<span style="font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p2">
<span class="s1" style="font-size: x-small;">24. http://www.collegeart.org/guidelines/sculpture</span></div>
<div class="p1">
<span style="font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p2">
<span class="s1" style="font-size: x-small;">25. www.aamd.org/AAMDmission.shtml</span></div>
<div class="p1">
<span style="font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p2">
<span class="s1" style="font-size: x-small;">26. <a href="https://aamd.org/sites/default/files/document/2011ProfessionalPracitiesinArtMuseums.pdf"><span class="s4">https://aamd.org/sites/default/files/document/2011ProfessionalPracitiesinArtMuseums.pdf</span></a></span></div>
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<span style="font-size: x-small;"><span class="s1"></span><br /></span></div>
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<span class="s1" style="font-size: x-small;">27. Ibid</span></div>
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<span style="font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p2">
<span class="s1" style="font-size: x-small;">28. Publisher: National Gallery of Art,Washington (October 26, 1981), ISBN-10: 0894680005, ISBN-13: 978-0894680007</span></div>
<div class="p1">
<span style="font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p2">
<span class="s1" style="font-size: x-small;">29. © Kluwer Law International 1998, ISBN: 90-411-0697-9 </span></div>
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<span style="font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p2">
<span class="s1" style="font-size: x-small;">30. Ibid </span></div>
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<span style="font-size: x-small;"><span class="s1"></span><br /></span></div>
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<span class="s1" style="font-size: x-small;">31. Ibid</span></div>
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<span style="font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p1">
</div>
<div class="p2">
<span class="s1" style="font-size: x-small;">32. http://museums.richmond.edu/about/support.html </span></div>
</div>
Gary Arseneauhttp://www.blogger.com/profile/10379667479866306615noreply@blogger.comtag:blogger.com,1999:blog-34909527.post-33386273644214904632016-08-27T15:09:00.000-04:002016-08-29T08:45:16.257-04:00Double Standard, forgeries in the University of Richmond and its Joel and Lila Harnett Museum of Art's collection and exhibitions<div class="separator" style="clear: both; text-align: left;">
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<span class="s1"><b>NOTE:</b> Footnotes are enclosed as <b><span style="font-size: x-small;">[FN ]</span></b>.</span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">Auguste Rodin (French, 1840-1917), </span><i style="font-family: times, "times new roman", serif; font-size: small;">Three Faunesses</i><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">, 1896 (cast 1959), bronze, 9 1/4 x 11/1/2 x 6 1/2 inches, Lent by the Iris & B. Gerald Cantor Foundation</span></div>
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<span class="s1"><span style="color: blue; font-family: "times" , "times new roman" , serif; font-size: x-small;">http://museums.richmond.edu/exhibitions/page.html?eventid=10501&informationid=casDataMuseumExhibition,startdate:2016-08-24,enddate:2016-12-04</span></span></div>
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<span class="s1"><b><span style="font-family: "times" , "times new roman" , serif;">NON-DISCLOSED POSTHUMOUS FORGERY</span></b></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif;">The <b>Rodin, The Human Experience: Selections from the Iris and B. Gerald Cantor Collections </b>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 <i>"A Rodin"</i> signatures in bogus editions.</span></span></div>
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<span style="font-family: "times" , "times new roman" , serif;">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.</span></div>
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<span style="font-family: "times" , "times new roman" , serif;"><span class="s8"><i>“</i></span><span class="s1"><i>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.”</i></span><span class="s8"><i> </i>[Google Translate]</span></span></div>
<div style="color: #333333;">
<b style="font-family: times, "times new roman", serif; line-height: 20.8px;">Musee Rodin curator Antoinette Le Normand-Romain</b><br />
<span style="font-family: "times" , "times new roman" , serif; line-height: 20.8px;">[February 1, 2000 FAX]</span></div>
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<span class="s1">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.</span></div>
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<span class="s1">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.</span></div>
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<span class="s1">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 <i>A. Rodin</i>" and/or as Auguste Rodin's signature. Therefore creating the false impression of the artist's participation and/or approval. </span></div>
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<span class="s1">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.</span></div>
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<span class="s1">Then these non-disclosed second-generation-removed forgeries with counterfeit <i>"A. Rodin"</i> 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.</span></div>
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<span class="s1">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, <b>Rodin, The Human Experience: Selections from the Iris and B. Gerald Cantor Collections</b> 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 <i>Saint John the Baptist Preaching, Monumental Torso of the Walking Man </i>which is an homage to Michelangelo, studies for the monuments to <i>Balzac </i>and for <i>The Burghers of Calais</i>, and works from his masterpiece <i>The Gates of Hell</i>."<b><span style="font-size: x-small;">[FN 1]</span></b></span></div>
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<span class="s1">Rhetorically, how can anything be "by French artist Auguste Rodin" if he was dead [d 1917] when they were made between 1925 and 1995?</span></div>
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<span class="s1">On page 661 of the <i>Seventh Edition of Black's Law Dictionary,</i> -forgery- is defined as: "The act of fraudulently making a false document or altering a real one to be used as if genuine."<b><span style="font-size: x-small;">[FN 2]</span></b></span></div>
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<span class="s1">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."<span style="font-size: x-small;"><b>[FN 3]</b></span></span></div>
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<span class="s1">How can the public "experience art," if the work attributed to dead Auguste Rodin has not even experience it?</span></div>
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<span class="s1">On page 506 of the <i>Seventh Edition of Black's Law Dictionary</i>, <b>double standard</b> is defined as: "A set of principles permitting greater opportunity or greater lenience for one class of people than for another."<b><span style="font-size: x-small;">[FN 4]</span></b></span></div>
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<span class="s1">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 <i>"A Rodin"</i> signatures in bogus edition to be misrepresented as "sculptures by the French artist Auguste Rodin?" </span><br />
<span class="s1"><br /></span>
<span class="s1">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?</span></div>
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<span class="s1">This monograph documents this hubris.</span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif;">RODIN, THE HUMAN EXPERIENCE</span></span></div>
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<span style="font-family: "times" , "times new roman" , serif;"><span style="background-color: white;">On the Joel and Lila Harnett Museum of Art's website, it</span> states: "<span style="background-color: white; line-height: 21.879px;">On view August 17 through December 4, 2016, in the Joel and Lila Harnett Museum of Art, </span><em style="background-color: white; border: 0px; box-sizing: border-box; line-height: 21.879px; margin: 0px; outline: 0px; padding: 0px; text-shadow: transparent 0px 0px 1px; vertical-align: baseline;">Rodin, The Human Experience: Selections from the Iris and B. Gerald Cantor Collections</em><span style="background-color: white; line-height: 21.879px;"> 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."<b><span style="font-size: x-small;">[FN 5]</span></b></span></span></div>
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<div class="p1" style="text-align: justify;">
<span class="s1"><span style="font-family: "times" , "times new roman" , serif;">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 <i>"A Rodin"</i> signatures in bogus editions. Here is their chronological order:</span></span></div>
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<span style="font-family: "times" , "times new roman" , serif;"><span class="s1"><b>1925 </b></span><br /><span class="s1"><b>1 OF 29 Posthumous Forgeries </b></span><br /><span class="s1"><b><br /></b></span><span class="s1">[</span>Iris and B. Gerald Cantor Foundation's Rodin: Figures Checklist] </span></div>
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<a href="http://2.bp.blogspot.com/-Jv5FiyN_g4U/Va0BCN1GrFI/AAAAAAAADKI/ZpfuGC-5B4A/s1600/Screen%2BShot%2B2015-07-15%2Bat%2B7.48.56%2BPM.png" imageanchor="1" style="clear: left; color: #996699; float: left; margin-bottom: 1em; margin-right: 1em; text-decoration: none;"><span style="font-family: "times" , "times new roman" , serif;"><img border="0" height="200" src="https://2.bp.blogspot.com/-Jv5FiyN_g4U/Va0BCN1GrFI/AAAAAAAADKI/ZpfuGC-5B4A/s200/Screen%2BShot%2B2015-07-15%2Bat%2B7.48.56%2BPM.png" style="border: 1px solid rgb(221, 221, 221); padding: 4px;" width="163" /></span></a></div>
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<li><span style="font-family: "times" , "times new roman" , serif;"><span style="color: #990000;">“Artist RODIN, AUGUSTE, Title </span><i style="color: #990000;">SAINT JOHN THE BAPTIST PREACHING, </i><span style="color: #990000;">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: </span><i style="color: #990000;">"A. Rodin," </i><span style="color: #990000;">"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”</span></span></li>
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<span style="font-family: "times" , "times new roman" , serif;"><span class="s1" style="color: #333333; line-height: 1.6em;">On page 184 of the Iris and B. Gerald Cantor Foundation’s published 2001 <i>Rodin, A Magnificent Obsession </i>catalogue, is listed <i>St. John the Baptist Preaching,</i> cast in 1926 by the Alexis Rudier foundry and listed as “Signed <i> A. Rodin.</i>”</span><b style="line-height: 1.6em;"><span style="font-size: x-small;">[FN 6] </span></b><span class="s1" style="color: #333333;"></span></span><br />
<span style="font-family: "times" , "times new roman" , serif;"><b style="line-height: 1.6em;"><span style="font-size: x-small;"><br /></span></b></span>
<span style="font-family: "times" , "times new roman" , serif;"><span style="line-height: 1.6em;"><span style="font-size: xx-small;">Auguste Rodin died in 1917. The dead don't sign.</span></span></span></div>
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<span style="font-family: "times" , "times new roman" , serif;"><span class="s1"><b>1952 </b></span><br /><span class="s1"><b>2 OF 29 Posthumous Forgeries </b></span><br /><span class="s1"><b><br /></b></span><span class="s1">[</span>Iris and B. Gerald Cantor Foundation's Rodin: Figures Checklist] </span></div>
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<a href="http://1.bp.blogspot.com/-3vu7Z08wHZc/Va0BVZ8fn6I/AAAAAAAADKQ/APGlBGPAS6U/s1600/Screen%2BShot%2B2015-07-15%2Bat%2B7.49.56%2BPM.png" imageanchor="1" style="clear: left; color: #996699; float: left; margin-bottom: 1em; margin-right: 1em; text-decoration: none;"><span style="font-family: "times" , "times new roman" , serif;"><img border="0" height="200" src="https://1.bp.blogspot.com/-3vu7Z08wHZc/Va0BVZ8fn6I/AAAAAAAADKQ/APGlBGPAS6U/s200/Screen%2BShot%2B2015-07-15%2Bat%2B7.49.56%2BPM.png" style="border: 1px solid rgb(221, 221, 221); padding: 4px;" width="162" /></span></a></div>
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<ul>
<li><span style="font-family: "times" , "times new roman" , serif;"><span style="color: #990000;">“Artist RODIN, AUGUSTE, Title </span><i style="color: #990000;">IRIS, MESSENGER OF THE GODS, </i><span style="color: #990000;">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, </span><i style="color: #990000;">"A. Rodin"</i><span style="color: #990000;"> 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”</span></span></li>
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<span style="font-family: "times" , "times new roman" , serif;"><span class="s1" style="color: #333333; line-height: 1.6em; text-align: justify;">On page 454 of the <i>Bronzes of Rodin, </i>for the <i>Iris, Messenger of the Gods, </i>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.].”</span><b style="line-height: 1.6em; text-align: justify;"><span style="font-size: x-small;">[FN 7]</span><span style="color: blue;"> </span></b><span style="color: #333333; line-height: 1.6em; text-align: justify;">The Georges Rudier foundry went into business in 1952.</span></span></div>
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<span style="font-family: "times" , "times new roman" , serif;"><span class="s1"><b>1955 </b></span><br /><span class="s1"><b>3 OF 29 Posthumous Forgeries </b></span><br /><span class="s1"><b><br /></b></span><span class="s1">[</span>Iris and B. Gerald Cantor Foundation's Rodin: Figures Checklist] </span></div>
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<a href="http://4.bp.blogspot.com/-GEmrVRoirVY/Va0Bk_nXyMI/AAAAAAAADKY/coF-eFFwZ8g/s1600/Screen%2BShot%2B2015-07-15%2Bat%2B7.52.45%2BPM.png" imageanchor="1" style="clear: left; color: #996699; float: left; margin-bottom: 1em; margin-right: 1em; text-decoration: none;"><span style="font-family: "times" , "times new roman" , serif;"><img border="0" height="200" src="https://4.bp.blogspot.com/-GEmrVRoirVY/Va0Bk_nXyMI/AAAAAAAADKY/coF-eFFwZ8g/s200/Screen%2BShot%2B2015-07-15%2Bat%2B7.52.45%2BPM.png" style="border: 1px solid rgb(221, 221, 221); padding: 4px;" width="157" /></span></a></div>
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<ul>
<li><span style="font-family: "times" , "times new roman" , serif;"><span style="color: #990000;">“Artist RODIN, AUGUSTE, Title </span><i style="color: #990000;">THE BENEDICTIONS, </i><span style="color: #990000;">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”</span></span></li>
</ul>
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<span style="font-family: "times" , "times new roman" , serif;"><span class="s1" style="color: #333333; line-height: 1.6em;">On page 183 of the Iris and B. Gerald Cantor Foundation’s published <i>Rodin, A Magnificent Obsession</i> catalogue,</span><span class="s6" style="color: #333333; line-height: 1.6em;"> </span><span class="s1" style="color: #333333; line-height: 1.6em;"><i>The Benedictions </i>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 <i>A. Rodin</i> and inscribed Georges Rudier Fondeur Paris and © by Musee Rodin 1955, Iris and B. Gerald Cantor Foundation 1386.”</span><b style="line-height: 1.6em;"><span style="font-size: x-small;">[FN 8]</span></b></span></div>
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<span style="font-family: "times" , "times new roman" , serif;"><br /></span>
<span style="font-family: "times" , "times new roman" , serif;">Auguste Rodin died in 1917.</span></div>
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<span style="font-family: "times" , "times new roman" , serif;"><span class="s1" style="color: #333333;">Aside from the fact Auguste Rodin was some 38 years dead in 1955 when this non-disclosed posthumous forgery <i>The Benedictions</i> was "Signed <i>A. Rodin</i>," the Iris and B. Gerald Cantor Foundation's "Checklist," for their 1998 <b>Rodin: Sculpture from the Iris and B. Gerald Collection </b>exhibition at the Nevada Museum of Art, lists this same <i>The Benedictions </i>as having an "Insurance value: $150,000.”</span><b style="color: blue;"><span style="font-size: x-small;">[FN 9]</span></b></span><br />
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<span style="font-family: "times" , "times new roman" , serif;"><span class="s1"><b>AFTER 1952 </b></span><br /><span class="s1"><b>4 OF 29 Posthumous Forgeries </b></span><br /><span class="s1"><b><br /></b></span><span class="s1">[</span>Iris and B. Gerald Cantor Foundation's Rodin: Figures Checklist]</span></div>
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<a href="http://4.bp.blogspot.com/-yUfjMECz5mo/Va0B2ag9mDI/AAAAAAAADKg/bsvqTA05yBw/s1600/Screen%2BShot%2B2015-07-15%2Bat%2B7.51.44%2BPM.png" imageanchor="1" style="clear: left; color: #996699; float: left; margin-bottom: 1em; margin-right: 1em; text-decoration: none;"><span style="font-family: "times" , "times new roman" , serif;"><img border="0" height="200" src="https://4.bp.blogspot.com/-yUfjMECz5mo/Va0B2ag9mDI/AAAAAAAADKg/bsvqTA05yBw/s200/Screen%2BShot%2B2015-07-15%2Bat%2B7.51.44%2BPM.png" style="border: 1px solid rgb(221, 221, 221); padding: 4px;" width="151" /></span></a></div>
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<ul>
<li><span style="font-family: "times" , "times new roman" , serif;"><span style="color: #990000;">“Artist RODIN, AUGUSTE, Title </span><i style="color: #990000;">DANCE MOVEMENT D, </i><span style="color: #990000;">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: "</span><i style="color: #990000;">Rodin</i><span style="color: #990000;"> / No. 1" on sole of her right foot., Owner Iris & B. Gerald Cantor Foundation, Crate # 45, CC ID# 1469, Executed about 1910-11”</span></span></li>
</ul>
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<span style="font-family: "times" , "times new roman" , serif;"><span class="s1" style="color: #333333;">On page 185 of the Iris and B. Gerald Cantor Foundation’s published <i>Rodin, A Magnificent Obsession</i> catalogue, <i>Dance Movement ‘D’ is </i>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 <i>Rodin</i>/No. 1, Iris and B. Gerald Cantor Foundation, 1469.</span><span class="s1" style="color: #333333;">”</span><b style="color: blue;"><span style="font-size: x-small;">[FN 10]</span></b></span></div>
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<span style="font-family: "times" , "times new roman" , serif;"><span class="s1" style="color: #333333;">On page 536 of the Musee Rodin's published 2007 <i>Bronzes of Auguste Rodin </i>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) <i>Dance Movement 'D'</i> 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.</span><span style="font-size: x-small;"><b style="color: blue;">[</b><b style="color: blue;">FN 11]</b></span></span></div>
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<span style="font-family: "times" , "times new roman" , serif;"><span class="s1"><b>1959 </b></span><br /><span class="s1"><b>5 OF 29 Posthumous Forgeries </b></span><br /><span class="s1"><b><br /></b></span><span class="s1">[</span>Iris and B. Gerald Cantor Foundation's Rodin: Figures Checklist] </span></div>
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<a href="http://2.bp.blogspot.com/-5w0rpM0uaeY/Va0CZWOwh7I/AAAAAAAADKo/EaZ3B5mK4Po/s1600/Screen%2BShot%2B2015-07-15%2Bat%2B7.50.28%2BPM.png" imageanchor="1" style="clear: left; color: #996699; float: left; margin-bottom: 1em; margin-right: 1em; text-decoration: none;"><span style="font-family: "times" , "times new roman" , serif;"><img border="0" height="168" src="https://2.bp.blogspot.com/-5w0rpM0uaeY/Va0CZWOwh7I/AAAAAAAADKo/EaZ3B5mK4Po/s200/Screen%2BShot%2B2015-07-15%2Bat%2B7.50.28%2BPM.png" style="border: 1px solid rgb(221, 221, 221); padding: 4px;" width="200" /></span></a></div>
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<ul>
<li><span style="font-family: "times" , "times new roman" , serif;"><span style="color: #990000;">“Artist RODIN, AUGUSTE, Title </span><i style="color: #990000;">THREE FAUNESSES, </i><span style="color: #990000;">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: </span><i style="color: #990000;">"A. Rodin,"</i><span style="color: #990000;"> "G. Rudier Fondeur Paris," “© by musée Rodin 1959”, Owner Iris & B. Gerald Cantor Foundation, Crate # 79, CC ID# 1596, Executed before 1896”</span></span></li>
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<span style="line-height: 1.6em;"><span style="font-family: "times" , "times new roman" , serif;"><br /></span></span></div>
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<span style="line-height: 1.6em;"><span style="font-family: "times" , "times new roman" , serif;">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: </span></span></div>
<ul>
<li><div class="p1">
<span class="s1">“Now on view at the Nelson-Atkins Museum in Kansas City, Rodin’s <i>Three Faunesses </i>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.</span></div>
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<span class="s1">“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.</span></div>
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<span class="s1">“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.</span></div>
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<span class="s1">“Rodin scholar Antoinette Romain says of the 1882 source figure, “this seems to have been one of Rodin’s favorite figures.” Of the <i>Three Faunesses</i>, she notes he always kept a cast of it close to him in his residence in Meudon.”<span style="font-size: x-small;"><b>[FN 12]</b></span></span></div>
</li>
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<span style="font-family: "times" , "times new roman" , serif;"><span class="s1"><b><br /></b></span><span class="s1"><b>1966 </b></span><br /><span class="s1"><b>6 OF 29 Posthumous Forgeries </b></span><br /><span class="s1"><b><br /></b></span><span class="s1">[</span>Iris and B. Gerald Cantor Foundation's Rodin: Figures Checklist] </span></div>
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<a href="http://4.bp.blogspot.com/-B_HqsMdWcyo/Va0DCQWGvXI/AAAAAAAADLA/4hTb4HVrvCs/s1600/Screen%2BShot%2B2015-07-15%2Bat%2B7.48.43%2BPM.png" imageanchor="1" style="clear: left; color: #996699; float: left; margin-bottom: 1em; margin-right: 1em; text-decoration: none;"><span style="font-family: "times" , "times new roman" , serif;"><img border="0" height="200" src="https://4.bp.blogspot.com/-B_HqsMdWcyo/Va0DCQWGvXI/AAAAAAAADLA/4hTb4HVrvCs/s200/Screen%2BShot%2B2015-07-15%2Bat%2B7.48.43%2BPM.png" style="border: 1px solid rgb(221, 221, 221); padding: 4px;" width="150" /></span></a></div>
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<ul>
<li><span style="font-family: "times" , "times new roman" , serif;"><span style="color: #990000;">“Artist RODIN, AUGUSTE, Title </span><i style="color: #990000;">LARGE CLENCHED LEFT HAND, </i><span style="color: #990000;">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: </span><i style="color: #990000;">"A. Rodin,"</i><span style="color: #990000;"> "©by Musée Rodin 1966”, Owner Iris & B. Gerald Cantor Foundation, Crate # 81, CC ID# 2120, Executed Modeled about 1885”</span></span></li>
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<span style="font-family: "times" , "times new roman" , serif;"><span class="s1" style="color: #333333;">On the Iris and B. Gerald Cantor Foundation’s website, this same <i>Clenched Left Hand</i> 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</span><span class="s1" style="color: #333333;">.</span><b style="color: blue;"><span style="font-size: x-small;">[FN 13]</span></b></span></div>
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<span style="font-family: "times" , "times new roman" , serif;">"Originally modeled in 1906" is a red herring because if has nothing to do with this non-disclosed posthumous [1966] forgery with a counterfeit <i>"A Rodin"</i> signature. </span><br />
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<span style="font-family: "times" , "times new roman" , serif;"><span class="s1"><b>1966 </b></span><br /><span class="s1"><b>7 OF 29 Posthumous Forgeries </b></span><br /><span class="s1"><b><br /></b></span><span class="s1">[</span>Iris and B. Gerald Cantor Foundation's Rodin: Figures Checklist] </span></div>
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<a href="http://2.bp.blogspot.com/-7tCqLc0uw8A/Va0DxkzjHCI/AAAAAAAADLI/Gu2LClmllKM/s1600/Screen%2BShot%2B2015-07-15%2Bat%2B7.51.02%2BPM.png" imageanchor="1" style="clear: left; color: #996699; float: left; margin-bottom: 1em; margin-right: 1em; text-decoration: none;"><span style="font-family: "times" , "times new roman" , serif;"><img border="0" height="159" src="https://2.bp.blogspot.com/-7tCqLc0uw8A/Va0DxkzjHCI/AAAAAAAADLI/Gu2LClmllKM/s200/Screen%2BShot%2B2015-07-15%2Bat%2B7.51.02%2BPM.png" style="border: 1px solid rgb(221, 221, 221); padding: 4px;" width="200" /></span></a></div>
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<ul>
<li><span style="font-family: "times" , "times new roman" , serif;"><span style="color: #990000;">“Artist RODIN, AUGUSTE, Title </span><i style="color: #990000;">LARGE HAND OF A PIANIST, </i><span style="color: #990000;">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: </span><i style="color: #990000;">"A. Rodin</i><span style="color: #990000;"> No 9," "Georges Rudier. Fondeur.Paris.-," "©by musée Rodin1969,” Owner Iris & B. Gerald Cantor Foundation, Crate # 79, CC ID# 1488, Executed 1885”</span></span></li>
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<span style="font-family: "times" , "times new roman" , serif;"><span class="s1" style="color: #333333;">On page 187 of the Iris and B. Gerald Cantor Foundation’s published 2001 <i>Rodin, A Magnificent Obsession </i>catalogue, is listed <i>Large Left Hand of a Pianist</i> cast 9/12 in 1969 by the Georges Rudier foundry and listed as “Signed and numbered <i>A. Rodin</i> No. 9.”</span><b style="color: blue;"><span style="font-size: x-small;">[FN 14]</span></b><span style="color: #333333;"> </span><span style="color: #333333;">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.</span></span></div>
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<span style="font-family: "times" , "times new roman" , serif;"><span class="s1"><b>1970 </b></span><br /><span class="s1"><b>8 OF 29 Posthumous Forgeries </b></span><br /><b><br /></b>[Iris and B. Gerald Cantor Foundation's Rodin: Figures Checklist] </span></div>
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<a href="http://2.bp.blogspot.com/-4XpNPyqf5Jk/Va0ET8oVnJI/AAAAAAAADLQ/yIgL2ZqnNt0/s1600/Screen%2BShot%2B2015-07-15%2Bat%2B7.48.09%2BPM.png" imageanchor="1" style="clear: left; color: #996699; float: left; margin-bottom: 1em; margin-right: 1em; text-decoration: none;"><span style="font-family: "times" , "times new roman" , serif;"><img border="0" height="200" src="https://2.bp.blogspot.com/-4XpNPyqf5Jk/Va0ET8oVnJI/AAAAAAAADLQ/yIgL2ZqnNt0/s200/Screen%2BShot%2B2015-07-15%2Bat%2B7.48.09%2BPM.png" style="border: 1px solid rgb(221, 221, 221); padding: 4px;" width="143" /></span></a></div>
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<ul>
<li><span style="font-family: "times" , "times new roman" , serif;"><span style="color: #990000;">“Artist RODIN, AUGUSTE, Title </span><i style="color: #990000;">JEAN D'AIRE, SECOND MAQUETTE, </i><span style="color: #990000;">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: </span><i style="color: #990000;">"A. Rodin,"</i><span style="color: #990000;"> "Susse Fondeur Paris," "© by Musée Rodin 1970,” Owner Iris & B. Gerald Cantor Foundation, Crate # 7, CC ID# 16100, Executed 1885-86”</span></span></li>
</ul>
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<span style="font-family: "times" , "times new roman" , serif;"><br /><span class="s1"><br />"Executed 1885-86" is another red herring because it is a non-disclosed posthumous [1970] forgery with a counterfeit <i>"A Rodin"</i> signature.</span><span class="s1"><b><br /></b></span><span class="s1"><b>1973 </b></span><br /><span class="s1"><b>9 OF 29 Posthumous Forgeries </b></span><br /><span class="s1"><b><br /></b></span><span class="s1">[</span>Iris and B. Gerald Cantor Foundation's Rodin: Figures Checklist] </span></div>
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<a href="http://4.bp.blogspot.com/-fiHeErZwFc8/Vni1YlWoopI/AAAAAAAADTQ/Gh583uLfsPw/s1600/Screen%2BShot%2B2015-12-21%2Bat%2B9.27.54%2BPM.png" imageanchor="1" style="clear: left; color: #996699; float: left; margin-bottom: 1em; margin-right: 1em; text-decoration: none;"><span style="font-family: "times" , "times new roman" , serif;"><img border="0" height="200" src="https://4.bp.blogspot.com/-fiHeErZwFc8/Vni1YlWoopI/AAAAAAAADTQ/Gh583uLfsPw/s200/Screen%2BShot%2B2015-12-21%2Bat%2B9.27.54%2BPM.png" style="border: 1px solid rgb(221, 221, 221); padding: 4px;" width="156" /></span></a></div>
<ul>
<li><span style="font-family: "times" , "times new roman" , serif;"><span style="color: #990000;">“Artist RODIN, AUGUSTE, Title </span><i style="color: #990000;">STANDING FEMALE NUDE COMBING HER HAIR, </i><span style="color: #990000;">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:</span><i style="color: #990000;"> "A. Rodin </i><span style="color: #990000;">No 5," ".Georges Rudier.Fondeur. Paris," "© by musée Rodin 1973," "</span><i style="color: #990000;">A. Rodin”</i><span style="color: #990000;">, Owner Iris and B. Gerald Cantor Foundation, Crate # 49, CC ID# 567, Executed after 1898”</span></span></li>
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<span style="font-family: "times" , "times new roman" , serif;"><span class="s1"><b><br /></b></span></span>
<span style="font-family: "times" , "times new roman" , serif;"><span class="s1">Red herrings are everywhere in the Iris and B. Gerald Cantor Foundation's checklist for their <b>Rodin: The Human Experience </b>collection. The posthumous casting in 1973 from a posthumous plaster reproduction with a posthumously applied counterfeit <i>"A Rodin" </i>signatures has absolutely nothing to do with the phrase "Executed after 1898" other than to potentially confuse the viewer.</span></span><br />
<span style="font-family: "times" , "times new roman" , serif;"><span class="s1"><br /></span><span class="s1"><b><br /></b></span><span class="s1"><b>1973 or later </b></span><br /><span class="s1"><b>10 OF 29 Posthumous Forgeries </b></span><br /><span class="s1"><b><br /></b></span><span class="s1">[</span>Iris and B. Gerald Cantor Foundation's Rodin: Figures Checklist]</span></div>
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<a href="http://2.bp.blogspot.com/-2v0t53xOwwI/Va0EfWacDkI/AAAAAAAADLY/L93k4pGfh-c/s1600/Screen%2BShot%2B2015-07-15%2Bat%2B7.47.47%2BPM.png" imageanchor="1" style="clear: left; color: #996699; float: left; margin-bottom: 1em; margin-right: 1em; text-decoration: none;"><span style="font-family: "times" , "times new roman" , serif;"><img border="0" height="200" src="https://2.bp.blogspot.com/-2v0t53xOwwI/Va0EfWacDkI/AAAAAAAADLY/L93k4pGfh-c/s200/Screen%2BShot%2B2015-07-15%2Bat%2B7.47.47%2BPM.png" style="border: 1px solid rgb(221, 221, 221); padding: 4px;" width="153" /></span></a></div>
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<ul>
<li><span style="font-family: "times" , "times new roman" , serif;"><span style="color: #990000;">“Artist RODIN, AUGUSTE, Title </span><i style="color: #990000;">MASK OF THE MAN WITH THE BROKEN NOSE, </i><span style="color: #990000;">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 </span><i style="color: #990000;">"DON A MR CANTOR"</i><span style="color: #990000;"> and " (c) Musée Rodin". Coubertin stamp., Owner Iris Cantor as Trustee of the Iris Cantor Trust, Crate # 58, CC ID# 148000, Executed 1863-64”</span></span></li>
</ul>
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<span style="color: black; line-height: 1.6em;"><span style="font-family: "times" , "times new roman" , serif;">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. </span></span></div>
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<span style="font-family: "times" , "times new roman" , serif;"><span class="s1"><b>1975 </b></span><br /><span class="s1"><b>11 OF 29 Posthumous Forgeries </b></span><br /><span class="s1"><b><br /></b></span><span class="s1">[</span>Iris and B. Gerald Cantor Foundation's Rodin: Figures Checklist]</span></div>
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<a href="http://3.bp.blogspot.com/-Sxrrz8mTbdc/Va0EsSXwEfI/AAAAAAAADLg/hi6tdka2HXk/s1600/Screen%2BShot%2B2015-07-15%2Bat%2B7.54.41%2BPM.png" imageanchor="1" style="clear: left; color: #996699; float: left; margin-bottom: 1em; margin-right: 1em; text-decoration: none;"><span style="font-family: "times" , "times new roman" , serif;"><img border="0" height="200" src="https://3.bp.blogspot.com/-Sxrrz8mTbdc/Va0EsSXwEfI/AAAAAAAADLg/hi6tdka2HXk/s200/Screen%2BShot%2B2015-07-15%2Bat%2B7.54.41%2BPM.png" style="border: 1px solid rgb(221, 221, 221); padding: 4px;" width="150" /></span></a></div>
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<ul>
<li><span style="font-family: "times" , "times new roman" , serif;"><span style="color: #990000;">“Artist RODIN, AUGUSTE, Title </span><i style="color: #990000;">DESPAIRING ADOLESCENT, </i><span style="color: #990000;">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,</span><i style="color: #990000;">"A. Rodin </i><span style="color: #990000;">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”</span></span></li>
</ul>
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<span style="font-family: "times" , "times new roman" , serif;">Rhetorically in 1975, could a dead Auguste Rodin "signed and numbered" anything?</span><br />
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<span style="font-family: "times" , "times new roman" , serif;"><span class="s1"><b>1975 </b></span><br /><span class="s1"><b>12 OF 29 Posthumous Forgeries </b></span><br /><span class="s1"><b><br /></b></span><span class="s1">[</span>Iris and B. Gerald Cantor Foundation's Rodin: Figures Checklist]</span></div>
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<a href="http://3.bp.blogspot.com/--nnzFq_F-Lo/Va0FMcN48CI/AAAAAAAADLs/uyitk8218G4/s1600/Screen%2BShot%2B2015-07-15%2Bat%2B7.52.58%2BPM.png" imageanchor="1" style="clear: left; color: #996699; float: left; margin-bottom: 1em; margin-right: 1em; text-decoration: none;"><span style="font-family: "times" , "times new roman" , serif;"><img border="0" height="200" src="https://3.bp.blogspot.com/--nnzFq_F-Lo/Va0FMcN48CI/AAAAAAAADLs/uyitk8218G4/s200/Screen%2BShot%2B2015-07-15%2Bat%2B7.52.58%2BPM.png" style="border: 1px solid rgb(221, 221, 221); padding: 4px;" width="145" /></span></a></div>
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<ul>
<li><span style="font-family: "times" , "times new roman" , serif;"><span style="color: #990000;">“Artist RODIN, AUGUSTE, Title </span><i style="color: #990000;">MONUMENTAL HEAD OF JEAN D’AIRE, </i><span style="color: #990000;">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 </span><i style="color: #990000;">"A. Rodin</i><span style="color: #990000;"> 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”</span></span></li>
</ul>
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<span style="font-family: "times" , "times new roman" , serif;"><span class="s1"></span><br /></span></div>
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<span style="font-family: "times" , "times new roman" , serif;"><span class="s1" style="color: #333333; line-height: 1.6em;">On page 179 of the Iris and B. Gerald Cantor Foundation’s published 2001 <i>Rodin, A Magnificent Obsession</i> catalogue, is listed <i>Monumental Head of Jean d’Aire</i> with date of cast unknown by the Georges Rudier foundry and listed as “Signed and numbered <i>A. Rodin</i> No. 5.”</span><span style="font-size: x-small; line-height: 1.6em;"><b style="color: blue;">[FN 15]</b> </span><span style="color: #333333; line-height: 1.6em;">Since, the Georges Rudier foundry went into business in 1952, it could not have been signed and numbered by a dead Auguste Rodin.</span></span></div>
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<span style="font-family: "times" , "times new roman" , serif;"><span class="s1"><b>1978 </b></span><br /><span class="s1"><b>13 OF 29 Posthumous Forgeries </b></span><br /><span class="s1"><b><br /></b></span><span class="s1">[</span>Iris and B. Gerald Cantor Foundation's Rodin: Figures Checklist]</span></div>
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<a href="http://2.bp.blogspot.com/-YLiv4a3VK08/Va0FasfN6iI/AAAAAAAADL0/OG2dhT-avJw/s1600/Screen%2BShot%2B2015-07-15%2Bat%2B7.50.06%2BPM.png" imageanchor="1" style="clear: left; color: #996699; float: left; margin-bottom: 1em; margin-right: 1em; text-decoration: none;"><span style="font-family: "times" , "times new roman" , serif;"><img border="0" height="165" src="https://2.bp.blogspot.com/-YLiv4a3VK08/Va0FasfN6iI/AAAAAAAADL0/OG2dhT-avJw/s200/Screen%2BShot%2B2015-07-15%2Bat%2B7.50.06%2BPM.png" style="border: 1px solid rgb(221, 221, 221); padding: 4px;" width="200" /></span></a></div>
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<li><span style="font-family: "times" , "times new roman" , serif;"><span style="color: #990000;">“Artist RODIN, AUGUSTE, Title</span><i style="color: #990000;">DAMNED WOMEN</i><span style="color: #990000;"> (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, </span><i style="color: #990000;">"A. Rodin</i><span style="color: #990000;"> 2/12" and inscribed, "(c) musée Rodin,” No date noted., Owner Iris & B. Gerald Cantor Foundation, Crate # 79, CC ID# 1603, Executed about 1885”</span></span></li>
</ul>
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<span style="font-family: "times" , "times new roman" , serif;">On page 365 of the Musee Rodin's published 2007 <i>Bronzes of Rodin</i>there are fourteen casts of the <i>Damned Women</i> 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?<br /><br /><br /><span class="s1"></span></span></div>
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<span style="font-family: "times" , "times new roman" , serif;"><span class="s1"><b>1978 </b></span><br /><span class="s1"><b>14 OF 29 Posthumous Forgeries </b></span><br /><span class="s1"><b><br /></b></span><span class="s1">[</span>Iris and B. Gerald Cantor Foundation's Rodin: Figures Checklist]</span></div>
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<a href="http://3.bp.blogspot.com/-yRBBbGijSeE/Va0FpGzxhJI/AAAAAAAADL8/D6UZNZhl7gA/s1600/Screen%2BShot%2B2015-07-15%2Bat%2B7.50.16%2BPM.png" imageanchor="1" style="clear: left; color: #996699; float: left; margin-bottom: 1em; margin-right: 1em; text-decoration: none;"><span style="font-family: "times" , "times new roman" , serif;"><img border="0" height="200" src="https://3.bp.blogspot.com/-yRBBbGijSeE/Va0FpGzxhJI/AAAAAAAADL8/D6UZNZhl7gA/s200/Screen%2BShot%2B2015-07-15%2Bat%2B7.50.16%2BPM.png" style="border: 1px solid rgb(221, 221, 221); padding: 4px;" width="120" /></span></a></div>
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<ul>
<li><span style="font-family: "times" , "times new roman" , serif;"><span style="color: #990000;">“Artist RODIN, AUGUSTE, Title </span><i style="color: #990000;">APHRODITE</i><span style="color: #990000;"> (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: "</span><i style="color: #990000;">A.Rodin </i><span style="color: #990000;">No 9," "E.GODARD Fondr," “© BY MUSÉE RODIN 1978”, Owner Iris & B. Gerald Cantor Foundation, Crate # 48, CC ID# 1599, Executed about 1888”</span></span></li>
</ul>
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<span style="font-family: "times" , "times new roman" , serif;"><span style="line-height: 1.6em; text-align: justify;">On page 134 of the Musee Rodin's published 2007 </span><i style="line-height: 1.6em; text-align: justify;">Bronzes of Rodin</i><span style="line-height: 1.6em; text-align: justify;"> there are thirteen casts of the </span><i style="line-height: 1.6em; text-align: justify;">Aphrodite</i><span style="line-height: 1.6em; text-align: justify;"> listed. Since when does 13 go into an edition of 12 other than for a baker?</span></span></div>
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<span style="font-family: "times" , "times new roman" , serif;"><span class="s1"><b>1978 </b></span><br /><span class="s1"><b>15 OF 29 Posthumous Forgeries </b></span><br /><span class="s1"><b><br /></b></span><span class="s1">[</span>Iris and B. Gerald Cantor Foundation's Rodin: Figures Checklist]</span></div>
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<a href="http://2.bp.blogspot.com/--AOsUeqma30/Va0F0lh8kZI/AAAAAAAADME/Um5b7sfe4Zg/s1600/Screen%2BShot%2B2015-07-15%2Bat%2B7.50.49%2BPM.png" imageanchor="1" style="clear: left; color: #996699; float: left; margin-bottom: 1em; margin-right: 1em; text-decoration: none;"><span style="font-family: "times" , "times new roman" , serif;"><img border="0" height="200" src="https://2.bp.blogspot.com/--AOsUeqma30/Va0F0lh8kZI/AAAAAAAADME/Um5b7sfe4Zg/s200/Screen%2BShot%2B2015-07-15%2Bat%2B7.50.49%2BPM.png" style="border: 1px solid rgb(221, 221, 221); padding: 4px;" width="164" /></span></a></div>
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<li><span style="font-family: "times" , "times new roman" , serif;"><span style="color: #990000;">“Artist RODIN, AUGUSTE, Title </span><i style="color: #990000;">STUDY FOR TORSO OF THE WALKING MAN, </i><span style="color: #990000;">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: "</span><i style="color: #990000;">A. Rodin</i><span style="color: #990000;">no 10," "© By Musee Rodin 1979,” Owner Iris & B. Gerald Cantor Foundation, Crate # 50, CC ID# 1516, Executed 1878-79”</span></span></li>
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<span style="font-family: "times" , "times new roman" , serif;">On page 421 of the Musee Rodin's published 2007 <i>Bronzes of Rodin</i> there are thirteen casts of <i>The Walking Man, Study for the Torso </i>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?</span></div>
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<span style="font-family: "times" , "times new roman" , serif;"><span class="s1"><b>1979 </b></span><br /><span class="s1"><b>16 OF 29 Posthumous Forgeries </b></span><br /><span class="s1"><b><br /></b></span><span class="s1">[</span>Iris and B. Gerald Cantor Foundation's Rodin: Figures Checklist] </span></div>
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<a href="http://1.bp.blogspot.com/-ZqKHlpOvVUQ/Va0F-Zh5raI/AAAAAAAADMM/eE0IEZ8w1y8/s1600/Screen%2BShot%2B2015-07-15%2Bat%2B7.48.31%2BPM.png" imageanchor="1" style="clear: left; color: #996699; float: left; margin-bottom: 1em; margin-right: 1em; text-decoration: none;"><span style="font-family: "times" , "times new roman" , serif;"><img border="0" height="200" src="https://1.bp.blogspot.com/-ZqKHlpOvVUQ/Va0F-Zh5raI/AAAAAAAADMM/eE0IEZ8w1y8/s200/Screen%2BShot%2B2015-07-15%2Bat%2B7.48.31%2BPM.png" style="border: 1px solid rgb(221, 221, 221); padding: 4px;" width="160" /></span></a></div>
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<ul>
<li><span style="font-family: "times" , "times new roman" , serif;"><span style="color: #990000;">“Artist RODIN, AUGUSTE, Title </span><i style="color: #990000;">MEDITATION (WITH ARMS), </i><span style="color: #990000;">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, </span><i style="color: #990000;">"A. Rodin </i><span style="color: #990000;">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”</span></span></li>
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<span style="color: #333333; font-family: "times" , "times new roman" , serif; line-height: 20.8px;">Signed and numbered<i> "A Rodin"</i> 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 "</span><span style="color: #333333; font-family: "times" , "times new roman" , serif; line-height: 20.8px;"><span style="color: black; line-height: 20px; text-align: left;">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?" [</span></span><span style="font-family: "times" , "times new roman" , serif;"><span style="line-height: 20px;">http://www.cantorfoundation.org/foundation/rodin-and-the-cantor-foundation/]</span></span></div>
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<span style="font-family: "times" , "times new roman" , serif;"><span style="color: black; line-height: 20px; text-align: left;">Since when do the dead continue to have achievements? </span><span style="line-height: 20.8px;"> </span></span></div>
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<span style="font-family: "times" , "times new roman" , serif;"><span class="s1"><b>1981 </b></span><br /><span class="s1"><b>17 OF 29 Posthumous Forgeries </b></span><br /><span class="s1"><b><br /></b></span><span class="s1">[</span>Iris and B. Gerald Cantor Foundation's Rodin: Figures Checklist] </span></div>
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<a href="http://4.bp.blogspot.com/-sAK8tE6qtBI/Va0GanHuuXI/AAAAAAAADMU/BlTMUHQpYN0/s1600/Screen%2BShot%2B2015-07-15%2Bat%2B7.49.34%2BPM.png" imageanchor="1" style="clear: left; color: #996699; float: left; margin-bottom: 1em; margin-right: 1em; text-decoration: none;"><span style="font-family: "times" , "times new roman" , serif;"><img border="0" height="200" src="https://4.bp.blogspot.com/-sAK8tE6qtBI/Va0GanHuuXI/AAAAAAAADMU/BlTMUHQpYN0/s200/Screen%2BShot%2B2015-07-15%2Bat%2B7.49.34%2BPM.png" style="border: 1px solid rgb(221, 221, 221); padding: 4px;" width="150" /></span></a></div>
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<ul>
<li><span style="font-family: "times" , "times new roman" , serif;"><span style="color: #990000;">“Artist RODIN, AUGUSTE, Title </span><i style="color: #990000;">IXELLES IDYLL,</i><span style="color: #990000;">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: </span><i style="color: #990000;">"A. Rodin,"</i><span style="color: #990000;"> "No. 4," " by Musée Rodin 1981,” Owner Iris & B. Gerald Cantor Foundation, Crate # 52, CC ID# 1682, Executed 1883-84”</span></span></li>
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<span style="font-family: "times" , "times new roman" , serif;"><span class="s1" style="color: #333333;">In the Iris and B. Gerald Cantor Foundation’s published 2001 <i>Rodin, A Magnificent Obsession</i> catalogue their <i>Idyll of Ixelles</i> 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 <i>A. Rodin</i> No. 4 with Coubertin foundry mark and inscribed © by Musee Rodin 1981, Iris and B. Gerald Cantor Foundation, 1682 (plate 13)</span><span class="s1" style="color: #333333;">"</span><b style="color: blue;"><span style="font-size: x-small;">[FN 16]</span></b></span></div>
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<span style="font-family: "times" , "times new roman" , serif;"><span class="s1"><b>1982 </b></span><br /><span class="s1"><b>18 OF 29 Posthumous Forgeries </b></span><br /><span class="s1"><b><br /></b></span><span class="s1">[</span>Iris and B. Gerald Cantor Foundation's Rodin: Figures Checklist]</span></div>
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<a href="http://2.bp.blogspot.com/-D00fw6M34J4/Va0GtX5m2RI/AAAAAAAADMc/uHG-MCPYPSY/s1600/Screen%2BShot%2B2015-07-15%2Bat%2B7.53.31%2BPM.png" imageanchor="1" style="clear: left; color: #996699; float: left; margin-bottom: 1em; margin-right: 1em; text-decoration: none;"><span style="font-family: "times" , "times new roman" , serif;"><img border="0" height="200" src="https://2.bp.blogspot.com/-D00fw6M34J4/Va0GtX5m2RI/AAAAAAAADMc/uHG-MCPYPSY/s200/Screen%2BShot%2B2015-07-15%2Bat%2B7.53.31%2BPM.png" style="border: 1px solid rgb(221, 221, 221); padding: 4px;" width="156" /></span></a></div>
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<ul>
<li><span style="font-family: "times" , "times new roman" , serif;"><span style="color: #990000;">“Artist RODIN, AUGUSTE, Title </span><i style="color: #990000;">FALLEN CARYATID WITH URN, </i><span style="color: #990000;">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,</span><i style="color: #990000;">"A. Rodin</i><span style="color: #990000;"> 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”</span></span></li>
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<span style="font-family: "times" , "times new roman" , serif;"><b><br /></b><b>1982 </b><br /><b>19 OF 29 Posthumous Forgeries </b><br /><b><br /></b>[Iris and B. Gerald Cantor Foundation's Rodin: Figures Checklist]</span></div>
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<a href="http://1.bp.blogspot.com/-67nr9my0SCQ/Va0G-xXmfSI/AAAAAAAADMk/Ykk9Ki1CY50/s1600/Screen%2BShot%2B2015-07-15%2Bat%2B7.53.44%2BPM.png" imageanchor="1" style="clear: left; color: #996699; float: left; margin-bottom: 1em; margin-right: 1em; text-decoration: none;"><span style="font-family: "times" , "times new roman" , serif;"><img border="0" height="200" src="https://1.bp.blogspot.com/-67nr9my0SCQ/Va0G-xXmfSI/AAAAAAAADMk/Ykk9Ki1CY50/s200/Screen%2BShot%2B2015-07-15%2Bat%2B7.53.44%2BPM.png" style="border: 1px solid rgb(221, 221, 221); padding: 4px;" width="156" /></span></a></div>
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<li><span style="font-family: "times" , "times new roman" , serif;"><span style="color: #990000;">“Artist RODIN, AUGUSTE, Title F</span><i style="color: #990000;">ALLEN CARYATID WITH STONE, </i><span style="color: #990000;">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,</span><i style="color: #990000;">"A. Rodin </i><span style="color: #990000;">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”</span></span></li>
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<span style="font-family: "times" , "times new roman" , serif;"><span class="s1"><b>1983 </b></span><br /><span class="s1"><b>20 OF 29 Forgeries </b></span><br /><span class="s1"><b><br /></b></span><span class="s1">[</span>Iris and B. Gerald Cantor Foundation's Rodin: Figures Checklist] </span></div>
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<a href="http://2.bp.blogspot.com/-Saj8-kEaTow/Va0HKN9loxI/AAAAAAAADMs/GCyG4rzUrd0/s1600/Screen%2BShot%2B2015-07-15%2Bat%2B7.53.20%2BPM.png" imageanchor="1" style="clear: left; color: #996699; float: left; margin-bottom: 1em; margin-right: 1em; text-decoration: none;"><span style="font-family: "times" , "times new roman" , serif;"><img border="0" height="200" src="https://2.bp.blogspot.com/-Saj8-kEaTow/Va0HKN9loxI/AAAAAAAADMs/GCyG4rzUrd0/s200/Screen%2BShot%2B2015-07-15%2Bat%2B7.53.20%2BPM.png" style="border: 1px solid rgb(221, 221, 221); padding: 4px;" width="158" /></span></a></div>
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<li><span style="font-family: "times" , "times new roman" , serif;"><span style="color: #990000;">“Artist RODIN, AUGUSTE, Title </span><i style="color: #990000;">THE NIGHT (DOUBLE FIGURE), </i><span style="color: #990000;">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: </span><i style="color: #990000;">"A. Rodin,"</i><span style="color: #990000;"> “No I/IV," "E. Godard Fondr” "© by MUSEE Rodin 1983,” Owner Iris & B. Gerald Cantor Foundation, Crate # 45, CC ID# 1340, Executed after 1898”</span></span></li>
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<span style="font-family: "times" , "times new roman" , serif;"><span class="s1" style="color: #333333;">On page 185 of the Iris and B. Gerald Cantor Foundation’s published 2001 <i>Rodin, A Magnificent Obsession </i>catalogue, <i>The Night (Double Figure)</i> 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 <i>A. Rodin</i> No. I/IV and inscribed E. Godard Fond and © by MUSEE Rodin 1983, Iris and B. Gerald Cantor Foundation 1340.”</span><b style="color: blue;"><span style="font-size: x-small;"><span style="color: blue;">[</span>FN 17]</span></b></span></div>
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<span style="font-family: "times" , "times new roman" , serif;"><span class="s1" style="color: #333333;">On page 561 of the Musee Rodin's published 2007 <i>The Bronzes of Rodin </i>by Antoinette Le Normand-Romain, the author wrote the Musee Rodin's <i>Night, Two-Figure Assemblage</i> is "No. 0" with "twelve cast by E. Godard from 1980: 1 and 2/8" and "I/IV, © 1983, Los Angeles Cantor Foundation.”</span><b style="color: blue;"><span style="font-size: x-small;"><span style="color: blue;">[</span>FN 18]</span></b></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif;">With so-called edition in eight in Arabic, four in Roman numerals and the Musee Rodin's numbered zero that totals thirteen. </span></span></div>
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<span style="font-family: "times" , "times new roman" , serif;"><span class="s1" style="color: #333333;">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.”</span><b style="color: blue;"><span style="font-size: x-small;">[FN 19]</span></b></span></div>
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<span style="font-family: "times" , "times new roman" , serif;"><span class="s1"><b>1983 </b></span><br /><span class="s1"><b>21 OF 29 Forgeries </b></span><br /><span class="s1"><b><br /></b></span><span class="s1">[</span>Iris and B. Gerald Cantor Foundation's Rodin: Figures Checklist] </span></div>
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<a href="http://4.bp.blogspot.com/-N-q7dbbQeWY/Va0HuoaPRWI/AAAAAAAADM0/SgtHEK93KVM/s1600/Screen%2BShot%2B2015-07-15%2Bat%2B7.53.08%2BPM.png" imageanchor="1" style="clear: left; color: #996699; float: left; margin-bottom: 1em; margin-right: 1em; text-decoration: none;"><span style="font-family: "times" , "times new roman" , serif;"><img border="0" height="176" src="https://4.bp.blogspot.com/-N-q7dbbQeWY/Va0HuoaPRWI/AAAAAAAADM0/SgtHEK93KVM/s200/Screen%2BShot%2B2015-07-15%2Bat%2B7.53.08%2BPM.png" style="border: 1px solid rgb(221, 221, 221); padding: 4px;" width="200" /></span></a></div>
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<li><span style="font-family: "times" , "times new roman" , serif;"><span style="color: #990000;">“Artist RODIN, AUGUSTE, Title</span><i style="color: #990000;">ILLUSIONS RECEIVED BY THE EARTH</i><span style="color: #990000;">(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: </span><i style="color: #990000;">"A. Rodin</i><span style="color: #990000;">/No 1/8," "© by Musée Rodin 1983,” Owner Iris Cantor as Trustee of the Iris Cantor Trust, Crate # 47, CC ID# 1341, Executed 1895”</span></span></li>
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<span style="font-family: "times" , "times new roman" , serif;"><span class="s1" style="color: #333333;">On page 184 of the Iris and B. Gerald Cantor Foundation’s published 2001 <i>Rodin, A Magnificent Obsession </i>catalogue, <i>Illusions Received by the Earth </i>(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 <i>A. Rodin</i>/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.”</span><b style="color: blue;"><span style="font-size: x-small;">[FN 20]</span></b></span></div>
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<span style="font-family: "times" , "times new roman" , serif;"><span class="s1"><b>1983 </b></span><br /><span class="s1"><b>22 OF 29 Forgeries </b></span><br /><span class="s1"><b><br /></b></span><span class="s1">[</span>Iris and B. Gerald Cantor Foundation's Rodin: Figures Checklist] </span></div>
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<a href="http://2.bp.blogspot.com/-UVZ9qjkLDLc/Va0H7OCJDQI/AAAAAAAADM8/bWMT57VWVYU/s1600/Screen%2BShot%2B2015-07-15%2Bat%2B7.52.28%2BPM.png" imageanchor="1" style="clear: left; color: #996699; float: left; margin-bottom: 1em; margin-right: 1em; text-decoration: none;"><span style="font-family: "times" , "times new roman" , serif;"><img border="0" height="200" src="https://2.bp.blogspot.com/-UVZ9qjkLDLc/Va0H7OCJDQI/AAAAAAAADM8/bWMT57VWVYU/s200/Screen%2BShot%2B2015-07-15%2Bat%2B7.52.28%2BPM.png" style="border: 1px solid rgb(221, 221, 221); padding: 4px;" width="160" /></span></a></div>
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<li><span style="font-family: "times" , "times new roman" , serif;"><span style="color: #990000;">“Artist RODIN, AUGUSTE, Title </span><i style="color: #990000;">MONUMENTAL TORSO OF THE WALKING MAN, </i><span style="color: #990000;">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 </span><i style="color: #990000;">"A. Rodin </i><span style="color: #990000;">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"</span></span></li>
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<span style="font-family: "times" , "times new roman" , serif;"><span class="s1" style="color: #333333;">On the Iris and B. Gerald Cantor Foundation’s website, this same <i>Monumental Torso of the Walking Man</i> 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 <i>Torso of the Walking Man</i>, looks mutilated and worn – similar to the fragmented Classical sculptures,”</span><span style="font-size: x-small;"><b style="color: blue;">[FN 21]</b><b style="color: blue;"> </b></span><span style="color: #333333;">with no disclosure it was cast in 1985.</span></span><br />
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<span style="font-family: "times" , "times new roman" , serif;"><span class="s1"><b>1985 </b></span><br /><span class="s1"><b>23 OF 29 Forgeries </b></span><br /><span class="s1"><b><br /></b></span><span class="s1">[</span>Iris and B. Gerald Cantor Foundation's Rodin: Figures Checklist] </span></div>
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<a href="http://3.bp.blogspot.com/-TgnKC4CAIp0/Va0ILGYu7MI/AAAAAAAADNE/7e_GJNpJqAc/s1600/Screen%2BShot%2B2015-07-15%2Bat%2B7.52.17%2BPM.png" imageanchor="1" style="clear: left; color: #996699; float: left; margin-bottom: 1em; margin-right: 1em; text-decoration: none;"><span style="font-family: "times" , "times new roman" , serif;"><img border="0" height="200" src="https://3.bp.blogspot.com/-TgnKC4CAIp0/Va0ILGYu7MI/AAAAAAAADNE/7e_GJNpJqAc/s200/Screen%2BShot%2B2015-07-15%2Bat%2B7.52.17%2BPM.png" style="border: 1px solid rgb(221, 221, 221); padding: 4px;" width="138" /></span></a></div>
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<ul>
<li><span style="font-family: "times" , "times new roman" , serif;"><span style="color: #990000;">“Artist RODIN, AUGUSTE, Title </span><i style="color: #990000;">NARCISSE</i><span style="color: #990000;"> (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: </span><i style="color: #990000;">"A. Rodin</i><span style="color: #990000;">/ 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”</span></span></li>
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<span style="font-family: "times" , "times new roman" , serif;"><span class="s1"><b>1986 </b></span><br /><span class="s1"><b>24 OF 29 Forgeries </b></span><br /><span class="s1"><b><br /></b></span><span class="s1">[</span>Iris and B. Gerald Cantor Foundation's Rodin: Figures Checklist] </span></div>
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<a href="http://1.bp.blogspot.com/-UuDiDJJO1F0/Va0Iaj_keqI/AAAAAAAADNM/xNkcdxFC49Q/s1600/Screen%2BShot%2B2015-07-15%2Bat%2B7.51.55%2BPM.png" imageanchor="1" style="clear: left; color: #996699; float: left; margin-bottom: 1em; margin-right: 1em; text-decoration: none;"><span style="font-family: "times" , "times new roman" , serif;"><img border="0" height="153" src="https://1.bp.blogspot.com/-UuDiDJJO1F0/Va0Iaj_keqI/AAAAAAAADNM/xNkcdxFC49Q/s200/Screen%2BShot%2B2015-07-15%2Bat%2B7.51.55%2BPM.png" style="border: 1px solid rgb(221, 221, 221); padding: 4px;" width="200" /></span></a></div>
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<ul>
<li><span style="font-family: "times" , "times new roman" , serif;"><span style="color: #990000;">“Artist RODIN, AUGUSTE, Title </span><i style="color: #990000;">TRAGIC MUSE, </i><span style="color: #990000;">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:</span><i style="color: #990000;">"A Rodin </i><span style="color: #990000;">No 3/8," "E. GODARD FONDEUR," "©BY MUSEE Rodin 1986”, Owner Iris & B. Gerald Cantor Foundation, Crate # 50, CC ID# 1446, Executed 1894-96”</span></span></li>
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<span style="font-family: "times" , "times new roman" , serif;"><span class="s1"><b>1987 </b></span><br /><span class="s1"><b>25 OF 29 Forgeries </b></span><br /><span class="s1"><b><br /></b></span><span class="s1">[</span>Iris and B. Gerald Cantor Foundation's Rodin: Figures Checklist]</span></div>
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<a href="http://2.bp.blogspot.com/-BUcu5xnVt5E/Va0Io1vHrHI/AAAAAAAADNU/HqkbVa8Z--s/s1600/Screen%2BShot%2B2015-07-15%2Bat%2B7.52.07%2BPM.png" imageanchor="1" style="clear: left; color: #996699; float: left; margin-bottom: 1em; margin-right: 1em; text-decoration: none;"><span style="font-family: "times" , "times new roman" , serif;"><img border="0" height="200" src="https://2.bp.blogspot.com/-BUcu5xnVt5E/Va0Io1vHrHI/AAAAAAAADNU/HqkbVa8Z--s/s200/Screen%2BShot%2B2015-07-15%2Bat%2B7.52.07%2BPM.png" style="border: 1px solid rgb(221, 221, 221); padding: 4px;" width="157" /></span></a></div>
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<li><span style="font-family: "times" , "times new roman" , serif;"><span style="color: #990000;">“Artist RODIN, AUGUSTE, Title </span><i style="color: #990000;">TOILETTE OF VENUS AND ANDROMEDE, </i><span style="color: #990000;">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, </span><i style="color: #990000;">"A.Rodin</i><span style="color: #990000;"> 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”</span></span></li>
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<span style="font-family: "times" , "times new roman" , serif;"><span class="s1"><b>1988 </b></span><br /><span class="s1"><b>26 OF 29 Forgeries </b></span><br /><span class="s1"><b><br /></b></span><span class="s1">[</span>Iris and B. Gerald Cantor Foundation's Rodin: Figures Checklist] </span></div>
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<a href="http://4.bp.blogspot.com/-SWepW8cpA1A/Va0IyTUwG7I/AAAAAAAADNc/Sxin6s86KIc/s1600/Screen%2BShot%2B2015-07-15%2Bat%2B7.50.39%2BPM.png" imageanchor="1" style="clear: left; color: #996699; float: left; margin-bottom: 1em; margin-right: 1em; text-decoration: none;"><span style="font-family: "times" , "times new roman" , serif;"><img border="0" height="200" src="https://4.bp.blogspot.com/-SWepW8cpA1A/Va0IyTUwG7I/AAAAAAAADNc/Sxin6s86KIc/s200/Screen%2BShot%2B2015-07-15%2Bat%2B7.50.39%2BPM.png" style="border: 1px solid rgb(221, 221, 221); padding: 4px;" width="165" /></span></a></div>
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<li><span style="font-family: "times" , "times new roman" , serif;"><span style="color: #990000;">“Artist RODIN, AUGUSTE, Title</span><i style="color: #990000;"> BUST OF YOUNG BALZAC, </i><span style="color: #990000;">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: </span><i style="color: #990000;">"A. Rodin</i><span style="color: #990000;">/No II/IV," "E. Godard Fondr,” "©BY Musée Rodin 1988”, Owner Iris & B. Gerald Cantor Foundation, Crate # 4, CC ID# 1579, Executed 1893”</span></span></li>
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<span style="font-family: "times" , "times new roman" , serif;"><span class="s1"><b>1995 </b></span><br /><span class="s1"><b>27 OF 29 Forgeries </b></span><br /><span class="s1"><b><br /></b></span><span class="s1">[</span>Iris and B. Gerald Cantor Foundation's Rodin: Figures Checklist]</span></div>
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<a href="http://2.bp.blogspot.com/-ycIK2QSqYq4/Va0JSSwoa_I/AAAAAAAADNk/71quMkDu3Lo/s1600/Screen%2BShot%2B2015-07-15%2Bat%2B7.49.44%2BPM.png" imageanchor="1" style="clear: left; color: #996699; float: left; margin-bottom: 1em; margin-right: 1em; text-decoration: none;"><span style="font-family: "times" , "times new roman" , serif;"><img border="0" height="200" src="https://2.bp.blogspot.com/-ycIK2QSqYq4/Va0JSSwoa_I/AAAAAAAADNk/71quMkDu3Lo/s200/Screen%2BShot%2B2015-07-15%2Bat%2B7.49.44%2BPM.png" style="border: 1px solid rgb(221, 221, 221); padding: 4px;" width="140" /></span></a></div>
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<li><span style="font-family: "times" , "times new roman" , serif;"><span style="color: #990000;">“Artist RODIN, AUGUSTE, Title </span><i style="color: #990000;">MONUMENTAL HEAD OF THE SHADE, </i><span style="color: #990000;">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: </span><i style="color: #990000;">"A.Rodin </i><span style="color: #990000;">No II/IV,'" "E. GODARD Fondr,” "©by MUSEE Rodin 1995,” Owner Iris & B. Gerald Cantor Foundation, Crate # 12, CC ID# 1681, Executed about 1880”</span></span></li>
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<span style="font-family: "times" , "times new roman" , serif;"><span class="s1"><b>1995 </b></span><br /><span class="s1"><b>28 OF 29 Forgeries </b></span><br /><span class="s1"><b><br /></b></span><span class="s1">[</span>Iris and B. Gerald Cantor Foundation's Rodin: Figures Checklist]</span></div>
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<li><span style="font-family: "times" , "times new roman" , serif;"><span style="color: #990000;">“Artist RODIN, AUGUSTE, Title </span><i style="color: #990000;">ECCLESIASTES,</i><span style="color: #990000;">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: </span><i style="color: #990000;">"A. Rodin</i><span style="color: #990000;">/ No II/IV,” “E.GODARD Fondr" ," "©By MUSEE Rodin 1995,” Owner Iris & B. Gerald Cantor Foundation, Crate # 45, CC ID# 1683, Executed 1898”</span></span></li>
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<span style="font-family: "times" , "times new roman" , serif;"><span class="s1" style="color: #333333;">On page 185 of the Iris and B. Gerald Cantor Foundation’s published 2001 <i>Rodin, A Magnificent Obsession </i>catalogue, <i>Ecclesiastes</i>, 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 <i>A. Rodin</i> No. II/IV and inscribed E. GODARD Fondr and © BY MUSEE Rodin 1995, Iris and B. Gerald Cantor Foundation, 1683.”</span><b style="color: blue;"><span style="font-size: x-small;">[FN 22]</span></b></span></div>
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<span style="font-family: "times" , "times new roman" , serif;"><span class="s1" style="color: #333333;">On page 310 of the Philadelphia Museum of Art's published 1976 <i>Sculpture of Auguste Rodin</i> by John Tancock, the author wrote of the Auguste Rodin's "Ecclesiastes" plaster, in the museum's collection as "not signed and inscribed.”</span><b style="color: blue;"><span style="font-size: x-small;">[FN 23]</span></b></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif;">PLASTER NOT SIGNED - POSTHUMOUS CAST SIGNED </span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif;">So, if Auguste Rodin did not sign an <i>Ecclesiastes</i> 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 <i>Ecclesiastes</i> bronze, "Signed and numbered by<i> A. Rodin</i>" in 1995, some 78 years after his death? </span></span></div>
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<span style="font-family: "times" , "times new roman" , serif;"><span class="s1" style="color: #333333;">On page 354 of the<i> Seventh Edition of Black's Law Dictionary</i>, -counterfeit- is defined as: "To forge, copy, or imitate (something) without the right to do so and with the purpose of deceiving or defrauding.”</span><b style="color: blue;"><span style="font-size: x-small;">[FN 24]</span></b></span></div>
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<span style="font-family: "times" , "times new roman" , serif;"><span class="s1"><b>1995 </b></span><br /><span class="s1"><b>29 OF 29 Forgeries </b></span><br /><span class="s1"><b><br /></b></span><span class="s1">[</span>Iris and B. Gerald Cantor Foundation's Rodin: Figures Checklist]</span></div>
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<a href="http://2.bp.blogspot.com/-60TZikjjAvI/Va0J14VCU7I/AAAAAAAADN0/E9bXCtFHTYQ/s1600/Screen%2BShot%2B2015-07-15%2Bat%2B7.49.13%2BPM.png" imageanchor="1" style="clear: left; color: #996699; float: left; margin-bottom: 1em; margin-right: 1em; text-decoration: none;"><span style="font-family: "times" , "times new roman" , serif;"><img border="0" height="200" src="https://2.bp.blogspot.com/-60TZikjjAvI/Va0J14VCU7I/AAAAAAAADN0/E9bXCtFHTYQ/s200/Screen%2BShot%2B2015-07-15%2Bat%2B7.49.13%2BPM.png" style="border: 1px solid rgb(221, 221, 221); padding: 4px;" width="157" /></span></a></div>
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<li><span style="font-family: "times" , "times new roman" , serif;"><span style="color: #990000;">“Artist RODIN, AUGUSTE, Title </span><i style="color: #990000;">FINAL HEAD OF EUSTACHE DE ST. PIERRE, </i><span style="color: #990000;">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: </span><i style="color: #990000;">"A.Rodin</i><span style="color: #990000;">/ No II/IV," "E. Godard Fondr ," “© By MUSÉE Rodin 1995,” Owner Iris & B. Gerald Cantor Foundation, Crate # 15, CC ID# 1685, Executed about 1886”</span></span></li>
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<span style="color: black; line-height: normal;"><span style="font-family: "times" , "times new roman" , serif;">THE JOEL AND LILA HARNETT MUSEUM OF ART</span></span></div>
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<span style="font-family: "times" , "times new roman" , serif;"><span style="color: black; line-height: normal;">On the University of Richmond's website, it states: "</span><span style="background-color: #f4f3f3; color: #3d3d3d; line-height: 21.879px;">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."<b><span style="font-size: x-small;">[FN 25]</span></b></span></span><br />
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<span style="color: #3d3d3d; font-family: "times" , "times new roman" , serif;"><span style="background-color: #f4f3f3; line-height: 21.879px;">The following examples from the museum collections shows it has a way to go in their "art research and scholarship."</span></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><span class="s1"><i>Disparate de miedo</i> (Folly of Fear), from the series Los Disparates (The Follies), </span><span class="s1">Date: 1812-1820, </span>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</span></div>
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<span class="s2"><a href="http://museumcollections.richmond.edu/Obj2790?sid=58081&x=3539"><span style="color: blue; font-family: "times" , "times new roman" , serif; font-size: x-small;">http://museumcollections.richmond.edu/Obj2790?sid=58081&x=3539</span></a></span></div>
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<b><span style="font-family: "times" , "times new roman" , serif;">NON-DISCLOSED POSTHUMOUS IMPRESSION</span></b></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif;">LOS DISPARATES?</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif;"><span style="background-color: white;">On the Joel and Lila Harnett Museum of Art's website, t</span>he <i>Disparate de miedo</i> (Folly of Fear), from the series <i>Los Disparates</i> (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.</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif;">This fact is confirmed on page 196 of Tomas Harris’ 1983 <i>Goya Engravings and Lithographs I, Complete Illustrated Catalogue</i>, 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.”<span style="font-size: x-small;"><b>[FN 26]</b></span></span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif;">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.</span></span></div>
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<span style="font-family: "times" , "times new roman" , serif;"><span class="s1">In other words, anything posthumously made would be, at best, a reproduction and u</span>nder U.S. Copyright Law 106A, the Rights of Attribution "shall not apply to any reproduction."<b><span style="font-size: x-small;">[FN 27]</span></b></span></div>
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<span style="font-family: "times" , "times new roman" , serif;"><span class="s1">LEFT: </span><span style="font-size: x-small;">Plate 43 from 'Los Caprichos': <i>The sleep of reason produces monsters</i> (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)</span></span></div>
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<span class="s2"><a href="http://www.metmuseum.org/toah/works-of-art/18.64.43/"><span style="color: blue; font-family: "times" , "times new roman" , serif; font-size: x-small;">http://www.metmuseum.org/toah/works-of-art/18.64.43/</span></a></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif;"><b style="text-align: justify;">ORIGINAL LIFETIME ETCHING</b></span></span><br />
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<span style="font-family: "times" , "times new roman" , serif;">RIGHT: <span style="font-size: x-small;"><i>El sueño de la razón produce monstruos </i>(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</span></span></div>
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<span style="font-family: "times" , "times new roman" , serif;">LEFT:<span style="font-size: x-small;"> Detail - Plate 43 from 'Los Caprichos': <i>The sleep of reason produces monsters </i>(El sueño de la razon produce monstruos)</span></span></div>
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<span class="s2"><a href="http://www.metmuseum.org/toah/works-of-art/18.64.43/"><span style="color: blue; font-family: "times" , "times new roman" , serif; font-size: x-small;">http://www.metmuseum.org/toah/works-of-art/18.64.43/</span></a></span></div>
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<span style="font-family: "times" , "times new roman" , serif;"><span class="s1"><b style="text-align: justify;">TITLE CONTRAST STRONGLY</b></span></span><br />
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<span style="font-family: "times" , "times new roman" , serif;"><span class="s1">RIGHT: <span style="font-size: x-small;">Detail - </span></span><span style="font-size: x-small;"><i>El sueño de la razón produce monstruos</i> (The Sleep of Reason Produces Monsters)</span></span></div>
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<span class="s1"><span style="color: blue; font-family: "times" , "times new roman" , serif; font-size: x-small;"><a href="http://museumcollections.richmond.edu/Obj137?sid=24128&x=3308">http://museumcollections.richmond.edu/Obj137?sid=24128&x=3308</a> </span></span></div>
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<span style="font-family: "times" , "times new roman" , serif;"><b style="text-align: justify;">TITLE LESS STRONG - ALMOST ILLEGIBLE</b></span></div>
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<span style="font-family: "times" , "times new roman" , serif;">LOS CAPRICHOS?</span><br />
<span style="font-family: "times" , "times new roman" , serif;"><span style="background-color: white; text-align: justify;">On the Joel and Lila Harnett Museum of Art's website, t</span><span style="text-align: justify;">he <i>The sleep of reason produces monsters </i>(El sueno-de la razon produce monstrous)</span><span style="text-align: justify;"> from the series </span><i style="text-align: justify;">Los Caprichos</i><span style="text-align: justify;"> 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.</span></span><br />
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<span style="font-family: "times" , "times new roman" , serif;">This can be confirmed in Tomas Harris’ 1983 <i>Goya Engravings and Lithographs II, Complete Illustrated Catalogue</i>, Francisco de Goya’s Plate 43 of his Caprichos series titled <i>El Sueno de la Razon Produce Montruos, The Sleep of reason produces monsters.</i> 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.”<span style="font-size: x-small;"><b>[FN 28]</b></span></span></div>
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<span style="font-family: "times" , "times new roman" , serif;">Additionally, on page 116 of this same catalogue, Tomas Harris wrote the Fourth to Twelfth Editions for plate 43 titled <i>El Sueno de la Razon Produce Montruos, The Sleep of reason produces monsters “</i>the title becomes almost illegible.”</span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif;">Rhetorically, is the title [on the right above] in the <i>El Sueno de la Razon Produce Montruos, The Sleep of reason produces monsters,"</i> 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?</span></span></div>
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<i style="font-family: times, "times new roman", serif; font-size: small;">Con raizon o sin ella</i><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"> (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</span><br />
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<span class="s1"><span style="color: blue; font-family: "times" , "times new roman" , serif; font-size: x-small;">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</span></span><br />
<b><span style="font-family: "times" , "times new roman" , serif;">ORIGINAL LIFETIME ETCHING</span></b><br />
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<span style="font-family: "times" , "times new roman" , serif;"><span style="font-size: x-small;"><i>Con razón o sin ella, </i>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</span></span></div>
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<span class="s1"><span style="color: blue; font-family: "times" , "times new roman" , serif; font-size: x-small;">http://museumcollections.richmond.edu/</span></span><br />
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<span style="font-family: "times" , "times new roman" , serif;">DISASTERS OF WAR?</span></div>
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<span style="font-family: "times" , "times new roman" , serif;"><span style="background-color: white;">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].</span></span><br />
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<span class="s1">DETAIL: <span style="font-size: x-small;"><i>Con raizon o sin ella</i> (Rightly or wrongly)</span></span></div>
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<span class="s1"><span style="color: blue; font-size: x-small;">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</span></span></div>
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<span class="s1"><b>GOYA HAND-WRITTEN TITLE</b></span></div>
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<a href="https://4.bp.blogspot.com/-CtboLxE7mEM/V8IOzNY62hI/AAAAAAAADf0/j_EN7gep7DAlMC6xZl1XkjBl0W7LnGmlwCLcB/s1600/Screen%2BShot%2B2016-08-27%2Bat%2B6.04.45%2BPM.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="84" src="https://4.bp.blogspot.com/-CtboLxE7mEM/V8IOzNY62hI/AAAAAAAADf0/j_EN7gep7DAlMC6xZl1XkjBl0W7LnGmlwCLcB/s640/Screen%2BShot%2B2016-08-27%2Bat%2B6.04.45%2BPM.png" width="640" /></a></div>
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<span class="s1">DETAIL:<i> </i><span style="font-size: x-small;"><i>Con razón o sin ella</i></span></span></div>
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<span class="s1" style="color: blue; font-size: x-small;">http://museumcollections.richmond.edu/</span></div>
<b style="font-family: times, "times new roman", serif;"><span style="font-family: "times" , "times new roman" , serif;">POSTHUMOUSLY PRINTED TITLE </span></b><br />
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Notice the above title for the British Museum's <i>Con raizon o sin ella</i> was actually written by hand by Francisco de Goya. Whereas the <span style="background-color: white;">Joel and Lila Harnett Museum of Art's <i>Con razon o sin ella</i> has a printed title added posthumously in 1863. Additionally, notice the dramatic difference between the British Museum's </span> <i>Con raizon o sin ella</i> that is light and airy <i>versus</i> the Joel and Lila Harnett Museum of Art's posthumous <i>Con razon o sin ella</i> which has been darken with the posthumous addition of aquatint and lines.<br />
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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.<br />
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<span style="font-family: "times" , "times new roman" , serif;">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."<span style="font-size: x-small;"><b>[FN 29]</b></span></span><br />
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<span class="s1" style="font-size: x-small;"><i>Amarga presencia</i> (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</span></div>
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<span class="s1" style="font-size: x-small;">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</span><br />
<span style="color: blue; font-size: x-small;">http://museumcollections.richmond.edu/Obj19712?sid=58081&x=5034</span></div>
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<span class="s1" style="font-size: x-small;"><i><br /></i></span><span class="s1" style="font-size: x-small;"><i><br /></i></span><span class="s1" style="font-size: x-small;"><i>Carretadas al Cementerio</i> (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</span><br />
<span style="color: blue;">http://museumcollections.richmond.edu/Obj9516?sid=58081&x=5035</span></div>
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<span class="s1" style="font-size: x-small;"><i>Clamores en vano</i> (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,</span><br />
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<span style="color: blue; font-size: x-small;">http://museumcollections.richmond.edu/Obj2780?sid=58081&x=5036</span></div>
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<span class="s1" style="font-size: x-small;"><i><br /></i></span><span class="s1" style="font-size: x-small;"><i>Enterrar y callar</i> (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</span><br />
<span style="color: blue; font-size: x-small;">http://museumcollections.richmond.edu/Obj20652?sid=58081&x=5040</span></div>
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<b>NON-DISCLOSED POSTHUMOUS FORGERY</b></div>
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<a href="https://3.bp.blogspot.com/-DVB5LGYfJKo/V8LSpEurUYI/AAAAAAAADgs/WXT59Q-fhVoRGjT5kmuc7vqZjcirziLBgCLcB/s1600/H2006.29.02.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://3.bp.blogspot.com/-DVB5LGYfJKo/V8LSpEurUYI/AAAAAAAADgs/WXT59Q-fhVoRGjT5kmuc7vqZjcirziLBgCLcB/s1600/H2006.29.02.jpg" /></a></div>
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<span class="s1" style="font-size: x-small;"><i>Devocion!</i> (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</span><br />
<span style="color: blue; font-size: x-small;">http://museumcollections.richmond.edu/Obj9517?sid=58081&x=5041</span></div>
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<b>NON-DISCLOSED POSTHUMOUS FORGERY</b></div>
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<a href="https://3.bp.blogspot.com/-6U1Qar65JVU/V8LTUpsUXNI/AAAAAAAADg8/o_uHjXP8Zlo1gCsaW34g3Se8dAwfr8oDQCLcB/s1600/H2003.11.01.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://3.bp.blogspot.com/-6U1Qar65JVU/V8LTUpsUXNI/AAAAAAAADg8/o_uHjXP8Zlo1gCsaW34g3Se8dAwfr8oDQCLcB/s1600/H2003.11.01.jpg" /></a></div>
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<span class="s1" style="font-size: x-small;"><i>Las mujeres dan valor</i> (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 </span><br />
<span style="color: blue; font-size: x-small;">http://museumcollections.richmond.edu/Obj3029?sid=58081&x=5044</span></div>
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<span class="s1"><b>NON-DISCLOSED POSTHUMOUS FORGERY</b></span></div>
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<a href="https://3.bp.blogspot.com/-ugJVp6iuNl4/V8LUGLp0_JI/AAAAAAAADhE/v8JYDzv1JZETOiO5L0b42s8r5v8iAk9hACLcB/s1600/H2003.11.04.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://3.bp.blogspot.com/-ugJVp6iuNl4/V8LUGLp0_JI/AAAAAAAADhE/v8JYDzv1JZETOiO5L0b42s8r5v8iAk9hACLcB/s1600/H2003.11.04.jpg" /></a></div>
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<span class="s1" style="font-size: x-small;"><i>No hay quien los socorra</i> (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</span><br />
<span style="color: blue; font-size: x-small;">http://museumcollections.richmond.edu/Obj3028?sid=58081&x=5046</span></div>
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<span class="s1"><b>NON-DISCLOSED POSTHUMOUS FORGERY</b></span></div>
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<a href="https://2.bp.blogspot.com/-FhmoVK-n5QU/V8LUtLu3bII/AAAAAAAADhM/ap7R-lDDC6AR1_gqCw9Bs7ilAZneUWdaACLcB/s1600/H2003.11.02-1.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://2.bp.blogspot.com/-FhmoVK-n5QU/V8LUtLu3bII/AAAAAAAADhM/ap7R-lDDC6AR1_gqCw9Bs7ilAZneUWdaACLcB/s1600/H2003.11.02-1.jpg" /></a></div>
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<span class="s1" style="font-size: x-small;"><i>No llegan a tiempo </i>(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 </span><br />
<span style="color: blue; font-size: x-small;">http://museumcollections.richmond.edu/Obj3273?sid=58081&x=5047</span></div>
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<a href="https://2.bp.blogspot.com/-HJvlsK1d46c/V8LVTBz11qI/AAAAAAAADhU/kw2HHG0AuU4uDv3b2rM67gaR6a63CTTawCLcB/s1600/H2011.21.04.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://2.bp.blogspot.com/-HJvlsK1d46c/V8LVTBz11qI/AAAAAAAADhU/kw2HHG0AuU4uDv3b2rM67gaR6a63CTTawCLcB/s1600/H2011.21.04.jpg" /></a></div>
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<span class="s1" style="font-size: x-small;"><i>También estos</i> (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</span><br />
<span style="color: blue; font-size: x-small;">http://museumcollections.richmond.edu/Obj19717?sid=58081&x=5048</span></div>
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<a href="https://3.bp.blogspot.com/-FeS6o2QQI4g/V8LWBG8bOYI/AAAAAAAADhg/CQPYuN_aIjEi2S_8F5evYMFoHkhmfYsNgCLcB/s1600/H2011.21.03-1.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://3.bp.blogspot.com/-FeS6o2QQI4g/V8LWBG8bOYI/AAAAAAAADhg/CQPYuN_aIjEi2S_8F5evYMFoHkhmfYsNgCLcB/s1600/H2011.21.03-1.jpg" /></a></div>
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<span style="font-size: x-small;"><i>Tanto y más</i> (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</span><br />
<span style="color: blue; font-size: x-small;">http://museumcollections.richmond.edu/Obj19714?sid=58081&x=5049</span></div>
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<span style="font-family: "times" , "times new roman" , serif;"><span style="text-align: start;">Since the following two <i>Los Caprichos</i> 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 <i>El sueño de la razón produce monstruos </i></span><span style="text-align: start;">(The Sleep of Reason Produces Monsters), are these two also posthumous impressions? </span></span><br />
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<a href="https://2.bp.blogspot.com/-pMce26RCSHM/V8LhmH_w1MI/AAAAAAAADhw/2FkJ0Uq7KYgm81hrNhZ5K9NjeRyJW7yLQCLcB/s1600/M1996.01.52.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://2.bp.blogspot.com/-pMce26RCSHM/V8LhmH_w1MI/AAAAAAAADhw/2FkJ0Uq7KYgm81hrNhZ5K9NjeRyJW7yLQCLcB/s1600/M1996.01.52.jpg" /></a></div>
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<span style="font-size: x-small;"><i>Trials</i> 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</span><br />
<span style="color: blue; font-size: x-small;">http://museumcollections.richmond.edu/Obj138?sid=58081&x=5050</span><br />
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<a href="https://4.bp.blogspot.com/-eJoFiDohXoA/V8Li0vxwOSI/AAAAAAAADh4/7HXHObiRTck_8ZYNYHTro8N_DOTScbnMwCLcB/s1600/M1996.01.53.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://4.bp.blogspot.com/-eJoFiDohXoA/V8Li0vxwOSI/AAAAAAAADh4/7HXHObiRTck_8ZYNYHTro8N_DOTScbnMwCLcB/s1600/M1996.01.53.jpg" /></a></div>
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<span class="s1" style="font-size: x-small;">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</span><br />
<span style="color: blue; font-size: x-small;">http://museumcollections.richmond.edu/Obj139?sid=58081&x=5045</span></div>
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<span class="s1">For the two following images, both dated "1799," the University of Richmond website under the subtitle:"</span>Curator: Idea to Image: Process, States, and Proofs from the Print Collection <span class="s1">October 16, 2011 to April 1, 2012," states: "</span>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."</div>
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<a href="https://4.bp.blogspot.com/-_CBbTAKtzgk/V8Ljg9279-I/AAAAAAAADh8/fiAIfCRgrxYs4L2vztVG1u2dHk6-Xv8AACLcB/s1600/H2009.03.04a.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://4.bp.blogspot.com/-_CBbTAKtzgk/V8Ljg9279-I/AAAAAAAADh8/fiAIfCRgrxYs4L2vztVG1u2dHk6-Xv8AACLcB/s1600/H2009.03.04a.jpg" /></a></div>
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<span class="s1" style="font-size: x-small;"><i>Ysele quema la Casa</i> (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</span><br />
<span style="color: blue; font-size: x-small;">http://museumcollections.richmond.edu/Obj14018?sid=58081&x=5052</span></div>
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<span class="s1"><b>ETCHING OR POSTHMOUS IMPRESSION?</b></span></div>
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<a href="https://3.bp.blogspot.com/-n2bcwd4dMrs/V8LkaJRnyQI/AAAAAAAADiM/jnhmlwVEA6U9pn2eS0iezrh43WA5FFxNwCLcB/s1600/H2009.03.04b.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://3.bp.blogspot.com/-n2bcwd4dMrs/V8LkaJRnyQI/AAAAAAAADiM/jnhmlwVEA6U9pn2eS0iezrh43WA5FFxNwCLcB/s1600/H2009.03.04b.jpg" /></a></div>
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<span style="font-size: x-small;"><i>Ysele quema la Casa</i> (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</span><br />
<span style="color: blue; font-size: x-small;">http://museumcollections.richmond.edu/Obj14019?sid=58081&x=5053</span></div>
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<span class="s1"><b>ETCHING OR POSTHUMOUS IMPRESSION?</b></span></div>
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<span class="s1">Since both of the <i>Ysele quema la Casa </i>are<i> </i>dated "1799," are they from the same edition? On page 63 of <i>Goya Engravings and Lithographs II</i>, 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.</span></div>
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<span class="s1" style="text-align: justify;"><i><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">Hanuman, The Monkey God, </span></i></span><span style="font-family: "times" , "times new roman" , serif; font-size: x-small; text-align: justify;">Date: late 19th century, </span><span style="font-family: "times" , "times new roman" , serif; font-size: x-small; text-align: justify;">Medium and Support: chromolithograph on paper, </span><span style="font-family: "times" , "times new roman" , serif; font-size: x-small; text-align: justify;">Dimensions: 9 7/8 x 6 5/8 in. (25.1 x 16.8 cm), </span><span style="font-family: "times" , "times new roman" , serif; font-size: x-small; text-align: justify;">Credit Line: Valentine Richmond History Museum, by transfer, </span><span style="font-family: "times" , "times new roman" , serif; font-size: x-small; text-align: justify;">Accession Number: H2011.04.03</span></div>
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<span class="s2"><a href="http://museumcollections.richmond.edu/Obj19391?sid=24318&x=3794&port=266"><span style="color: blue; font-family: "times" , "times new roman" , serif; font-size: x-small;">http://museumcollections.richmond.edu/Obj19391?sid=24318&x=3794&port=266</span></a></span></div>
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<span class="s1"><b><span style="font-family: "times" , "times new roman" , serif;">NON-DISCLOSED CHROMIST-MADE REPRODUCTION</span></b></span></div>
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<i><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">Hanuman, The Monkey God - </span></i><span style="font-size: x-small;">RAVI-UDAYA - F.A.L. PRESS, GAHTKOPAR BOMBAY</span></div>
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<span class="s2"><b>PRINTERS' INSCRIPTION</b></span><br />
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<span style="color: #333333; font-family: "times" , "times new roman" , serif; line-height: 20.8px;"><span style="color: black; line-height: normal;">REPRODUCTIONS OF RAJA RAVA VARMA PAINTINGS</span></span><br />
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<span class="s1">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]. </span></div>
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<span class="s1">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."<span style="font-size: x-small;"><b>[FN 30]</b></span></span></div>
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<span class="s1">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."<b><span style="font-size: x-small;">[FN 31]</span></b></span></div>
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<span class="s1">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.</span></div>
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<span class="s1">So, what is the true history behind these reproductions of Raja Ravi Varma's paintings? Here are a five excerpts from published references:</span></div>
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<span style="line-height: 22.4px; text-indent: 48px;"><span style="font-family: "times" , "times new roman" , serif;">REPRODUCED HIS WORKS</span></span></div>
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<span style="font-family: "times" , "times new roman" , serif; line-height: 22.4px; text-indent: 48px;">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) <span style="font-size: x-small;"><b>[FN 32] </b></span></span></div>
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<span style="line-height: 22.4px; text-indent: 48px;"><span style="font-family: "times" , "times new roman" , serif;">MASS PRODUCED HIS PAINTINGS</span></span></div>
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<span style="font-family: "times" , "times new roman" , serif; line-height: 22.4px; text-indent: 48px;">“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) <b><span style="font-size: x-small;">[FN 33]</span></b></span></div>
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<span style="line-height: 22.4px; text-indent: 48px;"><span style="font-family: "times" , "times new roman" , serif;">RE-PRINTING HIS ART WORK</span></span></div>
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<span style="font-family: "times" , "times new roman" , serif; line-height: 22.4px; text-indent: 48px;">“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.”<span style="font-size: x-small;"><b>[FN 34] </b></span></span></div>
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<span style="line-height: 22.4px; text-indent: 48px;"><span style="font-family: "times" , "times new roman" , serif;">ARTISTS REPRODUCED THEIR WORK</span></span></div>
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<span style="font-family: "times" , "times new roman" , serif; line-height: 22.4px; text-indent: 48px;">“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.”<span style="font-size: x-small;"><b>[FN 35] </b></span></span></div>
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<span style="line-height: 22.4px; text-indent: 48px;"><span style="font-family: "times" , "times new roman" , serif;">THOUSANDS OF CHROMOLITHOGRAPHS WERE PRINTED</span></span></div>
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<span style="font-family: "times" , "times new roman" , serif;"><span style="font-family: "times" , "times new roman" , serif; line-height: 22.4px; text-indent: 48px;">“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”<span style="font-size: x-small;"><b>[FN 36] </b></span></span></span></div>
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<span style="font-family: "times" , "times new roman" , serif;"><span style="font-family: "times" , "times new roman" , serif;">The above chromist-made reproduction titled </span><span style="background-color: white;"><span style="font-family: "times" , "times new roman" , serif;"><i>Hanuman, The Monkey God, </i>in the </span></span><span style="background-color: white;">Joel and Lila Harnett Museum of Art's</span><span style="background-color: white;"><span style="font-family: "times" , "times new roman" , serif;"> collection, has the following inscription: </span></span><span style="background-color: white;">RAVI-UDAYA - F.A.L. PRESS, GAHTKOPAR BOMBAY.</span></span><br />
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<span style="font-family: "times" , "times new roman" , serif;"><span class="s1"><span style="font-family: "times" , "times new roman" , serif;">Many of the thousands of Ravi Varma reproductions have the following inscriptions: "</span></span><span style="font-family: "times" , "times new roman" , serif;">The Ravi Varma Fine Art Lithographic Press, Bombay (also called the F.A.L. press)," "</span><span style="font-family: "times" , "times new roman" , serif;">The Ravi Varma press, Karla, Lonavala," "</span><span style="font-family: "times" , "times new roman" , serif;">The Ravi Varma press, Malavi, Lonavala," "</span><span style="font-family: "times" , "times new roman" , serif;">The Ravi Uday Press." and "</span><span style="font-family: "times" , "times new roman" , serif;">The Ravi Varma press, Ghatkopar, Bombay."<b><span style="font-size: x-small;">[FN 37]</span></b></span></span><br />
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<span style="font-family: "times" , "times new roman" , serif;">LEFT: </span><span style="font-size: x-small;"><i>Shri Nathji</i>, 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</span><br />
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<span style="font-family: "times" , "times new roman" , serif;">MIDDLE: </span><span style="font-size: x-small;"><i>Ganesh</i>, Date: late 19th century, Medium and Support: chromolithograph on paper, </span><span style="font-size: x-small;">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</span><br />
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<span style="font-family: "times" , "times new roman" , serif;">RIGHT: </span><span style="font-size: x-small;"><i>Krishna Defeats Kaliya</i>, 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</span><br />
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<b>NON-DISCLOSED CHROMIST-MADE REPRODUCTIONS</b><br />
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<span class="s1">The non-disclosed chromist-made reproduction of Raja Rava Varma's painting, titled <i>Hanuman, The Monkey God </i> 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.</span></div>
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<span class="s1"><i><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">Flowers, </span></i></span><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">Date: 1970, </span><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">Artist: Andy Warhol (Pittsburgh, Pennsylvania, 1928 - 1987, New York) Primary, </span><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">Medium and Support: screenprint on paper, </span><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">Dimensions: 38 x 38 in. (96.5 x 96.5 cm), </span><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">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, </span><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">Accession Number: H2013.12.02<span style="color: blue;"> </span></span></div>
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<span class="s2" style="color: blue; font-family: "times" , "times new roman" , serif; font-size: x-small;"><a href="http://museumcollections.richmond.edu/Obj20333?sid=46266&x=4457"><span style="background-color: white;"><span style="color: blue;">http://museumcollections.richmond.edu/Obj20333?sid=46266&x=445</span></span>7</a></span></div>
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<b><span style="font-family: "times" , "times new roman" , serif;">NON-DISCLOSED PLAGIARIZED IMAGE</span></b></div>
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<span class="s1"><span style="font-size: x-small;">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</span></span></div>
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<span class="s1"><span style="color: blue; font-size: x-small;">http://www.sothebys.com/en/auctions/ecatalogue/lot.24.html/2015/contemporary-art-evening-auction-n09420</span></span></div>
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<span class="s1"><b>ANDY WARHOL'S INTERVENTIONS</b></span></div>
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<span class="s1">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."<b><span style="font-size: x-small;">[FN 38]</span></b></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">Spread from <i>Modern Photography</i> 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</span></div>
<span style="color: blue; font-family: "times" , "times new roman" , serif; font-size: x-small; text-align: justify;">http://www.sothebys.com/en/auctions/ecatalogue/2013/nov-2013-contemporary-evening-n09037/lot.21.html</span><br />
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<span class="s1"><b>EDITOR PATRICIA CAULFIELD'S PHOTOGRAPHS IN MODERN PHOTOGRAPHY</b></span></div>
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<span class="s1">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."<b><span style="font-size: x-small;">[FN 39]</span></b></span></div>
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<span class="s1">THE STUDENT HONOR SYSTEM HANDBOOK 2016-2017</span></div>
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<span class="s1">"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."<span style="font-size: x-small;"><b>[FN 40] </b></span>In part, it states:</span></div>
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<span class="s1"><span class="s1">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.</span></span></div>
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<span class="s1"><span class="s1">c. Lying - Lying is the making of a statement that one knows is false with the intent to deceive.</span></span></div>
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<span class="s1"><span class="s1">It includes, but is not limited to, such actions as:</span></span></div>
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<span class="s1"><span class="s1">(1) Lying to faculty, administration, or staff of the University community in order to gain an academic advantage.</span></span></div>
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<span class="s1"><span class="s1">(2) Falsifying any University paper or electronic record by mutilation, addition, deletion or forgery </span></span></div>
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<span class="s1">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."<span style="font-size: x-small;"><b>[FN 41]</b></span></span></div>
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<span class="s1">LAW, ETHICS AND THE VISUAL ARTS </span></div>
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<span class="s1">On page 816-817 of Kluwer Law International’s published 1998 <i>Law, Ethics and the Visual Arts, Third Edition</i> by John Henry Merryman and Albert E. Elsen, they wrote about “Counterfeit Art.”<b><span style="font-size: x-small;">[FN 42]</span></b></span></div>
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<span class="s1">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.”<b><span style="font-size: x-small;">[FN 43]</span></b></span></div>
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<span class="s1">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.”<span style="font-size: x-small;"><b>[FN 44]</b></span></span></div>
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<span class="s1">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…”<b><span style="font-size: x-small;">[FN 45]</span></b></span></div>
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<span class="s1">CONCLUSION </span></div>
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<span class="s1">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."<b><span style="font-size: x-small;">[FN 46]</span></b></span></div>
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<span class="s1">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.</span></div>
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<span class="s1">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. </span></div>
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<span class="s1"><span style="font-size: x-small;">1. http://museums.richmond.edu/exhibitions/page.html?eventid=10501&informationid=casDataMuseumExhibition,startdate:2016-08-24,enddate:2016-12-04</span></span></div>
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<span class="s1"><span style="font-size: x-small;">2. ISBN 0-314-22864-0</span></span></div>
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<span class="s1"><span style="font-size: x-small;">3. http://museums.richmond.edu/about/mission.html</span></span></div>
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<span class="s1"><span style="font-size: x-small;">4. ISBN 0-314-22864-0</span></span></div>
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<span class="s1"><span style="font-size: x-small;">5. http://museums.richmond.edu/exhibitions/page.html?eventid=10501&informationid=casDataMuseumExhibition,startdate:2016-08-24,enddate:2016-12-04</span></span></div>
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<span class="s1"><span style="font-size: x-small;">6. © Iris and B. Gerald Cantor Foundation 2001, ISBN 1-85894-143 hardback</span></span></div>
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<span class="s1"><span style="font-size: x-small;">7. Volume 1, © Musee Rodin, Musee Rodin 979-2-9014-2890-9, RMN: 978-2-7118-4941-3, Paris 2007</span></span></div>
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<span class="s1"><span style="font-size: x-small;">8. © Iris and B. Gerald Cantor Foundation 2001, ISBN 1-85894-143 hardback</span></span></div>
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<span class="s1"><span style="font-size: x-small;">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 </span></span></div>
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<span class="s1"><span style="font-size: x-small;">10. © Iris and B. Gerald Cantor Foundation 2001, ISBN 1-85894-143 hardback</span></span></div>
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<span class="s1"><span style="font-size: x-small;">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</span></span></div>
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<span class="s1"><span style="font-size: x-small;">12. http://www.cantorfoundation.org/2012/01/spotlight-on-the-three-faunesses/</span></span></div>
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<span style="font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p1">
<span class="s1"><span style="font-size: x-small;">13. http://www.cantorfoundation.org/resources/selected-bronzes/</span></span></div>
<div class="p2">
<span style="font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p1">
<span class="s1"><span style="font-size: x-small;">14. © Iris and B. Gerald Cantor Foundation 2001, ISBN 1-85894-143 hardback</span></span></div>
<div class="p2">
<span style="font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p1">
<span class="s1"><span style="font-size: x-small;">15. Ibid</span></span></div>
<div class="p2">
<span style="font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p1">
<span class="s1"><span style="font-size: x-small;">16. Ibid</span></span></div>
<div class="p2">
<span style="font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p1">
<span class="s1"><span style="font-size: x-small;">17. Ibid</span></span></div>
<div class="p2">
<span style="font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p1">
<span class="s1"><span style="font-size: x-small;">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</span></span></div>
<div class="p2">
<span style="font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p1">
<span class="s1"><span style="font-size: x-small;">19. http://www.cantorfoundation.org/Rodin/Bronze/rbrz.html</span></span></div>
<div class="p2">
<span style="font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p1">
<span class="s1"><span style="font-size: x-small;">20. © Iris and B. Gerald Cantor Foundation 2001, ISBN 1-85894-143 hardback</span></span></div>
<div class="p2">
<span style="font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p1">
<span class="s1"><span style="font-size: x-small;">21. http://www.cantorfoundation.org/resources/selected-bronzes/</span></span></div>
<div class="p2">
<span style="font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p1">
<span class="s1"><span style="font-size: x-small;">22. © Iris and B. Gerald Cantor Foundation 2001, ISBN 1-85894-143 hardback</span></span></div>
<div class="p2">
<span style="font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p1">
<span class="s1"><span style="font-size: x-small;">23. Copyright © 1976 by the Philadelphia Museum of Art, Trade edition: ISBN 087923-157-2 </span></span></div>
<div class="p2">
<span style="font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p1">
<span class="s1"><span style="font-size: x-small;">24. © 1999 By West Group, ISBN 0314022864 </span></span></div>
<div class="p2">
<span style="font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p1">
<span class="s1"><span style="font-size: x-small;">25. http://museums.richmond.edu/about/joel-and-lila-harnett-museum-of-art.html</span></span></div>
<div class="p2">
<span style="font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p1">
<span class="s1"><span style="font-size: x-small;">26. ISBN 0-915346-72-0</span></span></div>
<div class="p2">
<span style="font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p1">
<span class="s1"><span style="font-size: x-small;">27. http://www.copyright.gov/title17/92chap1.html#106a</span></span></div>
<div class="p2">
<span style="font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p1">
<span class="s1"><span style="font-size: x-small;">28. ISBN 0-915346-72-0</span></span></div>
<div class="p2">
<span style="font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p1">
<span class="s1"><span style="font-size: x-small;">29. www.worldprintmakers.com/masters/goya.htm</span></span></div>
<div class="p2">
<span style="font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p1">
<span class="s1"><span style="font-size: x-small;">30. http://museumcollections.richmond.edu/Obj19391?sid=24318&x=3794&port=266</span></span></div>
<div class="p2">
<span style="font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p1">
<span class="s1"><span style="font-size: x-small;">31. https://en.wikipedia.org/wiki/Chromolithography</span></span></div>
<div class="p2">
<span style="font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p1">
<span class="s1"><span style="font-size: x-small;">32. http://gaudiyatouchstone.net/art-life-raja-ravi-varma#/138</span></span></div>
<div class="p2">
<span style="font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p1">
<span class="s1"><span style="font-size: x-small;">33. http://www.caravanmagazine.in/reviews-essays/enduring-myth-ravi-varma</span></span></div>
<div class="p2">
<span style="font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p1">
<span class="s1"><span style="font-size: x-small;">34. http://ravivarma.org/Chromolithographs-by-Raja-Ravi-Varma</span></span></div>
<div class="p2">
<span style="font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p1">
<span class="s1"><span style="font-size: x-small;">35. https://www.storyltd.com/stores/artisans/3621/</span></span></div>
<div class="p2">
<span style="font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p1">
<span class="s1"><span style="font-size: x-small;">36. http://www.theindianportrait.com/artwork/raja-ravi-varma/</span></span></div>
<div class="p2">
<span style="font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p1">
<span class="s1"><span style="font-size: x-small;">37. https://sites.google.com/site/ravivarmalithos/</span></span></div>
<div class="p2">
<span style="font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p1">
<span class="s1"><span style="font-size: x-small;">38. The Contingent Object of Contemporary Art By Martha Buskirk</span></span></div>
<div class="p1">
<span class="s1"><span style="font-size: x-small;">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</span></span></div>
<div class="p2">
<span style="font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p1">
<span class="s1"><span style="font-size: x-small;">39. Ibid</span></span></div>
<div class="p2">
<span style="font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p1">
<span class="s1"><span style="font-size: x-small;">40. http://studentdevelopment.richmond.edu/student-handbook/honor/guide.pdf</span></span></div>
<div class="p2">
<span style="font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p1">
<span class="s1"><span style="font-size: x-small;">41. Ibid</span></span></div>
<div class="p2">
<span style="font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p1">
<span class="s1"><span style="font-size: x-small;">42. © Kluwer Law International 1998, ISBN: 90-411-0697-9 </span></span></div>
<div class="p2">
<span style="font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p1">
<span class="s1"><span style="font-size: x-small;">43. Ibid </span></span></div>
<div class="p2">
<span style="font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p1">
<span class="s1"><span style="font-size: x-small;">44. Ibid </span></span></div>
<div class="p2">
<span style="font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p1">
<span class="s1"><span style="font-size: x-small;">45. Ibid</span></span></div>
<div class="p2">
<br /></div>
<div class="p1">
<span class="s1"><span style="font-size: x-small;">46. http://museums.richmond.edu/about/support.html </span></span></div>
</div>
</div>
</div>
</div>
</div>
Gary Arseneauhttp://www.blogger.com/profile/10379667479866306615noreply@blogger.comtag:blogger.com,1999:blog-34909527.post-33837618603838805332016-04-17T23:15:00.000-04:002017-07-06T11:52:32.319-04:00THE DEAD DON'T LITHOGRAPH, Ethan Allen's "Modern Master Collection" of non-disclosed posthumous reproductions from Galerie Mourlot<div class="p1" style="text-align: justify;">
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<b>UPDATED:</b> July 5, 2017<br />
<b><br /></b>
<b>NOTE:</b> Footnotes are enclosed as:<span style="color: blue; font-size: x-small;"> [FN]</span><br />
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<span style="font-family: "times" , "times new roman" , serif; margin-left: 1em; margin-right: 1em;"><a href="https://3.bp.blogspot.com/-Ln0Ku0pf4MU/VxWQVnjLdFI/AAAAAAAADV8/L7aHQqCZ4CEjy9xDK-jUCdm5drfUBg_QgCLcB/s1600/Screen%2BShot%2B2016-04-18%2Bat%2B9.55.45%2BPM.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://3.bp.blogspot.com/-Ln0Ku0pf4MU/VxWQVnjLdFI/AAAAAAAADV8/L7aHQqCZ4CEjy9xDK-jUCdm5drfUBg_QgCLcB/s400/Screen%2BShot%2B2016-04-18%2Bat%2B9.55.45%2BPM.png" width="316" /></a></span></div>
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<span style="font-size: x-small;"><span class="s1"><i>Le Cirque</i>, Fernand Leger, Dimension: 20.75" x 26.5" h, Item# LP0029, Lithograph on Arches paper, 1991, Limited quantity, Annotated and stamped by the Mourlot Estate, </span><strike>$2,299.00</strike>, $1,954.15</span></div>
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<span class="s1" style="color: blue; font-size: x-small;">http://www.ethanallen.com/en_US/LP0029.html?start=29</span></div>
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<span class="s1"><b>NON-DISCLOSED POSTHUMOUS REPRODUCTION</b></span></div>
<div class="p2" style="color: #212121;">
<span class="s1"></span><br /></div>
<div class="p1" style="color: #212121;">
<span class="s1">The above <i>Le Cirque</i> is a non-disclosed posthumous [1991] reproduction, falsely attributed as an original work of visual art i.e., lithograph to a dead Fernand Leger [d 1955] by Ethan Allen in their Modern Masters Collection. Lithographs are original works of visual art wholly executed by hand by the artist. In 1991, Fernand Leger [d 1955] was some 36 years dead. The dead don't lithograph, much less wholly execute anything.</span></div>
<div class="p2" style="color: #212121;">
<span class="s1"></span><br /></div>
<div class="p1" style="color: #212121;">
<span class="s1">In their Modern Masters Collection, Ethan Allen is misrepresenting for sale hundreds of non-disclosed posthumous reproductions as original works of visual art i.e., lithographs and falsely attributing them to long dead artists such as Juan Gris [d 1927], Wassily Kandinsky [d 1944], Raoul Dufy [d 1953], Marie Laurencin [d 1956], Fernand Leger [d 1955], Jean Cocteau [d 1963], and Marc Chagall [d 1985]. </span></div>
<div class="p2" style="color: #212121;">
<span class="s1"></span><br /></div>
<div class="p1">
<span class="s1"><span style="color: #212121;">Yet, in an Ethan Allen's May 31, 2014 youtube promotion for their Modern Masters Collection, the narrator states: "This is a truly extraordinary discovery. A collection of extremely rare lithographs from the very most familiar names in the history of modern art. And yet almost all of the world is completely unfamiliar with any of this work."</span><span style="color: blue; font-size: x-small;">[FN 1] </span></span></div>
<div class="p2" style="color: #212121;">
<span class="s1"></span><br /></div>
<div class="p1" style="color: #212121;">
<span class="s1">Ethan Allen knows all these dead artists are also "completely unfamiliar with any of this work" that was posthumously reproduced. It seems Ethan Allen hopes the public stays unfamiliar with that fact.</span></div>
<div class="p2" style="color: #212121;">
<span class="s1"></span><br /></div>
<div class="p1">
<span class="s1"><span style="color: #212121;">In Ethan Allen's May 31, 2014 youtube promotion for their Modern Masters Collection, their Senior Director Miller Opie states: "This program is exclusive. Which means there is only a certain amount of prints left. So, literally once there gone there gone. They cannot be reproduced again."</span><span style="color: blue; font-size: x-small;">[FN 2]</span><span style="color: #212121;"> </span></span></div>
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<span class="s1"></span><br /></div>
<div class="p1" style="color: #212121;">
<span class="s1">Lithographs are not reproduced. Lithographs are original works of visual art wholly executed by hand by the artist and excludes any mechanical and photomechanical processes. Reproductions are copies of original works of visual done by someone other than a living or dead artist. Lithographs <i>versus </i>reproductions are not interchangeable, much less the same.</span></div>
<div class="p2" style="color: #212121;">
<span class="s1"></span><br /></div>
<div class="p1">
<span class="s1"><span style="color: #212121;">This factual perspective is confirmed by U.S. Custom`s May 2006 An Informed Compliance Publication titled Works of Art, Collector`s Pieces Antiques, and Other Cultural Property and U.S. Copyright Law 106 A. This U.S. Customs publication 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."</span><span style="color: blue; font-size: x-small;">[FN 3] </span></span></div>
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<span class="s1"></span><br /></div>
<div class="p1">
<span class="s1"><span style="color: #212121;">Additionally, U.S. Copyright Law 106 A states: “The Rights of Attribution - shall not apply to any reproduction?”</span><span style="color: blue; font-size: x-small;">[FN 4] </span></span></div>
<div class="p2" style="color: #212121;">
<span class="s1"></span><br /></div>
<div class="p1">
<span class="s1"><span style="color: #212121;">Rhetorically, how can the consumer give informed consent without full and honest disclosure of reproductions as reproductions by Ethan Allen that they offer for sale? With the misrepresentation by Ethan Allen of those reproductions as original works of visual art i.e., lithographs, these non-disclosed posthumous reproductions become "something that is not what it purports to be"</span><span style="color: blue; font-size: x-small;">[FN 5] </span><span style="color: #212121;"> which is one legal definition of -fake-.</span></span></div>
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<span class="s1"></span><br /></div>
<div class="p1">
<span class="s1"><span style="color: #212121;">Therefore, is Ethan Allen's promotion and sale of non-disclosed posthumous reproductions of their Modern Masters Collection "a knowing misrepresentation of the truth or concealment of a material fact to induce another to act to his or her detriment"</span><span style="color: blue; font-size: x-small;">[FN 6]</span><span style="color: #212121;"> which is one legal definition of fraud?</span></span></div>
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<div style="color: #212121;">
<br /></div>
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<span class="s1">This monograph documents Ethan Allen's avarice.</span></div>
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<a href="https://1.bp.blogspot.com/-h3FgGlv6Gc0/VxglXxVtEjI/AAAAAAAADbA/CW0II1B_jMkA5M79IeAJoHyTV81xc3fmwCKgB/s1600/Screen%2BShot%2B2014-11-17%2Bat%2B3.21.48%2BAM.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="280" src="https://1.bp.blogspot.com/-h3FgGlv6Gc0/VxglXxVtEjI/AAAAAAAADbA/CW0II1B_jMkA5M79IeAJoHyTV81xc3fmwCKgB/s640/Screen%2BShot%2B2014-11-17%2Bat%2B3.21.48%2BAM.png" width="640" /></a></div>
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<span class="s1" style="color: blue; font-size: x-small;">http://www.ethanallen.com/en_US/shop-decor-artwork-modern-masters/l%27homme-au-chandail/LP0002.html#start=1</span></div>
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<span class="s1"><b>ETHAN ALLEN'S REPRESENTATION</b></span><br />
<span class="s1"><b><br /></b></span></div>
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<span style="font-family: "times" , "times new roman" , serif; margin-left: 1em; margin-right: 1em;"><a href="https://3.bp.blogspot.com/-iV_XH_nZiyU/VxblnBzYUdI/AAAAAAAADZ0/3iZezBZz3soPeaUwLp4GM26PW-Ee3KXwwCLcB/s1600/DSCN4971.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://3.bp.blogspot.com/-iV_XH_nZiyU/VxblnBzYUdI/AAAAAAAADZ0/3iZezBZz3soPeaUwLp4GM26PW-Ee3KXwwCLcB/s640/DSCN4971.jpg" width="500" /></a></span></div>
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<span style="font-family: "times" , "times new roman" , serif;">July 2, 2014 email from Ethan Allen Design Center Manager Kera L. Parker</span><br />
<b><span style="font-family: "times" , "times new roman" , serif;">ETHAN ALLEN'S DISCLAIMER</span></b></div>
<div class="p2">
<span class="s1"></span><br /></div>
<div class="p1">
<span class="s1">In a July 2, 2014 Ethan Allen internal email from an Ethan Allen Design Center Manager Kera L. Parker concerning Ethan Allen's Modern Master Collection, the manager wrote: "I have included Miller Opie's reply to me clearly stating that the dates listed are the actual dates these lithographs that are being purchased were printed."<span style="color: blue; font-size: x-small;">[FN 7] </span></span></div>
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<span class="s1"></span><br /></div>
<div class="p1">
<span class="s1">In this same July 2, 2014 internal email, Ethan Allen Senior Director Millie Opie wrote: "None of these are reprints using the original stones."</span></div>
<div class="p2">
<span class="s1"></span><br /></div>
<div class="p1">
<span class="s1">Ethan Allen and its Senior Director Millie Opie admits the so-called "lithographs" in their Modern Masters Collection are not printed from the "original stones."</span></div>
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<span class="s1"></span><br /></div>
<div class="p1">
<span class="s1">Therefore, if the images in the Modern Masters Collections were not printed from "the original stones" the artists drew on, assuming the artists drew on them and printed by the artist and/or with the artist's permission, then they can NEVER be lithographs.</span></div>
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<span class="s1"></span><br /></div>
<div class="p1">
<span class="s1">Then to go from insult to injury, in this July 2, 2014 Ethan Allen internal email, Senior Director Opie Miller states: "So- to hope to clarify- the date next to the print is when it was actually printed. You may notice that sometimes the date next to the print is when it was actually printed. You may notice that sometimes the date was after the artist died. This means the pieces was printed from an original painting with permission of the artist's estate."<span style="color: blue; font-size: x-small;">[FN 8] </span></span></div>
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<span class="s1"></span><br /></div>
<div class="p1">
<span class="s1">Ethan Allen and its Senoir Director Millie Opie knows the artists were dead when these non-disclosed posthumous reproductions were reproduced.</span></div>
<div class="p2">
<span class="s1"></span><br /></div>
<div class="p1">
<span class="s1">"Pieces [was] printed from an original painting" is being used by Senior Director Millie Opie an euphemism for reproductions. Lithographs are original works of visual art wholly executed by hand by the artist and would never be trivialized as being done "after the artist died."</span></div>
<div class="p2">
<span class="s1"></span><br /></div>
<div class="p1">
<span class="s1">Yet, two months earlier, in Ethan Allen's May 31, 2014 youtube promotion for their Modern Masters Collection, their Senior Director Miller Opie refers to them as "reproduced" when she states: "This program is exclusive. Which means there is only a certain amount of prints left. So, literally once there gone there gone. They cannot be reproduced again."<span style="color: blue; font-size: x-small;">[FN 9] </span></span></div>
<div class="p2">
<span class="s1"></span><br /></div>
<div class="p1">
<span class="s1">Ethan Allen's Senior Director Miller Opie convolutes, with or without intent, original works of visual art i.e., lithographs created by living artists <i>versus</i> reproductions of paintings done by somone other than the artist living or dead as if they are interchangeable, much less the same. </span></div>
<div class="p2">
<span class="s1"></span><br /></div>
<div class="p1">
<span class="s1">Then Ethan Allen Senior Director Miller Opie goes from the ridiculous to the sublime when one compares her July 2, 2014 Ethan Allen internal email statement: "the pieces was printed from an original painting" to her prior youtube May 31, 2014 statement: "They cannot be reproduced again."</span></div>
<div class="p2">
<span class="s1"></span><br /></div>
<div class="p1">
<span class="s1">Reproductions have no inherent limitation. Paintings can be reproduced forever in unlimited quantities. The following references supports that fact.</span></div>
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<span class="s1"></span><br /></div>
<div class="p1">
<span class="s1">PRINTING TRADE CUSTOMS</span></div>
<div class="p1">
<span class="s1">The Printing Industries of America, Inc. in their published Printing Trade Customs, which, in part, states: “6. PREPARATORY MATERIALS Working mechanical art, type, negatives, positives, flats, plates, and other items when supplied by the printer, shall remain his exclusive property unless otherwise agreed in writing.”<span style="color: blue; font-size: x-small;">[FN 10] </span></span></div>
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<span class="s1">In other words, if the estate, of a dead artist, authorizes a printer and/or chromist to reproduce their work, the resulting reproductions cannot be attributed to that dead artist. That printer that reproduced those reproductions would own them. That printer would only be contractually obligated to give the estate the reproductions they paid for. The estate pays for 1,250 reproductions, they get a 1,250 reproductions. All of the reproduction overruns [potentially dozens or more], all plates, negatives, digital files and the like used to reproduce those reproductions, would be owned by the printer and if they chose to do so that printer [or future new owner] could reproduce more reproductions without the knowledge or permission of the estate.</span></div>
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<span class="s1">So, to belabor a point, when in Ethan Allen's May 31, 2014 youtube promotion for their Modern Masters Collection, their Senior Director Miller Opie states: "This program is exclusive. Which means there is only a certain amount of prints left. So, literally once there gone there gone. They cannot be reproduced again."<span style="color: blue; font-size: x-small;">[FN 11] </span></span></div>
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<span class="s1">So, is it just wishful thinking on her part?</span></div>
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<span class="s1">U.S. COPYRIGHT LAW COMPILATIONS AND DERIVATIVE WORKS</span></div>
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<span class="s1">Under U.S. Copyright Law 103. “Subject matter of copyright: Compilations and derivative works,” it states: “The copyright in a compilation or derivative work extends only to the material contributed by the author of such work.”<span style="color: blue; font-size: x-small;">[FN 12]</span> </span></div>
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<span class="s1">In other words, the estate, of that dead artist, owns the "material" i.e., painting contributed by the estate, but not the derivative work a.k.a. reproductions. Those reproductions manufactured by the printer, may have been authorized by the estate but until they are paid for, the printer owns them. </span></div>
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<span class="s1">There is no free lunch.</span><br />
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<a href="https://3.bp.blogspot.com/-6RDHj298vJQ/WV2DIrIeiNI/AAAAAAAAEFU/WW5rk8iWoN403Q1DMSZoBKZ6EuCCzMn4wCLcBGAs/s1600/Dufy%252C%2BAnemones%2B1956%2BLitho.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1600" height="640" src="https://3.bp.blogspot.com/-6RDHj298vJQ/WV2DIrIeiNI/AAAAAAAAEFU/WW5rk8iWoN403Q1DMSZoBKZ6EuCCzMn4wCLcBGAs/s640/Dufy%252C%2BAnemones%2B1956%2BLitho.jpg" width="640" /></a></div>
<span style="font-family: "times" , "times new roman" , serif; font-size: xx-small;"><i style="-webkit-text-stroke: rgb(0, 0, 0); font-family: Times, "Times New Roman", serif; font-size: small;"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">Anemones</span></i><i style="-webkit-text-stroke: rgb(0, 0, 0); font-family: Times, "Times New Roman", serif; font-size: small;">, </i></span><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">Item #: LP0008, </span><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">$3,219.00, </span><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">Dimensions: 28"w x 33.25"h, </span><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">Dufy's cheerful work mostly depicts events of the time period, including yachting scenes, sparkling views of the French Riviera, chic parties, and musical events. The optimistic, fashionably decorative, elegant, and illustrative nature of much of his work was at first less highly valued critically than the works of artists who have addressed a wider range of social concerns; however, over time, collectors and critics came to greatly appreciate his particularly distinctive approach., </span><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">Lithograph on Arches paper, 1956. Limited quantity., </span><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">Annotated and stamped by the Mourlot Estate</span><br />
<span style="color: blue; font-family: "times" , "times new roman" , serif; font-size: x-small;">http://www.ethanallen.com/en_US/shop-decor-artwork-modern-masters/anemones/LP0008.htmlItem #: LP0008</span><br />
<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">NOTE: Ethan Allen’s current July 5, 2017 listing</span><br />
<b style="font-family: times, "times new roman", serif;">NON-DISCLOSED POSTHUMOUS REPRODUCTION</b><br />
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<a href="https://2.bp.blogspot.com/-znV2j4wzQEg/WV2EbsJVjGI/AAAAAAAAEFY/sBYLMrY_VXwdQwmCLN3Sxh6tFueUzPLowCLcBGAs/s1600/Dufy%252C%2BUntitled%2B1958%2BLitho.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1146" data-original-width="1600" height="458" src="https://2.bp.blogspot.com/-znV2j4wzQEg/WV2EbsJVjGI/AAAAAAAAEFY/sBYLMrY_VXwdQwmCLN3Sxh6tFueUzPLowCLcBGAs/s640/Dufy%252C%2BUntitled%2B1958%2BLitho.jpg" width="640" /></a></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><i>Untitled, </i></span></span><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">Item #: LP0005, </span><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">$1,459.00, </span><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">Dimensions: 31.75"w x 38.5"h, </span><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">Dufy's cheerful work mostly depicts events of the time period, including yachting scenes, sparkling views of the French Riviera, chic parties, and musical events. The optimistic, fashionably decorative, elegant, and illustrative nature of much of his work was at first less highly valued critically than the works of artists who have addressed a wider range of social concerns; however, over time, collectors and critics came to greatly appreciate his particularly distinctive approach., </span><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">Lithograph on Arches paper, 1958. Limited quantity., </span><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">Annotated and stamped by the Mourlot Estate</span><br />
<span style="color: blue; font-family: "times" , "times new roman" , serif; font-size: x-small;">http://www.ethanallen.com/en_US/shop-decor-artwork-modern-masters/untitled/LP0005.html?site=#q=dufy&lang=en_US&site=&start=1</span><br />
<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">NOTE: Ethan Allen’s current July 5, 2017 listing</span><br />
<b style="font-family: times, "times new roman", serif;">NON-DISCLOSED POSTHUMOUS REPRODUCTION</b></div>
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<a href="https://1.bp.blogspot.com/-dXCPhx7xaCA/WV2F5YL3bUI/AAAAAAAAEFc/uxYyxhHVFMQpSqdo-AFnmChC0oYIZLHPQCLcBGAs/s1600/Dufy%2BUntitled%2B1965%2BLitho.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1146" data-original-width="1600" height="458" src="https://1.bp.blogspot.com/-dXCPhx7xaCA/WV2F5YL3bUI/AAAAAAAAEFc/uxYyxhHVFMQpSqdo-AFnmChC0oYIZLHPQCLcBGAs/s640/Dufy%2BUntitled%2B1965%2BLitho.jpg" width="640" /></a></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><i>Untitled, </i></span></span><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">Item #: LP0044, </span><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">$1,149.00, </span><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">Dimensions: 37.25"w x 33.5"h, </span><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">Dufy's cheerful work mostly depicts events of the time period, including yachting scenes, sparkling views of the French Riviera, chic parties, and musical events. The optimistic, fashionably decorative, elegant, and illustrative nature of much of his work was at first less highly valued critically than the works of artists who have addressed a wider range of social concerns; however, over time, collectors and critics came to greatly appreciate his particularly distinctive approach. </span><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">Lithograph on Arches paper, 1965. Limited quantity. </span><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">Annotated and stamped by the Mourlot Estate</span><br />
<span style="color: blue; font-family: "times" , "times new roman" , serif; font-size: x-small;">http://www.ethanallen.com/en_US/shop-decor-artwork-modern-masters/untitled/LP0044.html?site=#q=dufy&lang=en_US&site=&start=1</span><br />
<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">NOTE: Ethan Allen’s current July 5, 2017 listing</span><br />
<b style="font-family: times, "times new roman", serif;">NON-DISCLOSED POSTHUMOUS REPRODUCTION</b></div>
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<span class="s1" style="color: blue; font-size: x-small;">http://www.ethanallen.com/en_US/shop-decor-artwork-modern-masters#sz=99&start=0</span></div>
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<span class="s1"><b>NON-DISCLOSED POSTHUMOUS REPRODUCTIONS</b></span></div>
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<span class="s1">Raoul Dufy died in 1953.</span></div>
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<span class="s1">The three above non-disclosed posthumous reproductions, falsely attributed as original works of visual art i.e., lithographs to the dead artist Raoul Dufy [d 1953] have dates of "1956," "1958" and "1965," some 3 to 12 years after his death.</span></div>
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<span class="s1">The dead don't lithograph as documented earlier by U.S. Customs.</span></div>
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<span class="s1">This factual perspective is additionally confirmed in the 1991 <i>The Fifth Edition of the Artist’s Handbook of Materials and Techniques </i>by Ralph Mayer, 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.”<span style="color: blue; font-size: x-small;">[FN 13] </span></span></div>
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<span class="s1">Yet, in a March 25, 2015 email, Ethan Allen stated: </span>“The art supplier finally got back to us today. It appears that none of the items inquired about below are hand numbered. The works are all lithographs printed by the Atelier Mourlot - and are “limited edition." The items are limited quantity, annotated and stamped by the Mourlot Estate. In addition, I have provided the current quantity that is remaining for each:"<span style="color: blue; font-size: x-small;">[FN 14] </span></div>
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<span class="s1">Three of those "items inquired about," a.k.a. non-disclosed posthumous reproductions falsely attributed as original works of visual art i.e., lithographs to Raoul Dufy [d 1953], were listed as follows:</span></div>
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<a href="https://1.bp.blogspot.com/-7uR6E97ORWg/VxWWIHNXdFI/AAAAAAAADWg/Lb4muoIV4lEymiJI7uD6RilA6ihHh7MPQCKgB/s1600/Screen%2BShot%2B2016-04-18%2Bat%2B10.20.02%2BPM.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: "times" , "times new roman" , serif;"><img border="0" height="67" src="https://1.bp.blogspot.com/-7uR6E97ORWg/VxWWIHNXdFI/AAAAAAAADWg/Lb4muoIV4lEymiJI7uD6RilA6ihHh7MPQCKgB/s320/Screen%2BShot%2B2016-04-18%2Bat%2B10.20.02%2BPM.png" width="320" /></span></a></div>
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<a href="https://4.bp.blogspot.com/-dbPKEl2kolI/VxWbbs4fjQI/AAAAAAAADXA/oGcdAQ9LzNEgnhJzsqc-RaUW673X5oDCQCLcB/s1600/Screen%2BShot%2B2016-04-18%2Bat%2B10.42.51%2BPM.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: "times" , "times new roman" , serif;"><img border="0" height="17" src="https://4.bp.blogspot.com/-dbPKEl2kolI/VxWbbs4fjQI/AAAAAAAADXA/oGcdAQ9LzNEgnhJzsqc-RaUW673X5oDCQCLcB/s320/Screen%2BShot%2B2016-04-18%2Bat%2B10.42.51%2BPM.png" width="320" /></span></a></div>
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<span class="s1">SOURCE: DropShip@ethanalleninc.com, March 24, 2015 </span></div>
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<span class="s1">These 93 non-disclosed posthumous reproductions range in price from $934, $1,189 and $2,625 each totaling $139,063.</span></div>
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<span class="s1">Reproductions can never be works of visual art, much less a limited edition. The dead don't sign and number.</span></div>
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<span class="s1">This factual perspective is confirmed by U.S. Copyright Law § 101. Definitions, where 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, or, in the case of a sculpture, in multiple cast, carved, or fabricated sculptures of 200 or fewer that are consecutively numbered by the author and bear the signature or other identifying mark of the author."<span style="color: blue; font-size: x-small;">[FN 15] </span></span></div>
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<span class="s1">ETHAN ALLEN IN NEW YORK</span></div>
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<span class="s1">Ethan Allen seems to have twelve stores in New York, one of which is located at 1010 3rd Avenue, New York, NY 10065. </span></div>
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<span class="s1">NEW YORK CIVIL CODE</span></div>
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<span class="s1">Under New York Civil Code 15.01 (2.) states: “Article fifteen of the New York arts and cultural affairs law provides for disclosure in writing of certain information concerning multiples of prints and photographs when sold for more than one hundred dollars ($100) - whether the multiple is a reproduction.” The penalties for violation of New York Civil Code statutes under 15.15 may include but not limited to -refund-treble damages-court costs-expert witness fees-attorney fees- and not to mention potential civil fines.<span style="color: blue; font-size: x-small;">[FN 16] </span></span></div>
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<span class="s1">Rhetorically, would Ethan Allen's sale and false attribution of these 93 non-disclosed posthumous [1955-1965] reproductions as original works of visual art i.e., lithographs to a dead Raoul Dufy [d 1953] be “a work of fine art or multiple made, altered or copied, with or without intent to deceive, in such a manner that it appears or is claimed to have an authorship which it does not in fact possess” which is the definition of -counterfeit- under New York Civil Code 11.01?</span><br />
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<a href="https://2.bp.blogspot.com/-pEcTXN2m3WI/WV2RKaen_bI/AAAAAAAAEFs/ZUVqS_i_Q5w68LZz3CMvKdsMnmAvPRv5QCLcBGAs/s1600/Chagall%2BBouquet%2B1994%2BLitho.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="573" data-original-width="800" height="458" src="https://2.bp.blogspot.com/-pEcTXN2m3WI/WV2RKaen_bI/AAAAAAAAEFs/ZUVqS_i_Q5w68LZz3CMvKdsMnmAvPRv5QCLcBGAs/s640/Chagall%2BBouquet%2B1994%2BLitho.jpg" width="640" /></a></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><i>Bouquet with Flying Lovers,</i> Item #: LP0018, $2,499.00, Dimensions: 43.25"w x 55.25”h, Chagall flirted with many radical Modernist styles at various points throughout his career, including Cubism, Suprematism, and Surrealism, all of which possibly encouraged him to work in an entirely abstract style. Yet he rejected each of them in succession, remaining committed to figurative and narrative art, making him one of the modern period's most prominent exponents of the more traditional approach., Lithograph on Arches paper, 1994. Limited quantity., Annotated and stamped by the Mourlot Estate</span></span><br />
<span style="color: blue; font-family: "times" , "times new roman" , serif; font-size: x-small;">http://www.ethanallen.com/en_US/shop-decor-artwork-modern-masters/bouquet-with-flying-lovers/LP0018.html?site=#q=chagall&lang=en_US&site=&start=1</span><br />
<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">NOTE: Ethan Allen’s current July 5, 2017 listing</span><br />
<b style="font-family: times, "times new roman", serif;">NON-DISCLOSED POSTHUMOUS REPRODUCTION</b><br />
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<a href="https://4.bp.blogspot.com/-AupoTZf9DHs/WV2jdcGveDI/AAAAAAAAEGY/4xVd00_tcwcfEybFVzsRnYx2LItdC2qGgCLcBGAs/s1600/Chagall%2BLe%2BBouquet%2Bde%2BRenoncules%2B1994%2BLitho.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="573" data-original-width="800" height="458" src="https://4.bp.blogspot.com/-AupoTZf9DHs/WV2jdcGveDI/AAAAAAAAEGY/4xVd00_tcwcfEybFVzsRnYx2LItdC2qGgCLcBGAs/s640/Chagall%2BLe%2BBouquet%2Bde%2BRenoncules%2B1994%2BLitho.jpg" width="640" /></a></div>
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<i style="-webkit-text-stroke: rgb(0, 0, 0); font-family: Times, "Times New Roman", serif; font-size: small;"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">Le Bouquet de Renoncules</span></i><i style="-webkit-text-stroke: rgb(0, 0, 0); font-family: Times, "Times New Roman", serif; font-size: small;">,</i><span style="-webkit-text-stroke: rgb(0, 0, 0); font-family: "times" , "times new roman" , serif; font-size: x-small;"> Item #: LP0017, $2,499.00, Dimensions: 43.5"w x 55”h, Chagall flirted with many radical Modernist styles at various points throughout his career, including Cubism, Suprematism, and Surrealism, all of which possibly encouraged him to work in an entirely abstract style. Yet he rejected each of them in succession, remaining committed to figurative and narrative art, making him one of the modern period's most prominent exponents of the more traditional approach. Lithograph on Arches paper, 1994. Limited quantity. Annotated and stamped by the Mourlot Estate</span><br />
<span style="color: blue; font-family: "times" , "times new roman" , serif; font-size: x-small;">http://dev05.web.ethanallen.demandware.net/s/ethanallen-us/en_US/shop-decor-artwork-modern-masters/le-bouquet-de-renoncules/LP0017.html</span><br />
<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">NOTE: Ethan Allen’s current July 5, 2017 nonlisting</span><br />
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<a href="https://3.bp.blogspot.com/-46fiR_sZsX4/WV2hFZGNrcI/AAAAAAAAEGU/sxPAU95QwRUrEI4t4C75vBxGnQvDM6yMACEwYBhgL/s1600/Chagall%2BLe%2BBouquet%2Bde%2BRnoncules%2BLitho%2BJuly%2B2017.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="259" data-original-width="974" height="170" src="https://3.bp.blogspot.com/-46fiR_sZsX4/WV2hFZGNrcI/AAAAAAAAEGU/sxPAU95QwRUrEI4t4C75vBxGnQvDM6yMACEwYBhgL/s640/Chagall%2BLe%2BBouquet%2Bde%2BRnoncules%2BLitho%2BJuly%2B2017.png" width="640" /></a></div>
<b style="font-family: times, "times new roman", serif;">NO PRODUCT WERE FOUND</b><br />
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<a href="https://4.bp.blogspot.com/-3DJpoknrJcY/WV2R4YHaFCI/AAAAAAAAEFw/hAbuAxEemF8hfH4P0FMtZeGhEGJy9_qjACLcBGAs/s1600/Chagall%252C%2BSun%2BOver%2BParis%2B1994%2BLitho.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1146" data-original-width="1600" height="458" src="https://4.bp.blogspot.com/-3DJpoknrJcY/WV2R4YHaFCI/AAAAAAAAEFw/hAbuAxEemF8hfH4P0FMtZeGhEGJy9_qjACLcBGAs/s640/Chagall%252C%2BSun%2BOver%2BParis%2B1994%2BLitho.jpg" width="640" /></a></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><i>Sun Over Paris</i>, Item #: LP0021, $2,499.00, Dimensions: 43.25"w x 53.5”h, Chagall flirted with many radical Modernist styles at various points throughout his career, including Cubism, Suprematism, and Surrealism, all of which possibly encouraged him to work in an entirely abstract style. Yet he rejected each of them in succession, remaining committed to figurative and narrative art, making him one of the modern period's most prominent exponents of the more traditional approach., Lithograph on Arches paper, 1994. Limited quantity., Annotated and stamped by the Mourlot Estate</span></span><br />
<span style="color: blue; font-family: "times" , "times new roman" , serif; font-size: x-small;">http://www.ethanallen.com/en_US/shop-decor-artwork-modern-masters/sun-over-paris/LP0021.html?site=#q=chagall&lang=en_US&site=&start=1</span><br />
<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">NOTE: Ethan Allen’s current July 5, 2017 listing</span><br />
<b style="font-family: times, "times new roman", serif;">NON-DISCLOSED POSTHUMOUS REPRODUCTION</b></div>
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<a href="https://3.bp.blogspot.com/-RCKqxm9e73A/WV2Sio-d-eI/AAAAAAAAEF0/IjHekxjpYQoSNCIDDCB19cvyHyEqF2gLwCLcBGAs/s1600/Chagall%252C%2BLes%2BTrois%2B%2B1994%2BLitho.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1146" data-original-width="1600" height="458" src="https://3.bp.blogspot.com/-RCKqxm9e73A/WV2Sio-d-eI/AAAAAAAAEF0/IjHekxjpYQoSNCIDDCB19cvyHyEqF2gLwCLcBGAs/s640/Chagall%252C%2BLes%2BTrois%2B%2B1994%2BLitho.jpg" width="640" /></a></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><i>Les Trois Cierges</i>, Item #: LP0022, $2,399.00, Dimensions: 43.5"w x 54.5”h, Chagall flirted with many radical Modernist styles at various points throughout his career, including Cubism, Suprematism, and Surrealism, all of which possibly encouraged him to work in an entirely abstract style. Yet he rejected each of them in succession, remaining committed to figurative and narrative art, making him one of the modern period's most prominent exponents of the more traditional approach. Lithograph on Arches paper, 1994. Limited quantity. Annotated and stamped by the Mourlot Estate</span></span><br />
<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><span style="color: blue;">http://www.ethanallen.com/en_US/shop-decor-artwork-modern-masters/les-trois-cierges/LP0022.html?site=#q=chagall&lang=en_US&site=&start=1</span></span><br />
<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">NOTE: Ethan Allen’s current July 5, 2017 listing</span><br />
<b style="font-family: times, "times new roman", serif;">NON-DISCLOSED POSTHUMOUS REPRODUCTION</b></div>
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<span class="s1" style="color: blue; font-size: x-small;">http://www.ethanallen.com/en_US/shop-decor-artwork-modern-masters#sz=99&start=0</span></div>
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<span class="s1"><b>NON-DISCLOSED POSTHUMOUS REPRODUCTIONS</b></span></div>
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<span class="s1">Marc Chagall died in 1985.</span></div>
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<span class="s1">The four above non-disclosed posthumous reproductions, falsely attributed as original works of visual art i.e., lithographs to the dead artist Marc Chagall [d 1985] have dates of "1994" some 9 years after his death.</span></div>
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<span class="s1">The dead don't lithograph as documented earlier by U.S. Customs.</span></div>
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<span class="s1">This factual perspective is additionally confirmed in <i style="color: black;">A GUIDE TO THE COLLECTING AND CARE OF ORIGINAL PRINTS</i> sponsored by the The Print Council of America and authored by Carl Zigrosser and Christa M. Gaehde. 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.”<span style="color: blue; font-size: x-small;">[FN 17] </span></span></div>
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<span class="s1" style="color: black;">Yet, as noted earlier, in a March 25, 2015 email, Ethan Allen stated: </span>“The art supplier finally got back to us today. It appears that none of the items inquired about below are hand numbered. The works are all lithographs printed by the Atelier Mourlot - and are “limited edition." The items are limited quantity, annotated and stamped by the Mourlot Estate. In addition, I have provided the current quantity that is remaining for each:"<span style="color: blue; font-size: x-small;">[FN 18]</span> </div>
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<span class="s1">Four of those "items inquired about," a.k.a. non-disclosed posthumous reproductions falsely attributed as original works of visual art i.e., lithographs to Marc Chagall [d 1985], were listed as follows:</span></div>
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<span class="s1">SOURCE: DropShip@ethanalleninc.com, March 25, 2015 </span></div>
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<span class="s1">These 52 non-disclosed posthumous reproductions range in price from $2039 to $2399 each totaling $111,428.</span></div>
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<span class="s1">Reproductions can never be works of visual art, much less a limited edition. The dead don't sign and number.</span></div>
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<span class="s1"><span style="color: #212121;">Once again, this factual perspective is confirmed by U.S. Copyright Law § 101. Definitions, where 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, or, in the case of a sculpture, in multiple cast, carved, or fabricated sculptures of 200 or fewer that are consecutively numbered by the author and bear the signature or other identifying mark of the author."</span><span style="color: blue; font-size: x-small;">[FN 19] </span></span></div>
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<span class="s1">ETHAN ALLEN IN CALIFORNIA</span></div>
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<span class="s1">Ethan Allen seems to have twenty-one stores in California, one of which is located at 7341 Clairemont Mesa Blvd., San Diego, CA 92111. </span></div>
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<span class="s1">CALIFORNIA CIVIL CODE </span></div>
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<span class="s1"><span style="color: #212121;">In the State of California under California Civil Code 1741-1745, it states: “California law provides for disclosure in writing of information concerning - whether the multiple is a reproduction” {when} “offered for sale or sold at wholesale or retail for one hundred dollars ($100) or more, exclusive of any frame.”</span><span style="color: blue; font-size: x-small;">[FN 20]</span><span style="color: #212121;"> </span></span></div>
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<span class="s1">The potential penalties for violation of California Civil Code statutes may include but not limited to -refund-interest-treble damages, court costs, expert witness fees, attorney fees, and potential $1,000 fine per occurrence.</span></div>
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<span class="s1">Rhetorically, would Ethan Allen's sale and false attribution of these 52 non-disclosed posthumous [1955-1965] reproductions as original works of visual art i.e., lithographs to a dead Marc Chagall [d 1985] be a violation of California Civil Code Section 1742-1744.9 that requires "disclosure of such matters as the identity of the artist, the artist's signature, the medium, whether the multiple is a reproduction...?"</span></div>
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<a href="https://2.bp.blogspot.com/-97GlGcJgpy8/WV2VeHnQRzI/AAAAAAAAEF4/ctRZUvPOkaMP1H9sPjeWHWnky8H5datbgCLcBGAs/s1600/Leger%2BLe%2BCirque%2B1991%2BLitho.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1146" data-original-width="1600" height="458" src="https://2.bp.blogspot.com/-97GlGcJgpy8/WV2VeHnQRzI/AAAAAAAAEF4/ctRZUvPOkaMP1H9sPjeWHWnky8H5datbgCLcBGAs/s640/Leger%2BLe%2BCirque%2B1991%2BLitho.jpg" width="640" /></a></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><i>Le Cirque</i>, Item #: LP0029, $2,529.00, Dimensions: 20.75"w x 26.5”h, Léger understood the Cubist notion of freeing the painter from a responsibility to realism yet he was more interested in materialism than other Cubists, such as Braque and Picasso. He sought to express the noise, dynamism, and speed of new technology and machinery, working through several themes or cycles of imagery depicting humans in motion. Lithograph on Arches paper, 1991. Limited quantity.Annotated and stamped by the Mourlot Estate</span></span></div>
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<span style="-webkit-text-stroke-width: initial; font-family: "times" , "times new roman" , serif; font-size: x-small;"><span style="color: blue;">http://www.ethanallen.com/en_US/shop-decor-artwork-modern-masters/le-cirque/LP0029.html?site=#q=lithograph&start=1&sz=99 </span></span></div>
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<span style="color: black; font-family: "times" , "times new roman" , serif; font-size: x-small;">NOTE: Ethan Allen’s current July 5, 2017 listing</span></div>
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<b style="color: black; font-family: times, "times new roman", serif;"><span style="font-size: small;">NON-DISCLOSED POSTHUMOUS REPRODUCTION</span></b></div>
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<a href="https://2.bp.blogspot.com/-nFJgiOivJ-0/WV2XQY-zO9I/AAAAAAAAEF8/0zkuCtCK44wLRoDLQujxWDYiG9-XxtCygCLcBGAs/s1600/Leger%2BFemme%2B1992%2BLitho.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1146" data-original-width="1600" height="458" src="https://2.bp.blogspot.com/-nFJgiOivJ-0/WV2XQY-zO9I/AAAAAAAAEF8/0zkuCtCK44wLRoDLQujxWDYiG9-XxtCygCLcBGAs/s640/Leger%2BFemme%2B1992%2BLitho.jpg" width="640" /></a></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><i>Femme à la Cruche</i>, Item #: LP0033, $2,129.00, Dimensions: 36"w x 44.5”h, Léger understood the Cubist notion of freeing the painter from a responsibility to realism yet he was more interested in materialism than other Cubists, such as Braque and Picasso. He sought to express the noise, dynamism, and speed of new technology and machinery, working through several themes or cycles of imagery depicting humans in motion. Lithograph, 1992. Limited quantity. Signed in the plate</span></span></div>
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<span class="s1"><span style="color: blue; font-family: "times" , "times new roman" , serif; font-size: x-small;">http://www.ethanallen.com/en_US/shop-decor-artwork-modern-masters/femme-%C3%A0-la-cruche/LP0033.html?site=#q=lithograph&start=1&sz=99</span></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">NOTE: Ethan Allen’s current July 5, 2017 listing</span></div>
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<b style="font-family: times, "times new roman", serif; font-size: medium;"><span style="font-size: small;">NON-DISCLOSED POSTHUMOUS REPRODUCTION</span></b></div>
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<a href="https://4.bp.blogspot.com/-AReiMsYXFn8/WV2YAtSJCtI/AAAAAAAAEGA/Khmb7qKMw2wSLhtJwzXrohmFxOosOZImQCLcBGAs/s1600/Leger%2BLe%2BCycliste%2B1991%2BLitho.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1146" data-original-width="1600" height="458" src="https://4.bp.blogspot.com/-AReiMsYXFn8/WV2YAtSJCtI/AAAAAAAAEGA/Khmb7qKMw2wSLhtJwzXrohmFxOosOZImQCLcBGAs/s640/Leger%2BLe%2BCycliste%2B1991%2BLitho.jpg" width="640" /></a></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><i>Le Cycliste</i>, Item #: LP0030, $2,529.00, Dimensions: 20.75"w x 26.5”h, Léger understood the Cubist notion of freeing the painter from a responsibility to realism yet he was more interested in materialism than other Cubists, such as Braque and Picasso. He sought to express the noise, dynamism, and speed of new technology and machinery, working through several themes or cycles of imagery depicting humans in motion., Lithograph on Arches paper, 1991. Limited quantity., Annotated and stamped by the Mourlot Estate<span class="Apple-converted-space" style="font-style: normal;"> </span></span></span></div>
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<span class="s1"><span style="color: blue; font-family: "times" , "times new roman" , serif; font-size: x-small;">http://www.ethanallen.com/en_US/shop-decor-artwork-modern-masters/le-cycliste/LP0030.html?site=#q=leger&lang=en_US&site=&start=1</span></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">NOTE: Ethan Allen’s current July 5, 2017 listing</span></div>
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<a href="https://3.bp.blogspot.com/--0yBEJdfAEU/WV2Y5ri5LGI/AAAAAAAAEGE/6zLdMy0-x_Qu84SYshQDpZnSy7L5e19iwCLcBGAs/s1600/Leger%2BL%2527Homme%2B1956%2BLitho.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1146" data-original-width="1600" height="458" src="https://3.bp.blogspot.com/--0yBEJdfAEU/WV2Y5ri5LGI/AAAAAAAAEGE/6zLdMy0-x_Qu84SYshQDpZnSy7L5e19iwCLcBGAs/s640/Leger%2BL%2527Homme%2B1956%2BLitho.jpg" width="640" /></a></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><i>L'Homme au Chandail</i>, Item #: LP0002, $3,739.00, Dimensions: 54"w x 45.25”h, This lithograph is a beautiful, rich interpretation of a famous painting by Léger, which was published by Fernand Mourlot in honor of the artist. Léger sought to express the noise, dynamism and speed of new technology and machinery, working through several themes, or cycles, of imagery depicting humans in motion. Lithograph on Arches paper, 1956. Limited quantity. Numbered in pencil lower right</span></span></div>
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<span class="s1"><span style="color: blue; font-family: "times" , "times new roman" , serif; font-size: x-small;">http://www.ethanallen.com/en_US/shop-decor-artwork-modern-masters/l%27homme-au-chandail/LP0002.html?site=#q=leger&lang=en_US&site=&start=1</span></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">NOTE: Ethan Allen’s current July 5, 2017 listing</span></div>
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<b style="font-family: times, "times new roman", serif;">NON-DISCLOSED POSTHUMOUS REPRODUCTION</b></div>
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<span style="color: blue; font-size: x-small; text-align: justify;">http://www.ethanallen.com/en_US/shop-decor-artwork-modern-masters#sz=99&start=0</span></div>
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<b style="color: black;">NON-DISCLOSED POSTHUMOUS REPRODUCTIONS</b></div>
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<span class="s1">Fernand Leger died in 1955. </span><br />
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<span class="s1">In 1955, as tragic as the artist Fernand Leger's death may have been for friends, family and even Ethan Allen some 60 years later, his career as an artist was over.</span></div>
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<span class="s1">Yet, in 2016 Ethan Allen falsely lists the four above non-disclosed posthumous reproductions as original works of visual art i.e., lithographs with dates of "1956," "1991," and "1992" and attributes them to a dead Fernand Leger [d 1955].</span></div>
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<span class="s1">The dead don't lithograph as documented earlier by U.S. Customs.</span></div>
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<span class="s1" style="color: black;">Yet, in a March 25, 2015 email, three of the "items inquired about," Ethan Allen stated: </span>“The art supplier finally got back to us today. It appears that none of the items inquired about below are hand numbered. The works are all lithographs printed by the Atelier Mourlot - and are “limited edition." The items are limited quantity, annotated and stamped by the Mourlot Estate. In addition, I have provided the current quantity that is remaining for each:"<span style="color: blue; font-size: x-small;">[FN 21]</span> </div>
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<span class="s1">Three of those "items inquired about," a.k.a. non-disclosed posthumous reproductions falsely attributed as original works of visual art i.e., lithographs to Fernand Leger [d 1955], were listed as follows:</span></div>
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<a href="https://1.bp.blogspot.com/-q-eN61YgVmg/VxWwfaOTQ2I/AAAAAAAADXo/lFJz0VryYXgZCcH-t1to6ogWaoAp1gL0gCLcB/s1600/Screen%2BShot%2B2016-04-19%2Bat%2B12.13.04%2BAM.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: "times" , "times new roman" , serif;"><img border="0" height="37" src="https://1.bp.blogspot.com/-q-eN61YgVmg/VxWwfaOTQ2I/AAAAAAAADXo/lFJz0VryYXgZCcH-t1to6ogWaoAp1gL0gCLcB/s320/Screen%2BShot%2B2016-04-19%2Bat%2B12.13.04%2BAM.png" width="320" /></span></a></div>
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<span style="text-align: justify;">SOURCE: DropShip@ethanalleninc.com, March 25, 2015</span><span style="text-align: justify;"> </span></div>
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<span class="s1">These 155 non-disclosed posthumous reproductions range in price from $1733 to $2064 each totaling $306,018.</span></div>
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<span class="s1">Reproductions can never be works of visual art, much less a limited edition. The dead don't sign and number.</span></div>
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<span class="s1">Once again, this factual perspective is confirmed by U.S. Copyright Law § 101. Definitions, where 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, or, in the case of a sculpture, in multiple cast, carved, or fabricated sculptures of 200 or fewer that are consecutively numbered by the author and bear the signature or other identifying mark of the author."<span style="color: blue; font-size: x-small;">[FN 22]</span></span></div>
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<span class="s1">ETHAN ALLEN IN ILLINOIS</span></div>
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<span class="s1">Ethan Allen seems to have seven stores in Illinois, one of which is located at 10001 Skokie Blvd., Skokie, IL 60076. What statutes may be applicable in the State of Illinois for the sale of non-disclosed reproductions?</span></div>
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<span class="s1">ILLINOIS CHAPTER 815</span></div>
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<span class="s1">State of Illinois’s Chapter 815 statute requires, if sold for $60 or more, the following: "Describing the print as a "reproduction" eliminates the need to furnish further informational details unless such edition was allegedly published in a signed, numbered, or limited edition, or any combination thereof, in which case all of the informational details are required to be furnished.”<span style="color: blue; font-size: x-small;">[FN 23]</span></span></div>
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<span class="s1">Additionally, the State of Illinois' Chapter 815 states: "Proof that no person has been misled or deceived or other wise damaged by any violation of this Act shall not constitute a defense in any prosecution under this Act.”<span style="color: blue; font-size: x-small;">[FN 24]</span></span></div>
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<span class="s1">Rhetorically, would Ethan Allen's sale and false attribution of these 155 non-disclosed posthumous [1956-1992] reproductions as original works of visual art i.e., lithographs to a dead Fernand Leger [d 1955] be a violation of State of Illinois' Chapter 815?</span></div>
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<span class="s1" style="color: blue; font-size: x-small;">http://www.ethanallen.com/en_US/shop-decor-artwork-modern-masters#sz=99&start=0</span></div>
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<span class="s1"><b>NON-DISCLOSED POSTHUMOUS REPRODUCTION</b></span></div>
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<span class="s1">Fernand Leger died in August 17, 1955. Yet, Ethan Allen list the above image on their website for sale at $2,889.00 as "Fernand Leger, L'Homme au Chandail, Lithograph on Arches paper, 1956."</span></div>
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<span class="s1">Since lithographs are original works of visual art wholly executed by hand by the artist, rhetorically, how a dead Fernand Leger [d 1955] come out with new work a year later in 1956?</span></div>
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<a href="https://4.bp.blogspot.com/-81Z7fhbwKzo/VxglkjsA1ZI/AAAAAAAADa0/-NmEBnJ3g6YBlyuEDn0Z9JSeTDdOKpobwCKgB/s1600/Screen%2BShot%2B2015-09-12%2Bat%2B10.50.52%2BPM.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: "times" , "times new roman" , serif;"><img border="0" height="640" src="https://4.bp.blogspot.com/-81Z7fhbwKzo/VxglkjsA1ZI/AAAAAAAADa0/-NmEBnJ3g6YBlyuEDn0Z9JSeTDdOKpobwCKgB/s640/Screen%2BShot%2B2015-09-12%2Bat%2B10.50.52%2BPM.png" width="486" /></span></a></div>
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<span style="font-family: "times" , "times new roman" , serif;"><span style="font-family: "times" , "times new roman" , serif; font-size: small;"><span style="color: #212121;">Certificate of Provenance #2505 for the so-called Fernand Leger <i>L'Homme au Chandail</i></span></span></span></div>
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<span class="s1">The above March 1, 2014 "Certificate of Provenance # 2502," issued Ateliers Mourlot in Paris and signed Eric F. Mourlot, states:</span></div>
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<li>"This letter is to certify that this color lithograph by Fernand Leger L'Homme au Chandail was part of the Collection and Archives of Ateliers Mourlot in Paris. This work measuring 29 1/2 by 40 inches is numbered in pencil on the lower left and was printed by Mourlet in 1956 in a limited edition. This letter is to accompany this particular print if re-sold and serve as a Certificate of Provenance."</li>
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<span class="s1">Once again, since lithographs are original works of visual art wholly executed by hand by the artist, and Fernand Leger died in 1955, rhetorically how can anything be "by Fernand Leger" in 1956?</span></div>
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<span class="s1">Detail of a non-disclosed posthumous reproduction of Fernand Leger's L'Homme au Chandail</span></div>
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<span class="s1" style="color: blue; font-size: x-small;">www.ethanallen.com/en_US/shop-decor-artwork-modern-masters/1%27homme-au-chandail/LP0002.html#start=1</span></div>
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<span class="s1"><span style="color: #212121;">Additionally, under U.S. Copyright Law § 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, or, in the case of a sculpture, in multiple cast, carved, or fabricated sculptures of 200 or fewer that are consecutively numbered by the author and bear the signature or other identifying mark of the author."</span><span style="color: blue; font-size: x-small;">[FN 25]</span></span></div>
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<span style="color: blue; font-size: x-small;">http://www.ethanallen.com/en_US/shop-decor-artwork-modern-masters/l%27homme-au-chandail/LP0002.html#start=1</span></div>
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<span class="s1">Therefore, since lithographs are original works of visual art wholly executed by hand by the artist, and Fernand Leger died in 1955, rhetorically how can anything be considered a "limited edition" when in 1956 a dead Fernand Leger could not have wholly executed an original work of visual art i.e., lithograph, much less signed and consecutively numbered them as a limited edition.</span></div>
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<span class="s1">As noted earlier, in a July 2, 2014 Ethan Allen internal company email, Ethan Allen Senior Director Millie Opie admitted a fact they fail to disclose to the consumer: "None of these are reprints using the original stones. - So- to hope to clarify- the date next to the print is when it was actually printed. You may notice that sometimes the date next to the print is when it was actually printed. You may notice that sometimes the date was after the artist died. This means the pieces was printed from an original painting with permission of the artist's estate."<span style="font-size: x-small;">[FN 26] </span></span></div>
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<span class="s1">Paintings reproduced, whether lifetime or posthumously, result in reproductions, even it happens to be a Fernand Leger painting.</span></div>
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<span class="s1"><span style="color: #212121;">Yet, in respective March 6 and 9, 2015 emails, Ethan Allen contradicts its Senior Director Millie Opie: “The Léger is an original lithograph that is numbered by the Mourlot gallery. It is accompanied by a Certificate of Provenance.”</span><span style="color: blue; font-size: x-small;">[FN 27]</span><span style="color: #212121;"> and “The LP0002 is a numbered edition of 450, the lowest number available currently is 333/450 however, there is no way to ensure what numbered edition an order would get as availability would change based upon if and when orders are received."</span><span style="color: blue; font-size: x-small;">[FN 28] </span></span></div>
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<span class="s1">Once again, in 1956, a Fernand Leger [d 1955] painting reproduced would result in reproductions, not original works of visual art i.e., lithographs.</span></div>
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<span class="s1"><span style="color: #212121;">Under U.S. Copyright Law 101. Definitions, a -derivative work- is defined as an: "art reproduction” and under U.S. Copyright Law 106A. the "Rights of certain authors to attribution and integrity - shall not apply to any reproduction."</span><span style="color: blue; font-size: x-small;">[FN 29]</span></span></div>
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<span class="s1">In other words, reproductions, whether lifetime or posthumous reproductions are derivative works and under U.S. Copyright Law cannot be attributed to an artist, living or dead. Even if that dead artist is named Fernand Leger.</span></div>
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<span class="s1">Therefore, for the unsuspecting consumer, when it comes to full and honest disclosure to posthumous reproductions so the consumer might be able to give informed consent on whether to pay thousands of dollars for one, Ethan Allen and their business partner Eric Mourlot seemingly believe and act on the belief of why let the truth interfere with commerce.</span></div>
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<span style="font-family: "times" , "times new roman" , serif; margin-left: 1em; margin-right: 1em;"><a href="https://4.bp.blogspot.com/-JQL-7Lq5lRY/VxggXTiBy5I/AAAAAAAADak/cKHD0xo5RugSyIX8fHDW1BLX9Je_aHNKACLcB/s1600/Screen%2BShot%2B2016-04-20%2Bat%2B8.34.34%2BPM.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://4.bp.blogspot.com/-JQL-7Lq5lRY/VxggXTiBy5I/AAAAAAAADak/cKHD0xo5RugSyIX8fHDW1BLX9Je_aHNKACLcB/s1600/Screen%2BShot%2B2016-04-20%2Bat%2B8.34.34%2BPM.png" /></a></span></div>
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<span class="s1" style="color: blue; font-size: x-small;">http://www.ethanallen.com/en_US/shop-decor-artwork-modern-masters#sz=99&start=0</span></div>
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<span class="s1"><b>NON-DISCLOSED POSTHUMOUS REPRODUCTION</b></span></div>
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<span class="s1">Juan Gris died in 1927. </span></div>
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<span class="s1">The above non-disclosed posthumous reproduction, falsely attributed as an original work of visual art i.e., lithograph to the dead artist Juan Gris [d 1927], has a date of "1973," some 46 years after his death.</span></div>
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<span class="s1">The dead don't lithograph as documented earlier by U.S. Customs.</span></div>
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<span class="s1" style="color: black;">Yet, once again as noted in a March 25, 2015 email, three of the "items inquired about," Ethan Allen stated: </span>“The art supplier finally got back to us today. It appears that none of the items inquired about below are hand numbered. The works are all lithographs printed by the Atelier Mourlot - and are “limited edition." The items are limited quantity, annotated and stamped by the Mourlot Estate. In addition, I have provided the current quantity that is remaining for each:"<span style="color: blue; font-size: x-small;">[FN 30] </span> </div>
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<span class="s1">One of those "items inquired about," a.k.a. non-disclosed posthumous reproductions falsely attributed as original works of visual art i.e., lithographs to Juan Gris [d 1927], were listed as follows:</span></div>
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<a href="https://1.bp.blogspot.com/-pTTw5U0fan0/VxXQQsnbNwI/AAAAAAAADZU/tEjJnUhoydQhlvcieNhQCnkIC1aUGNvUACLcB/s1600/Screen%2BShot%2B2016-04-19%2Bat%2B2.27.10%2BAM.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: "times" , "times new roman" , serif;"><img border="0" height="36" src="https://1.bp.blogspot.com/-pTTw5U0fan0/VxXQQsnbNwI/AAAAAAAADZU/tEjJnUhoydQhlvcieNhQCnkIC1aUGNvUACLcB/s320/Screen%2BShot%2B2016-04-19%2Bat%2B2.27.10%2BAM.png" width="320" /></span></a></div>
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<span style="font-family: "times" , "times new roman" , serif; margin-left: 1em; margin-right: 1em;"><a href="https://4.bp.blogspot.com/-uqssZ6NYGSI/VxXQj9whp2I/AAAAAAAADZY/xRElUY3gnXQPhhfSZ-Yyky0dK1wj_rKowCKgB/s1600/Screen%2BShot%2B2016-04-19%2Bat%2B2.27.42%2BAM.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="20" src="https://4.bp.blogspot.com/-uqssZ6NYGSI/VxXQj9whp2I/AAAAAAAADZY/xRElUY3gnXQPhhfSZ-Yyky0dK1wj_rKowCKgB/s320/Screen%2BShot%2B2016-04-19%2Bat%2B2.27.42%2BAM.png" width="320" /></a></span></div>
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<span class="s1">SOURCE: DropShip@ethanalleninc.com, March 24, 2015</span></div>
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<span class="s1">These 24 non-disclosed posthumous reproductions for $985 each total $23,640.</span></div>
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<span class="s1">ETHAN ALLEN IN FLORIDA</span></div>
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<span class="s1">Ethan Allen seems to have sixteen stores in Florida, one of which is located at 4939 Big Island Drive, Jacksonville, Florida 32246. </span></div>
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<span class="s1"><span style="color: #212121;">Under Florida Statutes 817.034 “Florida Communications Fraud Act” under “DEFINITIONS” (3d), it states: "Scheme to defraud" means a systematic, ongoing course of conduct with intent to defraud one or more persons, or with intent to obtain property from one or more persons by false or fraudulent pretenses, representations, or promises or willful misrepresentations of a future act.”</span><span style="color: blue; font-size: x-small;">[FN 31] </span></span></div>
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<span class="s1"><span style="color: #212121;">The potential penalties for such conduct, under ”OFFENSES “(4), states: “(a) Any person who engages in a scheme to defraud and obtains property thereby is guilty of organized fraud, punishable as follows: 1. If the amount of property obtained has an aggregate value of $50,000 or more, the violator is guilty of a felony of the first degree, punishable as provided in s. 775.082, s. 775.083, or s. 775.084. 2. If the amount of property obtained has an aggregate value of $20,000 or more, but less than $50,000, the violator is guilty of a felony of the second degree, punishable as provided in s. 775.082, s. 775.083, or s. 775.084. 3. If the amount of property obtained has an aggregate value of less than $20,000, the violator is guilty of a felony of the third degree, punishable as provided in s. 775.082, s. 775.083, or s. 775.084.”</span><span style="color: blue; font-size: x-small;">[FN 32]</span><span style="color: #212121;"> </span></span></div>
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<span class="s1">Rhetorically, would Ethan Allen's sale and false attribution of these 24 non-disclosed posthumous [1973] reproductions as original works of visual art i.e., lithographs to the dead artist Juan Gris [d 1927] be a violation of State of Florida Statutes 817.034?</span></div>
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<span style="font-family: "times" , "times new roman" , serif; margin-left: 1em; margin-right: 1em;"><a href="https://2.bp.blogspot.com/-FT9EQ_4PC0k/VxXNFXgAqTI/AAAAAAAADY8/HLAlqFN2SOAH0T-amsIZaBjp-bVWRxV-QCLcB/s1600/Screen%2BShot%2B2016-04-19%2Bat%2B2.02.55%2BAM.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://2.bp.blogspot.com/-FT9EQ_4PC0k/VxXNFXgAqTI/AAAAAAAADY8/HLAlqFN2SOAH0T-amsIZaBjp-bVWRxV-QCLcB/s1600/Screen%2BShot%2B2016-04-19%2Bat%2B2.02.55%2BAM.png" /></a></span></div>
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<span class="s1" style="color: blue; font-size: x-small;">http://www.ethanallen.com/en_US/shop-decor-artwork-modern-masters#sz=99&start=0</span></div>
<div class="p1" style="color: black;">
<span class="s1"><b>NON-DISCLOSED POSTHUMOUS REPRODUCTION</b></span></div>
<div class="p2" style="text-align: justify;">
<span class="s1"></span><br /></div>
<div class="p1" style="text-align: justify;">
<span class="s1">Marie Laurencin died in 1956.</span></div>
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<span class="s1">The above non-disclosed posthumous reproduction, falsely attributed as an original work of visual art i.e., lithograph to the dead artist Marie Laurencin [d 1956], has a date of "1980," some 24 years after her death.</span></div>
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<span class="s1"></span><br /></div>
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<span class="s1">The dead don't lithograph as documented earlier by U.S. Customs.</span></div>
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<span class="s1"></span><br /></div>
<div class="p1" style="text-align: justify;">
<span class="s1" style="color: black;">Yet, to belabor a point made over and over before, in a March 25, 2015 email, three of the "items inquired about" Ethan Allen stated: </span>“The art supplier finally got back to us today. It appears that none of the items inquired about below are hand numbered. The works are all lithographs printed by the Atelier Mourlot - and are “limited edition." The items are limited quantity, annotated and stamped by the Mourlot Estate. In addition, I have provided the current quantity that is remaining for each:"<span style="color: blue; font-size: x-small;">[FN 33]</span> </div>
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<span class="s1">One of those "items inquired about," a.k.a. non-disclosed posthumous reproductions falsely attributed as original works of visual art i.e., lithographs to Marie Laurencin [d 1956], were listed as follows:</span></div>
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<a href="https://4.bp.blogspot.com/-pTTw5U0fan0/VxXQQsnbNwI/AAAAAAAADZU/dyiqtaYgsMoelzK88MlWQxiY9kS45ZxrgCKgB/s1600/Screen%2BShot%2B2016-04-19%2Bat%2B2.27.10%2BAM.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: "times" , "times new roman" , serif;"><img border="0" height="36" src="https://4.bp.blogspot.com/-pTTw5U0fan0/VxXQQsnbNwI/AAAAAAAADZU/dyiqtaYgsMoelzK88MlWQxiY9kS45ZxrgCKgB/s320/Screen%2BShot%2B2016-04-19%2Bat%2B2.27.10%2BAM.png" width="320" /></span></a></div>
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<a href="https://3.bp.blogspot.com/-pEPbiPhp2M8/VxXQpRmXHEI/AAAAAAAADZc/sXb2bMlW_VYL7YZoiKxPtHOkEPUW-DeXACKgB/s1600/Screen%2BShot%2B2016-04-19%2Bat%2B2.28.04%2BAM.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: "times" , "times new roman" , serif;"><img border="0" height="19" src="https://3.bp.blogspot.com/-pEPbiPhp2M8/VxXQpRmXHEI/AAAAAAAADZc/sXb2bMlW_VYL7YZoiKxPtHOkEPUW-DeXACKgB/s320/Screen%2BShot%2B2016-04-19%2Bat%2B2.28.04%2BAM.png" width="320" /></span></a></div>
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<span class="s1">SOURCE: DropShip@ethanalleninc.com, March 24, 2015</span></div>
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<span class="s1">These 570 non-disclosed posthumous reproductions for $976 each total $556,320.</span></div>
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<span class="s1">ETHAN ALLEN IN MARYLAND</span></div>
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<span class="s1">Ethan Allen seems to have three stores in Maryland, one of which is located at 1906 Towne Centre Boulevard #130, Annapolis, MD 21401</span></div>
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<span class="s1">Under Maryland's Commercial Law Title 14, Secs 501-505, it states: "Seller who describes a print as a 'reproduction' need not furnish other information unless the print is part of a limited edition." The threshold for disclosure is $25 unframed, over $40 framed.<span style="color: blue; font-size: x-small;">[FN 34]</span></span></div>
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<span class="s1">Rhetorically, would Ethan Allen's sale and false attribution of these 570 non-disclosed posthumous [1980] reproductions as original works of visual art i.e., lithographs to the dead artist Marie Laurencin [d 1956] be a violation of State of Maryland Commercial Law Title 14, Secs 501-505?</span></div>
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<a href="https://3.bp.blogspot.com/-_nHmodmO6mM/VxXNSp6MiEI/AAAAAAAADZA/rWgCjFf0oCwS-C_jPZy8EidP5mZGKoHpQCLcB/s1600/Screen%2BShot%2B2016-04-19%2Bat%2B2.11.43%2BAM.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: "times" , "times new roman" , serif;"><img border="0" src="https://3.bp.blogspot.com/-_nHmodmO6mM/VxXNSp6MiEI/AAAAAAAADZA/rWgCjFf0oCwS-C_jPZy8EidP5mZGKoHpQCLcB/s1600/Screen%2BShot%2B2016-04-19%2Bat%2B2.11.43%2BAM.png" /></span></a></div>
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<span class="s1" style="color: blue; font-size: x-small;">http://www.ethanallen.com/en_US/shop-decor-artwork-modern-masters#sz=99&start=0</span></div>
<div class="p1" style="color: black;">
<span class="s1"><b>NON-DISCLOSED POSTHUMOUS REPRODUCTION</b></span></div>
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<span class="s1"></span><br /></div>
<div class="p2" style="text-align: justify;">
<span class="s1"></span><br /></div>
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<span class="s1">Jean Cocteau died in 1963</span></div>
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<span class="s1">The above non-disclosed posthumous reproduction, falsely attributed as an original work of visual art i.e., lithograph to the dead artist Jean Cocteau [d 1963] has a date of "1983," some 20 years after their death.</span></div>
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<span class="s1">The dead don't lithograph as documented earlier by U.S. Customs.</span></div>
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<span class="s1">ETHAN ALLEN IN OREGON</span></div>
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<span class="s1">Ethan Allen seems to have three stores in Oregon, one of which is located at 15383 SW Bangy Road, Lake Oswego, OR 97035.</span></div>
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<span class="s1">Under Oregon Revised Statutes Title 30. Education and Cultural Facilities, Chapter 359, Arts Commission and Arts Program; Art Transactions Fine Print Disclosure Statements, it states: "'Reproduction' means a copy of a fine print, but not a unique print made from the original plate." and "If the seller describes a fine print as a reproduction, the seller need not furnish any further information."<span style="color: blue; font-size: x-small;">[FN 35]</span></span></div>
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<br /></div>
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<span class="s1">Rhetorically, would Ethan Allen's sale and false attribution of these a non-disclosed posthumous [1983] reproduction as original works of visual art i.e., lithographs to the dead artist Jean Cocteau [d 1963] be a violation of State of Oregon Revised Statutes Title 30. Education and Cultural Facilities, Chapter 359, Arts Commission and Arts Program; Art Transactions Fine Print Disclosure Statements?</span></div>
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<div class="p1" style="color: black;">
<span class="s1" style="color: blue; font-size: x-small;">http://www.ethanallen.com/en_US/shop-decor-artwork-modern-masters#sz=99&start=0</span></div>
<div class="p1" style="color: black;">
<span class="s1"><b>NON-DISCLOSED POSTHUMOUS REPRODUCTION</b></span></div>
<div class="p2" style="color: black;">
<span class="s1"></span><br /></div>
<div class="p2" style="color: black;">
<span class="s1"></span><br /></div>
<div class="p1" style="text-align: justify;">
<span class="s1">Wassily Kandinsky died in 1944. </span></div>
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<div class="p1" style="text-align: justify;">
<span class="s1">The above non-disclosed posthumous reproduction, falsely attributed as an original work of visual art i.e., lithograph to the dead artist Wassily Kandinsky has a date of "1993," some 49 years after his death.</span></div>
<div class="p2" style="text-align: justify;">
<span class="s1"></span><br /></div>
<div class="p1" style="text-align: justify;">
<span class="s1">The dead don't lithograph as documented earlier by U.S. Customs.</span></div>
<div class="p2" style="text-align: justify;">
<span class="s1"></span><br /></div>
<div class="p1" style="text-align: justify;">
<span class="s1" style="color: black;">Yet, as noted ad nauseum, in a March 25, 2015 email, three of the "items inquired about," Ethan Allen stated: </span>“The art supplier finally got back to us today. It appears that none of the items inquired about below are hand numbered. The works are all lithographs printed by the Atelier Mourlot - and are “limited edition." The items are limited quantity, annotated and stamped by the Mourlot Estate. In addition, I have provided the current quantity that is remaining for each:"<span style="color: blue; font-size: x-small;">[FN 36] </span></div>
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<span class="s1">One of those "items inquired about," a.k.a. non-disclosed posthumous reproductions falsely attributed as original works of visual art i.e., lithographs to Wassily Kandinsky [d 1944], were listed as follows:</span></div>
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<a href="https://4.bp.blogspot.com/-pTTw5U0fan0/VxXQQsnbNwI/AAAAAAAADZU/dyiqtaYgsMoelzK88MlWQxiY9kS45ZxrgCKgB/s1600/Screen%2BShot%2B2016-04-19%2Bat%2B2.27.10%2BAM.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: "times" , "times new roman" , serif;"><img border="0" height="36" src="https://4.bp.blogspot.com/-pTTw5U0fan0/VxXQQsnbNwI/AAAAAAAADZU/dyiqtaYgsMoelzK88MlWQxiY9kS45ZxrgCKgB/s320/Screen%2BShot%2B2016-04-19%2Bat%2B2.27.10%2BAM.png" width="320" /></span></a></div>
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<span class="s1">SOURCE: DropShip@ethanalleninc.com, March 25, 2015</span></div>
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<span class="s1">These 32 non-disclosed posthumous reproductions for $1,270 each total $40,768.</span></div>
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<span class="s1">ETHAN ALLEN IN MINNESOTA</span></div>
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<span class="s1">Ethan Allen seems to have three stores in Minnesota, one of which is located at 7101 France Ave S Rue de France Shopping Center Ste 116, Edina, MN 55435.</span></div>
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<span class="s1">Under Minnesota Trade Regulations Secs 324.06 -324.10, it requires: "'Reproduction' means a copy of all original or a print by a commercial mechanical process - Seller who describes print as a 'reproduction' need not furnish other information unless the print is part of a limited edition." The threshold for disclosure is $250 or above.<span style="color: blue; font-size: x-small;">[FN 37]</span></span></div>
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<span class="s1">Rhetorically, would Ethan Allen's sale and false attribution of a non-disclosed posthumous [1993] reproduction as original works of visual art i.e., lithographs to the dead artist Wassily Kandinsky [d 1944] be a violation of State of Minnesota Trade Regulations Secs 324.06 -324.10?</span></div>
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<span class="s1">WHAT IS A LITHOGRAPH?</span></div>
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<span class="s1">Here is a simplified explanation of what constitute a lithograph based on my 29 year experience in printing over 12,000 works of visual art i.e., lithographs.</span></div>
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<a href="https://2.bp.blogspot.com/-2xiMqy-aBho/Vxb9fY2w38I/AAAAAAAADaU/w-5dBbfNn3sI9c7m57cai__biWyXOFDiQCLcB/s1600/Screen%2BShot%2B2016-04-19%2Bat%2B11.54.03%2BPM.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><span style="font-family: "times" , "times new roman" , serif;"><img border="0" height="320" src="https://2.bp.blogspot.com/-2xiMqy-aBho/Vxb9fY2w38I/AAAAAAAADaU/w-5dBbfNn3sI9c7m57cai__biWyXOFDiQCLcB/s320/Screen%2BShot%2B2016-04-19%2Bat%2B11.54.03%2BPM.png" width="250" /></span></a></div>
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<span class="s1">ARTIST DRAWN MATRIX</span></div>
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<span class="s1">Original works of visual art ie., lithographs are created by hand by a living artist. The original creative medium begins with that living artist, using a greasy pencil and/or greasy substance, drawing their image i.e., matrix on the surface of a limestone block or metal plate. The artist drawn matrix, on the limestone or metal plate, is one of the tools for creating and printing the original works of visual ie., lithographs and is -not- considered the original work of visual art. In other words, the artist drawn matrix, using greasy pencil and/or greasy substance, on the limestone block or metal plate is what the paint brush and paint is to canvas. They are just some of the tools the artist uses to create the works of visual art ie., lithographs. Once the edition of original works of visual art ie., lithographs are completed by the artist, the matrix on the limestone block is grounded off for the living artist to use again [and the metal plate is cancelled with cancellation marks].</span></div>
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<span class="s1">NOTE: Lithographs are also created by an artist using mylar and using opaque substances to create their matrix for printing but for sake of clarity, I will only focus on those lithographs created and printed by artists, using greasy materials on limestone blocks or metal plates.</span></div>
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<span class="s1">ARTIST DRAWN MATRIX CHEMICALLY PREPARED</span></div>
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<span class="s1">Once the artist drawn matrix on the limestone block or metal plate is complete, it is chemically prepared for printing with the artist applying by brush various strengths of phosphoric and nitric acid in a gum arabic solution. The darker the image ie., matrix, the stronger the acid the artist applies by brush to that specific area on to the matrix for a few minutes and then buffed dry with a couple of paper towels. </span></div>
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<span class="s1">ARTIST DRAWN MATRIX CHEMICALLY PREPARED AGAIN</span></div>
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<span class="s1">Some 24 hours later, the artist applies a modest amount of stiff lithographic ink to a plexiglass table and uses a leather or rubber roller to smooth that stiff lithographic ink to a smooth roller wide consistency. After that is ready, the artist will use a paper towel soaked in Lithotine to remove buff dry gum arabic/acid solution and the artist drawn inked matrix on the surface of the limestone block or metal plate and buff complete dry. A greasy substance called Asphaltum is then quickly applied using a paper towel, to the entire ghost-like artist drawn matrix [without ink] on surface of the limestone block or metal plate and buffed. Using a water moisten lithographic sponge soaking in a container with an inch or so of water, the excess greasy Asphaltum is immediately wiped off revealing a greasy coating to the artist drawn matrix. This appears to bring back visually the chemically prepared artist drawn matrix except this not printable ink. Then with the premise that grease and water don’t mix, the artist uses a lithographic sponge soaked in water wiping across the entire surface of the limestone block or metal plate. As long as the limestone block or metal plate is completely moist with water, the stiff lithographic black ink rolled onto the surface of the limestone block or metal plate, will only adhere to the artist drawn matrix. In other words, all areas of the limestone block or metal plate where artist did not apply a greasy material, should print nothing. Once the artist drawn matrix on the limestone block is completely inked with 4 to 5 passes of fresh applied ink, it is rosin and talc to dry. The artist drawn matrix is once again chemically prepared for printing and buffed dry.</span></div>
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<span class="s1">LITHOGRAPHS PRINTING BEGINS</span></div>
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<span class="s1">An hour or so later, the artist, using a paper towel soaked in Lithotine, will remove the buff dry gum arabic/acid solution and the artist drawn inked matrix on the surface of the limestone block or metal plate and buff complete dry. Once again, a greasy substance called Asphaltum is then quickly applied using a paper towel, to the entire ghost-like artist drawn matrix [without ink] on surface of the limestone block or metal plate and buffed. Using a water moisten lithographic sponge soaking in a container with an inch or so of water, the excess greasy Asphaltum is immediately wiped off revealing a greasy coating to the artist drawn matrix. This appears to bring back visually the chemically prepared artist drawn matrix except this not printable ink. Then with the premise that grease and water don’t mix, the artist uses a lithographic sponge soaked in water wiping across the entire surface of the limestone block or metal plate. As long as the limestone block or metal plate is completely moist with water, the stiff lithographic black ink rolled onto the surface of the limestone block or metal plate, will only adhere to the artist drawn matrix. In other words, all areas of the limestone block or metal plate where artist did not apply a greasy material, should print nothing. Once the artist drawn matrix on the limestone block is completely inked with 4 to 5 passes of fresh applied ink, the artist drawn matrix is ready for printing. For each printed original work of visual art ie., lithographs the artist may print, they will have to make four to five rolls of freshly rolled lithographic ink to the surface of the limestone block or metal plate to print each lithograph. Additionally, the artist will have to carefully monitor running low on ink rolled on the plexiglass table and replace it ever so often. Depending on the size of the artist drawn matrix on the limestone block or metal plate, for an edition of 100, printing black ink only, could possibly be done at 3 to 15 printed lithographs an hour taking 6 hours to 3 days to complete a one black-and-white edition of 100. </span></div>
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<span class="s1">This doesn’t even to begin to address the additional artist drawn matrixes done to print and register additional colors or hand-painting the edition or combining the edition with other mediums and/or combining any number of additional creative ideas and mediums.</span></div>
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<span class="s1">Once the printing of the edition of original works of visual art i.e., lithographs is completed by the living artist there is the signing and number and possibly titling the edition by that living artist. </span></div>
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<span class="s1"><span style="color: #212121;">The above description of the steps for an artist to create and print their edition of original works of visual art i.e., lithographs is supported by U.S. Custom`s May 2006 An Informed Compliance Publication titled Works of Art, Collector`s Pieces Antiques, and Other Cultural Property and U.S. Copyright Law 106 A. This U.S. Customs publication 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."</span><span style="color: blue; font-size: x-small;">[FN 38] </span></span></div>
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<a href="https://3.bp.blogspot.com/-vob-UE0EF4w/Vxl6IzjxWEI/AAAAAAAADbU/Vu1NqwAzp6MojYld2in0HxOWW5rPAtoRACLcB/s1600/Screen%2BShot%2B2016-04-21%2Bat%2B9.10.06%2BPM.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="225" src="https://3.bp.blogspot.com/-vob-UE0EF4w/Vxl6IzjxWEI/AAAAAAAADbU/Vu1NqwAzp6MojYld2in0HxOWW5rPAtoRACLcB/s400/Screen%2BShot%2B2016-04-21%2Bat%2B9.10.06%2BPM.png" width="400" /></a></div>
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<span class="s1"><span style="font-size: x-small;">"The centerpiece of the evening will be Ethan Allen’s “Modern Masters” Collection, an exclusive exhibition of rare and collectible lithographs created by some of the most legendary artists of the 20th century, including Pablo Picasso, Henri Matisse, Georges Braque, Alexander Calder, Salvador Dalí, Marc Chagall, Fernand Léger, and Joan Miró, among many others.</span></span></div>
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<span class="s1"><span style="font-size: x-small;">"The Collection was originally produced by the leading lithographer of the time, Atelier Mourlot. In attendance at the event will be Mr. Eric Mourlot, the grandson of Fernand Mourlot, who established the original Atelier Mourlot in Paris in 1852. Mr. Mourlot will discuss the new Ethan Allen Modern Masters Collection and its history."</span></span></div>
<span style="font-size: x-small;"><span style="color: #212121;">Photo: </span><span style="color: blue;">http://bestevents.us/san-diego-san-diego-arts-amp-ethan-allens-modern-masters/710202</span></span></div>
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<span class="s1">ETHAN ALLEN'S BAIT AND SWITCH</span></div>
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<span class="s1">Ethan Allen's Modern Masters Collection of non-disclosed posthumous reproductions are not original works of visual art i.e., lithographs wholly executed by hand by the artist and Ethan Allen's senior management knows it.</span></div>
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<span class="s1"><span style="color: #212121;">Remember, as documented earlier in the above July 2, 2014 Ethan Allen internal email, Senior Director Opie Miller states: "So- to hope to clarify- the date next to the print is when it was actually printed. You may notice that sometimes the date next to the print is when it was actually printed. You may notice that sometimes the date was after the artist died. This means the pieces was printed from an original painting with permission of the artist's estate."</span><span style="color: blue; font-size: x-small;">[FN 39]</span><span style="color: #212121;"> </span></span></div>
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<span class="s1"><span style="color: #212121;">On page 137 of the </span><i style="color: #212121;">Seventh Edition of Black's Law Dictionary</i><span style="color: #212121;">, -bait and switch- is defined as: "Most states prohibit the bait and switch when the original product is not actually available as advertised."</span><span style="color: blue; font-size: x-small;">[FN 40]</span></span></div>
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<span class="s1">http://www.ethanallen.com/en_US/shop-decor-artwork-modern-masters/l%27homme-au-chandail/LP0002.html#start=1</span></div>
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<span class="s1"><b>ETHAN ALLEN'S REPRESENTATION</b></span></div>
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<span class="s1">July 2, 2014 email from Ethan Allen Design Center Manager Kera L. Parker</span></div>
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<span class="s1"><b>ETHAN ALLEN'S DISCLAIMER</b></span></div>
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<span class="s1">UNIFORM COMMERCIAL CODE </span></div>
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<span class="s1">In September 1998 Art World News trade magazine, the attorney Paul Winick (partner in the New York office of Thelen, Marrin, Johnson and Bridges), who specializes in intellectual property law, litigation and represents galleries, publishers and artists, wrote the article "Certificates of Authenticity: Dealer Liability."</span></div>
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<span class="s1">In his article he explains the application of the Uniform Commercial Code as it applies to the “sales of most forms of visual art.” The author wrote: “UCC express warranty arises from two sources: The description of the goods given by the seller, and the seller statements made to induce the sale.” Those statements are said to become part of the “basis of the bargain” made between buyer and seller and, therefore, a basis for legal action if the description or statements turn out later to have been false.”<span style="color: blue; font-size: x-small;">[FN 41] </span></span></div>
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<span class="s1">The author also wrote: “Warranties need not depend on the sale document and can arise in statements made in advertisements or catalogues, so long as the buyer relied on those statements in formulating the bargain with the seller,” and that “Warranties are applicable regardless of fault or intent. It is no defense that the seller did not mean to make a misstatement, or that he thought the misstatement to be true. If the goods (the artwork) do not conform to the promise made (the warranty), the seller is liable, whether or not he knew it to be true.”<span style="color: blue; font-size: x-small;">[FN 42]</span> </span></div>
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<span class="s1">When it comes to “disclaimers,” Paul Winick wrote: “Disclaimers are not viewed favorably by courts and, unless there is some way to reconcile the disclaimer and the representation, the disclaimer is disregarded and the representation is given effect.”<span style="color: blue; font-size: x-small;">[FN 43] </span></span></div>
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<span class="s1" style="color: blue; font-size: x-small;">http://demandware.edgesuite.net/aakh_prd/on/demandware.static/-/Sites-ethanallen-us-Library/default/dwad31ade6/pdf/EthanAllen_WarrantyBrochure.pdf</span></div>
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<span class="s1" style="color: black;">Ethan Allen’s GENERAL WARRANTY COVERAGE states: “Our products are warranted to be free from material defects in workmanship, materials and construction from date of delivery for </span>the number of years noted below when used for normal, residential indoor use.” Specifically, Ethan Allen states: “ARTWORK AND MIRRORS warranty period is 1 year but the “Warranty does not cover fading, expansion, contraction, effects of extreme high/low humidity or damage caused by improper installation. Store credit for the original price paid will be issued as full satisfaction of all valid warranty claims for Premier Collection items.” <span style="color: blue; font-size: x-small;">[FN 44]</span></div>
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<span class="s1" style="color: black;">Ethan Allen must, on occasion, ship to their customers. In fact, Ethan Allen states: "</span>We determine the shipping method based on the item and its packaging. Each product's detail page displays its availability and shipping method."<span style="color: blue; font-size: x-small;">[FN 45]</span><br />
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<span class="s1"></span>What are the potential consequences of Ethan Allen shipping a non-disclosed posthumous reproduction, misrepresented as an original work of visual art i.e., lithograph, if Ethan Allen's detail page fails to give full and honest disclosure?<br />
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<span class="s1">UNITED STATES POST OFFICE </span></div>
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<span class="s1">In Section 1341, Fraud and Swindles of the UNITED STATES POSTAL INSPECTION SERVICE, it states: “Whoever, having devised or intending to devise any scheme or artifice to defraud, or for obtaining money or property by means of false or fraudulent pretenses, representation or promises, or to sell, dispose of, loan, exchange, alter, give away, distribute, supply, or furnish or procure for unlawful use any counterfeit or spurious coin, obligation, security, or other article, or anything represented to be or intimated or held out to be such counterfeit or spurious article, for the purpose of executing such scheme or artifice or attempting so to do, places in any post office or authorized depository for mail matter, any matter or thing whatever to be sent or delivered by the Postal Service, or deposits or causes to be deposited any matter or thing whatever to sent or delivered by any private or commercial interstate carrier, or takes or receives therefrom, any such matter or thing, or knowingly causes to be delivered by mail or such carrier according to the direction thereon, or at the place at which it is directed to be delivered by the person to whom it is addressed, any such matter or thing, shall be fined under this title or imprisoned not more than five years, or both. If the violation affects a financial institution, such person shall be fined not more than $1,000,000 or imprisoned not more than 30 years, or both.”<span style="color: blue; font-size: x-small;">[FN 46]</span></span></div>
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<span class="s1">PRECEDENT</span></div>
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<span class="s1">In the March 17, 2004 News-10-Now’s “US Attorney’s Office investigates art fraud” story by Carmen Grant, Assistant U.S. Attorney Lisa Fletcher is quoted as stating: “What we found is that Anthony Marone and William Yager conspired with one another, since at least as far back as 1999, to post on ebay for auction works of art that they represented to be original by original famous artists, and what they actually sold was counterfeit works of art. By doing that they committed several federal offenses including conspiracy to commit wire fraud and mail fraud.”<span style="color: blue; font-size: x-small;">[FN 47]</span> </span></div>
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<span class="s1">LAW, ETHICS AND THE VISUAL ARTS </span></div>
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<span class="s1">On page 816-817 of Kluwer Law International’s published 1998 <i>Law, Ethics and the Visual Arts, Third Edition</i> by John Henry Merryman and Albert E. Elsen, they wrote about “Counterfeit Art.”</span></div>
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<span class="s1">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.”<span style="color: blue; font-size: x-small;">[FN 48]</span></span></div>
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<span class="s1">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.”<span style="color: blue; font-size: x-small;">[FN 49]</span></span></div>
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<span class="s1"> </span></div>
<div class="p1" style="text-align: justify;">
<span class="s1">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…”<span style="color: blue; font-size: x-small;">[FN 50]</span></span></div>
<div class="p2" style="text-align: justify;">
<span class="s1"> </span></div>
<div class="p1" style="text-align: justify;">
<span class="s1">FAROOQ KATHWARI, CHAIRMAN, PRESIDENT AND CEO OF ETHAN ALLEN</span></div>
<div class="p1" style="text-align: justify;">
<span class="s1">In a youtube October 16, 2014 video, Ethan Allen's Chairman, President and CEO of Ethan Allen made the following statement: </span></div>
<div class="p1" style="text-align: justify;">
</div>
<ul style="color: black;">
<li style="text-align: justify;">"And finally, you know, our business model is based on the fact that you've got to make sure you keep your leadership principals in sight and our senior management at Ethan Allen every year they have to write a report to me how they believe they have been able to work on these principals and so that they keep them in sight all time. And in my, you know... As I know motivated people can do wonders. A great team that works together... When we went to work... Mexico and we opened up... We have 700 associates there. I said lets have similar environmental safety standards as we have in the United States. Same thing in Honduras. Not required. People go there because the can get away with all those things. We said no. And you know what people know it. They see it. And we have one of the most motivated workforce over there. Hardly any turnover because you are treating people fairly and with justice. It's good for business. Thank you very much. Good to be here."<span style="color: blue; font-size: x-small;">[FN 51]</span></li>
</ul>
<div style="text-align: justify;">
<br /></div>
<div class="p1" style="text-align: justify;">
<span class="s1">CORPORATE GOVERNANCE</span></div>
<div class="p1" style="text-align: justify;">
<div style="color: black;">
<span class="s1">On Ethan Allen's website, under the subtitle "Corporate Governance," Ethan Allen's CEO Farooq Kathwari wrote: "“Ethan Allen is built on a deep and abiding relationship of trust between our clients, our retailers, our shareholders, our employees, our suppliers, and the many communities of which we are an integral part. If you create a culture of trust and justice, you create a positive business environment. Justice and excellent governance are good for profitability.”<span style="color: blue; font-size: x-small;">[FN 52]</span> </span></div>
<div style="color: black;">
<br /></div>
<div style="color: black;">
LEADERSHIP PRINCIPALS</div>
<div class="p1">
</div>
<div class="p1">
<span class="s1">Ethan Allen's CEO Farooq Kathwari states on their website that: "Good governance is good for profitability – and good for our talented and committed team. As a group we embrace ten key Leadership Principles, which define our commitment to excellence. Living by these principles is paramount. They are the compass that guides us to achieve our full potential, both as individuals within the company and as a major player in the industry."<span style="color: blue; font-size: x-small;">[FN 53]</span> One of those principals is Justice which Farooq Kathwari defines as: "</span>Always make decisions fairly. Justice builds confidence and trust, which in turn encourages motivation and teamwork."<span style="color: blue; font-size: x-small;">[FN 54]</span></div>
<div style="color: black;">
<br /></div>
</div>
<div class="p2" style="text-align: justify;">
<span class="s1"></span></div>
<div class="p1" style="text-align: justify;">
<div style="color: black;">
<span class="s1">Rhetorically, would it "create a culture of trust and justice" for the Ethan Allen customers if they were to discover that many of the so-called "lithographs" being offered for sale for hundreds to thousands of dollars each by Ethan Allen with their business partner Eric Mourlet and Atelier Mourlot, were actually a non-disclosed posthumous reproductions i.e., posters?</span></div>
<div style="color: black;">
<span class="s1"><br /></span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://4.bp.blogspot.com/-UO2vroNav9c/Vxt9FtXd4-I/AAAAAAAADcE/YX-UQzttfI0wiiiQiwhsbwbtSsbuo5tuQCKgB/s1600/Screen%2BShot%2B2015-09-12%2Bat%2B10.50.52%2BPM.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://4.bp.blogspot.com/-UO2vroNav9c/Vxt9FtXd4-I/AAAAAAAADcE/YX-UQzttfI0wiiiQiwhsbwbtSsbuo5tuQCKgB/s640/Screen%2BShot%2B2015-09-12%2Bat%2B10.50.52%2BPM.png" width="486" /></a></div>
<div class="p1" style="text-align: center;">
Certificate of Provenance #2505</div>
<span class="s1"></span><br />
<div class="p1" style="text-align: center;">
<b>"COLOR LITHOGRAPH BY FERNAND LEGER"</b></div>
<div style="color: black;">
<br /></div>
<div style="color: black;">
<span class="s1">ETHAN ALLEN'S BOILER PLATE</span></div>
<div style="color: black;">
<span class="s1">
</span></div>
<div class="p1" style="color: black;">
<span class="s1">In a June 6, 2014 letter, an attorney from Law Firm representing Ethan Allen stated the following: "Ethan Allen offers lithographs for sale. As a noun, "lithograph" is defined by any number of sources as a work created by the specific process of lithography. It does not necessarily refer to the work itself. Contrary to your unsupported belief, the term "lithograph" encompasses far more than your artificially narrow understanding of an original work of art "wholly executed by the hand of the artist which excludes any mechanical and photomechanical processes." In simple fact, you are fundamentally incorrect as the process of lithography is a mechanical process. The term neither represents nor implies that a particular work was prepared by the original artist or as a reproduction. We will not dignify your remaining erroneous statements with a response."<span style="color: blue; font-size: x-small;">[FN 55]</span></span></div>
<div class="p1" style="color: black;">
<span class="s1"><br /></span></div>
<div class="separator" style="clear: both; text-align: center;">
</div>
<div class="p1" style="color: black;">
<span class="s1">The above "Certificate of Provenance," signed by Eric Mourlot, states <i>L'Homme au Chandail</i> is a "Color Lithograph by Fernand Leger" in a limited edition "printed by Mourlot in 1956." Under U.S Customs Informed Compliance May 2006, a lithograph "must be wholly executed by hand by the artist and excludes mechanical and photomechanical processes. In 1956, Fernand Leger [d 1955] was dead. The dead don't wholly execute anything. </span></div>
<div class="p1" style="color: black;">
<span class="s1"><br /></span></div>
<div class="p1" style="color: black;">
<span class="s1">Additionally under U.S. Copyright Law 101, a work of visual art to be considered a limited edition it must be "signed and consecutively numbered by the author. </span>In 1956, Fernand Leger [d 1955] was dead. The dead don't sign and consecutively number anything. </div>
<div class="p1" style="color: black;">
<br /></div>
<div class="p1" style="color: black;">
Furthermore, under U.S. Copyright Law 106A, the Rights of Attribution "shall not apply to any reproduction." In 1956, Fernand Leger [d 1955] was dead. At best, anything posthumously reproduced, such as Fernand Leger's painting, are reproductions. </div>
<div class="p1" style="color: black;">
<br /></div>
<div class="p1" style="text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://2.bp.blogspot.com/-9ZrRv0IrJsk/VxuBnrZPXMI/AAAAAAAADcM/ad1_KDNeztQA_oAwvOfzSenMp2FwUOoEQCLcB/s1600/DSCN4971.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://2.bp.blogspot.com/-9ZrRv0IrJsk/VxuBnrZPXMI/AAAAAAAADcM/ad1_KDNeztQA_oAwvOfzSenMp2FwUOoEQCLcB/s640/DSCN4971.jpg" width="502" /></a></div>
<div class="p1" style="text-align: center;">
<br /></div>
<div class="p1" style="text-align: center;">
<span class="s1">July 2, 2014 email from Ethan Allen Design Center Manager Kera L. Parker</span></div>
<div class="p1" style="text-align: center;">
<span class="s1"><b>ETHAN ALLEN'S DISCLAIMER</b></span><br />
<span class="s1"><b><br /></b></span></div>
<div class="p1" style="color: black;">
<span class="s1">GALERIE MOULOT'S BOILER PLATE</span></div>
<div class="p1" style="color: black;">
<span class="s1">In a July 18, 2014 letter, the Law Firm representing Galerie Mourlot stated the following: "Contrary to the contentions in your E-mail, each of the prints being offered by Ethan Allen as part of The Mourlot Collection is a genuine lithograph, produced with the appropriate authorizations. Encyclopedia Britannica defines lithography as the process of drawing or laying down a design or transfer, on a specially prepared stone or other suitable surface, in such a way that impressions may be taken therefrom. The principle on which lithography is based is the antagonism of grease and water. A chemically pure surface having been secured on some substance that has an equal affinity for both grease and water, in a method hereafter to be described, the parts intended to print are covered with an unctuous composition and the rest of the surface is moistened, so that when a greasy roller is applied, the portion that is wet resists the grease and that in which an affinity for grease has been set up readily accepts it; and from the surface; thus treated it will be seen that it is an easy thing to secure an impression on paper or other material by applying suitable pressure. (See Encyclopedia Britannica — University Press 1911). Your contentions that a lithograph be anything more are misguided and, in this case seem intended to disparage my client for your own personal benefit.</span></div>
<div class="p2" style="color: black;">
<span class="s1"></span><br /></div>
<div class="p1" style="color: black;">
<span class="s1">
</span></div>
<div class="p1" style="color: black;">
<span class="s1">"None of the works distributed by from The Mourlot Collection are in any way "non-disclosed reproductions.” Further, none of these works are "offset" or photo-mechanically reproduced. Each work in the Mourlot Collection is a genuine lithograph. Whether created as originals by the artists themselves, or as reproductions supervised by the artists or the estates, they are all printed with a true lithographic process and with the permission of the artists themselves or their estate."<span style="color: blue; font-size: x-small;">[FN 56]</span></span></div>
<div class="p1" style="color: black;">
<span class="s1"><br /></span></div>
<div class="p1">
<span class="s1">Lithographs <i>versus</i> reproductions are not interchangeable, much less the same. The following, as documented earlier, supports that irrefutable fact.</span><br />
<br />
In 1956 a Fernand Leger [d 1955] painting reproduced by Mourlot results in reproductions. The dead don't lithograph. Under U.S Customs Informed Compliance May 2006, a lithograph "must be wholly executed by hand by the artist and excludes mechanical and photomechanical processes. <br />
<br />
The dead don't lithograph.<br />
<div class="p1">
<span class="s1"><br /></span></div>
<div class="p1">
<span class="s1">In 1956, Fernand Leger [d 1955] was dead. The dead don't sign and consecutively number anything. </span>Under U.S. Copyright Law 101, a work of visual art to be considered a limited edition it must be "signed and consecutively numbered by the author."<br />
<br />
The dead don't sign and number.</div>
<div class="p1">
<br /></div>
<div class="p1">
In 1956, Fernand Leger [d 1955] was dead. As tragic as Fernand Leger's death in 1955 may have been for family, friends and other interested parties such as Atelier Mourlot, his career as an artist was over. At best, anything posthumously reproduced, such as a Fernand Leger painting, are reproductions. Under U.S. Copyright Law 106A, the Rights of Attribution "shall not apply to any reproduction."<br />
<br />
The dead, much less the living, don't have attribution for reproductions</div>
<div class="p1">
<br /></div>
</div>
<div class="p1" style="color: black;">
LAWYERS ARE ADVOCATES FOR THEIR CLIENTS</div>
<div class="p1" style="color: black;">
In Reuters' published January 6, 2015 article by Brendan Pierson, the reporter wrote the following:</div>
<ul>
<li><div class="p1">
<span class="s1">"The heart of the issue: attorneys are advocates for their clients, not arbiters of fact, they said, and they are generally entitled to believe their clients.</span></div>
<div class="p2">
<span class="s1"></span><br /></div>
<div class="p1">
<span class="s1">"'The statement by the victim that it happened, without a strong reason to question it, would be sufficient,' said Amy Mashburn, a professor at the University of Florida's Levin College of Law.</span></div>
<div class="p2">
<span class="s1"></span><br /></div>
<div class="p1">
<span class="s1">"'Being false alone is not enough,' said Stephen Gillers, a professor at NYU School of Law. 'What a disciplinary committee would have to show is that they either knew the allegations were false, or they were reckless in making the charge.'</span></div>
<div class="p2">
<span class="s1"></span><br /></div>
<div class="p1">
<span class="s1"></span></div>
<div class="p1">
<span class="s1"></span></div>
<div class="p1">
<span class="s1">"Gillers said there was no firm standard for what it meant to be reckless. While attorneys have an obligation to investigate allegations before making them, such an investigation need not be as thorough as the fact-finding that later happens in court, he said."<span style="color: blue; font-size: x-small;">[FN 57]</span></span></div>
</li>
</ul>
</div>
<div class="p2" style="text-align: justify;">
<span class="s1"></span><br /></div>
<div class="p1" style="text-align: justify;">
<span class="s1"><b>CONCLUSION </b></span></div>
<div class="p1" style="text-align: justify;">
<span class="s1">What needs to be accomplished is the full and honest disclosure of all reproductions as reproductions by Ethan Allen, Eric Mourlot and Atelier Mourlot. If Ethan Allen, Eric Mourlot and Atelier Mourlot would give full and honest disclosure for all reproductions as reproductions, it would allow consumers to give informed consent on whether to express interest in one of these reproductions, much less buy one of these reproductions. </span></div>
<div class="p2" style="text-align: justify;">
<span class="s1"></span><br /></div>
<div class="p1" style="text-align: justify;">
<span class="s1">But, if these reproductions are not fully disclosed by Ethan Allen, Eric Mourlot and Atelier Mourlot as reproductions then serious consequences of law may come into play for those who chose to misrepresent them.</span></div>
<div class="p2" style="text-align: justify;">
<span class="s1"></span><br /></div>
<div class="p1" style="text-align: justify;">
<span class="s1">The reputations and legacy of living and past artists, present and future 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. </span></div>
<div class="p2" style="text-align: justify;">
<span class="s1"></span><br /></div>
<div class="p2" style="text-align: justify;">
<span class="s1"></span><br />
<br /></div>
<div class="p2" style="text-align: justify;">
<span class="s1"></span><br /></div>
<div class="p1" style="text-align: justify;">
<span class="s1"><b>FAIR USE:</b></span></div>
<div class="p1" style="text-align: justify;">
<span class="s1">Under U.S. Copyright Law "Section 107 contains a list of the various purposes for which the reproduction of a particular work may be considered fair, such as criticism, comment, news reporting, teaching, scholarship, and research. Section 107 also sets out four factors to be considered in determining whether or not a particular use is fair. [one of which is:] The purpose and character of the use, including whether such use is of commercial nature or is for nonprofit educational purposes."</span></div>
<div class="p1" style="text-align: justify;">
<span class="s1">http://www.copyright.gov/fls/fl102.html</span><br />
<span class="s1"><br /></span></div>
<div class="p2" style="text-align: justify;">
<br />
<span class="s1"></span></div>
<div class="p1" style="text-align: justify;">
<span class="s1"><b>FOOTNOTES</b>:</span></div>
<div class="p1" style="text-align: justify;">
<span class="s1"><span style="font-size: x-small;">1. https://www.youtube.com/watch?v=83W0vbLGohU</span></span></div>
<div class="p2" style="text-align: justify;">
<span style="font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p1" style="text-align: justify;">
<span class="s1"><span style="font-size: x-small;">2. Ibid</span></span></div>
<div class="p2" style="text-align: justify;">
<span style="font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p1" style="text-align: justify;">
<span class="s1"><span style="font-size: x-small;">3. http://www.cbp.gov/xp/cgov/trade/legal/informed_compliance_pubs/</span></span></div>
<div class="p2" style="text-align: justify;">
<span style="font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p1" style="text-align: justify;">
<span class="s1"><span style="font-size: x-small;">4. www.copyright.gov/title17/92chap1.html#101 - § 106A. Rights of certain authors to attribution and integrity37 (a) Rights of Attribution and Integrity. — Subject to section 107 and independent of the exclusive rights provided in section 106, the author of a work of visual art — (1) shall have the right — (A) to claim authorship of that work, and (3) The rights described in paragraphs (1) and (2) of subsection (a) shall not apply to any reproduction, </span></span></div>
<div class="p2" style="text-align: justify;">
<span style="font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p1" style="text-align: justify;">
<span class="s1"><span style="font-size: x-small;">5. p. 617, Seventh Edition of Black's Law Dictionary, ISBN 0-314-22864-0</span></span></div>
<div class="p2" style="text-align: justify;">
<span style="font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p1" style="text-align: justify;">
<span class="s1"><span style="font-size: x-small;">6. p. 670, Seventh Edition of Black's Law Dictionary, ISBN 0-314-22864-0</span></span></div>
<div class="p2" style="text-align: justify;">
<span style="font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p1" style="text-align: justify;">
<span class="s1"><span style="font-size: x-small;">7. July 2, 2014 email from Ethan Allen Design Center Manager Kera L. Parker</span></span></div>
<div class="p2" style="text-align: justify;">
<span style="font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p1" style="text-align: justify;">
<span class="s1"><span style="font-size: x-small;">8. Ibid</span></span></div>
<div class="p2" style="text-align: justify;">
<span style="font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p1" style="text-align: justify;">
<span class="s1"><span style="font-size: x-small;">9. Ibid</span></span></div>
<div class="p2" style="text-align: justify;">
<span style="font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p1" style="text-align: justify;">
<span class="s1"><span style="font-size: x-small;">10. www.graphicsquote.com/tradecustoms.html</span></span></div>
<div class="p2" style="text-align: justify;">
<span style="font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p1" style="text-align: justify;">
<span class="s1"><span style="font-size: x-small;">11. https://www.youtube.com/watch?v=83W0vbLGohU</span></span></div>
<div class="p2" style="text-align: justify;">
<span style="font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p1" style="text-align: justify;">
<span class="s1"><span style="font-size: x-small;">12. http://www.copyright.gov/title17/92chap1.html#103</span></span></div>
<div class="p2" style="text-align: justify;">
<span style="font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p1" style="text-align: justify;">
<span class="s1"><span style="font-size: x-small;">13. Viking Adult; 5 Rev Upd edition (May 31, 1991), ISBN-10: 0670837016, ISBN-13: 978-0670837014 [This fifth edition has been prepared by Steven Sheehan, Director of the Ralph Mayer Center, Yale University School of Art.]</span></span></div>
<div class="p1" style="text-align: justify;">
<span class="s1"><span style="font-size: x-small;">https://books.google.com/books?id=fe6mQgAACAAJ&dq=1991 FIFTH EDITION OF ARTIST`S HANDBOOK BY Ralph Mayer&hl=en&sa=X&ei=_zuQVLr-PMerggTE-IOQCw&ved=0CDIQ6AEwAA</span></span></div>
<div class="p2" style="text-align: justify;">
<span style="font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p1" style="text-align: justify;">
<span class="s1"><span style="font-size: x-small;">14. DropShip@ethanalleninc.com</span></span></div>
<div class="p2" style="text-align: justify;">
<span style="font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p1" style="text-align: justify;">
<span class="s1"><span style="font-size: x-small;">15. http://www.copyright.gov/title17/92chap1.html101</span></span></div>
<div class="p2" style="text-align: justify;">
<span style="font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p1" style="text-align: justify;">
<span class="s1"><span style="font-size: x-small;">16.http://public.leginfo.state.ny.us/LAWSSEAF.cgi?QUERYTYPE=LAWS+&QUERYDATA=$$ACA15.01$$@TXACA015.01+&LIST=LAW+&BROWSER=BROWSER+&TOKEN=27067392+&TARGET=VIEW</span></span></div>
<div class="p2" style="text-align: justify;">
<span style="font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p1" style="text-align: justify;">
<span class="s1"><span style="font-size: x-small;">17. © 1965 by Print Council of America, Library of Congress, Catalog Card Number: 65-24325, Seventh Printing, March, 1971</span></span></div>
<div class="p2" style="text-align: justify;">
<span style="font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p1" style="text-align: justify;">
<span class="s1"><span style="font-size: x-small;">18. DropShip@ethanalleninc.com</span></span></div>
<div class="p2" style="text-align: justify;">
<span style="font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p1" style="text-align: justify;">
<span class="s1"><span style="font-size: x-small;">19. http://www.copyright.gov/title17/92chap1.html101</span></span></div>
<div class="p2" style="text-align: justify;">
<span style="font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p1" style="text-align: justify;">
<span class="s1"><span style="font-size: x-small;">20. http://codes.lp.findlaw.com/cacode/CIV/5/d3/4/1/1/s1738</span></span></div>
<div class="p2" style="text-align: justify;">
<span style="font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p1" style="text-align: justify;">
<span class="s1"><span style="font-size: x-small;">21. DropShip@ethanalleninc.com</span></span></div>
<div class="p2" style="text-align: justify;">
<span style="font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p1" style="text-align: justify;">
<span class="s1"><span style="font-size: x-small;">22. http://www.copyright.gov/title17/92chap1.html101</span></span></div>
<div class="p2" style="text-align: justify;">
<span style="font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p1" style="text-align: justify;">
<span class="s1"><span style="font-size: x-small;">23. On the www.legis.state.il.us/legislation/ilcs/ch815/ch815act345.htm website, the Illinois Fine Print Disclosure Act additionally states:</span></span></div>
<div class="p1" style="text-align: justify;">
<span class="s1"><span style="font-size: x-small;">(815 ILCS 345/2)</span></span></div>
<div class="p1" style="text-align: justify;">
<span class="s1"><span style="font-size: x-small;">Sec. 2.</span></span></div>
<div class="p1" style="text-align: justify;">
<span class="s1"><span style="font-size: x-small;">“Nothing in this Act applies to any print when offered for sale or sold at wholesale or retail unframed for $50 or less, or framed for $60 or less. (Source: P. A. 77-1398.)</span></span></div>
<div class="p1" style="text-align: justify;">
<span class="s1"><span style="font-size: x-small;">(815 ILCS 345/5) Sec. 5.</span></span></div>
<div class="p1" style="text-align: justify;">
<span class="s1"><span style="font-size: x-small;">“No catalogue, prospectus or circular offering fine prints for sale in this State shall be knowingly published or distributed, or both, unless it clearly and conspicuously discloses the relevant informational detail concerning each edition of such prints so offered as required by Section 7.</span></span></div>
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<span class="s1"><span style="font-size: x-small;">“If the person offering such prints by means of such publication disclaims knowledge as to any relevant detail required by Section 7, he shall so state specifically and categorically with regard to each such detail to the end that the purchaser shall be enabled to judge the degree of uniqueness or scarcity of each print contained in the edition so offered. Describing the edition as an edition of "reproductions" eliminates the need to furnish further informational details unless such edition was allegedly published in a signed, numbered, or limited edition, or any combination thereof, in which case all of the informational details are required to be furnished. (Source: P. A. 77-1398.)”</span></span></div>
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<span class="s1"><span style="font-size: x-small;">24. Ibid</span></span></div>
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<span style="font-size: x-small;"><span class="s1"></span><br /></span></div>
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<span class="s1"><span style="font-size: x-small;">25. http://www.copyright.gov/title17/92chap1.html101</span></span></div>
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<span style="font-size: x-small;"><span class="s1"></span><br /></span></div>
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<span class="s1"><span style="font-size: x-small;">26. July 2, 2014 email from Ethan Allen Design Center Manager Kera L. Parker</span></span></div>
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<span style="font-size: x-small;"><span class="s1"></span><br /></span></div>
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<span class="s1"><span style="font-size: x-small;">27. DropShip@ethanalleninc.com</span></span></div>
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<span style="font-size: x-small;"><span class="s1"></span><br /></span></div>
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<span class="s1"><span style="font-size: x-small;">28. DropShip@ethanalleninc.com</span></span></div>
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<span style="font-size: x-small;"><span class="s1"></span><br /></span></div>
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<span class="s1"><span style="font-size: x-small;">29. http://www.law.cornell.edu/uscode/text/17/103</span></span></div>
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<span style="font-size: x-small;"><span class="s1"></span><br /></span></div>
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<span class="s1"><span style="font-size: x-small;">30. DropShip@ethanalleninc.com</span></span></div>
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<span style="font-size: x-small;"><span class="s1"></span><br /></span></div>
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<span class="s1"><span style="font-size: x-small;">31.http://www.leg.state.fl.us/Statutes/index.cfm?App_mode=Display_Statute&Search_String=&URL=0800-0899/0817/Sections/0817.034.html</span></span></div>
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<span class="s1"><span style="font-size: x-small;">32. Ibid</span></span></div>
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<span style="font-size: x-small;"><span class="s1"></span><br /></span></div>
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<span class="s1"><span style="font-size: x-small;">33. DropShip@ethanalleninc.com</span></span></div>
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<span style="font-size: x-small;"><span class="s1"></span><br /></span></div>
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<span class="s1"><span style="font-size: x-small;">34. http://law.justia.com/codes/maryland/2010/commercial-law/title-14/subtitle-5/</span></span></div>
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<span style="font-size: x-small;"><span class="s1"></span><br /></span></div>
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<span class="s1"><span style="font-size: x-small;">35. http://www.oregonlaws.org/ors/chapter/359</span></span></div>
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<span class="s1"><span style="font-size: x-small;">36. DropShip@ethanalleninc.com</span></span></div>
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<span style="font-size: x-small;"><span class="s1"></span><br /></span></div>
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<span class="s1"><span style="font-size: x-small;">37. https://www.revisor.leg.state.mn.us/statutes/?id=324.07&year=2015</span></span></div>
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<span style="font-size: x-small;"><span class="s1"></span><br /></span></div>
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<span class="s1"><span style="font-size: x-small;">38. http://www.cbp.gov/xp/cgov/trade/legal/informed_compliance_pubs/</span></span></div>
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<span class="s1"><span style="font-size: x-small;">39. July 2, 2014 email from Ethan Allen Design Center Manager Kera L. Parker</span></span></div>
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<span style="font-size: x-small;"><span class="s1"></span><br /></span></div>
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<span class="s1"><span style="font-size: x-small;">40. Copyright © 1999, By West Group, ISBN 0-314-22864-0</span></span></div>
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<span style="font-size: x-small;"><span class="s1"></span><br /></span></div>
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<span class="s1"><span style="font-size: x-small;">41. http://www.artworldnews.com/</span></span></div>
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<span class="s1"><span style="font-size: x-small;">42. ibid</span></span></div>
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<span class="s1"><span style="font-size: x-small;">43. Ibid</span></span><br />
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<span class="s1"><span style="font-size: x-small;">44.http://demandware.edgesuite.net/aakh_prd/on/demandware.static/-/Sites-ethanallen-us-Library/default/dwad31ade6/pdf/EthanAllen_WarrantyBrochure.pdf</span></span><br />
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<span class="s1"><span style="font-size: x-small;">45. http://www.ethanallen.com/en_US/footer-shipping.html</span></span></div>
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<span class="s1"><span style="font-size: x-small;">46. http://www.law.cornell.edu/uscode/uscode18/usc_sec_18_00001341----000-.html</span></span></div>
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<span style="font-size: x-small;"><span class="s1"></span><br /></span></div>
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<span class="s1"><span style="font-size: x-small;">47. news10now.com/content/all_news/?ArID= 12317&SecID=83</span></span></div>
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<span style="font-size: x-small;"><span class="s1"></span><br /></span></div>
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<span class="s1"><span style="font-size: x-small;">48. © Kluwer Law International 1998, ISBN 90-411-0697-9</span></span></div>
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<span class="s1"><span style="font-size: x-small;">49. Ibid</span></span></div>
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<span class="s1"><span style="font-size: x-small;">50. Ibid</span></span></div>
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<span style="font-size: x-small;"><span class="s1"></span><br /></span></div>
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<span class="s1"><span style="font-size: x-small;">51. https://www.youtube.com/watch?v=jF5UramGaP8&nohtml5=False</span></span></div>
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<span style="font-size: x-small;"><span class="s1"></span><br /></span></div>
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<span class="s1"><span style="font-size: x-small;">52. http://www.ethanallen.com/en_US/leadership-principles.html</span></span><br />
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<span style="font-size: xx-small;"><span class="s1"><span style="font-size: x-small;">53. </span></span><span style="font-size: x-small;">http://www.ethanallen.com/en_US/leadership-principles.html</span></span><br />
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<span style="font-size: x-small;">54. Ibid</span><br />
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<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><span style="font-size: xx-small;">55. </span><span style="color: #212121; text-align: start;">Eric D. Koster</span><span style="color: #212121; text-align: start;"> </span></span><br />
<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><span style="color: #212121; text-align: start;">Vice President, General Counsel and Secretary</span><span style="color: #212121; text-align: start;"> </span><br style="color: #212121; text-align: start;" /><span style="color: #212121; text-align: start;">Ethan Allen Global, Inc. and its Subsidiaries</span><span style="color: #212121; text-align: start;"> </span><br style="color: #212121; text-align: start;" /><span style="color: #212121; text-align: start;">Ethan Allen Drive</span><span style="color: #212121; text-align: start;"> </span><br style="color: #212121; text-align: start;" /><span style="color: #212121; text-align: start;">P.O. Box 1966</span><span style="color: #212121; text-align: start;"> </span><br style="color: #212121; text-align: start;" /><span style="color: #212121; text-align: start;">Danbury, Connecticut 06813-1966</span></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><span style="color: #212121; text-align: start;">56. </span><span style="text-align: center;">William L. Bartow</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">DLA Piper LLP (US)</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">One Liberty Place</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">1650 Market Street, Suite 4900 </span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">Philadelphia, Pennsylvania 19103</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">57. </span></span><span style="text-align: center;"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">http://www.reuters.com/article/2015/01/06/us-andrew-lawsuit-dershowitz-idUSKBN0KF0DH20150106</span></span></div>
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</style>Gary Arseneauhttp://www.blogger.com/profile/10379667479866306615noreply@blogger.comtag:blogger.com,1999:blog-34909527.post-55440621044500274812016-03-18T21:12:00.000-04:002016-09-18T00:27:37.512-04:00A Posthumous Forgery Falsely Attributed as a John Lennon Drawing<div class="separator" style="clear: both; text-align: left;">
UPDATED: September 17, 2016</div>
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<a href="http://1.bp.blogspot.com/-65QAv87UDso/VF7rIm6Y1xI/AAAAAAAADFk/lTdYHjum8vk/s1600/Lennon%2BOctopuses%2BGarden.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="364" src="https://1.bp.blogspot.com/-65QAv87UDso/VF7rIm6Y1xI/AAAAAAAADFk/lTdYHjum8vk/s1600/Lennon%2BOctopuses%2BGarden.jpg" width="400" /></a></div>
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<span style="font-size: x-small;"><span style="font-size: xx-small;"> [Above] The so-called </span><i style="font-size: small;">Octopuses Garden</i><span style="font-size: xx-small;"> drawing attributed to John Lennon.</span></span></div>
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<span style="font-family: "times" , "times new roman" , serif;"><span class="s1"><b><span style="font-size: x-large;">S</span></b>omeone [who will remain anonymous] emailed the above jpg photograph with the following request: <i>"</i></span><span style="background-color: white; color: #212121;"><i>I own Octopuses Garden. I was wondering if you have John Lennon forensic certification I have the number 55386. I would welcome some help with this."</i></span></span></div>
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<span style="background-color: white; color: #212121;"><span style="font-family: "times" , "times new roman" , serif;"><br /></span></span></div>
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<span style="font-family: "times" , "times new roman" , serif;"><span style="background-color: white; color: #212121;">When I inquired for additional information, they emailed the following response: </span><i><b><span style="background-color: white; color: #212121; font-weight: normal;">"I bought the drawing from Yoko Ono as a charity sale in Winter Park Florida by her Legacy Productions. I need the certification of Johns signature. I paid $14,000 for the framed drawing and want to sell it at auction as I am on a limited income. - </span></b><span style="background-color: white; color: #212121;">I bought this from a dark haired sales person who had just got a divorce and was swinging the other way (laugh) He told me that it was a Bag One piece. He showed me all the documentation. He was kind of upset I bought that one cause he also had John's drawing of an Englishman, original. He did not speak of value. He knew me from past shows. I have a very large collection but this is the only original I bought."</span></i></span></div>
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<span style="font-family: "times" , "times new roman" , serif;"><span style="background-color: white; color: #212121;">This is what I documented for them.</span></span></div>
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<span style="font-size: x-small;">Front Cover of John Lennon's published 1964 </span><i style="font-size: small;">In His Own Write</i><span style="font-size: x-small;"> book and page 6.</span></div>
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<b><i>IN HIS OWN WRITE</i> </b></div>
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<span class="s1">In 1964, John Lennon’s <i>In His Own Write</i> book was published with not only his words but reproductions of his drawings.</span></div>
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<a href="https://2.bp.blogspot.com/-uPusQkF5CJk/Vu1HEVqkceI/AAAAAAAADTk/dzJ14Jg3rHAR6u0xK3KaZHljtLaa9j1KQ/s1600/Screen%2BShot%2B2016-03-19%2Bat%2B8.25.24%2BAM.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="249" src="https://2.bp.blogspot.com/-uPusQkF5CJk/Vu1HEVqkceI/AAAAAAAADTk/dzJ14Jg3rHAR6u0xK3KaZHljtLaa9j1KQ/s320/Screen%2BShot%2B2016-03-19%2Bat%2B8.25.24%2BAM.png" width="320" /></a></div>
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<span style="font-size: x-small;">page 3, Reproduction of John Lennon’s drawing,</span><i style="font-size: small;"> In His Own Write</i><span style="font-size: x-small;"> by John Lennon.</span></div>
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<span style="font-size: x-small;">page 7, Reproduction of John Lennon’s drawing,</span><i style="font-size: small;"> In His Own Write</i><span style="font-size: x-small;"> by John Lennon.</span><br />
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<span style="font-size: x-small;"><br /></span><span style="font-size: x-small;">page 54, Reproduction of John Lennon’s drawing,</span><i style="font-size: small;"> In His Own Write</i><span style="font-size: x-small;"> by John Lennon</span></div>
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<span style="text-align: justify;">Those reproductions of John Lennon’s drawings in his 1964 published </span><i style="text-align: justify;">In His Own Write</i><span style="text-align: justify;"> book may provide insight and proof to whether a drawing, sold for $14,000 by Legacy Fine Art & Production Inc. in one of their so-called </span><b style="text-align: justify;">Artwork of John Lennon</b><span style="text-align: justify;"> exhibitions, is authentic lifetime drawing by John Lennon or a non-disclosed posthumous forgery.</span></div>
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<b><span style="font-size: x-large;">1. </span><span style="font-size: x-large;"> </span><span style="font-size: large;">STILTED LINES</span></b><br />
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<a href="https://3.bp.blogspot.com/-TZc1nHWYqiU/Vu1Hp1MhQMI/AAAAAAAADT0/kVuCctQeeu0a1LPDnhYyTsMwa7kAHxcrw/s1600/Screen%2BShot%2B2016-03-19%2Bat%2B8.26.09%2BAM.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="330" src="https://3.bp.blogspot.com/-TZc1nHWYqiU/Vu1Hp1MhQMI/AAAAAAAADT0/kVuCctQeeu0a1LPDnhYyTsMwa7kAHxcrw/s640/Screen%2BShot%2B2016-03-19%2Bat%2B8.26.09%2BAM.png" width="640" /></a></div>
<span class="s1" style="font-size: x-small;"><b>[Left]</b> </span><span style="font-size: x-small;">Detail- of the so-called </span><i style="font-size: small;">Octopuses Garden </i><span style="font-size: x-small;">drawing attributed to John Lennon.</span></div>
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<span style="font-size: x-small;"><b>[Right]</b> Reproduction of John Lennon’s drawing reproduced on page 7 in John Lennon’s <i>In His Own Write</i> book published in 1964.</span></div>
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<a href="http://2.bp.blogspot.com/-AalGyCLUj-I/VF7vA7mOmJI/AAAAAAAADGo/29yEOoibQ_w/s1600/Lennon%2BOctopuses%2BGarden%2BDetail%2B4a%2BNov%2B2014.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="139" src="https://2.bp.blogspot.com/-AalGyCLUj-I/VF7vA7mOmJI/AAAAAAAADGo/29yEOoibQ_w/s1600/Lennon%2BOctopuses%2BGarden%2BDetail%2B4a%2BNov%2B2014.jpg" width="640" /></a></div>
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<span class="s1"><span style="font-size: x-small;">-Detail -of the so-called <i>Octopuses Garden </i>drawing<i> </i>attributed to John Lennon.</span></span></div>
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<a href="http://2.bp.blogspot.com/-HQTiTPlaBAU/VF7vRcHLmlI/AAAAAAAADGw/QRBLktxM0JI/s1600/Lennon%2BIn%2BHis%2BOwn%2BWrite%2BMan%2Bwith%2BFour%2BHands%2BDetail%2B2a%2BNov%2B2014.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="112" src="https://2.bp.blogspot.com/-HQTiTPlaBAU/VF7vRcHLmlI/AAAAAAAADGw/QRBLktxM0JI/s1600/Lennon%2BIn%2BHis%2BOwn%2BWrite%2BMan%2Bwith%2BFour%2BHands%2BDetail%2B2a%2BNov%2B2014.jpg" width="640" /></a></div>
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<span class="s1"><span style="font-size: x-small;">-Detail- Reproduction of John Lennon’s drawing reproduced on page 7 in John Lennon’s <i>In His Own Write</i> book published in 1964.</span></span></div>
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<span class="s1">Notice </span>the so-called <i>Octupuses Garden</i> drawing, attributed to John Lennon, has stilted lines with pressure points as if someone was stopping while copying an image. The reason someone stops while copying an image, is so they can compare their copy to the image they are copying. When they do so, the pen if resting on the paper tends to continue to leak ink resulting in pressure points a.k.a. darker lines.</div>
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<span class="s1">In contrast, </span>in the reproduction of John Lennon’s drawing, reproduced on page 7 in John Lennon’s <i>In His Own Write</i> book published in 1964, has smooth and clean the lines of someone who was drawing rather than copying.</div>
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<span class="s1"><b><span style="font-size: x-large;">2. </span><span style="font-size: large;">SMALLER FLOWER-LIKE EAR</span></b></span><br />
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<a href="https://2.bp.blogspot.com/-xG4wDOoTFGg/Vu1H3kTfeCI/AAAAAAAADT8/eelCnnLilMYtlJzedWEtP7KXT4SWdQDjg/s1600/Screen%2BShot%2B2016-03-19%2Bat%2B8.26.27%2BAM.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="330" src="https://2.bp.blogspot.com/-xG4wDOoTFGg/Vu1H3kTfeCI/AAAAAAAADT8/eelCnnLilMYtlJzedWEtP7KXT4SWdQDjg/s640/Screen%2BShot%2B2016-03-19%2Bat%2B8.26.27%2BAM.png" width="640" /></a></div>
<span class="s1" style="font-size: x-small;"><b>[Left] </b></span><span style="font-size: x-small;">Detail- of the so-called </span><i style="font-size: small;">Octopuses Garden </i><span style="font-size: x-small;">drawing attributed to John Lennon.</span></div>
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<span style="font-size: x-small;"><b>[Right] </b>Reproduction of John Lennon’s drawing reproduced on page 7 in John Lennon’s <i>In His Own Write</i> book published in 1964.</span></div>
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<a href="http://3.bp.blogspot.com/-M4T7aTyxj7c/VF7vwRafUDI/AAAAAAAADHA/uI1xa-BBWCc/s1600/Lennon%2BOctopuses%2BGarden%2BDetail%2B2a%2BNov%2B2014.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="130" src="https://3.bp.blogspot.com/-M4T7aTyxj7c/VF7vwRafUDI/AAAAAAAADHA/uI1xa-BBWCc/s1600/Lennon%2BOctopuses%2BGarden%2BDetail%2B2a%2BNov%2B2014.jpg" width="640" /></a></div>
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<span class="s1"><span style="font-size: x-small;">-Detail -of the so-called <i>Octopuses Garden</i> drawing attributed to John Lennon.</span></span></div>
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<a href="http://2.bp.blogspot.com/-IVZJo7GVxMo/VF7wE0W19oI/AAAAAAAADHI/E9PlGa3W55s/s1600/Lennon%2BIn%2BHis%2BOwn%2BWrite%2BMan%2Bwith%2BFour%2BHands%2BDetail%2B1a%2BNov%2B2014.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="128" src="https://2.bp.blogspot.com/-IVZJo7GVxMo/VF7wE0W19oI/AAAAAAAADHI/E9PlGa3W55s/s1600/Lennon%2BIn%2BHis%2BOwn%2BWrite%2BMan%2Bwith%2BFour%2BHands%2BDetail%2B1a%2BNov%2B2014.jpg" width="640" /></a></div>
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<span class="s1"><span style="font-size: x-small;">-Detail- Reproduction of John Lennon’s drawing reproduced on page 7 in John Lennon’s <i>In His Own Write</i> book published in 1964.</span></span></div>
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<span class="s1">Notice t</span>he so-called <i>Octupuses Garden </i>drawing, attributed to John Lennon, has a smaller flower-like ear that is rounder and lines connected in design.<br />
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<span class="s1">In contrast, </span>in the reproduction of John Lennon’s drawing reproduced on page 7 in John Lennon’s <i>In His Own Write</i> book published in 1964, how flower-like ear is larger with lines that are disconnected.</div>
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<span class="s1"><b><span style="font-size: x-large;">3. </span><span style="font-size: large;">STUNTED THUMBS </span></b></span><br />
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<a href="https://1.bp.blogspot.com/-6NNgYIyBIUs/Vu1IDQwIxxI/AAAAAAAADUA/0iPztYdAo1UBvud8oiguLO5X2ZMKNGNUw/s1600/Screen%2BShot%2B2016-03-19%2Bat%2B8.26.42%2BAM.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="332" src="https://1.bp.blogspot.com/-6NNgYIyBIUs/Vu1IDQwIxxI/AAAAAAAADUA/0iPztYdAo1UBvud8oiguLO5X2ZMKNGNUw/s640/Screen%2BShot%2B2016-03-19%2Bat%2B8.26.42%2BAM.png" width="640" /></a></div>
<span class="s1" style="font-size: x-small;"><b>[Left] </b></span><span style="font-size: x-small;">Detail- of the so-called </span><i style="font-size: small;">Octopuses Garden </i><span style="font-size: x-small;">drawing attributed to John Lennon.</span></div>
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<span style="font-size: x-small;"><b>[Right] </b>Reproduction of John Lennon’s drawing reproduced on page 7 in John Lennon’s <i>In His Own Write</i> book published in 1964.</span></div>
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<a href="http://3.bp.blogspot.com/-Y-LQQ_RrOA8/VF7vs_V0j8I/AAAAAAAADG4/BhbJBflrD_o/s1600/Lennon%2BOctopuses%2BGarden%2BDetail%2B3a%2BNov%2B2014.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="146" src="https://3.bp.blogspot.com/-Y-LQQ_RrOA8/VF7vs_V0j8I/AAAAAAAADG4/BhbJBflrD_o/s1600/Lennon%2BOctopuses%2BGarden%2BDetail%2B3a%2BNov%2B2014.jpg" width="640" /></a></div>
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<span class="s1"><span style="font-size: x-small;">-Detail -of the so-called <i>Octopuses Garden</i> drawing attributed to John Lennon.</span></span></div>
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<a href="http://4.bp.blogspot.com/-1jpW7Y7Rt1w/VF7wqLRgtfI/AAAAAAAADHQ/r9H6YsNbdiQ/s1600/Lennon%2BIn%2BHis%2BOwn%2BWrite%2BMan%2Bwith%2BFour%2BHands%2BDetail%2B3a%2BNov%2B2014.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="122" src="https://4.bp.blogspot.com/-1jpW7Y7Rt1w/VF7wqLRgtfI/AAAAAAAADHQ/r9H6YsNbdiQ/s1600/Lennon%2BIn%2BHis%2BOwn%2BWrite%2BMan%2Bwith%2BFour%2BHands%2BDetail%2B3a%2BNov%2B2014.jpg" width="640" /></a></div>
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<span class="s1"><span style="font-size: x-small;">-Detail- Reproduction of John Lennon’s drawing reproduced on page 7 in John Lennon’s <i>In His Own Write</i> book published in 1964.</span></span></div>
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<span class="s1">Notice </span>the so-called <i>Octopuses Garden</i> drawing, attributed to John Lennon, has longer arms and stunted thumbs, as if someone was copying rather than drawing.<br />
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<span class="s1">In contrast, in the reproduction of John Lennon’s drawing reproduced on page 7 in John Lennon’s <i>In His Own Write</i> book published in 1964, has shorter arms and longer thumbs.</span></div>
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<span class="s1"><b><span style="font-size: x-large;">4. </span><span style="font-size: large;">PRESSURE POINTS </span></b></span><br />
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<a href="https://2.bp.blogspot.com/-HPPsJ-b9Tyc/Vu1IOMlTtoI/AAAAAAAADUI/R497j9yU8vwx53-5GcTKvHlbTcaga0hjg/s1600/Screen%2BShot%2B2016-03-19%2Bat%2B8.27.17%2BAM.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="330" src="https://2.bp.blogspot.com/-HPPsJ-b9Tyc/Vu1IOMlTtoI/AAAAAAAADUI/R497j9yU8vwx53-5GcTKvHlbTcaga0hjg/s640/Screen%2BShot%2B2016-03-19%2Bat%2B8.27.17%2BAM.png" width="640" /></a></div>
<span class="s1" style="font-size: x-small;"><b>[Left] </b></span><span style="font-size: x-small;">The so-called </span><i style="font-size: small;">Octopuses Garden </i><span style="font-size: x-small;">drawing attributed to John Lennon.</span></div>
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<span style="font-size: x-small;"><b>[Right]</b> </span><span style="font-size: x-small;">page 3, Reproduction of John Lennon’s drawing,</span><i style="font-size: small;"> In His Own Write</i><span style="font-size: x-small;"> by John Lennon.</span><br />
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<a href="https://1.bp.blogspot.com/-kaoehMd-NgI/Vu1IWqnVcwI/AAAAAAAADUM/tS8lXsJPuM0SKqoXIeJIbKYd4ev-rU0GQ/s1600/Screen%2BShot%2B2016-03-19%2Bat%2B8.27.32%2BAM.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="342" src="https://1.bp.blogspot.com/-kaoehMd-NgI/Vu1IWqnVcwI/AAAAAAAADUM/tS8lXsJPuM0SKqoXIeJIbKYd4ev-rU0GQ/s640/Screen%2BShot%2B2016-03-19%2Bat%2B8.27.32%2BAM.png" width="640" /></a></div>
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<b style="font-size: small;">[Left] </b><span style="font-size: xx-small;">-Detail -of the so-called </span><i style="font-size: small;">Octopuses Garden</i><span style="font-size: xx-small;"> drawing attributed to John Lennon.</span></div>
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<span class="s1"><span style="font-size: x-small;">[<b>Right</b>] -Detail- Reproduction of John Lennon’s drawing reproduced on page 7 in John Lennon’s <i>In His Own Write</i> book published in 1964.</span></span></div>
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<span class="s1">Notice </span>the so-called <i>Octopuses Garden</i> drawing, attributed to John Lennon, has pressure points from stopping while copying resulting in darker lines in the beak and wings.<br />
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<span class="s1">In contrast, in the reproduction of John Lennon’s drawing reproduced on page 3 in John Lennon’s <i>In His Own Write</i> book published in 1964, the lines overlap in the neck of the bird, the right leg and hand and the legs are straight.</span></div>
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<b><span style="font-size: x-large;">5. </span><span style="font-size: large;">PINOCCHIO-LIKE NOSE</span></b></div>
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<a href="https://3.bp.blogspot.com/-SsaansGXmKw/Vu1IgmjuWOI/AAAAAAAADUU/vJyfeqtxytknMOuXn0YIhstEAAXsfY6JA/s1600/Screen%2BShot%2B2016-03-19%2Bat%2B8.27.44%2BAM.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="344" src="https://3.bp.blogspot.com/-SsaansGXmKw/Vu1IgmjuWOI/AAAAAAAADUU/vJyfeqtxytknMOuXn0YIhstEAAXsfY6JA/s640/Screen%2BShot%2B2016-03-19%2Bat%2B8.27.44%2BAM.png" width="640" /></a></div>
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<span class="s1" style="font-size: x-small;">[<b>Left]</b> </span><span style="font-size: x-small;">The so-called </span><i style="font-size: small;">Octopuses Garden </i><span style="font-size: x-small;">drawing attributed to John Lennon.</span></div>
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<span style="font-size: x-small;">[<b>Right]</b> </span><span style="font-size: x-small;">page 54, Reproduction of John Lennon’s drawing,</span><i style="font-size: small;"> In His Own Write</i><span style="font-size: x-small;"> by John Lennon.</span><br />
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<a href="https://3.bp.blogspot.com/-H9pFcSC-Ecg/Vu1Iqhc3j6I/AAAAAAAADUY/sX8TntHQ6bUrsfJ5nioT8cSD0XW06Wg0A/s1600/Screen%2BShot%2B2016-03-19%2Bat%2B8.27.58%2BAM.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="380" src="https://3.bp.blogspot.com/-H9pFcSC-Ecg/Vu1Iqhc3j6I/AAAAAAAADUY/sX8TntHQ6bUrsfJ5nioT8cSD0XW06Wg0A/s640/Screen%2BShot%2B2016-03-19%2Bat%2B8.27.58%2BAM.png" width="640" /></a></div>
<b style="font-size: small;">[Left] </b><span style="font-size: x-small;">-Detail -of the so-called </span><i style="font-size: small;">Octopuses Garden</i><span style="font-size: x-small;"> drawing attributed to John Lennon. </span></div>
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<span class="s1"><span style="font-size: x-small;"><b>[Right]</b> -Detail- Reproduction of John Lennon’s drawing reproduced on page 54 in John Lennon’s <i>In His Own Write</i> book published in 1964.</span></span></div>
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<span class="s1">Notice </span>the so-called <i>Octopuses Garden</i> drawing, attributed to John Lennon, the figure has a longer narrower Pinocchio-like nose.<br />
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<span class="s1">In contrast in the reproduction of John Lennon’s drawing reproduced on page 54 in John Lennon’s <i>In His Own Write</i> book published in 1964, a similar figure has a short bulbous nose.</span></div>
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<span class="s1"><b><span style="font-size: x-large;">6. </span><span style="font-size: large;">FAT STILTED FROG LEGS</span></b></span><br />
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<a href="https://4.bp.blogspot.com/-WIpcxOX-ojk/Vu1I0KpwPQI/AAAAAAAADUg/1WwK3hQwMKsVfB_3m4XB5ijCkBPLWzq9Q/s1600/Screen%2BShot%2B2016-03-19%2Bat%2B8.28.20%2BAM.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="330" src="https://4.bp.blogspot.com/-WIpcxOX-ojk/Vu1I0KpwPQI/AAAAAAAADUg/1WwK3hQwMKsVfB_3m4XB5ijCkBPLWzq9Q/s640/Screen%2BShot%2B2016-03-19%2Bat%2B8.28.20%2BAM.png" width="640" /></a></div>
<span class="s1" style="font-size: x-small;"><b>[Left]</b> </span><span style="font-size: x-small;">The so-called </span><i style="font-size: small;">Octopuses Garden </i><span style="font-size: x-small;">drawing attributed to John Lennon.</span></div>
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<span style="font-size: x-small;"><b>[Right]</b> </span><span style="font-size: x-small;">page 3, Reproduction of John Lennon’s drawing,</span><i style="font-size: small;"> In His Own Write</i><span style="font-size: x-small;"> by John Lennon.</span><br />
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<a href="https://1.bp.blogspot.com/-Ef4cwZ4FphA/Vu1I9Elv6dI/AAAAAAAADUk/ctMmEsm2mk4GWtOtwylpRngsn1JfUK3IQ/s1600/Screen%2BShot%2B2016-03-19%2Bat%2B8.28.36%2BAM.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="428" src="https://1.bp.blogspot.com/-Ef4cwZ4FphA/Vu1I9Elv6dI/AAAAAAAADUk/ctMmEsm2mk4GWtOtwylpRngsn1JfUK3IQ/s640/Screen%2BShot%2B2016-03-19%2Bat%2B8.28.36%2BAM.png" width="640" /></a></div>
<b style="font-size: small;">[Left] </b><span style="font-size: x-small;">-Detail -of the so-called </span><i style="font-size: small;">Octopuses Garden</i><span style="font-size: x-small;"> drawing attributed to John Lennon.</span></div>
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<span class="s1"><span style="font-size: x-small;">[<b>Right</b>] -Detail- Reproduction of John Lennon’s drawing reproduced on page 3 in John Lennon’s <i>In His Own Write</i> book published in 1964.</span></span></div>
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<span class="s1">Notice </span>the so-called <i>Octopuses Garden</i> drawing, attributed to John Lennon, the lines in the wings and eyes are stilted with pressure points from stopping while copying and the bird legs look like fat stilted frog legs.<br />
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<span class="s1">In contrast in the reproduction of John Lennon’s drawing reproduced on page 3 in John Lennon’s <i>In His Own Write</i> book published in 1964, the lines in the bird’s wings and legs are smooth and clean.</span></div>
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<span style="font-size: x-small;">[<b>Left] </b></span><span style="font-size: x-small;">Lennon, John</span></div>
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<span class="s1"><span style="font-size: x-small;">UNTITLED ILLUSTRATION OF A BOY WITH SIX BIRDS</span></span></div>
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<span class="s1"><span style="font-size: x-small;">Estimate 12,000 — 15,000 USD</span></span></div>
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<span class="s1"><span style="font-size: x-small;"> LOT SOLD. 27,500 USD (Hammer Price with Buyer's Premium)</span></span></div>
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<span class="s1"><span style="font-size: x-small;">9 3/10 x 7 4/5 in.; 237 x 198 mm, ink drawing in black with editorial notes added in blue ink on single leaf (10 x 8 in.; 254 x 203 mm, unwatermarked), unsigned, small nick to top edge, slight creasing, minor spotting</span></span></div>
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<span class="s1"><span style="font-size: x-small;"><b>Catalogue Notes:</b></span></span></div>
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<span class="s1"><span style="font-size: x-small;">The first illustration from In His Own Write, published on page 3, and one that does not appear to accompany any text. One bird, balanced on the boy's head, appears to be contained in a bottle whilst others are perched on each hand. The boy seems to have only three fingers and a thumb on his left hand. The editorial comments note the instruction to the printer to "REVERSE Left to Right" and also provide the published page number. </span></span><span style="font-size: x-small;">This drawing was used as the artwork for the 7" single and CD single release of 'Free as a Bird'. The song, composed and recorded by John Lennon in 1977, was remixed with contributions from the other Beatles in 1995. First released on the Anthology 1 album, it was released as a single on 4 December 1995. It would reach number two in the UK singles chart and number 6 in the Billboard Hot 100 chart.</span></div>
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<span class="s1"><span style="font-size: x-small;"><b>Link: </b>http://www.sothebys.com/en/auctions/ecatalogue/2014/so-lennon-manuscripts-sale-n09156/lot.1.html</span></span></div>
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<span class="s1"><span style="font-size: x-small;"><span style="font-size: x-small;">[<b>Photo: </b></span><span style="font-size: x-small;">http://www.zimbio.com/pictures/P6GG1M4bhY-/John+Lennon+Drawings+Auctioned/hkXj-sKMq7C]</span></span></span></div>
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<span style="font-size: x-small;">[<b>Right</b>] page 3, Reproduction of John Lennon’s drawing,</span><i style="font-size: small;"> In His Own Write</i><span style="font-size: x-small;"> by John Lennon.</span></div>
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<span class="s1"><br /></span><span class="s1"><b>ORIGINAL JOHN LENNON DRAWING REPRODUCED IN REVERSE</b></span><br />
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Notice in John Lennon's original drawing the bird is on the upper left. In John Lennon's published 1964 <i>In His Own Write </i>book the printer was instructed to reverse the image. Therefore putting the bird on the upper right. So, when the bird was drawn as part of the so-called <i style="color: #212121; font-family: times, "times new roman", serif;">Octopuses Garden </i><span style="color: #212121; font-family: "times" , "times new roman" , serif; text-align: justify;">drawing, someone either did not know they were copying a reverse image of the original or that no one would find out or both.</span></div>
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This is the strongest evidence that <i>Octopuses Garden </i>is a forgery.<br />
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<span class="s1"><b><span style="font-size: x-large;">7. </span><span style="font-size: large;">ANOTHER PINOCCHIO-LIKE NOSE</span></b></span><br />
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<a href="https://3.bp.blogspot.com/-PDRdGqvy_Bk/Vu1JIG4qzHI/AAAAAAAADUs/9ZTXZNgjYIs2DakjzTcVrmg118MYXER4A/s1600/Screen%2BShot%2B2016-03-19%2Bat%2B8.28.52%2BAM.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="344" src="https://3.bp.blogspot.com/-PDRdGqvy_Bk/Vu1JIG4qzHI/AAAAAAAADUs/9ZTXZNgjYIs2DakjzTcVrmg118MYXER4A/s640/Screen%2BShot%2B2016-03-19%2Bat%2B8.28.52%2BAM.png" width="640" /></a></div>
<span class="s1" style="font-size: x-small;"><b>[Left] </b></span><span style="font-size: x-small;">The so-called </span><i style="font-size: small;">Octopuses Garden </i><span style="font-size: x-small;">drawing attributed to John Lennon.</span></div>
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<span style="font-size: x-small;"><b>[Right] </b></span><span style="font-size: x-small;">page 54, Reproduction of John Lennon’s drawing,</span><i style="font-size: small;"> In His Own Write</i><span style="font-size: x-small;"> by John Lennon.</span><br />
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<a href="https://2.bp.blogspot.com/-iH11P2A42Q0/Vu1JR68mqKI/AAAAAAAADUw/2nnjigEfVbAhN00LMJ9K7YSRkG8JA9pcQ/s1600/Screen%2BShot%2B2016-03-19%2Bat%2B8.29.21%2BAM.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="362" src="https://2.bp.blogspot.com/-iH11P2A42Q0/Vu1JR68mqKI/AAAAAAAADUw/2nnjigEfVbAhN00LMJ9K7YSRkG8JA9pcQ/s640/Screen%2BShot%2B2016-03-19%2Bat%2B8.29.21%2BAM.png" width="640" /></a></div>
<b style="font-size: small;">[Left] </b><span style="font-size: x-small;">-Detail -of the so-called </span><i style="font-size: small;">Octopuses Garden</i><span style="font-size: x-small;"> drawing attributed to John Lennon. </span></div>
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<span class="s1"><span style="font-size: x-small;">[<b>Right</b>] -Detail- Reproduction of John Lennon’s drawing reproduced on page 54 in John Lennon’s <i>In His Own Write</i> book published in 1964.</span></span></div>
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<span class="s1">Notice </span>the so-called <i>Octopuses Garden</i> drawing, attributed to John Lennon, the pressure points from stopping while copying along with the Pinocchio-like nose. There seems to be a pattern with the penchant for longer noses. Is this a tell?<br />
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<span class="s1">In contrast, in the reproduction of John Lennon’s drawing reproduced on page 54 in John Lennon’s <i>In His Own Write</i> book published in 1964, how the lines are fluid and clean with a shorter nose that just just barely extends beyond its lip.</span></div>
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<span class="s1"><b><span style="font-size: x-large;">8. </span><span style="font-size: large;">LENNON SIGNATURE?</span></b></span></div>
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<a href="https://3.bp.blogspot.com/-0YgkpzybkNc/Vu11Nn_J3zI/AAAAAAAADVE/zme7c97ReSkLnK_cU8nHoDCKM98UQOtew/s1600/Screen%2BShot%2B2016-03-19%2Bat%2B11.49.10%2BAM.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="440" src="https://3.bp.blogspot.com/-0YgkpzybkNc/Vu11Nn_J3zI/AAAAAAAADVE/zme7c97ReSkLnK_cU8nHoDCKM98UQOtew/s640/Screen%2BShot%2B2016-03-19%2Bat%2B11.49.10%2BAM.png" width="640" /></a></div>
<b style="font-size: small;">[Left] </b><span style="font-size: x-small;"><span style="font-size: x-small;">- </span>The so-called </span><i style="font-size: small;">Octopuses Garden</i><span style="font-size: x-small;"> drawing attributed to John Lennon [and signature detail mine].</span></div>
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<span style="font-size: x-small;">[</span><b style="font-size: small;">Right</b><span style="font-size: x-small;">] </span><span style="font-size: x-small;">- </span><span style="font-size: x-small;">SALE 8463 —, ENTERTAINMENT MEMORABILIA, 5 December 2000, New York, East, Lot Description</span></div>
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<span class="s1"><span style="font-size: x-small;">JOHN LENNON SIGNED LIMITED EDITION LITHOGRAPH </span></span></div>
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<span class="s1"><span style="font-size: x-small;">A limited edition lithograph numbered 265/300 with text along the top and bottom margins reading John Lennon/bag one Cinnamon Press New York 1970. Displaying Lennon's pencilled signature on the lower right-side, this peice depicts a sketch John drew of himself and Yoko from his famed "Bag One" series.</span></span></div>
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<span class="s1"><span style="font-size: x-small;">30 x 22 1/2 inches http://www.christies.com/lotfinder/lot/john-lennon-signed-limited-edition-1941623-details.aspx?intObjectID=1941623 </span></span></div>
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<span style="font-size: x-small;"><span class="s1"></span>[signature detail mine]</span></div>
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<span class="s1">Rhetorically, is this so-called <i>Octupuses Garden</i> drawing, attributable to John Lennon, much less signed by him?</span></div>
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<span class="s1">Though that question may not be hard to answer if not for $14,000 at stake, the principals behind the sale of this so-called <i>Octopuses Garden</i> drawing, attributed to John Lennon, have been involved for decades in one of the largest iconic art frauds of the 20th-21st century.</span></div>
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<span class="s1">The following briefly documents their avarice.</span><br />
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<a href="http://1.bp.blogspot.com/-72OZClSz1Dk/VF71XCQAk2I/AAAAAAAADI0/9k5I75GVRHE/s1600/John-Lennon.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://1.bp.blogspot.com/-72OZClSz1Dk/VF71XCQAk2I/AAAAAAAADI0/9k5I75GVRHE/s1600/John-Lennon.jpg" width="488" /></a></div>
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<span class="s1"><span style="font-size: x-small;"><b style="font-size: medium;">LEGACY FINE ART & PRODUCTION INC.</b></span></span></div>
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<span class="s1">The so-called “Artwork of John Lennon” exhibition and sale [owned by Yoko Ono and run by her business associates Legacy Fine Art & Production Inc. and others] is a -fraud- that consists of non-disclosed posthumous [after 1986] colorized and altered -forgeries-, falsely attributed to a dead John Lennon [d 1980], with counterfeit <i>"John Lennon"</i> chopmark/signatures in bogus editions offered for sale, to the unsuspecting public for hundreds to thousands of dollars each, as original works of visual art ie., lithographs, serigraphs and etchings. </span></div>
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<span class="s1">The dead don't create artwork.</span></div>
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<span class="s1">What proof is there to support these allegations? </span></div>
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<span class="s1"><b>FIRST,</b> Legacy Fine Art & Production Inc. states on their website:</span></div>
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<span class="s1">"At the time of his death, John had saved and preserved several hundred drawings that he considered important. In 1986, Yoko Ono began releasing limited editions of some of the meaningful drawings, using only fine art printing techniques, with the goal of re-establishing John Lennon as an important artist of his time." http://johnlennonartwork.com/faq/</span></div>
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<span class="s1">The dead don't sign and number editions.</span></div>
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<span class="s1">U.S. COPYRIGHT LAW</span></div>
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<span class="s1">That factual perspective is confirmed by U.S. Copyright Law, which in part, states:</span></div>
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<li style="text-align: justify;">"A 'work of visual art' is— (1) 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, or, in the case of a sculpture, in multiple cast, carved, or fabricated sculptures of 200 or fewer that are consecutively numbered by the author and bear the signature or other identifying mark of the author;" </li>
<li style="text-align: justify;">http://www.copyright.gov/title17/92chap1.html#101</li>
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<span class="s1"><b>SECOND,</b> Legacy Fine Art Production Inc. states on their website:</span></div>
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<span class="s1">"Serigraphs use a silkscreen to reproduce fine lines and colors. Stone lithographs are hand-pulled on a printing press using stone plates with the image transferred to the fine art paper. Each artwork was released in the medium most suited to capturing the original drawing." http://johnlennonartwork.com/faq/</span></div>
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<span class="s1">The dead don't create lithographs, serigraphs and etchings. </span></div>
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<span class="s1">U.S. CUSTOMS INFORMED COMPLIANCE MAY 2006</span></div>
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<span class="s1">This factual perspective is confirmed by U.S. Customs Informed Compliance May 2006, which in part, states: </span></div>
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<li style="text-align: justify;">"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." To confirm, click on this link: </li>
<li style="text-align: justify;">Works of Art, Collector's Pieces, Antiques, and Other Cultural Property</li>
<li style="text-align: justify;">-05/01/2006</li>
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<span class="s1"><b>THIRD,</b> Legacy Fine Art Production Inc. states on their website:</span></div>
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<span style="text-align: justify;">"Continuing a collaboration that was at the heart of their relationship throughout their life together, Yoko Ono, a world-renowned artist herself, chose colors that she felt would enhance the meaning of the original drawings." http://johnlennonartwork.com/faq/</span><br />
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<span class="s1">The dead don't collaborate, much less approve the posthumous alteration and colorization of posthumous reproductions from John Lennon's lifetime black & white drawings.</span></div>
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<span class="s1">WORK OF VISUAL ART -EXCLUDES- COPIES THAT ARE COLLABORATIVE</span></div>
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<span class="s1">This is confirmed in the Visual Artist’s Rights Act (H.R. bill 5316), which amended the Copyright Act of 1976, and was signed into law on December 1, 1990. In the 1995 The Visual Artist’s Business and Legal Guide compiled and edited by Gregory T. Victoroff, Esq., attorney Katherine M. Thompson specifically addresses issue of “collaboration” in the 1990 Visual Artist’s Rights Act. On page 28, the attorney wrote: </span><br />
<ul>
<li>“The VARA amends the Copyright Act to create a definition for a “work of visual art.” According to Section 602, -excluded are items - that generally exist in multiple copies and are collaborative in nature.”</li>
</ul>
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<span class="s1">Rhetorically, does Yoko Ono really believe that she can collaborate with the dead John Lennon or does it seem that Yoko Ono and her business associates Legacy Fine Art & Production Inc. believes and acts on the belief that the rule of law and the laws of nature do not apply to them?</span></div>
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<span class="s1"><b>FOURTH, </b>Legacy Fine Art Production Inc. states on their website:</span></div>
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<span style="text-align: justify;">"Each limited edition fine art print is authenticated by John Lennon's embossed signature, the embossed printer and publisher's mark, Yoko Ono Lennon's hand-signature, and John Lennon's personal chop mark." [a.k.a.] "Artists in the Orient sign their works with an individual patented stamp known as a chop. John Lennon's [to the left], which is hand-stamped in red on each edition, was designed by him to read "Like a Cloud, Beautiful Sound." </span><br />
<span style="text-align: justify;">http://johnlennonartwork.com/faq/</span></div>
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<span class="s1">The dead don't sign, much less approve the application of their chop.</span></div>
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<span class="s1">DEFINITION OF SIGNATURE</span></div>
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<span class="s1">This factual perspective is confirmed on page 1387 in the <i>Seventh Edition of Black’s Law Dictionary</i>, the term -signature- is defined as: </span><br />
<ul>
<li>“A person’s name or mark written by that person or at the person’s direction.”</li>
</ul>
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<span class="s1"><b>FIFTH,</b> the hubris of Yoko Ono and Legacy Fine Art & Productions Inc. is never more evident when they use the good name and reputations of a local charity, like the "Hopelink" to foster the illusion that the Artwork of John Lennon exhibition and sale has been somehow vetted by the non-profit, much less with its' association with a non-profit. </span></div>
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<span class="s1">$3 DOLLAR DONATION AT DOOR IS ALL THE CHARITY GETS</span></div>
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<span class="s1">Then to add insult to injury, the only money going to the charity is the voluntary $3 donation given at the door by the unsuspecting public at this so-called "Artwork of John Lennon" exhibition and sale. All of the sales of more than 72,000 non-disclosed- posthumous [after 1986] colorized and altered forgeries, with counterfeit John Lennon chopmark/signatures in bogus editions, goes into Yoko Ono and her business associates' pockets. </span></div>
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<span class="s1"><b>SIXTH, </b>Yoko Ono’s company Bag One Arts Inc. is located at 110 West 79th Street, New York, NY 10024-6402 with the (212) 595-5537 telephone number.</span></div>
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<span class="s1">NEW YORK CIVIL CODE </span></div>
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<span class="s1">Under New York Civil Code 15.01 (2.) states: </span><br />
<ul>
<li>“Article fifteen of the New York arts and cultural affairs law provides for disclosure in writing of certain information concerning multiples of prints and photographs when sold for more than one hundred dollars ($100) - whether the multiple is a reproduction.”</li>
</ul>
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<span class="s1">The penalties for violation of New York Civil Code statutes under 15.15 may include but not limited to -refund-treble damages-court costs-expert witness fees-attorney fees- and not to mention potential civil fines.</span></div>
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<span class="s1">In the State of New York under New York Civil Code 11.01, -counterfeit- is defined as: </span><br />
<ul>
<li>“a work of fine art or multiple made, altered or copied, with or without intent to deceive, in such a manner that it appears or is claimed to have an authorship which it does not in fact possess.”</li>
</ul>
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<span class="s1">Rhetorically, are Yoko Ono and her business associates -alter[ing]- the so-called Artwork of John Lennon, they offer for sale, “in such a manner that it appears or is claimed to have an authorship which it does not in fact possess?”</span></div>
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<span style="font-size: 15.5555562973022px;"><span style="font-size: 13.3333339691162px;"><br class="Apple-interchange-newline" /><img alt="" border="0" id="BLOGGER_PHOTO_ID_5375453850012961090" src="https://2.bp.blogspot.com/_N4RNkM-EcrI/Splyy9SHSUI/AAAAAAAABDE/k27cuimVqBA/s400/LennonSkywritingPage197.jpf" style="color: #0000ee; float: left; font-size: medium; height: 322px; margin: 0pt 10px 10px 0pt; text-align: justify; width: 400px;" /></span></span><br />
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<span style="font-size: x-small;">p.196 and 197, Skywriting by Word of Mouth by John Lennon, Copyright © 1986 by The Estate of John Lennon and Yoko Ono, ISBN 0-06-091444-0 (pbk)</span></div>
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<span class="s1"><b>BEFORE 1980, POSTHUMOUSLY PUBLISHED REPRODUCTION</b></span></div>
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<a href="http://3.bp.blogspot.com/_N4RNkM-EcrI/SploRV--KpI/AAAAAAAABCs/O_TaWxTj6OQ/s1600-h/LennonAnEffHatching107.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5375442277411728018" src="https://3.bp.blogspot.com/_N4RNkM-EcrI/SploRV--KpI/AAAAAAAABCs/O_TaWxTj6OQ/s400/LennonAnEffHatching107.jpg" style="float: left; margin: 0pt 10px 10px 0pt;" /></a></div>
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<span style="font-size: x-small;">107. An Egg Hatching, “Image: 11.5” x 10” Paper: 15” x 10”, Serigraphy, Stonehenge,” p. 43, John Lennon catalogue with the byline: Pacific Edge Gallery 540 S. Coast Hwy., #112. Laguna Beach, CA 92651-2479, </span><span class="s2" style="font-size: x-small;"><a href="http://www.lennonart.com/" style="font-size: small;">www.lennonart.com</a></span></div>
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<span class="s1"><b>AFTER 1999, POSTHUMOUSLY COLORIZED FORGERY</b></span></div>
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<span class="s1">WUSA CHANNEL 9</span></div>
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<span class="s1">In a June 29, 2006 Washington D.C. station WUSA Channel 9 televised [Artwork of John Lennon exhibition in Alexandria, VA] story by reporter Bruce Leshan, this is Legacy Fine Art & Production Inc. director Rudy Siegel's admission:</span></div>
</div>
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</div>
<ul>
<li style="text-align: justify;"> "The majority of the work on display was printed posthumously. - The artwork is coming from the Lennon estate. People aren't stupid. They know the difference between a print and an original."</li>
</ul>
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<span class="s1"></span><br /></div>
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<span class="s1">ATLANTA JOURNAL CONSTITUTION</span></div>
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<div style="text-align: justify;">
<span class="s1">Some four years later when a reporter is unaware of these contentious issues of authenticity, the Atlanta Journal Constitution publishes a November 30, 2010 "Lennon's art 'unassuming' Galleries eventually came to value work of ex-Beatle, Ono says" article by Sheila Poole, where Legacy Fine Art & Production Inc. director Rudy Siegel states:</span></div>
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</div>
<ul>
<li style="text-align: justify;">"Folks have been collecting and viewing John Lennon's work for 40 years," said Rudy Siegel, a producer at Legacy Productions, who helped put together the tour with Ono and Bag One Arts. "He was so prolific," Siegel said. "He was at home raising Sean and drawing. He wasn't doing any songwriting or recording. It was his outlet at the time to express himself."</li>
</ul>
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<span class="s1"></span><br /></div>
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<span class="s1">LEGACY FINE ART PRODUCTION INC. - FOCUS THIS YEAR ON THE TRUTH</span></div>
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<div style="text-align: justify;">
<span class="s1">Then, to go from the ridiculous to the sublime, Yoko Ono's business associate Legacy Fine Art & Production Inc. on its' website, under the subtitle "Exhibits," states: </span></div>
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<ul>
<li>"The focus this year is on truth & our continued quest to find all that is true in the world and within ourselves.” <span style="color: blue;">http://johnlennonartwork.com/exhibits/ </span></li>
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<span style="color: blue;"><br /></span></div>
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<a href="https://4.bp.blogspot.com/-u3cF2Yf9Lig/V93-ItbyC7I/AAAAAAAADn0/dpz7_LFW-yoN5BHDaV0VSxy8v2eWte1_wCEw/s1600/Screen%2BShot%2B2016-09-17%2Bat%2B10.36.33%2BPM.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="640" src="https://4.bp.blogspot.com/-u3cF2Yf9Lig/V93-ItbyC7I/AAAAAAAADn0/dpz7_LFW-yoN5BHDaV0VSxy8v2eWte1_wCEw/s640/Screen%2BShot%2B2016-09-17%2Bat%2B10.36.33%2BPM.png" width="475" /></a></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">MAGIC BIRDS 1964 "<i>Magic Birds</i> is perhaps the oldest of the drawings in the collection. It is important because John original drew it for the cover of his first book "In His Own Write." Because of this exposure, it is expected to be a collectors's item both in the world of art and memorabilia."</span></div>
<div style="text-align: justify;">
<span style="color: blue; font-family: "times" , "times new roman" , serif; font-size: x-small; line-height: 21.3px;">http://legacyfineart.net/artwork/magic-birds-1964/?utm_source=WEBSITE+UPDATE+08-22&utm_campaign=WEBSITE+UPDATE+08-22&utm_medium=email</span></div>
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<span style="font-family: "times" , "times new roman" , serif;"><span style="line-height: 21.3px;"><b>NON-DISCLOSED POSTHUMOUS FORGERY</b></span></span></div>
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<span style="font-family: "times" , "times new roman" , serif;"><span style="line-height: 21.3px;"><b><br /></b></span></span></div>
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In a September 2016 email promotion, Legacy Fine Art & Production Inc. is offering for sale, for the "retail price of $8,000" at a "sale price of $2,200" with "framing included/free shipping," the above titled <i>Magic Birds</i> "Limited Edition Serigraphs Print" with a "1964" date, that is actually a non-disclosed posthumous forgery, falsely attributed to a dead John Lennon [d 1980] with a counterfeit <i>"John Lennon"</i> chop-mark/signature in a bogus edition with an illegible <i>"Yoko Lennon" </i>signature.</div>
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The dead don't serigraph, much less sign and number. </div>
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<span style="font-family: "times" , "times new roman" , serif;"></span></div>
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Rhetorically, without the counterfeit <i>"John Lennon" </i>chop-mark/signatureS, bogus edition numbering of 300 and excluding the illegible <i>"Yoko Lennon"</i> signatureS, would the public pay $8,000, much less $2,200 each to Legacy Fine Art & Production Inc. for nothing more than reproduction/posters?</div>
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<span class="s1">So, considering the hubris of Yoko Ono and Legacy Fine Art & Production Inc. in their multi-decade long <i>“Artwork of John Lennon”</i> fraud are we to believe or just suspend disbelief that the so-called <i>Octupuses Garden</i> drawing, much less the Legacy Fine Art & Production Inc.'s titled <i>Magic Bird </i>"Limited Edition Serigraph Print," are attributable to John Lennon, much less signed by him?</span></div>
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<div class="p1" style="line-height: normal; text-align: start;">
<div style="text-align: justify;">
<span class="s1">This link to my online published <i>"Artwork of John Lennon $100 Million FRAUD, The dead don't create artwork"</i> monograph further documents these contentious issues of authenticity as it applies to Legacy Fine Art & Production Inc.:</span></div>
</div>
<ul style="line-height: normal; text-align: start;">
<li style="text-align: justify;"><span style="color: blue;">http://garyarseneau.blogspot.com/2006/09/artwork-of-john-lennon-fraud.html</span></li>
</ul>
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<span style="line-height: 20.8px; text-align: justify;"><span style="font-family: "times" , "times new roman" , serif; font-size: small; line-height: normal;">FTC POLICY STATEMENT OF UNFAIRNESS</span></span></div>
<div style="line-height: 21.3px; text-align: start;">
<span style="line-height: normal;"><span style="font-family: "times" , "times new roman" , serif; font-size: small; line-height: 20.8px; text-align: justify;">Finally, the United States Federal Trade Commission's" Policy Statement of Unfairness" states: </span></span><br />
<ul>
<li><span style="font-family: "times" , "times new roman" , serif; line-height: normal;"><span style="font-size: small; line-height: 20.8px; text-align: justify;">“A seller’s failure to present complex and technical data on his product may lessen a consumer’s ability to choose, for example, but may also reduce the initial price he must pay for the article.---Finally, the injury must be one which consumers could not reasonably have avoided.”</span></span><span style="color: blue; font-family: "times" , "times new roman" , serif; line-height: normal; text-align: justify;">[FN 1]</span></li>
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<span class="ecxs1"><span style="font-family: "times" , "times new roman" , serif; font-size: small; line-height: normal;">In closing, 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.</span></span></div>
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<b>FOOTNOTES:</b></div>
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<span style="font-size: x-small;"><span class="s1"><span style="font-family: "times" , "times new roman" , serif;">1. </span></span><span style="background-color: white; color: #444444; font-family: "times" , "times new roman" , serif; text-align: -webkit-left;">http://www.ftc.gov/bcp/policystmt/ad-unfair.htm</span></span></div>
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Gary Arseneauhttp://www.blogger.com/profile/10379667479866306615noreply@blogger.comtag:blogger.com,1999:blog-34909527.post-18736882278578110102015-07-20T13:25:00.002-04:002016-03-18T21:09:46.198-04:00THE DEAD DON’T SCULPT, 29 non-disclosed Rodin -forgeries- from the Iris and B. Gerald Cantor Foundation at the Honolulu Museum of Art<div class="p1" style="text-align: justify;">
<span class="s1"><b>NOTE: </b>Footnotes enclosed as: <span style="color: blue; font-size: x-small;"><b>[FN]</b></span></span></div>
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<span class="s1">[Updated March 18, 2016]</span></div>
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<b><a href="http://2.bp.blogspot.com/-9LTVRpL0iw8/Vaz9U9xZ_iI/AAAAAAAADJ8/ahejKn7pJS0/s1600/exhib_slideshow_exhibition_rodin_1516.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="203" src="https://2.bp.blogspot.com/-9LTVRpL0iw8/Vaz9U9xZ_iI/AAAAAAAADJ8/ahejKn7pJS0/s400/exhib_slideshow_exhibition_rodin_1516.jpg" width="400" /></a></b></div>
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<span class="s1">Auguste Rodin. '<i>Study for Torso of the Walking Man</i>,' 1878-79. Bronze. Iris and B. Gerald Cantor Foundation (1516)</span></div>
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<span class="s1" style="color: blue; font-size: x-small;">https://www.honolulumuseum.org/art/exhibitions/15038-auguste_rodin_human_experience_selections_iris_b_gerald_cantor_collections/</span></div>
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<span class="s1"><b>NON-DISCLOSED POSTHUMOUS [1979] FORGERY</b></span></div>
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<span class="s1"><b><span style="font-size: large;">T</span></b>he Honolulu Museum of Art's July 23, 2015 - January 10, 2016 <b>Auguste Rodin: The Human Experience, Selections from the Iris and B. Gerald Cantor Collections</b> exhibition contains at least 29 non-disclosed posthumous [1925-1995] second-generation removed forgeries with counterfeit <i>“A Rodin”</i> signatures in bogus editions falsely attributed to a dead Auguste Rodin [d 1917] as original works of visual art i.e., sculptures.</span></div>
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<span class="s1">Auguste Rodin died in 1917.</span></div>
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<span class="s1">The dead don’t sculpt.</span></div>
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<span class="s1"><b>Table of Contents</b></span></div>
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<span class="s1">Introduction </span></div>
<div class="p11" style="text-align: center;">
<span class="s1">Four Potential Lifetime Reproductions </span></div>
<div class="p11" style="text-align: center;">
<span class="s1">Twenty-Nine Posthumous Forgeries </span></div>
<div class="p11" style="text-align: center;">
<span class="s1">Musee Rodin February 1, 2000 FAX</span></div>
<div class="p11" style="text-align: center;">
<span class="s1">Bronzes Not Cast From the Original Plasters </span></div>
<div class="p11" style="text-align: center;">
<span class="s1">Posthumous Counterfeit <i>“A Rodin” </i>Signatures</span></div>
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<span class="s1">Variations in the Numbering System</span></div>
<div class="p11" style="text-align: center;">
<span class="s1">22 <i>The Thinkers</i> in an Edition of 12</span></div>
<div class="p11" style="text-align: center;">
<span class="s1">U.S. Copyright Law</span></div>
<div class="p11" style="text-align: center;">
<span class="s1">Association of Art Museum Directors</span></div>
<div class="p11" style="text-align: center;">
<span class="s1">U.S. Customs May 2006 </span></div>
<div class="p11" style="text-align: center;">
<span class="s1">Pick the Color of a Purchased Bronze</span></div>
<div class="p11" style="text-align: center;">
<span class="s1">Public Relations Campaign & The Coverup </span></div>
<div class="p11" style="text-align: center;">
<span class="s1">The Curious Fixation of the ‘Rodin Chaser’</span></div>
<div class="p11" style="text-align: center;">
<span class="s1">Law, Ethics and the Visual Arts</span></div>
<div class="p11" style="text-align: center;">
<span class="s1">Conclusion </span></div>
<div class="p11" style="text-align: center;">
<span class="s1">Footnotes</span></div>
<div class="p11" style="text-align: center;">
<span class="s1">Photographs</span></div>
<div class="p6" style="text-align: justify;">
<span class="s1"></span><br /></div>
<div class="p13" style="text-align: justify;">
<span class="s1"><b>INTRODUCTION</b></span></div>
<div class="p7" style="text-align: justify;">
<span class="s1">The Iris and B. Gerald Cantor Foundation promotes in their published 2001 <i>Rodin, A Magnificent Obsession </i>catalogue, as well as in their <b>Auguste Rodin: The Human Experience, Selections from the Iris and B. Gerald Cantor Collections</b> exhibition checklist</span><span class="s2"><span style="color: blue; font-size: x-small;"><b>[FN 1]</b></span>,</span><span class="s1"> all but one of these twenty-nine non-disclosed posthumous [1925-1995] second-generation-removed forgeries as: ”Signed and/or numbered and/or Marked <i>A. Rodin</i>.”</span></div>
<div class="p6" style="text-align: justify;">
<span class="s1"></span><br /></div>
<div class="p7" style="text-align: justify;">
<span class="s1">Once again, Auguste Rodin died in 1917.</span></div>
<div class="p6" style="text-align: justify;">
<span class="s1"></span><br /></div>
<div class="p7" style="text-align: justify;">
<span class="s1">The dead don’t sign, much less number.</span></div>
<div class="p6" style="text-align: justify;">
<span class="s1"></span><br /></div>
<div class="p7" style="text-align: justify;">
<span class="s1">This factual perspective is confirmed under U.S. Copyright Law 101. Definitions, a -work of visual art- i.e., -sculpture- is defined as: “multiple cast, carved, or fabricated sculptures of 200 or fewer that are consecutively numbered by the author and bear the signature or other identifying mark of the author.”</span><b style="color: blue;"><span style="font-size: x-small;">[FN 2]</span></b></div>
<div class="p6" style="text-align: justify;">
<span class="s1"></span><br /></div>
<div class="p7" style="text-align: justify;">
<span class="s1">Yet, the Honolulu Museum of Art would have the public believe and act on the belief for the $10 price of adult admission and other monetary considerations that “This summer brings with it the rare opportunity to experience a comprehensive selection of the work of Auguste Rodin (1840‒1917). Auguste Rodin: The Human Experience, Selections from the Iris & B. Gerald Cantor Collections examines the eminent French sculptor’s fascination with the human figure and his lifelong effort to breathe life into bronze. The 33 works in the show—including the iconic <i>Meditation (with Arms), Mask of the Man with the Broken Nose, The Hand of God, Torso of the Walking Man,</i> and <i>The Thinker</i>—reveal Rodin to be an artist deeply interested in sensuality, fascinated by human psychology, and obsessed with the body in motion.”</span><b style="color: blue;"><span style="font-size: x-small;">[FN 3]</span></b></div>
<div class="p6" style="text-align: justify;">
<span class="s1"></span><br /></div>
<div class="p7" style="text-align: justify;">
<span class="s1">By definition, under the Getty Vocabulary Program, the term -sculptor- is defined as: “Artists who specialize in creating images and forms that are carried out primarily in three dimensions, generally in the media of stone, wood, or metal.”</span><b style="color: blue;"><span style="font-size: x-small;">[FN 4]</span></b></div>
<div class="p6" style="text-align: justify;">
<span class="s1"></span><br /></div>
<div class="p7" style="text-align: justify;">
<span class="s1">To belabor the obvious by now, Auguste Rodin died in 1917.</span></div>
<div class="p6" style="text-align: justify;">
<span class="s1"></span><br /></div>
<div class="p7" style="text-align: justify;">
<span class="s1">Aside from the dead don’t specialize, a dead Auguste Rodin didn’t even get the “rare opportunity to experience a comprehensive selection of the work” that the Honolulu Museum of Art and the Iris and B. Gerald Cantor Foundation are so eager to give him credit for.</span></div>
<div class="p6" style="text-align: justify;">
<span class="s1"></span><br /></div>
<div class="p7" style="text-align: justify;">
<span class="s1">On July 23, 2015 at 4:30 p.m. in the Doris Duke Theater, Executive Director and Exhibition Curator, of the Iris & B. Gerald Cantor Foundation, Judith Sobol, “will tell the story of the creation of Iris and B. Gerald Cantor's remarkable collection of work by Auguste Rodin, which at one time numbered 750 pieces. She will also explore Rodin’s singular achievement in transforming traditional sculpture into modern sculpture, using works in the Honolulu exhibition as examples and describing Rodin’s influence on sculptors working today.”</span><b style="color: blue;"><span style="font-size: x-small;">[FN 5]</span></b></div>
<div class="p14" style="text-align: justify;">
<span class="s1"></span><br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="http://2.bp.blogspot.com/-eQmjIIsUxaA/Va0LdeR43qI/AAAAAAAADOM/ru5SqLYgbKI/s1600/Screen%2BShot%2B2015-07-20%2Bat%2B10.52.44%2BAM.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="202" src="https://2.bp.blogspot.com/-eQmjIIsUxaA/Va0LdeR43qI/AAAAAAAADOM/ru5SqLYgbKI/s400/Screen%2BShot%2B2015-07-20%2Bat%2B10.52.44%2BAM.png" width="400" /></a></div>
<div class="p14" style="text-align: justify;">
<br /></div>
<div class="p7" style="text-align: justify;">
<span class="s1">On page 661 of the <i>Seventh Edition of Black's Law Dictionary</i>, -forgery- is defined as: "the act of fraudulently making a false document or altering a real one to be used as if genuine."</span><span style="font-size: x-small;"><b style="color: blue;">[FN 6]</b> </span></div>
<div class="p6" style="text-align: justify;">
<span class="s1"></span><br /></div>
<div class="p7" style="text-align: justify;">
<span class="s1">Rhetorically, would misrepresenting 29 non-disclosed posthumous [1925-1995] forgeries as original works of visual art i.e., sculptures "by Auguste Rodin," for the $10 price of adult admission and other monetary considerations, be considered "a knowing misrepresentation of the truth or concealment of a material fact to induce another to act to his or her detriment"</span><b style="color: blue;"><span style="font-size: x-small;">[FN 7]</span></b> which is one legal definition of <b>fraud</b>?</div>
<div class="p6" style="text-align: justify;">
<span class="s1"></span><br /></div>
<div class="p7" style="text-align: justify;">
<span class="s1">Now, compare that devastating question to the Iris & B. Gerald Cantor Foundation’s -Mission- which states that it: “strives to fulfill the commitment of its founders to provide philanthropic leadership in two principal arenas, medicine and the arts. It does so by awarding grants for programs, facilities and endowments at distinguished medical, educational and cultural institutions in the United States and internationally. In the medical arena, the Foundation supports institutions at the forefront of biomedical research and clinical care, with an emphasis on healthcare for women. In the arts, the Foundation supports exhibitions and other programs that encourage recognition and appreciation of the visual and performing arts, promote scholarship, and otherwise enhance cultural life. Furthering the Cantor legacy in the visual arts, the Foundation’s activities in this arena continue to focus on the work of the sculptor Auguste Rodin and his contemporaries.”</span><b style="color: blue;"><span style="font-size: x-small;">[FN 8]</span></b></div>
<div class="p6" style="text-align: justify;">
<span class="s1"></span><br /></div>
<div class="p7" style="text-align: justify;">
<span class="s1">So, it is ironic with all the good deeds the Iris and B. Gerald Cantor Foundation does with grants to medicine or the arts, that someone, who have received these grants in the medical field much less the arts, seems not to had the courtesy to inform them that the dead don’t sculpt.</span></div>
<div class="p6" style="text-align: justify;">
<span class="s1"></span><br /></div>
<div class="p7" style="text-align: justify;">
<span class="s1">This monograph will document these contentious issues of authenticity and more with the Honolulu Museum of Art’s July 23, 2015 - January 10, 2016 <b>Auguste Rodin: The Human Experience, Selections from the Iris & B. Gerald Cantor Collections</b> exhibition. </span></div>
<div class="p7" style="text-align: justify;">
<span class="s1"><br /></span></div>
<div class="p13" style="text-align: justify;">
<span class="s1"><b>FOUR POTENTIAL LIFETIME REPRODUCTIONS</b></span></div>
<div class="p7" style="text-align: justify;">
<span class="s1">FIRST, there are only four potential lifetime reproductions in this exhibition. Yes, reproductions, not sculptures. They are listed [</span><span class="s3"><span style="color: #0b5394;">in grayish-blue</span></span><span class="s1">] as follows in the Iris and B. Gerald Cantor Foundation’s <b>Rodin Figures</b> exhibition checklist. [Subtitles <b>embolden </b>mine]</span></div>
<div class="p6" style="text-align: justify;">
<span class="s1"></span><br /></div>
<div class="p7" style="text-align: justify;">
<span class="s1"><b>1 OF 4 </b><b>LIFETIME REPRODUCTIONS </b></span><br />
<span class="s1"><b><br /></b></span>
<span class="s1">[</span>Iris and B. Gerald Cantor Foundation's Rodin: Figures Checklist] </div>
<div class="p15" style="text-align: justify;">
<ul>
<li><span style="font-size: x-small;"><span style="color: #0b5394;">“Artist RODIN, AUGUSTE, Title </span><i style="color: #0b5394;">FUGITIVE LOVE</i><span style="color: #0b5394;">, Date cast, Medium bronze, Dimensions 10 1/2 x 22 x 11 1/2 in., Foundry unknown, Cast unknown, Weight 90 lbs., Dims w base/frame 13 x 22 x 11.5 in., Base is wood w/ rounded corners, Base alone: 2.5 x 19 x 8.5 in., Patina dark brown to black, Inscriptions Signed </span><i style="color: #0b5394;">“Rodin,” </i><span style="color: #0b5394;">Owner Iris & B. Gerald Cantor Foundation, Crate #78, CC ID#1106, Executed Before 1887”</span></span></li>
</ul>
</div>
<div class="p16" style="text-align: justify;">
<span class="s1"></span><br /></div>
<div class="p7" style="text-align: justify;">
<span class="s1">On page 380 of the Musee Rodin's published 2007 <i>The Bronzes of Rodin</i>, the former Musee Rodin curator Antoinette Le Normand-Romain, in reference to <i>Fugit Amor </i>a.k.a<i>. Fugitive Love</i>, wrote: "A bronze, which seems to have been cast from a marble, only the surbase of which has survived [26.7 x 56 x 29.2 cm; signed]: Los Angeles, Cantor Foundation, acq. Sotheby's New York, 23 October 1980, no. 208."</span><b style="color: blue;"><span style="font-size: x-small;">[FN 9]</span></b></div>
<div class="p6" style="text-align: justify;">
<span class="s1"></span><br /></div>
<div class="p7" style="text-align: justify;">
<span class="s1">Later on page 383 of <i>The Bronzes of Rodin</i>, in reference to another bronze cast from a<i> Fugit Amor</i> marble, the former Musee Rodin curator wrote: "the bronze that Rodin gave Jean Aicard in early 1895 has been made from a cast of this marble, which was, moreover, often reproduced."</span><b style="color: blue;"><span style="font-size: x-small;">[FN 10]</span></b></div>
<div class="p6" style="text-align: justify;">
<span class="s1"></span><br /></div>
<div class="p7" style="text-align: justify;">
<span class="s1">With or without intent, the former Musee Rodin curator Antoinette Le Normand-Romain acknowledges Auguste Rodin’s <i>Fugit Amor</i> a.k.a. <i>Fugitive Love</i> was “reproduced” which obviously results in -reproductions-.</span></div>
<div class="p17" style="text-align: justify;">
<span class="s1"></span><br /></div>
<div class="p7" style="text-align: justify;">
<span class="s1"><b> 2 OF 4 </b><b>LIFETIME REPRODUCTIONS</b></span><br />
<span class="s1"><b><br /></b></span>
<span class="s1">[</span>Iris and B. Gerald Cantor Foundation's Rodin: Figures Checklist]</div>
<div class="p15" style="text-align: justify;">
<ul>
<li><span style="font-size: x-small;"><span style="color: #0b5394;">“Artist RODIN, AUGUSTE, Title </span><i style="color: #0b5394;">METAMORPHOSES OF OVID</i><span style="color: #0b5394;">, Date cast Unknown, Medium bronze, Dimensions 13 1/8 x 15 3/4 x 10 1/4 in., Foundry Perzinka, Cast date unknown, No. 10., Weight 150 lbs., 68 kg., Dims w base/frame no base, Patina dark brown w/ undertones of yellow-green, Inscriptions Signed on base "</span><i style="color: #0b5394;">A. Rodin </i><span style="color: #0b5394;">no.10." Stamped inside, </span><i style="color: #0b5394;">"A. Rodin,”</i><span style="color: #0b5394;"> Owner Iris & B. Gerald Cantor Foundation, Crate # 50, CC ID# 1192, Executed About 1885-89”</span></span></li>
</ul>
</div>
<div class="p16" style="text-align: justify;">
<span class="s1"></span><br /></div>
<div class="p7" style="text-align: justify;">
<span class="s1">On page 177 of the 2001 <i>Rodin, A Magnificent Obsession</i> catalogue, the Iris and B. Gerald Cantor Foundation lists in their collection an <i>Ovid's Metamorphoses</i> [with the following dimensions: 33.3 x 40 x 26 cm and date "c. 1885-89, date of cast unknown"], is listed as "Signed on base with raised signature <i>A Rodin </i>inside" and Perzinka foundry.</span><b style="color: blue;"><span style="font-size: x-small;">[FN 11]</span></b></div>
<div class="p18" style="text-align: justify;">
<span class="s1"></span><br /></div>
<div class="p7" style="text-align: justify;">
<span class="s1"><b>3 OF 4 </b><b>LIFETIME REPRODUCTIONS </b></span><br />
<span class="s1"><b><br /></b></span>
<span class="s1">[</span>Iris and B. Gerald Cantor Foundation's Rodin: Figures Checklist]<b> </b></div>
<div class="p15" style="text-align: justify;">
<ul>
<li><span style="font-size: x-small;"><span style="color: #0b5394;">“Artist RODIN, AUGUSTE, Title </span><i style="color: #0b5394;">HAND OF GOD</i><span style="color: #0b5394;">, Date cast Unknown, Medium bronze, Dimensions 12 3/4 x 11 1/4 x 11 3/4 in., Foundry Alexis Rudier, Cast date and number unknown, Weight 22 pounds, Dims w base/frame no base (contrary to photo), Patina medium brown, Inscriptions Signed, </span><i style="color: #0b5394;">"A. Rodin"</i><span style="color: #0b5394;"> and inscribed, "Alexis RUDIER Fondeur Paris,” Owner Iris Cantor as Trustee of the Iris Cantor Trust, Crate # 37, CC ID# 15500, Executed 1898”</span></span></li>
</ul>
</div>
<div class="p19" style="text-align: justify;">
<span class="s1"></span><br /></div>
<div class="p7" style="text-align: justify;">
<span class="s1">On page 188 of the Iris and B. Gerald Cantor Foundation’s published 2001 <i>Rodin, A Magnificent Obsession</i> catalogue, is listed <i>The Hand of God</i>, 1898, date of cast unknown by the Alexis Rudier foundry that went into business four years later in 1902 and listed as “Signed and numbered <i>A. Rodin</i>.”</span><b style="color: blue;"><span style="font-size: x-small;">[FN 12]</span></b></div>
<div class="p20" style="text-align: justify;">
<span class="s1"></span><br /></div>
<div class="p7" style="text-align: justify;">
<span class="s1"><b>4 OF 4 </b><b>LIFETIME REPRODUCTIONS</b></span><br />
<span class="s1"><b><br /></b></span>
<span class="s1">[North Carolina Museum of Art Loan] </span></div>
<div class="p15" style="text-align: justify;">
<ul>
<li><span style="font-size: x-small;"><span style="color: #0b5394;">“Auguste Rodin (French, 1840-1917), </span><i style="color: #0b5394;">The Thinker,</i><span style="color: #0b5394;"> Modeled 1880, reduced in 1903, this example cast at a later date, Bronze, 14 ¾ x 7 7/8 x 11 3/8 in., On loan from the North Carolina Museum of Art, Gift of the Iris and B. Gerald Cantor Foundation in honor of Governor Michael F. Easley and Mary P. Easley”</span></span></li>
</ul>
</div>
<div class="p16" style="text-align: justify;">
<span class="s1"></span><br /></div>
<div class="p7" style="text-align: justify;">
<span class="s1">On page 175 of the Iris and B. Gerald Cantor Foundation’s published 2001 <i>Rodin, A Magnificent Obsession</i> catalogue, there are two listed <i>The Thinker</i>, 1880, date of cast unknown and cast about 1931 both by the Alexis Rudier foundry [1902-1952] and “Signed and numbered <i>A. Rodin</i>/2” and “Signed <i>A. Rodin.</i>”</span><b style="color: blue;"><span style="font-size: x-small;">[FN 13]</span></b></div>
<div class="p7" style="text-align: justify;">
<br /></div>
<div class="p13" style="text-align: justify;">
<span class="s1"><b>TWENTY-NINE POSTHUMOUS FORGERIES</b></span></div>
<div class="p7" style="text-align: justify;">
<span class="s1">SECOND, the following <b>Rodin: Figures </b>checklist information [</span><span class="s5"><span style="color: #990000;">in red</span></span><span class="s1">] for the Honolulu Museum of Art’s July 23, 2015 - January 10, 2016 <b>Auguste Rodin: The Human Experience, Selections from the Iris & B. Gerald Cantor Collections</b> exhibition, is from a Iris and B. Gerald Cantor Foundation checklist for a prior venue. [Cast Year with Subtitle <b>embolden </b>mine]</span></div>
<div class="p6" style="text-align: justify;">
<span class="s1"></span><br /></div>
<div class="p21" style="text-align: justify;">
<span class="s1"><b>1925 </b></span><br />
<span class="s1"><b>1 OF 29 Posthumous Forgeries </b></span><br />
<span class="s1"><b><br /></b></span>
<span class="s1">[</span>Iris and B. Gerald Cantor Foundation's Rodin: Figures Checklist] </div>
<div class="separator" style="clear: both; text-align: center;">
<a href="http://2.bp.blogspot.com/-Jv5FiyN_g4U/Va0BCN1GrFI/AAAAAAAADKI/ZpfuGC-5B4A/s1600/Screen%2BShot%2B2015-07-15%2Bat%2B7.48.56%2BPM.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="200" src="https://2.bp.blogspot.com/-Jv5FiyN_g4U/Va0BCN1GrFI/AAAAAAAADKI/ZpfuGC-5B4A/s200/Screen%2BShot%2B2015-07-15%2Bat%2B7.48.56%2BPM.png" width="163" /></a></div>
<div class="p22" style="text-align: justify;">
<ul>
<li><span style="font-size: x-small;"><span style="color: #990000;">“Artist RODIN, AUGUSTE, Title </span><i style="color: #990000;">SAINT JOHN THE BAPTIST PREACHING, </i><span style="color: #990000;">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: </span><i style="color: #990000;">"A. Rodin," </i><span style="color: #990000;">"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”</span></span></li>
</ul>
</div>
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<span class="s1"></span><br /></div>
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<br />
<b style="color: blue;"><span style="font-size: x-small;"><br /></span></b>
<span style="text-align: center;">IRIS AND B. GERALD CANTOR FOUNDATION'S "RODIN LABEL"</span></div>
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<a href="http://4.bp.blogspot.com/-zkdz4Sccjx4/Va0PfVIFv9I/AAAAAAAADOs/qZ7ja7fNqQM/s1600/Screen%2BShot%2B2015-07-20%2Bat%2B11.10.28%2BAM.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="275" src="https://4.bp.blogspot.com/-zkdz4Sccjx4/Va0PfVIFv9I/AAAAAAAADOs/qZ7ja7fNqQM/s400/Screen%2BShot%2B2015-07-20%2Bat%2B11.10.28%2BAM.png" width="400" /></a></div>
<div class="p7" style="text-align: center;">
<span class="s2" style="color: blue; font-size: x-small;">http://www.haaedu.org/rodin-labels</span><br />
<br /></div>
<div class="p7" style="text-align: center;">
<div style="text-align: left;">
<span class="s1" style="text-align: justify;">On page 184 of the Iris and B. Gerald Cantor Foundation’s published 2001 <i>Rodin, A Magnificent Obsession </i>catalogue, is listed <i>St. John the Baptist Preaching,</i> cast in 1926 by the Alexis Rudier foundry and listed as “Signed <i> A. Rodin.</i>”</span><b style="color: blue; text-align: justify;"><span style="font-size: x-small;">[FN 14]</span></b></div>
<div style="text-align: left;">
<br /></div>
<div style="text-align: left;">
Auguste Rodin died in 1917. The dead don't sign, much less 9 years after their death in 1926.</div>
<div style="text-align: left;">
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<div style="text-align: left;">
<br /></div>
</div>
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<span class="s1"></span></div>
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<span class="s1"><b>1952 </b></span><br />
<span class="s1"><b>2 OF 29 Posthumous Forgeries </b></span><br />
<span class="s1"><b><br /></b></span>
<span class="s1">[</span>Iris and B. Gerald Cantor Foundation's Rodin: Figures Checklist] </div>
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<a href="http://1.bp.blogspot.com/-3vu7Z08wHZc/Va0BVZ8fn6I/AAAAAAAADKQ/APGlBGPAS6U/s1600/Screen%2BShot%2B2015-07-15%2Bat%2B7.49.56%2BPM.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="200" src="https://1.bp.blogspot.com/-3vu7Z08wHZc/Va0BVZ8fn6I/AAAAAAAADKQ/APGlBGPAS6U/s200/Screen%2BShot%2B2015-07-15%2Bat%2B7.49.56%2BPM.png" width="162" /></a></div>
<div class="p22" style="text-align: justify;">
<ul>
<li><span style="font-size: x-small;"><span style="color: #990000;">“Artist RODIN, AUGUSTE, Title </span><i style="color: #990000;">IRIS, MESSENGER OF THE GODS, </i><span style="color: #990000;">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, </span><i style="color: #990000;">"A. Rodin"</i></span><span style="color: #990000;"><span style="font-size: x-small;"> and inscribed, “GeorgeRudier. Fondeur. Paris" on soles of feet., Owner Iris Cantor as Tr</span>u<span style="font-size: x-small;">stee of the Iris Cantor Trust, Crate # 61, CC ID# 1607, Executed 1891”</span></span></li>
</ul>
</div>
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<br />
<span style="text-align: center;">IRIS AND B. GERALD CANTOR FOUNDATION'S "RODIN LABEL"</span></div>
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<a href="http://2.bp.blogspot.com/-9O93ZrN0VLM/Va0RCX0cW2I/AAAAAAAADO4/vtOmiXiZK_c/s1600/Screen%2BShot%2B2015-07-20%2Bat%2B11.17.00%2BAM.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="226" src="https://2.bp.blogspot.com/-9O93ZrN0VLM/Va0RCX0cW2I/AAAAAAAADO4/vtOmiXiZK_c/s400/Screen%2BShot%2B2015-07-20%2Bat%2B11.17.00%2BAM.png" width="400" /></a></div>
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<span class="s1" style="color: blue; font-size: x-small;">http://www.haaedu.org/rodin-labels</span><br />
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<span class="s1">On page 454 of the <i>Bronzes of Rodin, </i>for the <i>Iris, Messenger of the Gods, </i>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.].”</span><b style="color: blue;"><span style="font-size: x-small;">[FN 15] </span></b>The Georges Rudier foundry went into business in 1952.</div>
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Auguste Rodin died in 1917. The dead don't sign, much less 35 or more years after their death.</div>
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<span class="s1"><b>1955 </b></span><br />
<span class="s1"><b>3 OF 29 Posthumous Forgeries </b></span><br />
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<span class="s1">[</span>Iris and B. Gerald Cantor Foundation's Rodin: Figures Checklist] </div>
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<a href="http://4.bp.blogspot.com/-GEmrVRoirVY/Va0Bk_nXyMI/AAAAAAAADKY/coF-eFFwZ8g/s1600/Screen%2BShot%2B2015-07-15%2Bat%2B7.52.45%2BPM.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="200" src="https://4.bp.blogspot.com/-GEmrVRoirVY/Va0Bk_nXyMI/AAAAAAAADKY/coF-eFFwZ8g/s200/Screen%2BShot%2B2015-07-15%2Bat%2B7.52.45%2BPM.png" width="157" /></a></div>
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<li><span style="font-size: x-small;"><span style="color: #990000;">“Artist RODIN, AUGUSTE, Title </span><i style="color: #990000;">THE BENEDICTIONS, </i><span style="color: #990000;">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”</span></span></li>
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<span style="text-align: center;">IRIS AND B. GERALD CANTOR FOUNDATION'S "RODIN LABEL"</span></div>
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<a href="http://4.bp.blogspot.com/-eLzTHAqoUjk/Va0RnHva5dI/AAAAAAAADPA/A5t3o_PFmTA/s1600/Screen%2BShot%2B2015-07-20%2Bat%2B11.18.56%2BAM.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="266" src="https://4.bp.blogspot.com/-eLzTHAqoUjk/Va0RnHva5dI/AAAAAAAADPA/A5t3o_PFmTA/s400/Screen%2BShot%2B2015-07-20%2Bat%2B11.18.56%2BAM.png" width="400" /></a></div>
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<span style="color: blue; font-size: x-small;">http://www.haaedu.org/rodin-labels</span><br />
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<span class="s1">On page 183 of the Iris and B. Gerald Cantor Foundation’s published <i>Rodin, A Magnificent Obsession</i> catalogue,</span><span class="s6"> </span><span class="s1"><i>The Benedictions </i>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 <i>A. Rodin</i> and inscribed Georges Rudier Fondeur Paris and © by Musee Rodin 1955, Iris and B. Gerald Cantor Foundation 1386.”</span><b style="color: blue;"><span style="font-size: x-small;">[FN 16]</span></b></div>
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Auguste Rodin died in 1917.<br />
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<span class="s1">Aside from the fact Auguste Rodin was some 38 years dead in 1955 when this non-disclosed posthumous forgery <i>The Benedictions</i> was "Signed <i>A. Rodin</i>," the Iris and B. Gerald Cantor Foundation's "Checklist," for their 1998 <b>Rodin: Sculpture from the Iris and B. Gerald Collection </b>exhibition at the Nevada Museum of Art, lists this same <i>The Benedictions </i>as having an "Insurance value: $150,000.”</span><b style="color: blue;"><span style="font-size: x-small;">[FN 17]</span></b></div>
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It seems the Iris and B. Gerald Cantor Foundation knows the price of everything and the value of nothing.</div>
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<span class="s1"><b>AFTER 1952 </b></span><br />
<span class="s1"><b>4 OF 29 Posthumous Forgeries </b></span><br />
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<span class="s1">[</span>Iris and B. Gerald Cantor Foundation's Rodin: Figures Checklist]</div>
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<a href="http://4.bp.blogspot.com/-yUfjMECz5mo/Va0B2ag9mDI/AAAAAAAADKg/bsvqTA05yBw/s1600/Screen%2BShot%2B2015-07-15%2Bat%2B7.51.44%2BPM.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="200" src="https://4.bp.blogspot.com/-yUfjMECz5mo/Va0B2ag9mDI/AAAAAAAADKg/bsvqTA05yBw/s200/Screen%2BShot%2B2015-07-15%2Bat%2B7.51.44%2BPM.png" width="151" /></a></div>
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<li><span style="font-size: x-small;"><span style="color: #990000;">“Artist RODIN, AUGUSTE, Title </span><i style="color: #990000;">DANCE MOVEMENT D, </i><span style="color: #990000;">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: "</span><i style="color: #990000;">Rodin</i><span style="color: #990000;"> / No. 1" on sole of her right foot., Owner Iris & B. Gerald Cantor Foundation, Crate # 45, CC ID# 1469, Executed about 1910-11”</span></span></li>
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<span class="s1">On page 185 of the Iris and B. Gerald Cantor Foundation’s published <i>Rodin, A Magnificent Obsession</i> catalogue, <i>Dance Movement ‘D’ is </i>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 <i>Rodin</i>/No. 1, Iris and B. Gerald Cantor Foundation, 1469.”</span><b style="color: blue;"><span style="font-size: x-small;">[FN 18]</span></b></div>
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<span class="s1">On page 536 of the Musee Rodin's published 2007 <i>Bronzes of Auguste Rodin </i>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) <i>Dance Movement 'D'</i> 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.</span><b style="color: blue; font-size: small;">[</b><b style="color: blue;"><span style="font-size: x-small;">FN 19]</span></b></div>
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<span class="s2">Rhetorically, since the Iris and B. Gerald Cantor Foundation help fund the </span>Musee Rodin's published 2007 <i>Bronzes of Auguste Rodin </i>catalogue that discloses their so-called <i>Dance Movement 'D'</i> was cast between 1952 and 1956, what are we to think of their continued misrepresentation in 2016 of it as: "Date cast Unknown"?</div>
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<span class="s1"><b>1959 </b></span><br />
<span class="s1"><b>5 OF 29 Posthumous Forgeries </b></span><br />
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<span class="s1">[</span>Iris and B. Gerald Cantor Foundation's Rodin: Figures Checklist] </div>
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<a href="http://2.bp.blogspot.com/-5w0rpM0uaeY/Va0CZWOwh7I/AAAAAAAADKo/EaZ3B5mK4Po/s1600/Screen%2BShot%2B2015-07-15%2Bat%2B7.50.28%2BPM.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="168" src="https://2.bp.blogspot.com/-5w0rpM0uaeY/Va0CZWOwh7I/AAAAAAAADKo/EaZ3B5mK4Po/s200/Screen%2BShot%2B2015-07-15%2Bat%2B7.50.28%2BPM.png" width="200" /></a></div>
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<li><span style="font-size: x-small;"><span style="color: #990000;">“Artist RODIN, AUGUSTE, Title </span><i style="color: #990000;">THREE FAUNESSES, </i><span style="color: #990000;">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: </span><i style="color: #990000;">"A. Rodin,"</i><span style="color: #990000;"> "G. Rudier Fondeur Paris," “© by musée Rodin 1959”, Owner Iris & B. Gerald Cantor Foundation, Crate # 79, CC ID# 1596, Executed before 1896”</span></span></li>
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<span style="text-align: center;">IRIS AND B. GERALD CANTOR FOUNDATION'S "RODIN LABEL"</span></div>
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<a href="http://1.bp.blogspot.com/-2aTLmInMGuM/Va0R7TBKS8I/AAAAAAAADPI/fHhBEfzakTU/s1600/Screen%2BShot%2B2015-07-20%2Bat%2B11.20.57%2BAM.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="155" src="https://1.bp.blogspot.com/-2aTLmInMGuM/Va0R7TBKS8I/AAAAAAAADPI/fHhBEfzakTU/s400/Screen%2BShot%2B2015-07-20%2Bat%2B11.20.57%2BAM.png" width="400" /></a></div>
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<span style="color: blue; font-size: x-small;">http://www.haaedu.org/rodin-labels</span><br />
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<span class="s1">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: </span></div>
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<span class="s1">“Now on view at the Nelson-Atkins Museum in Kansas City, Rodin’s <i>Three Faunesses</i> 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.</span></div>
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<span class="s1">“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.</span></div>
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<span class="s1">“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.</span></div>
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<span class="s1">“Rodin scholar Antoinette Romain says of the 1882 source figure, “this seems to have been one of Rodin’s favorite figures.” Of the <i>Three Faunesses</i>, she notes he always kept a cast of it close to him in his residence in Meudon.”</span><b style="color: blue;"><span style="font-size: x-small;">[FN 20]</span></b></div>
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Once again, Auguste Rodin died in 1917. In 1959, Auguste Rodin was some 42 years dead and could not have inscribed <i>"A Rodin."</i><br />
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<span class="s1"><b>1966 </b></span><br />
<span class="s1"><b>6 OF 29 Posthumous Forgeries </b></span><br />
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<span class="s1">[</span>Iris and B. Gerald Cantor Foundation's Rodin: Figures Checklist] </div>
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<a href="http://4.bp.blogspot.com/-B_HqsMdWcyo/Va0DCQWGvXI/AAAAAAAADLA/4hTb4HVrvCs/s1600/Screen%2BShot%2B2015-07-15%2Bat%2B7.48.43%2BPM.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="200" src="https://4.bp.blogspot.com/-B_HqsMdWcyo/Va0DCQWGvXI/AAAAAAAADLA/4hTb4HVrvCs/s200/Screen%2BShot%2B2015-07-15%2Bat%2B7.48.43%2BPM.png" width="150" /></a></div>
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<li><span style="font-size: x-small;"><span style="color: #990000;">“Artist RODIN, AUGUSTE, Title </span><i style="color: #990000;">LARGE CLENCHED LEFT HAND, </i><span style="color: #990000;">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: </span><i style="color: #990000;">"A. Rodin,"</i><span style="color: #990000;"> "©by Musée Rodin 1966”, Owner Iris & B. Gerald Cantor Foundation, Crate # 81, CC ID# 2120, Executed Modeled about 1885”</span></span></li>
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<span class="s1">On the Iris and B. Gerald Cantor Foundation’s website, this same <i>Clenched Left Hand</i> 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.</span><b style="color: blue;"><span style="font-size: x-small;">[FN 21]</span></b></div>
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Auguste Rodin died in 1917. Who in 1966 inscribed <i>"A Rodin?"</i> It certainly wasn't the dead Auguste Rodin.<br />
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<span class="s1"><b>1966 </b></span><br />
<span class="s1"><b>7 OF 29 Posthumous Forgeries </b></span><br />
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<span class="s1">[</span>Iris and B. Gerald Cantor Foundation's Rodin: Figures Checklist] </div>
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<a href="http://2.bp.blogspot.com/-7tCqLc0uw8A/Va0DxkzjHCI/AAAAAAAADLI/Gu2LClmllKM/s1600/Screen%2BShot%2B2015-07-15%2Bat%2B7.51.02%2BPM.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="159" src="https://2.bp.blogspot.com/-7tCqLc0uw8A/Va0DxkzjHCI/AAAAAAAADLI/Gu2LClmllKM/s200/Screen%2BShot%2B2015-07-15%2Bat%2B7.51.02%2BPM.png" width="200" /></a></div>
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<li><span style="font-size: x-small;"><span style="color: #990000;">“Artist RODIN, AUGUSTE, Title </span><i style="color: #990000;">LARGE HAND OF A PIANIST, </i><span style="color: #990000;">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: </span><i style="color: #990000;">"A. Rodin</i><span style="color: #990000;"> No 9," "Georges Rudier. Fondeur.Paris.-," "©by musée Rodin1969,” Owner Iris & B. Gerald Cantor Foundation, Crate # 79, CC ID# 1488, Executed 1885”</span></span></li>
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<span style="text-align: center;">IRIS AND B. GERALD CANTOR FOUNDATION'S "RODIN LABEL"</span></div>
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<a href="http://1.bp.blogspot.com/-kIYK_w28ULk/Va0XZJozGAI/AAAAAAAADPc/py1N-2qF07A/s1600/Screen%2BShot%2B2015-07-20%2Bat%2B11.40.49%2BAM.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://1.bp.blogspot.com/-kIYK_w28ULk/Va0XZJozGAI/AAAAAAAADPc/py1N-2qF07A/s400/Screen%2BShot%2B2015-07-20%2Bat%2B11.40.49%2BAM.png" width="381" /></a></div>
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<span style="color: blue; font-size: x-small;">http://www.haaedu.org/rodin-labels</span><br />
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<span class="s1">On page 187 of the Iris and B. Gerald Cantor Foundation’s published 2001 <i>Rodin, A Magnificent Obsession </i>catalogue, is listed <i>Large Left Hand of a Pianist</i> cast 9/12 in 1969 by the Georges Rudier foundry and listed as “Signed and numbered <i>A. Rodin</i> No. 9.”</span><b style="color: blue;"><span style="font-size: x-small;">[FN 22]</span></b> 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.</div>
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To belabor what is now obvious, Auguste Rodin died in 1917. The concept of editions is an oxymoron for the dead. Yet, is the public to suspend disbelief or just believe the dead can sign and number, much less 52 years after their death?</div>
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<span class="s1"><b>1970 </b></span><br />
<span class="s1"><b>8 OF 29 Posthumous Forgeries </b></span><br />
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[Iris and B. Gerald Cantor Foundation's Rodin: Figures Checklist] </div>
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<a href="http://2.bp.blogspot.com/-4XpNPyqf5Jk/Va0ET8oVnJI/AAAAAAAADLQ/yIgL2ZqnNt0/s1600/Screen%2BShot%2B2015-07-15%2Bat%2B7.48.09%2BPM.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="200" src="https://2.bp.blogspot.com/-4XpNPyqf5Jk/Va0ET8oVnJI/AAAAAAAADLQ/yIgL2ZqnNt0/s200/Screen%2BShot%2B2015-07-15%2Bat%2B7.48.09%2BPM.png" width="143" /></a></div>
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<li><span style="font-size: x-small;"><span style="color: #990000;">“Artist RODIN, AUGUSTE, Title </span><i style="color: #990000;">JEAN D'AIRE, SECOND MAQUETTE, </i><span style="color: #990000;">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: </span><i style="color: #990000;">"A. Rodin,"</i><span style="color: #990000;"> "Susse Fondeur Paris," "© by Musée Rodin 1970,” Owner Iris & B. Gerald Cantor Foundation, Crate # 7, CC ID# 16100, Executed 1885-86”</span></span></li>
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<span class="s1"><span style="text-align: center;">IRIS AND B. GERALD CANTOR FOUNDATION'S "RODIN LABEL"</span></span></div>
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<a href="http://4.bp.blogspot.com/-ODSHWBoiItM/Va0X05X1ftI/AAAAAAAADPk/RbkuBOmNqTo/s1600/Screen%2BShot%2B2015-07-20%2Bat%2B11.45.18%2BAM.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="206" src="https://4.bp.blogspot.com/-ODSHWBoiItM/Va0X05X1ftI/AAAAAAAADPk/RbkuBOmNqTo/s400/Screen%2BShot%2B2015-07-20%2Bat%2B11.45.18%2BAM.png" width="400" /></a></div>
<div class="p22" style="text-align: center;">
<span style="color: blue; font-size: x-small;">http://www.haaedu.org/rodin-labels</span></div>
</div>
<div class="p21" style="text-align: justify;">
<span class="s1"><b><br /></b></span><span class="s1">In 1970, Auguste Rodin [d 1917] was some 53 years dead. So, who inscribed "A Rodin" onto this posthumous casting in bronze?</span><br />
<span class="s1"><br /></span>
<span class="s1"><b><br /></b></span>
<span class="s1"><b>1973 </b></span><br />
<span class="s1"><b>9 OF 29 Posthumous Forgeries </b></span><br />
<span class="s1"><b><br /></b></span>
<span class="s1">[</span>Iris and B. Gerald Cantor Foundation's Rodin: Figures Checklist] </div>
<div class="p22" style="text-align: justify;">
<div class="separator" style="clear: both; text-align: center;">
<a href="http://4.bp.blogspot.com/-fiHeErZwFc8/Vni1YlWoopI/AAAAAAAADTQ/Gh583uLfsPw/s1600/Screen%2BShot%2B2015-12-21%2Bat%2B9.27.54%2BPM.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="200" src="https://4.bp.blogspot.com/-fiHeErZwFc8/Vni1YlWoopI/AAAAAAAADTQ/Gh583uLfsPw/s200/Screen%2BShot%2B2015-12-21%2Bat%2B9.27.54%2BPM.png" width="156" /></a></div>
<ul>
<li><span style="color: #990000; font-size: x-small;">“Artist RODIN, AUGUSTE, Title </span><i style="color: #990000; font-size: small;">STANDING FEMALE NUDE COMBING HER HAIR, </i><span style="color: #990000; font-size: x-small;">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:</span><i style="color: #990000; font-size: small;"> "A. Rodin </i><span style="color: #990000; font-size: x-small;">No 5," ".Georges Rudier.Fondeur. Paris," "© by musée Rodin 1973," "</span><i style="color: #990000; font-size: small;">A. Rodin”</i><span style="color: #990000; font-size: x-small;">, Owner Iris and B. Gerald Cantor Foundation, Crate # 49, CC ID# 567, Executed after 1898”</span></li>
</ul>
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</div>
<div class="p22" style="text-align: center;">
<div style="text-align: left;">
<span style="text-align: justify;">In 1973, Auguste Rodin [d 1917] was some 56 years dead. Rhetorically, would inscribing <i>"A Rodin" </i>to a posthumous cast mislead the public to believe and act on the belief that it was signed, much less approved by Auguste Rodin?</span></div>
</div>
<div class="p21" style="text-align: justify;">
<span class="s1"><b><br /></b></span>
<span class="s1"><b><br /></b></span>
<span class="s1"><b>1973 or later </b></span><br />
<span class="s1"><b>10 OF 29 Posthumous Forgeries </b></span><br />
<span class="s1"><b><br /></b></span>
<span class="s1">[</span>Iris and B. Gerald Cantor Foundation's Rodin: Figures Checklist]</div>
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<a href="http://2.bp.blogspot.com/-2v0t53xOwwI/Va0EfWacDkI/AAAAAAAADLY/L93k4pGfh-c/s1600/Screen%2BShot%2B2015-07-15%2Bat%2B7.47.47%2BPM.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="200" src="https://2.bp.blogspot.com/-2v0t53xOwwI/Va0EfWacDkI/AAAAAAAADLY/L93k4pGfh-c/s200/Screen%2BShot%2B2015-07-15%2Bat%2B7.47.47%2BPM.png" width="153" /></a></div>
<div class="p22" style="text-align: justify;">
<ul>
<li><span style="font-size: x-small;"><span style="color: #990000;">“Artist RODIN, AUGUSTE, Title </span><i style="color: #990000;">MASK OF THE MAN WITH THE BROKEN NOSE, </i><span style="color: #990000;">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 </span><i style="color: #990000;">"DON A MR CANTOR"</i><span style="color: #990000;"> and " (c) Musée Rodin". Coubertin stamp., Owner Iris Cantor as Trustee of the Iris Cantor Trust, Crate # 58, CC ID# 148000, Executed 1863-64”</span></span></li>
</ul>
</div>
<div class="p23" style="text-align: justify;">
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<div class="p7" style="text-align: justify;">
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<span class="s1"><br /></span>
<span class="s1"><span style="text-align: center;">IRIS AND B. GERALD CANTOR FOUNDATION'S "RODIN LABEL"</span></span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="http://3.bp.blogspot.com/-R2e7UwcmR0E/Va0YB_sk9wI/AAAAAAAADPs/C3PThsxBX4E/s1600/Screen%2BShot%2B2015-07-20%2Bat%2B11.46.54%2BAM.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="393" src="https://3.bp.blogspot.com/-R2e7UwcmR0E/Va0YB_sk9wI/AAAAAAAADPs/C3PThsxBX4E/s400/Screen%2BShot%2B2015-07-20%2Bat%2B11.46.54%2BAM.png" width="400" /></a></div>
<div class="p7" style="text-align: center;">
<span style="color: blue; font-size: x-small;">http://www.haaedu.org/rodin-labels</span><br />
<span style="color: blue; font-size: x-small;"><br /></span>
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<div style="text-align: justify;">
<span style="color: blue; font-size: x-small;"><span style="color: black; font-size: small;">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. Yet, because of his patronage to the Musee Rodin, they allowed the following inscription: “DON A MR. CANTOR.”</span></span></div>
<div style="text-align: justify;">
<span style="color: blue; font-size: x-small;"><span style="color: black; font-size: small;"><br /></span></span></div>
<div style="text-align: justify;">
<span style="color: blue; font-size: x-small;"><span style="color: black; font-size: small;">Unfortunately for the true lifetime oeurve of Auguste Rodin, the Musee Rodin's avarice leads to the practice of why let the truth interfere with commerce and a wealthy collector's narcissism.</span></span></div>
<div style="text-align: justify;">
<span style="color: blue; font-size: x-small;"><span style="color: black; font-size: small;"><br /></span></span></div>
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<span style="color: blue; font-size: x-small;"><span style="color: black; font-size: small;"><br /></span></span></div>
</div>
<div class="p21" style="text-align: justify;">
<span class="s1"><b>1975 </b></span><br />
<span class="s1"><b>11 OF 29 Posthumous Forgeries </b></span><br />
<span class="s1"><b><br /></b></span>
<span class="s1">[</span>Iris and B. Gerald Cantor Foundation's Rodin: Figures Checklist]</div>
<div class="separator" style="clear: both; text-align: center;">
<a href="http://3.bp.blogspot.com/-Sxrrz8mTbdc/Va0EsSXwEfI/AAAAAAAADLg/hi6tdka2HXk/s1600/Screen%2BShot%2B2015-07-15%2Bat%2B7.54.41%2BPM.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="200" src="https://3.bp.blogspot.com/-Sxrrz8mTbdc/Va0EsSXwEfI/AAAAAAAADLg/hi6tdka2HXk/s200/Screen%2BShot%2B2015-07-15%2Bat%2B7.54.41%2BPM.png" width="150" /></a></div>
<div class="p22" style="text-align: justify;">
<ul>
<li><span style="font-size: x-small;"><span style="color: #990000;">“Artist RODIN, AUGUSTE, Title </span><i style="color: #990000;">DESPAIRING ADOLESCENT, </i><span style="color: #990000;">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, </span><i style="color: #990000;">"A. Rodin </i><span style="color: #990000;">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”</span></span></li>
</ul>
<div>
<span style="color: #990000; font-size: x-small;"><br /></span>
<span style="text-align: center;">IRIS AND B. GERALD CANTOR FOUNDATION'S "RODIN LABEL"</span></div>
</div>
<div class="p22" style="text-align: justify;">
<div class="separator" style="clear: both; text-align: center;">
<a href="http://3.bp.blogspot.com/-rTsknGiJPb8/Va0YPopDT0I/AAAAAAAADP0/7NtPxZAFhx8/s1600/Screen%2BShot%2B2015-07-20%2Bat%2B11.47.55%2BAM.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" height="130" src="https://3.bp.blogspot.com/-rTsknGiJPb8/Va0YPopDT0I/AAAAAAAADP0/7NtPxZAFhx8/s400/Screen%2BShot%2B2015-07-20%2Bat%2B11.47.55%2BAM.png" width="400" /></a></div>
</div>
<div class="p21" style="text-align: center;">
<span style="color: blue; font-size: x-small;">http://www.haaedu.org/rodin-labels</span><br />
<br /></div>
<div class="p21" style="text-align: justify;">
In 1973, Auguste Rodin [d 1917] was some 58 years dead. Yet, this 1975 cast is listed as "Signed and numbered <i>A Rodin </i>No. 3." How'd he do that?<br />
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<br /></div>
<div class="p21" style="text-align: justify;">
<span class="s1"><b>1975 </b></span><br />
<span class="s1"><b>12 OF 29 Posthumous Forgeries </b></span><br />
<span class="s1"><b><br /></b></span>
<span class="s1">[</span>Iris and B. Gerald Cantor Foundation's Rodin: Figures Checklist]</div>
<div class="separator" style="clear: both; text-align: center;">
<a href="http://3.bp.blogspot.com/--nnzFq_F-Lo/Va0FMcN48CI/AAAAAAAADLs/uyitk8218G4/s1600/Screen%2BShot%2B2015-07-15%2Bat%2B7.52.58%2BPM.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="200" src="https://3.bp.blogspot.com/--nnzFq_F-Lo/Va0FMcN48CI/AAAAAAAADLs/uyitk8218G4/s200/Screen%2BShot%2B2015-07-15%2Bat%2B7.52.58%2BPM.png" width="145" /></a></div>
<div class="p22" style="text-align: justify;">
<ul>
<li><span style="font-size: x-small;"><span style="color: #990000;">“Artist RODIN, AUGUSTE, Title </span><i style="color: #990000;">MONUMENTAL HEAD OF JEAN D’AIRE, </i><span style="color: #990000;">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 </span><i style="color: #990000;">"A. Rodin</i><span style="color: #990000;"> 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”</span></span></li>
</ul>
</div>
<div class="p23" style="text-align: justify;">
<span class="s1"></span><br /></div>
<div class="p7" style="text-align: justify;">
<br />
<br />
<span style="text-align: center;">IRIS AND B. GERALD CANTOR FOUNDATION'S "RODIN LABEL"</span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="http://3.bp.blogspot.com/-FcvxSI4q3d8/Va0YiVt345I/AAAAAAAADP8/jp0giaSJ63I/s1600/Screen%2BShot%2B2015-07-20%2Bat%2B11.48.59%2BAM.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="120" src="https://3.bp.blogspot.com/-FcvxSI4q3d8/Va0YiVt345I/AAAAAAAADP8/jp0giaSJ63I/s400/Screen%2BShot%2B2015-07-20%2Bat%2B11.48.59%2BAM.png" width="400" /></a></div>
<div class="p7" style="text-align: center;">
<span style="color: blue; font-size: x-small;">http://www.haaedu.org/rodin-labels</span><br />
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
<span class="s1">On page 179 of the Iris and B. Gerald Cantor Foundation’s published 2001 <i>Rodin, A Magnificent Obsession</i> catalogue, is listed <i>Monumental Head of Jean d’Aire</i> with date of cast unknown by the Georges Rudier foundry and listed as “Signed and numbered <i>A. Rodin</i> No. 5.”</span><span style="font-size: x-small;"><b style="color: blue;">[FN 23]</b> </span>Since, the Georges Rudier foundry went into business in 1952, it could not have been signed and numbered by a dead Auguste Rodin.</div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
With this kind of misrepresentation promoted as full disclosure, what chance in hell does the museum patron have in giving informed consent on whether to attend this exhibition of fakes, much less pay the price of admission?</div>
</div>
<div class="p7" style="text-align: center;">
<br />
<br /></div>
<div class="p21" style="text-align: justify;">
<span class="s1"><b>1978 </b></span><br />
<span class="s1"><b>13 OF 29 Posthumous Forgeries </b></span><br />
<span class="s1"><b><br /></b></span>
<span class="s1">[</span>Iris and B. Gerald Cantor Foundation's Rodin: Figures Checklist]</div>
<div class="separator" style="clear: both; text-align: center;">
<a href="http://2.bp.blogspot.com/-YLiv4a3VK08/Va0FasfN6iI/AAAAAAAADL0/OG2dhT-avJw/s1600/Screen%2BShot%2B2015-07-15%2Bat%2B7.50.06%2BPM.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="165" src="https://2.bp.blogspot.com/-YLiv4a3VK08/Va0FasfN6iI/AAAAAAAADL0/OG2dhT-avJw/s200/Screen%2BShot%2B2015-07-15%2Bat%2B7.50.06%2BPM.png" width="200" /></a></div>
<div class="p22" style="text-align: justify;">
<ul>
<li><span style="font-size: x-small;"><span style="color: #990000;">“Artist RODIN, AUGUSTE, Title </span><i style="color: #990000;">DAMNED WOMEN</i><span style="color: #990000;"> (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, </span><i style="color: #990000;">"A. Rodin</i><span style="color: #990000;"> 2/12" and inscribed, "(c) musée Rodin,” No date noted., Owner Iris & B. Gerald Cantor Foundation, Crate # 79, CC ID# 1603, Executed about 1885”</span></span></li>
</ul>
<div>
<span style="text-align: center;"><br /></span>
<span style="text-align: center;">IRIS AND B. GERALD CANTOR FOUNDATION'S "RODIN LABEL"</span></div>
</div>
<div class="separator" style="clear: both; text-align: center;">
<a href="http://2.bp.blogspot.com/-uaqvXm_a6MU/Va0Y4eNvpyI/AAAAAAAADQE/L89anpxqUws/s1600/Screen%2BShot%2B2015-07-20%2Bat%2B11.50.28%2BAM.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="218" src="https://2.bp.blogspot.com/-uaqvXm_a6MU/Va0Y4eNvpyI/AAAAAAAADQE/L89anpxqUws/s400/Screen%2BShot%2B2015-07-20%2Bat%2B11.50.28%2BAM.png" width="400" /></a></div>
<div class="p22" style="text-align: center;">
<span style="color: blue; font-size: x-small;">http://www.haaedu.org/rodin-labels</span><br />
<br /></div>
<div class="p23" style="text-align: justify;">
On page 365 of the Musee Rodin's published 2007 <i>Bronzes of Rodin</i> there are fourteen casts of the <i>Damned Women</i> 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?<br />
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<span class="s1"></span></div>
<div class="p21" style="text-align: justify;">
<span class="s1"><b>1978 </b></span><br />
<span class="s1"><b>14 OF 29 Posthumous Forgeries </b></span><br />
<span class="s1"><b><br /></b></span>
<span class="s1">[</span>Iris and B. Gerald Cantor Foundation's Rodin: Figures Checklist]</div>
<div class="separator" style="clear: both; text-align: center;">
<a href="http://3.bp.blogspot.com/-yRBBbGijSeE/Va0FpGzxhJI/AAAAAAAADL8/D6UZNZhl7gA/s1600/Screen%2BShot%2B2015-07-15%2Bat%2B7.50.16%2BPM.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="200" src="https://3.bp.blogspot.com/-yRBBbGijSeE/Va0FpGzxhJI/AAAAAAAADL8/D6UZNZhl7gA/s200/Screen%2BShot%2B2015-07-15%2Bat%2B7.50.16%2BPM.png" width="120" /></a></div>
<div class="p22" style="text-align: justify;">
<ul>
<li><span style="font-size: x-small;"><span style="color: #990000;">“Artist RODIN, AUGUSTE, Title </span><i style="color: #990000;">APHRODITE</i><span style="color: #990000;"> (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: "</span><i style="color: #990000;">A.Rodin </i><span style="color: #990000;">No 9," "E.GODARD Fondr," “© BY MUSÉE RODIN 1978”, Owner Iris & B. Gerald Cantor Foundation, Crate # 48, CC ID# 1599, Executed about 1888”</span></span></li>
</ul>
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<span style="color: #990000; font-size: x-small;"><br /></span>
<span style="text-align: center;">IRIS AND B. GERALD CANTOR FOUNDATION'S "RODIN LABEL"</span></div>
</div>
<div class="separator" style="clear: both; text-align: center;">
<a href="http://4.bp.blogspot.com/-jNZjVly6-No/Va0ZFAQmpQI/AAAAAAAADQM/gMRR96hw38Y/s1600/Screen%2BShot%2B2015-07-20%2Bat%2B11.51.25%2BAM.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="233" src="https://4.bp.blogspot.com/-jNZjVly6-No/Va0ZFAQmpQI/AAAAAAAADQM/gMRR96hw38Y/s400/Screen%2BShot%2B2015-07-20%2Bat%2B11.51.25%2BAM.png" width="400" /></a></div>
<div class="p21" style="text-align: center;">
<span style="color: blue; font-size: x-small;">http://www.haaedu.org/rodin-labels</span><br />
<br /></div>
<div class="p21" style="text-align: center;">
<div style="text-align: justify;">
On page 134 of the Musee Rodin's published 2007 <i>Bronzes of Rodin</i> there are thirteen casts of the <i>Aphrodite</i> listed. Since when does 13 go into an edition of 12 other than for a baker?</div>
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<div class="p21" style="text-align: justify;">
<span class="s1"><b>1978 </b></span><br />
<span class="s1"><b>15 OF 29 Posthumous Forgeries </b></span><br />
<span class="s1"><b><br /></b></span>
<span class="s1">[</span>Iris and B. Gerald Cantor Foundation's Rodin: Figures Checklist]</div>
<div class="separator" style="clear: both; text-align: center;">
<a href="http://2.bp.blogspot.com/--AOsUeqma30/Va0F0lh8kZI/AAAAAAAADME/Um5b7sfe4Zg/s1600/Screen%2BShot%2B2015-07-15%2Bat%2B7.50.49%2BPM.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="200" src="https://2.bp.blogspot.com/--AOsUeqma30/Va0F0lh8kZI/AAAAAAAADME/Um5b7sfe4Zg/s200/Screen%2BShot%2B2015-07-15%2Bat%2B7.50.49%2BPM.png" width="164" /></a></div>
<div class="p22" style="text-align: justify;">
<ul>
<li><span style="font-size: x-small;"><span style="color: #990000;">“Artist RODIN, AUGUSTE, Title </span><i style="color: #990000;">STUDY FOR TORSO OF THE WALKING MAN, </i><span style="color: #990000;">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: "</span><i style="color: #990000;">A. Rodin</i><span style="color: #990000;"> no 10," "© By Musee Rodin 1979,” Owner Iris & B. Gerald Cantor Foundation, Crate # 50, CC ID# 1516, Executed 1878-79”</span></span></li>
</ul>
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<span style="color: #990000; font-size: x-small;"><br /></span>
<span style="color: #990000; font-size: x-small;"><br /></span>
<span style="text-align: center;">IRIS AND B. GERALD CANTOR FOUNDATION'S "RODIN LABEL"</span></div>
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<a href="http://1.bp.blogspot.com/-TtiA9HIQdFM/Va0ZYgbSPOI/AAAAAAAADQY/hk3fJSFrnes/s1600/Screen%2BShot%2B2015-07-20%2Bat%2B11.52.41%2BAM.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://1.bp.blogspot.com/-TtiA9HIQdFM/Va0ZYgbSPOI/AAAAAAAADQY/hk3fJSFrnes/s400/Screen%2BShot%2B2015-07-20%2Bat%2B11.52.41%2BAM.png" width="281" /></a></div>
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<span style="color: blue; font-size: x-small;">http://www.haaedu.org/rodin-labels</span><br />
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On page 421 of the Musee Rodin's published 2007 <i>Bronzes of Rodin</i> there are thirteen casts of <i>The Walking Man, Study for the Torso </i>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?</div>
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<span class="s1"><b>1979 </b></span><br />
<span class="s1"><b>16 OF 29 Posthumous Forgeries </b></span><br />
<span class="s1"><b><br /></b></span>
<span class="s1">[</span>Iris and B. Gerald Cantor Foundation's Rodin: Figures Checklist] </div>
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<a href="http://1.bp.blogspot.com/-ZqKHlpOvVUQ/Va0F-Zh5raI/AAAAAAAADMM/eE0IEZ8w1y8/s1600/Screen%2BShot%2B2015-07-15%2Bat%2B7.48.31%2BPM.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="200" src="https://1.bp.blogspot.com/-ZqKHlpOvVUQ/Va0F-Zh5raI/AAAAAAAADMM/eE0IEZ8w1y8/s200/Screen%2BShot%2B2015-07-15%2Bat%2B7.48.31%2BPM.png" width="160" /></a></div>
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<ul>
<li><span style="font-size: x-small;"><span style="color: #990000;">“Artist RODIN, AUGUSTE, Title </span><i style="color: #990000;">MEDITATION (WITH ARMS), </i><span style="color: #990000;">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, </span><i style="color: #990000;">"A. Rodin </i><span style="color: #990000;">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”</span></span></li>
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<span style="text-align: center;">IRIS AND B. GERALD CANTOR FOUNDATION'S "RODIN LABEL"</span></div>
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<a href="http://3.bp.blogspot.com/-kv4vwhUcsvU/Va0ZnzzHPAI/AAAAAAAADQc/7My2TFEGrks/s1600/Screen%2BShot%2B2015-07-20%2Bat%2B11.53.45%2BAM.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="291" src="https://3.bp.blogspot.com/-kv4vwhUcsvU/Va0ZnzzHPAI/AAAAAAAADQc/7My2TFEGrks/s400/Screen%2BShot%2B2015-07-20%2Bat%2B11.53.45%2BAM.png" width="400" /></a></div>
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<span style="color: blue; font-size: x-small;">http://www.haaedu.org/rodin-labels</span><br />
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<span class="s1">Auguste Rodin died in 1917. As tragic as he death was for many his career as an artist ended when he died. So did Auguste Rodin ability to sign, much less number anything. Yet, 62 years after his death the Musee Rodin, the Iris and B. Gerald Cantor Foundation and seemingly all museum venues would have everyone suspend disbelief or just believe the living presence of the artist, though nice, is no longer required to create art attributed to them, if attributed to them, much less whether signed or numbered by them.</span>
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<span class="s1"><b>1981 </b></span><br />
<span class="s1"><b>17 OF 29 Posthumous Forgeries </b></span><br />
<span class="s1"><b><br /></b></span>
<span class="s1">[</span>Iris and B. Gerald Cantor Foundation's Rodin: Figures Checklist] </div>
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<a href="http://4.bp.blogspot.com/-sAK8tE6qtBI/Va0GanHuuXI/AAAAAAAADMU/BlTMUHQpYN0/s1600/Screen%2BShot%2B2015-07-15%2Bat%2B7.49.34%2BPM.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="200" src="https://4.bp.blogspot.com/-sAK8tE6qtBI/Va0GanHuuXI/AAAAAAAADMU/BlTMUHQpYN0/s200/Screen%2BShot%2B2015-07-15%2Bat%2B7.49.34%2BPM.png" width="150" /></a></div>
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<ul>
<li><span style="font-size: x-small;"><span style="color: #990000;">“Artist RODIN, AUGUSTE, Title </span><i style="color: #990000;">IXELLES IDYLL, </i><span style="color: #990000;">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: </span><i style="color: #990000;">"A. Rodin,"</i><span style="color: #990000;"> "No. 4," " by Musée Rodin 1981,” Owner Iris & B. Gerald Cantor Foundation, Crate # 52, CC ID# 1682, Executed 1883-84”</span></span></li>
</ul>
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<span style="text-align: center;">IRIS AND B. GERALD CANTOR FOUNDATION'S "RODIN LABEL"</span></div>
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<a href="http://4.bp.blogspot.com/-2C92jlqiOBI/Va0Z3SfVKMI/AAAAAAAADQk/LBQp_X9O28A/s1600/Screen%2BShot%2B2015-07-20%2Bat%2B11.54.42%2BAM.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="228" src="https://4.bp.blogspot.com/-2C92jlqiOBI/Va0Z3SfVKMI/AAAAAAAADQk/LBQp_X9O28A/s400/Screen%2BShot%2B2015-07-20%2Bat%2B11.54.42%2BAM.png" width="400" /></a></div>
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<span style="color: blue; font-size: x-small;">http://www.haaedu.org/rodin-labels</span><br />
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<span class="s1">In the Iris and B. Gerald Cantor Foundation’s published 2001 <i>Rodin, A Magnificent Obsession</i> catalogue their <i>Idyll of Ixelles</i> 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 <i>A. Rodin</i> No. 4 with Coubertin foundry mark and inscribed © by Musee Rodin 1981, Iris and B. Gerald Cantor Foundation, 1682 (plate 13)"</span><b style="color: blue;"><span style="font-size: x-small;">[FN 24]</span></b></div>
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Auguste Rodin died in 1917. Auguste Rodin's signing and numbering days were long gone in 1981. </div>
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<span class="s1"><b>1982 </b></span><br />
<span class="s1"><b>18 OF 29 Posthumous Forgeries </b></span><br />
<span class="s1"><b><br /></b></span>
<span class="s1">[</span>Iris and B. Gerald Cantor Foundation's Rodin: Figures Checklist]</div>
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<a href="http://2.bp.blogspot.com/-D00fw6M34J4/Va0GtX5m2RI/AAAAAAAADMc/uHG-MCPYPSY/s1600/Screen%2BShot%2B2015-07-15%2Bat%2B7.53.31%2BPM.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="200" src="https://2.bp.blogspot.com/-D00fw6M34J4/Va0GtX5m2RI/AAAAAAAADMc/uHG-MCPYPSY/s200/Screen%2BShot%2B2015-07-15%2Bat%2B7.53.31%2BPM.png" width="156" /></a></div>
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<ul>
<li><span style="font-size: x-small;"><span style="color: #990000;">“Artist RODIN, AUGUSTE, Title </span><i style="color: #990000;">FALLEN CARYATID WITH URN, </i><span style="color: #990000;">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, </span><i style="color: #990000;">"A. Rodin</i><span style="color: #990000;"> 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”</span></span></li>
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<span class="s1">In 1982, Auguste Rodin [d 1917] was 65 years dead. The Musee Rodin and Iris and B. Gerald Cantor Foundation have turned logic on its head for profit through admission fees, city-state-federal grants, outright sales and tax writeoffs. You see if you counterfeit $100 bill the most you can get is $100 but if you counterfeit art, the sky is the limit.</span></div>
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<b>1982 </b><br />
<b>19 OF 29 Posthumous Forgeries </b><br />
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[Iris and B. Gerald Cantor Foundation's Rodin: Figures Checklist]</div>
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<a href="http://1.bp.blogspot.com/-67nr9my0SCQ/Va0G-xXmfSI/AAAAAAAADMk/Ykk9Ki1CY50/s1600/Screen%2BShot%2B2015-07-15%2Bat%2B7.53.44%2BPM.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="200" src="https://1.bp.blogspot.com/-67nr9my0SCQ/Va0G-xXmfSI/AAAAAAAADMk/Ykk9Ki1CY50/s200/Screen%2BShot%2B2015-07-15%2Bat%2B7.53.44%2BPM.png" width="156" /></a></div>
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<ul>
<li><span style="font-size: x-small;"><span style="color: #990000;">“Artist RODIN, AUGUSTE, Title F</span><i style="color: #990000;">ALLEN CARYATID WITH STONE, </i><span style="color: #990000;">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, </span><i style="color: #990000;">"A. Rodin </i><span style="color: #990000;">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”</span></span></li>
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<span style="color: #990000; font-size: x-small;"><br /></span>
<span style="text-align: center;">IRIS AND B. GERALD CANTOR FOUNDATION'S "RODIN LABEL"</span></div>
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<a href="http://3.bp.blogspot.com/-MDAIwp_PRAk/Va0auKB9UGI/AAAAAAAADQw/JHFY7ixNLMA/s1600/Screen%2BShot%2B2015-07-20%2Bat%2B11.58.08%2BAM.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://3.bp.blogspot.com/-MDAIwp_PRAk/Va0auKB9UGI/AAAAAAAADQw/JHFY7ixNLMA/s400/Screen%2BShot%2B2015-07-20%2Bat%2B11.58.08%2BAM.png" width="293" /></a></div>
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<span style="color: blue; font-size: x-small;">http://www.haaedu.org/rodin-labels</span><br />
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Once again, in 1982, Auguste Rodin [d 1917] was 65 years dead. The Musee Rodin and Iris and B. Gerald Cantor Foundation have turned logic on its head for profit through admission fees, city-state-federal grants, outright sales and tax writeoffs. Every time these non-disclosed posthumous 2nd-generation-removed forgeries with counterfeit <i>"A Rodin"</i> signature in bogus editions are exhibited in museum venues it gains a perceived expectation of authenticity. Pretty soon challenging their authenticity becomes more and more difficult because the public and the news media can't quite wrap their arms around the idea that dozens upon dozens of museums, a major foundation, participating academia and the Musee Rodin itself would participate in such an obvious fraud. So, the vast majority of the public and the news media suspend disbelief or just believe.<br />
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<span class="s1"><b>1983 </b></span><br />
<span class="s1"><b>20 OF 29 Forgeries </b></span><br />
<span class="s1"><b><br /></b></span>
<span class="s1">[</span>Iris and B. Gerald Cantor Foundation's Rodin: Figures Checklist] </div>
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<a href="http://2.bp.blogspot.com/-Saj8-kEaTow/Va0HKN9loxI/AAAAAAAADMs/GCyG4rzUrd0/s1600/Screen%2BShot%2B2015-07-15%2Bat%2B7.53.20%2BPM.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="200" src="https://2.bp.blogspot.com/-Saj8-kEaTow/Va0HKN9loxI/AAAAAAAADMs/GCyG4rzUrd0/s200/Screen%2BShot%2B2015-07-15%2Bat%2B7.53.20%2BPM.png" width="158" /></a></div>
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<li><span style="font-size: x-small;"><span style="color: #990000;">“Artist RODIN, AUGUSTE, Title </span><i style="color: #990000;">THE NIGHT (DOUBLE FIGURE), </i><span style="color: #990000;">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: </span><i style="color: #990000;">"A. Rodin,"</i><span style="color: #990000;"> “No I/IV," "E. Godard Fondr” "© by MUSEE Rodin 1983,” Owner Iris & B. Gerald Cantor Foundation, Crate # 45, CC ID# 1340, Executed after 1898”</span></span></li>
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<span class="s1"><span style="text-align: center;">IRIS AND B. GERALD CANTOR FOUNDATION'S "RODIN LABEL"</span></span></div>
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<a href="http://2.bp.blogspot.com/-iklSN-fp8TM/Va0bIIDUToI/AAAAAAAADQ4/qh7WH9dW9qE/s1600/Screen%2BShot%2B2015-07-20%2Bat%2B12.00.08%2BPM.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="381" src="https://2.bp.blogspot.com/-iklSN-fp8TM/Va0bIIDUToI/AAAAAAAADQ4/qh7WH9dW9qE/s400/Screen%2BShot%2B2015-07-20%2Bat%2B12.00.08%2BPM.png" width="400" /></a></div>
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<span style="color: blue; font-size: x-small;">http://www.haaedu.org/rodin-labels</span><br />
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<span class="s1">On page 185 of the Iris and B. Gerald Cantor Foundation’s published 2001 <i>Rodin, A Magnificent Obsession </i>catalogue, <i>The Night (Double Figure)</i> 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 <i>A. Rodin</i> No. I/IV and inscribed E. Godard Fond and © by MUSEE Rodin 1983, Iris and B. Gerald Cantor Foundation 1340.”</span><b style="color: blue;"><span style="font-size: x-small;">[FN 25]</span></b></div>
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<span class="s1">On page 561 of the Musee Rodin's published 2007 <i>The Bronzes of Rodin </i>by Antoinette Le Normand-Romain, the author wrote the Musee Rodin's <i>Night, Two-Figure Assemblage</i> is "No. 0" with "twelve cast by E. Godard from 1980: 1 and 2/8" and "I/IV, © 1983, Los Angeles Cantor Foundation.”</span><b style="color: blue;"><span style="font-size: x-small;">[FN 26]</span></b></div>
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<span class="s1">With so-called edition in eight in Arabic, four in Roman numerals and the Musee Rodin's numbered zero that totals thirteen. </span></div>
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<span class="s1">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.”</span><b style="color: blue;"><span style="font-size: x-small;">[FN 27]</span></b></div>
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<span class="s1">CANTOR FOUNDATION IS NOT A CULTURAL INSTITUTION </span></div>
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<span class="s1">This 1983 Musee Rodin cast is not limited to an edition of 12 unless, of course, you consider 13 a baker's dozen and the Iris and B. Gerald Cantor Foundation is not a cultural institution. So how did a so-called non-profit foundation end up with a Musee Rodin's -I/IV- cast that is supposedly "reserved for cultural institutions?”</span><br />
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<span class="s1"><b>1983 </b></span><br />
<span class="s1"><b>21 OF 29 Forgeries </b></span><br />
<span class="s1"><b><br /></b></span>
<span class="s1">[</span>Iris and B. Gerald Cantor Foundation's Rodin: Figures Checklist] </div>
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<a href="http://4.bp.blogspot.com/-N-q7dbbQeWY/Va0HuoaPRWI/AAAAAAAADM0/SgtHEK93KVM/s1600/Screen%2BShot%2B2015-07-15%2Bat%2B7.53.08%2BPM.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="176" src="https://4.bp.blogspot.com/-N-q7dbbQeWY/Va0HuoaPRWI/AAAAAAAADM0/SgtHEK93KVM/s200/Screen%2BShot%2B2015-07-15%2Bat%2B7.53.08%2BPM.png" width="200" /></a></div>
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<ul>
<li><span style="font-size: x-small;"><span style="color: #990000;">“Artist RODIN, AUGUSTE, Title</span><i style="color: #990000;"> ILLUSIONS RECEIVED BY THE EARTH </i><span style="color: #990000;">(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: </span><i style="color: #990000;">"A. Rodin</i><span style="color: #990000;">/No 1/8," "© by Musée Rodin 1983,” Owner Iris Cantor as Trustee of the Iris Cantor Trust, Crate # 47, CC ID# 1341, Executed 1895”</span></span></li>
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<span style="text-align: center;">IRIS AND B. GERALD CANTOR FOUNDATION'S "RODIN LABEL"</span></div>
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<a href="http://2.bp.blogspot.com/-yWlsR871NGc/Va0bbW8zrQI/AAAAAAAADRA/Clb2_OlDRAs/s1600/Screen%2BShot%2B2015-07-20%2Bat%2B12.01.28%2BPM.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="226" src="https://2.bp.blogspot.com/-yWlsR871NGc/Va0bbW8zrQI/AAAAAAAADRA/Clb2_OlDRAs/s400/Screen%2BShot%2B2015-07-20%2Bat%2B12.01.28%2BPM.png" width="400" /></a></div>
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<span style="color: blue; font-size: x-small;">http://www.haaedu.org/rodin-labels</span><br />
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<span class="s1">On page 184 of the Iris and B. Gerald Cantor Foundation’s published 2001 <i>Rodin, A Magnificent Obsession </i>catalogue, <i>Illusions Received by the Earth </i>(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 <i>A. Rodin</i>/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.”</span><b style="color: blue;"><span style="font-size: x-small;">[FN 28]</span></b></div>
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If the shoe was on the other foot and someone counterfeited a check on a bank account of the Musee Rodin and/or the Iris and B. Gerald Cantor Foundation and claimed it was signed, what would be the serious questions of law and legal consequences if they were caught?</div>
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<span class="s1"><b>1983 </b></span><br />
<span class="s1"><b>22 OF 29 Forgeries </b></span><br />
<span class="s1"><b><br /></b></span>
<span class="s1">[</span>Iris and B. Gerald Cantor Foundation's Rodin: Figures Checklist] </div>
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<a href="http://2.bp.blogspot.com/-UVZ9qjkLDLc/Va0H7OCJDQI/AAAAAAAADM8/bWMT57VWVYU/s1600/Screen%2BShot%2B2015-07-15%2Bat%2B7.52.28%2BPM.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="200" src="https://2.bp.blogspot.com/-UVZ9qjkLDLc/Va0H7OCJDQI/AAAAAAAADM8/bWMT57VWVYU/s200/Screen%2BShot%2B2015-07-15%2Bat%2B7.52.28%2BPM.png" width="160" /></a></div>
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<ul>
<li><span style="font-size: x-small;"><span style="color: #990000;">“Artist RODIN, AUGUSTE, Title </span><i style="color: #990000;">MONUMENTAL TORSO OF THE WALKING MAN, </i><span style="color: #990000;">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 </span><i style="color: #990000;">"A. Rodin </i><span style="color: #990000;">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"</span></span></li>
</ul>
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<span style="text-align: center;">IRIS AND B. GERALD CANTOR FOUNDATION'S "RODIN LABEL"</span></div>
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<a href="http://1.bp.blogspot.com/-TtiA9HIQdFM/Va0ZYgbSPOI/AAAAAAAADQY/hk3fJSFrnes/s1600/Screen%2BShot%2B2015-07-20%2Bat%2B11.52.41%2BAM.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://1.bp.blogspot.com/-TtiA9HIQdFM/Va0ZYgbSPOI/AAAAAAAADQY/hk3fJSFrnes/s400/Screen%2BShot%2B2015-07-20%2Bat%2B11.52.41%2BAM.png" width="284" /></a></div>
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<span style="color: blue; font-size: x-small;">http://www.haaedu.org/rodin-labels</span><br />
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<div style="text-align: justify;">
<span class="s1">On the Iris and B. Gerald Cantor Foundation’s website, this same <i>Monumental Torso of the Walking Man</i> 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 <i>Torso of the Walking Man</i>, looks mutilated and worn – similar to the fragmented Classical sculptures,”</span><b style="color: blue;"><span style="font-size: x-small;">[FN 29]</span></b><b style="color: blue; font-size: small;"> </b>with no disclosure it was cast in 1985.<br />
<br />
Rhetorically, why does the Iris and B. Gerald Cantor Foundation and the museum venues continually list dates such as "1905," for posthumous casts, that predate the death of Auguste Rodin [d 1917] that have little to nothing to do with the piece the public is standing in front of?</div>
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<span class="s1"><b>1985 </b></span><br />
<span class="s1"><b>23 OF 29 Forgeries </b></span><br />
<span class="s1"><b><br /></b></span>
<span class="s1">[</span>Iris and B. Gerald Cantor Foundation's Rodin: Figures Checklist] </div>
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<a href="http://3.bp.blogspot.com/-TgnKC4CAIp0/Va0ILGYu7MI/AAAAAAAADNE/7e_GJNpJqAc/s1600/Screen%2BShot%2B2015-07-15%2Bat%2B7.52.17%2BPM.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="200" src="https://3.bp.blogspot.com/-TgnKC4CAIp0/Va0ILGYu7MI/AAAAAAAADNE/7e_GJNpJqAc/s200/Screen%2BShot%2B2015-07-15%2Bat%2B7.52.17%2BPM.png" width="138" /></a></div>
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<ul>
<li><span style="font-size: x-small;"><span style="color: #990000;">“Artist RODIN, AUGUSTE, Title </span><i style="color: #990000;">NARCISSE</i><span style="color: #990000;"> (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: </span><i style="color: #990000;">"A. Rodin</i><span style="color: #990000;">/ 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”</span></span></li>
</ul>
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<span style="color: #990000; font-size: x-small;"><br /></span>
<span style="text-align: center;">IRIS AND B. GERALD CANTOR FOUNDATION'S "RODIN LABEL"</span></div>
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<a href="http://2.bp.blogspot.com/-NBIHpZWxmxM/Va0cMjEylfI/AAAAAAAADRM/Qp2M7qZPGjQ/s1600/Screen%2BShot%2B2015-07-20%2Bat%2B12.04.36%2BPM.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="256" src="https://2.bp.blogspot.com/-NBIHpZWxmxM/Va0cMjEylfI/AAAAAAAADRM/Qp2M7qZPGjQ/s400/Screen%2BShot%2B2015-07-20%2Bat%2B12.04.36%2BPM.png" width="400" /></a></div>
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<span style="color: blue; font-size: x-small;">http://www.haaedu.org/rodin-labels</span><br />
<br /></div>
<div class="p21" style="text-align: justify;">
Notice in the Iris and B. Cantor Foundation's checklist for this "Musee Rodin cast 8/8, 1985," it states: "Executed about 1882; enlarged and retitled 1890." This is a red herring since this posthumous "1985" casting date has nothing whatsoever to do with these "1882" and "1890" dates. Particular since the Musee Rodin has admited to casting in bronze from posthumous plaster reproductions rather than Auguste Rodin's lifetime plasters.<br />
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<span class="s1"><b>1986 </b></span><br />
<span class="s1"><b>24 OF 29 Forgeries </b></span><br />
<span class="s1"><b><br /></b></span>
<span class="s1">[</span>Iris and B. Gerald Cantor Foundation's Rodin: Figures Checklist] </div>
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<a href="http://1.bp.blogspot.com/-UuDiDJJO1F0/Va0Iaj_keqI/AAAAAAAADNM/xNkcdxFC49Q/s1600/Screen%2BShot%2B2015-07-15%2Bat%2B7.51.55%2BPM.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="153" src="https://1.bp.blogspot.com/-UuDiDJJO1F0/Va0Iaj_keqI/AAAAAAAADNM/xNkcdxFC49Q/s200/Screen%2BShot%2B2015-07-15%2Bat%2B7.51.55%2BPM.png" width="200" /></a></div>
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<ul>
<li><span style="font-size: x-small;"><span style="color: #990000;">“Artist RODIN, AUGUSTE, Title </span><i style="color: #990000;">TRAGIC MUSE, </i><span style="color: #990000;">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: </span><i style="color: #990000;">"A Rodin </i><span style="color: #990000;">No 3/8," "E. GODARD FONDEUR," "©BY MUSEE Rodin 1986”, Owner Iris & B. Gerald Cantor Foundation, Crate # 50, CC ID# 1446, Executed 1894-96”</span></span></li>
</ul>
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<span style="color: #990000; font-size: x-small;"><br /></span>
<span style="text-align: center;">IRIS AND B. GERALD CANTOR FOUNDATION'S "RODIN LABEL"</span></div>
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<a href="http://2.bp.blogspot.com/-RvwjSfPtbUs/Va0cbYOVRsI/AAAAAAAADRU/RGdI6girGq0/s1600/Screen%2BShot%2B2015-07-20%2Bat%2B12.05.40%2BPM.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="303" src="https://2.bp.blogspot.com/-RvwjSfPtbUs/Va0cbYOVRsI/AAAAAAAADRU/RGdI6girGq0/s400/Screen%2BShot%2B2015-07-20%2Bat%2B12.05.40%2BPM.png" width="400" /></a></div>
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<span style="color: blue; font-size: x-small;">http://www.haaedu.org/rodin-labels</span><br />
Iris and B. Gerald Cantor Foundation's "Rodin Labels"</div>
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This label for this non-disclosed posthumous cast, titled <i>Tragic Musee</i>, is a classic bait & switch. Offer the public dates "1895" and "1905" that predates Auguste Rodin's death in 1917 when in fact it was posthumously cast in 1986 with a counterfeit <i>"A Rodin"</i> inscription with a bogus edition number.</div>
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Remember the dead don't sign and number.</div>
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<span class="s1"><b>1987 </b></span><br />
<span class="s1"><b>25 OF 29 Forgeries </b></span><br />
<span class="s1"><b><br /></b></span>
<span class="s1">[</span>Iris and B. Gerald Cantor Foundation's Rodin: Figures Checklist]</div>
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<a href="http://2.bp.blogspot.com/-BUcu5xnVt5E/Va0Io1vHrHI/AAAAAAAADNU/HqkbVa8Z--s/s1600/Screen%2BShot%2B2015-07-15%2Bat%2B7.52.07%2BPM.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="200" src="https://2.bp.blogspot.com/-BUcu5xnVt5E/Va0Io1vHrHI/AAAAAAAADNU/HqkbVa8Z--s/s200/Screen%2BShot%2B2015-07-15%2Bat%2B7.52.07%2BPM.png" width="157" /></a></div>
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<ul>
<li><span style="font-size: x-small;"><span style="color: #990000;">“Artist RODIN, AUGUSTE, Title </span><i style="color: #990000;">TOILETTE OF VENUS AND ANDROMEDE, </i><span style="color: #990000;">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, </span><i style="color: #990000;">"A.Rodin</i><span style="color: #990000;"> 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”</span></span></li>
</ul>
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<span style="text-align: center;">IRIS AND B. GERALD CANTOR FOUNDATION'S "RODIN LABEL"</span><br />
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<a href="http://2.bp.blogspot.com/-ySN6AOvaq04/Va0cvua4X9I/AAAAAAAADRc/0tDiCIRjD6k/s1600/Screen%2BShot%2B2015-07-20%2Bat%2B12.06.54%2BPM.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" height="290" src="https://2.bp.blogspot.com/-ySN6AOvaq04/Va0cvua4X9I/AAAAAAAADRc/0tDiCIRjD6k/s400/Screen%2BShot%2B2015-07-20%2Bat%2B12.06.54%2BPM.png" width="400" /></a></div>
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<div class="p21" style="text-align: center;">
<span style="color: blue; font-size: x-small;">http://www.haaedu.org/rodin-labels</span><br />
<br /></div>
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<div style="text-align: justify;">
Auguste Rodin did not sign and number this posthumous cast in 1987 some 70 years after his death in 1917. Despite the inference that normally you would find an object of this stature in a museum gift shop, the Association of Art Museum Directors's Professional Practices states foundry marks, signatures and editions numbers must be excluded from reproductions because it would mislead the public to believe they are in the presence of an original.<br />
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In other words, the vast majority of Iris and B. Gerald Cantor Foundation's collection of non-disclosed posthumous forgeries with counterfeit "A Rodin" signatures in bogus editions could not even be displayed and offered for sale in a museum gift shop.</div>
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<span class="s1"><b>1988 </b></span><br />
<span class="s1"><b>26 OF 29 Forgeries </b></span><br />
<span class="s1"><b><br /></b></span>
<span class="s1">[</span>Iris and B. Gerald Cantor Foundation's Rodin: Figures Checklist] </div>
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<a href="http://4.bp.blogspot.com/-SWepW8cpA1A/Va0IyTUwG7I/AAAAAAAADNc/Sxin6s86KIc/s1600/Screen%2BShot%2B2015-07-15%2Bat%2B7.50.39%2BPM.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="200" src="https://4.bp.blogspot.com/-SWepW8cpA1A/Va0IyTUwG7I/AAAAAAAADNc/Sxin6s86KIc/s200/Screen%2BShot%2B2015-07-15%2Bat%2B7.50.39%2BPM.png" width="165" /></a></div>
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<ul>
<li><span style="font-size: x-small;"><span style="color: #990000;">“Artist RODIN, AUGUSTE, Title</span><i style="color: #990000;"> BUST OF YOUNG BALZAC, </i><span style="color: #990000;">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: </span><i style="color: #990000;">"A. Rodin</i><span style="color: #990000;">/No II/IV," "E. Godard Fondr,” "©BY Musée Rodin 1988”, Owner Iris & B. Gerald Cantor Foundation, Crate # 4, CC ID# 1579, Executed 1893”</span></span></li>
</ul>
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<span style="color: #990000; font-size: x-small;"><br /></span>
<span style="text-align: center;">IRIS AND B. GERALD CANTOR FOUNDATION'S "RODIN LABEL"</span></div>
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<a href="http://1.bp.blogspot.com/-Rko5kUfO0ns/Va0dJzaa9RI/AAAAAAAADRk/Ix4UkZ9GPZ4/s1600/Screen%2BShot%2B2015-07-20%2Bat%2B12.08.50%2BPM.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="371" src="https://1.bp.blogspot.com/-Rko5kUfO0ns/Va0dJzaa9RI/AAAAAAAADRk/Ix4UkZ9GPZ4/s400/Screen%2BShot%2B2015-07-20%2Bat%2B12.08.50%2BPM.png" width="400" /></a></div>
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<span style="color: blue; font-size: x-small;">http://www.haaedu.org/rodin-labels</span><br />
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The Iris and B. Gerald Cantor Foundation's Label deceptively states: "On exhibition here is one of Rodin's many heads of Balzac, the acclaimed French writer of the early Nineteenth Century. It was modeled in preparation for Rodin's Mounment to Honore de Balzac, received in 1891 and completed in 1898." This posthumous bronze was cast in 1988 some 71 years after Auguste Rodin's death in 1917 but if the Iris and B. Gerald Cantor Foundation can distract you with their misleading labels you have little to no idea you are being scammed. They have no shame.</div>
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<span class="s1"><b>1995 </b></span><br />
<span class="s1"><b>27 OF 29 Forgeries </b></span><br />
<span class="s1"><b><br /></b></span>
<span class="s1">[</span>Iris and B. Gerald Cantor Foundation's Rodin: Figures Checklist]</div>
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<a href="http://2.bp.blogspot.com/-ycIK2QSqYq4/Va0JSSwoa_I/AAAAAAAADNk/71quMkDu3Lo/s1600/Screen%2BShot%2B2015-07-15%2Bat%2B7.49.44%2BPM.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="200" src="https://2.bp.blogspot.com/-ycIK2QSqYq4/Va0JSSwoa_I/AAAAAAAADNk/71quMkDu3Lo/s200/Screen%2BShot%2B2015-07-15%2Bat%2B7.49.44%2BPM.png" width="140" /></a></div>
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<ul>
<li><span style="font-size: x-small;"><span style="color: #990000;">“Artist RODIN, AUGUSTE, Title </span><i style="color: #990000;">MONUMENTAL HEAD OF THE SHADE, </i><span style="color: #990000;">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: </span><i style="color: #990000;">"A.Rodin </i><span style="color: #990000;">No II/IV,'" "E. GODARD Fondr,” "©by MUSEE Rodin 1995,” Owner Iris & B. Gerald Cantor Foundation, Crate # 12, CC ID# 1681, Executed about 1880”</span></span></li>
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<span style="color: #990000; font-size: x-small;"><br /></span>
<span style="text-align: center;">IRIS AND B. GERALD CANTOR FOUNDATION'S "RODIN LABEL"</span></div>
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<a href="http://4.bp.blogspot.com/-SG0AmI1w0fw/Va0daghxSsI/AAAAAAAADRs/-Cc8Z6qTXuY/s1600/Screen%2BShot%2B2015-07-20%2Bat%2B12.09.55%2BPM.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="237" src="https://4.bp.blogspot.com/-SG0AmI1w0fw/Va0daghxSsI/AAAAAAAADRs/-Cc8Z6qTXuY/s400/Screen%2BShot%2B2015-07-20%2Bat%2B12.09.55%2BPM.png" width="400" /></a></div>
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<span style="color: blue; font-size: x-small;">http://www.haaedu.org/rodin-labels</span><br />
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Auguste Rodin died in 1917. Iris and B. Gerald Cantor Foundation's Label states: "there are many variations of the numerous figures that Rodin detached from The Gates of Hell. Obscenely, this is not one of them since in 1995, Auguste Rodin was some 78 years detached from life. The dead don't detach anything.</div>
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<span class="s1"><b>1995 </b></span><br />
<span class="s1"><b>28 OF 29 Forgeries </b></span><br />
<span class="s1"><b><br /></b></span>
<span class="s1">[</span>Iris and B. Gerald Cantor Foundation's Rodin: Figures Checklist]</div>
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<a href="http://1.bp.blogspot.com/-LrUit3mdzjw/Va0Ja250ihI/AAAAAAAADNs/mf-QDgq7tTw/s1600/Screen%2BShot%2B2015-07-15%2Bat%2B7.49.24%2BPM.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="200" src="https://1.bp.blogspot.com/-LrUit3mdzjw/Va0Ja250ihI/AAAAAAAADNs/mf-QDgq7tTw/s200/Screen%2BShot%2B2015-07-15%2Bat%2B7.49.24%2BPM.png" width="146" /></a></div>
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<ul>
<li><span style="font-size: x-small;"><span style="color: #990000;">“Artist RODIN, AUGUSTE, Title </span><i style="color: #990000;">ECCLESIASTES, </i><span style="color: #990000;">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: </span><i style="color: #990000;">"A. Rodin</i><span style="color: #990000;">/ No II/IV,” “E.GODARD Fondr" ," "©By MUSEE Rodin 1995,” Owner Iris & B. Gerald Cantor Foundation, Crate # 45, CC ID# 1683, Executed 1898”</span></span></li>
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<span style="text-align: center;">IRIS AND B. GERALD CANTOR FOUNDATION'S "RODIN LABEL"</span></div>
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<a href="http://1.bp.blogspot.com/-WHakBZOtm4Q/Va0dpkbSV7I/AAAAAAAADR4/ud_yz2FcXr0/s1600/Screen%2BShot%2B2015-07-20%2Bat%2B12.10.52%2BPM.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="245" src="https://1.bp.blogspot.com/-WHakBZOtm4Q/Va0dpkbSV7I/AAAAAAAADR4/ud_yz2FcXr0/s400/Screen%2BShot%2B2015-07-20%2Bat%2B12.10.52%2BPM.png" width="400" /></a></div>
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<span style="color: blue; font-size: x-small;">http://www.haaedu.org/rodin-labels</span><br />
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<span class="s1">On page 185 of the Iris and B. Gerald Cantor Foundation’s published 2001 <i>Rodin, A Magnificent Obsession </i>catalogue, <i>Ecclesiastes</i>, 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 <i>A. Rodin</i> No. II/IV and inscribed E. GODARD Fondr and © BY MUSEE Rodin 1995, Iris and B. Gerald Cantor Foundation, 1683.”</span><b style="color: blue;"><span style="font-size: x-small;">[FN 30]</span></b></div>
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<span class="s1">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.”</span><b style="color: blue;"><span style="font-size: x-small;">[FN 31]</span></b></div>
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<span class="s1">PLASTER NOT SIGNED - POSTHUMOUS BRONZE IS </span></div>
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<span class="s1">So, if Auguste Rodin did not sign an <i>Ecclesiastes</i> 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 <i>Ecclesiastes</i> bronze, "Signed and numbered by<i> A. Rodin</i>" in 1995, some 78 years after his death? </span></div>
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<span class="s1">On page 354 of the<i> Seventh Edition of Black's Law Dictionary</i>, -counterfeit- is defined as: "To forge, copy, or imitate (something) without the right to do so and with the purpose of deceiving or defrauding.”</span><b style="color: blue;"><span style="font-size: x-small;">[FN 32]</span></b><br />
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<span class="s1"><b>1995 </b></span><br />
<span class="s1"><b>29 OF 29 Forgeries </b></span><br />
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<span class="s1">[</span>Iris and B. Gerald Cantor Foundation's Rodin: Figures Checklist]</div>
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<li><span style="font-size: x-small;"><span style="color: #990000;">“Artist RODIN, AUGUSTE, Title </span><i style="color: #990000;">FINAL HEAD OF EUSTACHE DE ST. PIERRE, </i><span style="color: #990000;">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: </span><i style="color: #990000;">"A.Rodin</i><span style="color: #990000;">/ No II/IV," "E. Godard Fondr ," “© By MUSÉE Rodin 1995,” Owner Iris & B. Gerald Cantor Foundation, Crate # 15, CC ID# 1685, Executed about 1886”</span></span></li>
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<span style="text-align: center;">IRIS AND B. GERALD CANTOR FOUNDATION'S "RODIN LABEL"</span></div>
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<a href="http://2.bp.blogspot.com/-qLf61JbhlxI/Va0d7hp-c4I/AAAAAAAADSA/O2aTSxFlRKA/s1600/Screen%2BShot%2B2015-07-20%2Bat%2B12.12.04%2BPM.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="325" src="https://2.bp.blogspot.com/-qLf61JbhlxI/Va0d7hp-c4I/AAAAAAAADSA/O2aTSxFlRKA/s400/Screen%2BShot%2B2015-07-20%2Bat%2B12.12.04%2BPM.png" width="400" /></a></div>
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<span style="color: blue; font-size: x-small;">http://www.haaedu.org/rodin-labels</span></div>
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Auguste Rodin died in 1917. The history of the 1347 siege of Calais has nothing to do with this 1995 cast in bronze with a counterfeit "A Rodin" inscription but then the Iris and B. Gerald Cantor Foundation has a history of rewriting it for their avarice.<br />
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<a href="http://2.bp.blogspot.com/-Qj0NYgMrhSc/Va0KkP4EgII/AAAAAAAADN8/y3jWhRtELy4/s1600/MuseeRodinFeb00fax2Arseneau.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://2.bp.blogspot.com/-Qj0NYgMrhSc/Va0KkP4EgII/AAAAAAAADN8/y3jWhRtELy4/s640/MuseeRodinFeb00fax2Arseneau.jpg" width="444" /></a></div>
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<span class="s8"><i>“</i></span><span class="s1"><i>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.”</i></span><span class="s8"><i> </i>[Google Translate]</span></div>
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<span class="s1"><b>Musee Rodin curator Antoinette Le Normand-Romain </b>[February 1, 2000 FAX]</span></div>
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<span class="s1"><b>BRONZES NOT CAST FROM THE ORIGINAL PLASTERS</b></span></div>
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<span class="s1">THIRD, as documented on the prior page in a February 1, 2000 FAX [translation above], the Musee Rodin curator Antoinette Le Normand Romain acknowledges that the Musee Rodin does not cast in bronze from Auguste Rodin’s original plasters but posthumous plaster reproductions.</span></div>
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<span class="s1">Additionally, before it was deleted from the Musee Rodin’s website, the Musee Rodin curator Antoinette Le Normand Romain acknowledged [in the excerpt below from the Musee Rodin’s April 2000 website] that the Musee Rodin does -not- cast in bronze from Auguste Rodin’s original lifetime plasters but posthumously made plaster reproductions.</span></div>
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<span class="s1"><i>“Consequently, whenever it is decided to release a new ‘subject,’ a copy is first made from the old mould which can be sent without risk to the foundry where it undergoes the necessary preparations for casting. It is coated with an unmoulding agent, usually in a dark colour, and cut, before being cast again. This practice not only ensures absolute fidelity to the original but also preserves the old plasters which are obviously more valuable since they were made during the lifetime of Rodin.”</i></span></div>
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<span class="s1"><b>Musee Rodin curator Antoinette Le Normand Romain </b>[April 2000 Musee Rodin website]</span></div>
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<span class="s1">As a result of the Musee Rodin practice of posthumously casting bronzes from posthumous plaster reproductions made from Auguste Rodin’s original lifetime plasters, they are violating Auguste Rodin’s 1916 <i>Will</i>.</span></div>
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<span class="s1">MUSEE RODIN GIVEN REPRODUCTION RIGHTS</span></div>
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<span class="s1">This is confirmed on page 285 in the former Musee Rodin curator Monique Laurent’s “Observations on Rodin and His Founders” essay, published in the National Gallery of Art’s 1981 <i>Rodin Rediscovered</i> catalogue, where Ms. Laurent wrote Auguste Rodin’s 1916 <i>Will </i>stated: “notwithstanding the transfer of artistic ownership authorized to the State of M. Rodin, the latter expressly reserves for himself the enjoyment, during his life, of the reproduction rights of those objects given by him.”</span><b style="color: blue;"><span style="font-size: x-small;">[FN 33]</span></b></div>
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<span class="s1">RUTH BUTLER AND REPRODUCTION RIGHTS</span></div>
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<span class="s1">These specific details of Auguste Rodin’s 1916 <i>Will</i> are additionally confirmed on page 504 of the Iris and B. Gerald Cantor Foundation published 1993 <i>Rodin, Shape of Genius</i> biography by Ruth Butler. In part, the author wrote: “a draft of an act of donation was drawn up and signed in Meudon on April 1, 1916, in the presence of Clementel, Valention (representing the Ministere des Beaux-Arts), and Antole de Monzie, the lawyer and deputy who had helped prepare the deed. The document included a number of safeguards for Rodin: at the Hotel Biron--thenceforth to be called the Musee Rodin--he was to be in charge of personnel. He would have the right to use the building until the end of his life, and the state would install heat. All reproduction rights to his art would remain with Rodin during his lifetime.”</span><b style="color: blue; font-size: small;">[</b><b style="color: blue;"><span style="font-size: x-small;">FN 34]</span></b></div>
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<span class="s1">So, what is a reproduction?</span></div>
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<span class="s1">On page 350 in Ralph Mayer’s <i>HarperCollins Dictionary of Art Terms & Techniques</i>, <b>reproduction</b> is defined as: “A general term for any copy, likeness, or counterpart of an original work of art or of a photograph, done in the same medium as the original or in another, and done by someone other than the creator of the original.”</span><b style="color: blue;"><span style="font-size: x-small;">[FN 35]</span></b></div>
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<span class="s1">Therefore, since the Musee Rodin is posthumously casting bronzes from posthumous plaster reproductions made from Auguste Rodin’s original lifetime plasters, the second-generation-removed bronzes could not, by definition, even be considered reproductions.</span></div>
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<span class="s1">FRENCH LAW AND THE NOTATION -REPRODUCTION- </span></div>
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<span class="s1">The March 3, 1981 French decree no. 81.255, Article 9, in part, states: “All facsimiles, casts of casts, copies, or other reproductions of an original work of art as set out in Article 71 of Appendix III of the General Code of Taxes, executed after the date of effectiveness of the present decree, must carry in a visible and indelible manner the notation ‘Reproduction’.”</span><b style="color: blue;"><span style="font-size: x-small;">[FN 36]</span></b></div>
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<span class="s1">Remember, the Musee Rodin admits they do -not- send Auguste Rodin's original lifetime plasters, but posthumous plaster reproductions, to foundries for casting in bronze. </span></div>
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Iris and B. Gerald Cantor Foundation's Summary</div>
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<span class="s1">ALL ORIGINAL - SOME WERE MADE DURING HIS LIFETIME? </span></div>
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<span class="s1">Yet, despite that irrefutable fact, the Iris and B. Gerald Cantor Foundation would have the news media, much less the public, believe their widely distributed "Summary: Authorized Posthumous Casting of the Work of Auguste Rodin" paper that states: "all works in the Iris and B. Gerald Collection and Cantor Foundation are original Rodins. Some of these were made during Rodin's lifetime, others were made after he died and according to his explicit wishes and instructions to the government of France."</span><b style="color: blue;"><span style="font-size: x-small;">[FN 37]</span></b></div>
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<span class="s1">DEFINITION OF ORIGINAL </span></div>
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<span class="s1">On page 286 of HarperCollins' published 1991 <i>Dictionary of Art Terms & Techniques</i> by Ralph Mayer, -original- is defined as: "an artist's independent creation."</span><b style="color: blue;"><span style="font-size: x-small;">[FN 38]</span></b></div>
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<span class="s1">Does the Iris and B. Gerald Cantor Foundation's statement, quote ”Some of these were made during Rodin's lifetime” give any confidence whatsoever that they understand what constitutes an original, much less a forgery? </span></div>
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<span class="s1">Photo from Tasende Gallery’s published 1999 <i>Sculptures from the Musee Rodin, Paris </i>catalogue</span></div>
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<span class="s1"><b>POSTHUMOUS COUNTERFEIT <i>“A RODIN”</i> SIGNATURES</b></span></div>
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<span class="s1">FOURTH, then to add insult to injury, the Musee Rodin posthumously counterfeits either an <i>“A Rodin”</i> or <i>“Rodin”</i> signature to these non-disclosed posthumous second-generation-removed bronzes. This is confirmed in Tasende Gallery’s published 1999 <i>Sculptures from the Musee Rodin, Paris </i>catalogue. On page 47, it states: “All work cast under commission by the Musee Rodin includes the following mandatory inscriptions - Rodin’s signature.”</span><b style="color: blue;"><span style="font-size: x-small;">[FN 39]</span></b></div>
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<span class="s1">On page 1386 in the <i>Seventh Edition of Black’s Law Dictionary</i>, <b>signature</b> is defined as: “a person’s name or mark written by that person or at the person’s direction.”</span><b style="color: blue;"><span style="font-size: x-small;">[FN 40]</span></b></div>
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<span class="s1">Therefore, even if Auguste Rodin’s original lifetime plasters were actually signed by Auguste Rodin, the posthumous plaster reproductions would at best reproduce his signatures. The subsequent posthumous bronzes, cast from that posthumous plaster reproductions, would -at best- reproduce the reproduction of his signatures.</span></div>
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<span class="s1">In other words, a copy, much less a copy of a copy, will <b>never</b> qualify as a signature.</span></div>
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<span class="s1"><b>Twenty-two <i>Thinkers</i> in an Edition of Twelve</b></span></div>
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<span class="s1"><b>VARIATIONS IN THE NUMBERING SYSTEM</b></span></div>
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<span class="s1">FIFTH, one of the Musee Rodin's largest 20th-21st century patrons, the Iris and B. Gerald Cantor Foundation, on their website states: "Efforts have been made in France by the Musée Rodin and in the United States by the College Art Association to ensure the quality and authenticity of posthumous casts. In 1956 French law limited the casting of each of Rodin’s works to twelve examples of each size. In 1968 France passed a law requiring that the date of the cast be inscribed on each sculpture. A system of numbering was established by French legislation in 1981 whereby the first eight of the twelve casts, numbered 1/8–8/8, are made available for public purchase; the last four, numbered I/IV–IV/IV, are reserved for cultural institutions. (Despite these efforts, variations in the numbering system are occasionally found on authorized casts.)"</span><b style="color: blue; font-size: small;">[</b><b style="color: blue;"><span style="font-size: x-small;">FN 41]</span></b></div>
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<span class="s1">CANTOR FOUNDATION FLIP-FLOPPING</span></div>
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<span class="s1">For over ten years the United States-based Iris and B. Gerald Cantor Foundation's website promoted limitation of "Rodin's work to twelve examples.” According to the foundation, under French law, the limitation of twelve was “reestablished and strictly imposed in 1981.”</span><b style="color: blue; font-size: small;">[</b><b style="color: blue;"><span style="font-size: x-small;">FN 42]</span></b><span class="s2"> </span><span class="s1">The Iris and B. Gerald Cantor Foundation is now flip-flopping when it states: "Despite these efforts, variations in the numbering system are occasionally found on authorized casts."</span><b style="color: blue;"><span style="font-size: x-small;">[FN 43]</span></b></div>
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<span class="s1"><b>22 <i>The Thinkers</i> in an Edition of 12</b></span></div>
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<span style="font-size: x-small;"><i>The Thinker,</i> 1880–81, </span><span class="s1" style="font-size: x-small;">Bronze, Georges Rudier Foundry, <b>10/12, </b></span><span class="s1" style="font-size: x-small;">Posthumous cast authorized by Musée Rodin, 1972, </span><span class="s1" style="font-size: x-small;">181.6 x 78.7 x 142.2 cm., </span><span style="font-size: x-small;">Iris and B. Gerald Cantor Foundation, promised gift to the Iris & B. Gerald Cantor Center for Visual Arts at Stanford University, </span><span style="font-size: x-small;">1988.106 </span><br />
<span style="font-size: x-small;">http://museum.stanford.edu/view/rodin_</span><br />
<span style="font-size: x-small;">1988_106.html</span></div>
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A.A. HEBRARD FOUNDRY</div>
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<span class="s1"> 1 of 22 1903, University of Louisville, Alle R. Hite Art Institute</span></div>
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<span class="s1"> 2 of 22 1904, Copenhagen, Ny Carlsberg Glyptotek</span></div>
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<span class="s1"></span><br /></div>
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<span class="s1">ALEXIS RUDIER FOUNDRY</span></div>
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<span class="s1"> 3 of 22 1903, Detroit Institute of Art</span></div>
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<span class="s1"> 4 of 22 1904, [transferred to the Musee Rodin, 1921]</span></div>
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<span class="s1"> 5 of 22 1906, Buenos Aires, Plaza de los Do Congresso</span></div>
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<span class="s1"> 6 of 22 1909, Stockholm, Prince Eugen s Waldemarsudde</span></div>
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<span class="s1"> 7 of 22 1914, San Francisco, California Palace of the Legion of Honor</span></div>
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<span class="s1"> 8 of 22 1916, Cleveland Museum of Art</span></div>
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<span class="s1"></span><br /></div>
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<span class="s1">Auguste Rodin died November 17, 1917</span></div>
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<span class="s1"></span><br /></div>
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<span class="s1"> 9 of 22 1917, Rodin Tomb’s [commissioned 1917, delivered 1918</span></div>
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<span class="s1">10 of 22 1919, Philadelphia, Rodin Museum</span></div>
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<span class="s1">11 of 22 [acq. 1923], Kyoto, National Museum [Japan]</span></div>
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<span class="s1">12 of 22 1925, Brussels, Laeken cemetery</span></div>
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<span class="s1">13 of 22 [acq 1926], Tokyo, National Museum of Western Art</span></div>
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<span class="s1">14 of 22 1928, Baltimore Museum of Art</span></div>
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<span class="s1">15 of 22 1930, New York, Columbia University</span></div>
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<span class="s1">16 of 22 1942, Moscow, Pushkin Museum</span></div>
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<span class="s1">17 of 22 1950, Kansas City Parks and Recreation Department </span></div>
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<span class="s1"> on loan to Nelson-Atkins Museum of Art</span></div>
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<span class="s1"></span><br /></div>
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<span class="s1">GEORGES RUDIER FOUNDRY</span></div>
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<span class="s1">18 of 22 1965, Shizuoka Prefetoral Museum of Art</span></div>
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<span class="s1">19 of 22 1966, Bielefeld Kunsthalle</span></div>
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<span class="s1">20 of 22 [acq. 1968], Stanford University, Cantor Arts Center [<b>10/12</b>]</span></div>
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<span class="s1">21 of 22 [acq. 1969], Pasadena, Norton Simon Art Foundation</span></div>
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<span class="s1">22 of 22 1974, Nagoya City Museum</span></div>
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<span class="s1"></span><br /></div>
<div class="p32" style="text-align: justify;">
<span class="s1">SOURCE:<b> </b>[79 inches high large version with casting and/or acquistion dates & collection location] of 22 <i>The Thinker </i>casts, page 587, T<i>he Bronzes of Rodin</i> by Antoinette Le Normand-Romain, © 2007 Musee Rodin</span></div>
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<br /></div>
<div class="p13" style="text-align: justify;">
<span class="s1"><b>U.S. COPYRIGHT LAW</b></span></div>
<div class="p7" style="text-align: justify;">
<span class="s1">SIXTH, the Honolulu Museum of Art is located at 900 S. Beretania, Honolulu, Hawaii 96814 in the United States of America and operates under U.S. laws. Under U.S. Copyright Law § 101. Definitions, a "work of visual art” i.e., <b>sculpture</b> is defined as: “multiple cast, carved, or fabricated sculptures of 200 or fewer that are consecutively numbered by the author and bear the signature or other identifying mark of the author.”</span><b style="color: blue;"><span style="font-size: x-small;">[FN 44]</span></b></div>
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<span class="s1"></span><br /></div>
<div class="p7" style="text-align: justify;">
<span class="s1">Since 29 of these bronzes in the Honolulu Museum of Art's July 23, 2015 - January 10, 2016 <b>Auguste Rodin: The Human Experience, Selections from the Iris & B. Gerald Cantor Collections</b> exhibition are -at best- posthumous, under U.S. Copyright Law's definition of a "work of visual art" i.e., sculpture, a dead Auguste Rodin [d 1917] could -never- be the author.</span></div>
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<span class="s1"></span><br /></div>
<div class="p7" style="text-align: justify;">
<span class="s1">The dead don’t “consecutively number,” much less apply their “signature.”</span></div>
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<span class="s1"></span><br /></div>
<div class="p7" style="text-align: justify;">
<span class="s1">Additionally, under U.S. Copyright Law 101. Definitions, a <b>derivative work</b> is defined as an: "art reproduction"</span><span style="font-size: x-small;"><b style="color: blue;">[FN 45]</b><span class="s2"> </span></span><span class="s1">and under U.S. Copyright Law 106A. the "Rights of certain authors to attribution and integrity - shall not apply to any reproduction."</span><b style="color: blue;"><span style="font-size: x-small;">[FN 46]</span></b></div>
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<span class="s1"></span><br /></div>
<div class="p7" style="text-align: justify;">
<span class="s1">Remember, as documented earlier, Auguste Rodin gave in his 1916<i> Will </i>to<i> </i>the State of France, upon his death, the “reproduction rights to objects given by him.”</span></div>
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<span class="s1"></span><br /></div>
<div class="p7" style="text-align: justify;">
<span class="s1">Therefore, since anything posthumously cast by definition would be a reproduction, that subsequent derivative i.e., reproduction, would not be attributable to an artist, living or dead.</span></div>
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<span class="s1"></span><br /></div>
<div class="p13" style="text-align: justify;">
<span class="s1"><b>ASSOCIATION OF ART MUSEUM DIRECTORS</b></span></div>
<div class="p7" style="text-align: justify;">
<span class="s1">SEVENTH, the Honolulu Museum of Art Director Stephan Jost is a current member of the Association of Art Museum Directors.</span><b style="color: blue;"><span style="font-size: x-small;">[FN 47]</span></b></div>
<div class="p6" style="text-align: justify;">
<span class="s1"> </span></div>
<div class="p7" style="text-align: justify;">
<span class="s1">AAMD ETHICAL GUIDELINES FOR REPRODUCTIONS</span></div>
<div class="p7" style="text-align: justify;">
<span class="s1">As an AAMD member, the Honolulu Museum of Art and its director endorses the ethical guidelines on reproductions in their 2001 <i>Professional Practices in Art Museum</i> publication. In part, it states: "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, editions numbers, and/or foundry marks on sculpture must not appear on the reproduction. - The touting of exaggerated investment value of reproductions must be avoided because the object or work being offered for purchase is not original and the resale value is highly in doubt. - 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."</span><b style="color: blue;"><span style="font-size: x-small;">[FN 48]</span></b></div>
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<span class="s1"></span></div>
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<span class="s1">Therefore, under these ethical guidelines, AAMD members, such as the Honolulu Museum of Art, could not even display these 29 non-disclosed posthumous second-generation-removed bronzes in their gift shop because of the posthumous application of a counterfeit <i>"A. Rodin"</i> signatures with foundry marks and edition numbers.</span></div>
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<span class="s1"></span></div>
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<span class="s1"><b>U.S. CUSTOMS MAY 2006</b></span></div>
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<span class="s1">EIGHTH, under U.S. Customs Informed Compliance Publications titled <i>Works of Art, Collector’s Pieces, Antiques, and Other Cultural Property May 2006, </i>under the subtitle ORIGINAL SCULPTURE, STATUARY, IN ANY MATERIAL, the following is -duty free-: “Heading 9703 covers not only original sculpture made by the sculptor, but also the first 12 castings, replicas or reproductions made from a sculptor’s original work or model, by the sculptor himself or by another artist, with or without a change in scale and whether or not the sculptor is alive at the time the castings, replicas or reproductions are completed.”</span><b style="color: blue;"><span style="font-size: x-small;">[FN 49]</span></b></div>
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<span class="s1"></span><br /></div>
<div class="p7" style="text-align: justify;">
<span class="s1">Therefore, since the Musee Rodin admittedly does not cast from Auguste Rodin’s original models and the so-called editions of 12 are not [in many cases] limited as promoted, the importation of those non-disclosed posthumous second-generation-removed bronze forgeries, attributed to Auguste Rodin, are problematic and may bring in serious questions of law. </span></div>
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<span class="s1"></span></div>
<div class="p13" style="text-align: justify;">
<span class="s1"><b>PICK THE COLOR OF A PURCHASED BRONZE</b></span></div>
<div class="p7" style="text-align: justify;">
<span class="s1">NINTH, in 1996, the Musee Rodin allowed the Iris and B. Gerald Cantor Foundation and/or its representative to pick the color of their newly purchased posthumous [1996] <i>Monument to Victor Hugo</i> bronze, attributed to Auguste Rodin.</span></div>
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<span class="s1"></span><br /></div>
<div class="p7" style="text-align: justify;">
<span class="s1">This is confirmed in the Fall 1998 <i>Sculpture Review</i> trade magazine published article, “Casting of the Monument,” by the Coubertin founders Frederic Colombier and Jean Dubo. On page 34 of this article, the founders wrote: “After presentation of samples, the Musee Rodin and the Cantor Foundation approved the color to be achieved.”</span><b style="color: blue;"><span style="font-size: x-small;">[FN 50]</span></b></div>
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<span class="s1"></span><br /></div>
<div class="p7" style="text-align: justify;">
<span class="s1">This is additionally confirmed in the Iris and B. Gerald Cantor Foundation’s published 1998 <i>Rodin’s Monument to Victor Hugo</i> catalogue. On page 10 of the “Forward,” the Iris and B. Gerald Cantor Foundation Executive Director Rachael Blackburn states: “Ruth Butler, professor emerita at the University of Massachusetts in Boston, who wrote the introduction to this catalogue, offered her insightful guidance and worked closely with Mrs. Cantor, the Musee Rodin, and the foundry to determine the delicate nuances of the monument’s patina.”</span><b style="color: blue;"><span style="font-size: x-small;">[FN 51]</span></b></div>
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<span class="s1"></span></div>
<div class="p33" style="text-align: justify;">
<span class="s1"><b>PUBLIC RELATIONS CAMPAIGN AND THE COVERUP</b></span></div>
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<span class="s1">TENTH, on March 28, 2004 Buffalo News' published a <b>front page </b>article by Tom Buckham titled "Lively debate on posthumous art.” The reporter wrote: "Who can blame the Albright-Knox Art Gallery for counting on "Rodin: A Magnificent Obsession" to produce blockbuster numbers when the exhibition of 70 works settles in for 10 weeks beginning April 20?" Yet, "If art dealer Gary Arseneau is to be believed," the reporter wrote: "all but a handful of the traveling works from the California-based Cantor Foundation are "fakes" - sculptures cast long after Rodin died 86 years ago and not from the original plaster molds but from copies of those molds."</span><b style="color: blue;"><span style="font-size: x-small;">[FN 52]</span></b></div>
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<span class="s1"></span><br /></div>
<div class="p7" style="text-align: justify;">
<span class="s1">On the other hand, "Albright-Knox Art Gallery curator for modern art and a Rodin scholar" Ken Wayne, who wrote his doctoral dissertation on the sculptor while a Cantor Fellow at Stanford University, not only rejected this Gary Arseneau's assertions that anything posthumous in the exhibition were "copies of copies" but is quoted stating: "Some are lifetime works, and some are posthumous. Posthumous casts are legitimate."</span><b style="color: blue;"><span style="font-size: x-small;">[FN 53]</span></b></div>
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<span class="s1"></span><br /></div>
<div class="p7" style="text-align: justify;">
<span class="s1">As for Curator Ken Wayne's use of the phrase "some are posthumous casts," that <b>some </b>totaled at least 54 of the 60 or so bronzes, in the exhibition; they were actually cast between 1919 and 1995 with counterfeit <i>"A. Rodin"</i> signatures, some 2 to 78 years after Auguste Rodin's death in 1917. </span></div>
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<span class="s1"></span><br /></div>
<div class="p7" style="text-align: justify;">
<span class="s1">What made this article unique is unlike dozens of prior published newspaper articles, concerning these contentious issues of authenticity raised with the Iris and B. Gerald Cantor Foundation's so-called -Rodin- collection, it was published on the -front page- giving it, its widest audience. </span></div>
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<span class="s1"></span><br /></div>
<div class="p7" style="text-align: justify;">
<span class="s1">22,000 ATTEND RODIN VERSUS 167,000 ATTENDED MONET </span></div>
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<span class="s1">Five months later the potential consequences of that published front page story became evident. The Buffalo News published on July 2, 2004 "Rodin exhibit closes Saturday; gallery to feature more self-produced shows" article by Tom Buckham. In part, the reporter wrote: "Over the 11-week run that opened April 17, the traveling retrospective from the Iris & B. Gerald Cantor Foundation, containing 60 of the French master's bronze works, has drawn roughly 22,000 visitors. That's a far cry from the record 167,000 who came to see "Monet at Giverny" during its 14-week stand in 1999, and many fewer than have attended other recent exhibitions starring famous Impressionists."</span><span style="font-size: x-small;"><b style="color: blue;">[FN 54]</b> </span></div>
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<span class="s1"></span><br /></div>
<div class="p7" style="text-align: justify;">
<span class="s1">1.45 MILLION IN POTENTIAL LOST REVENUE </span></div>
<div class="p7" style="text-align: justify;">
<span class="s1">With the Albright-Knox Art Gallery's $10 adult admission to view this exhibition, that 145,000 difference in attendance adds up to an estimated $1.45 million in potential lost revenue. </span></div>
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<span class="s1"></span><br /></div>
<div class="p7" style="text-align: justify;">
<span class="s1">Ironically, Albright-Knox spokeswoman Cheryl Orlick was quoted in that article not only diminishing their attendance expectations but backhandedly complimenting the exposure of these contentious issues of authenticity: "We would have liked to see more people, but we didn't really expect huge crowds" but "If anything, the debate might have piqued peoples' interest a little bit." </span></div>
<div class="p7" style="text-align: justify;">
<span class="s1">Unfortunately, future museum venues of the Iris and B. Gerald Cantor Foundation's collection of non-disclosed posthumous forgeries, would not respond as kindly to these same contentious issues of authenticity being <b>debated</b>. </span></div>
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<span class="s1"></span><br /></div>
<div class="p7" style="text-align: justify;">
<span class="s1">GLENBOW MUSEUM AND CANTOR FOUNDATION PR CAMPAIGN </span></div>
<div class="p7" style="text-align: justify;">
<span class="s1">In the Fall of 2004, in an attempt to preempt these contentious issues of authenticity from being effectively brought up in the next venue, the Glenbow Museum in Calgary, Alberta [Canada], and its Communications Specialist Tanis Booth, along with the Iris and B. Gerald Cantor Foundation Director Judith Sobol and attorneys for the foundation, helped put together a public relations campaign titled: <b>The Curious Fixation of the “Rodin Chaser.”</b> </span></div>
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<span class="s1"></span><br /></div>
<div class="p7" style="text-align: justify;">
<span class="s1">THE CURIOUS FIXATION OF THE RODIN CHASER PODCAST </span></div>
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<span class="s1">The Glenbow Museum's strategy was further confirmed in a 2006 "Media Relations Matters" online podcast titled "The Curious Fixation of the Rodin Chaser,"[FN 49] interview by Media Training Consultant Eric Bergman with Glenbow Museum's Communication Specialist Tanis Shortt (maiden name Booth) concerning the museum's Fall 2004 <b>Rodin, A Magnificent Obsession, Sculpture from the Iris and B. Gerald Cantor</b> Foundation exhibition. </span></div>
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<span class="s1"></span><br /></div>
<div class="p7" style="text-align: justify;">
<span class="s1">2006 IABC GOLD QUILL AWARD OF EXCELLENCE </span></div>
<div class="p7" style="text-align: justify;">
<span class="s1">“The Curious Fixation of the Rodin Chaser With Tanis Shortt” podcast interview is described as: “This 10-minute conversation with Tanis Shortt discusses her 2006 IABC Gold Quill award of excellence. She developed a proactive media relations campaign to fend off potential negative publicity when the Glenbow Museum in Calgary, Alberta, Canada, featured a three-month showing of Rodin: A Magnificent Obsession, Sculpture from the Iris and B. Gerald Cantor Foundation.”</span><b style="color: blue;"><span style="font-size: x-small;">[FN 55]</span></b></div>
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<span class="s1"></span><br /></div>
<div class="p7" style="text-align: justify;">
<span class="s1">ILLEGITIMATE SOURCE OF CULTURAL AUTHENTICITY </span></div>
<div class="p7" style="text-align: justify;">
<span class="s1">In the interview, the Glenbow Museum's Communication Specialist Tanis Shortt stated: "that when we were developing the marketing and media campaign for this exhibition, we were advised by the Iris and B. Gerald Cantor Foundation, which is actually one of the largest private collector of Rodin sculpture and who was touring the show, that there is a self-proclaimed crusader who denounces the sculptures in this exhibition. He claimed they were frauds because they were cast following the death of Rodin. And so we were concerned about Glenbow's reputation if we were, I guess, treated in the media as being an illegitimate source of cultural authenticity."</span><b style="color: blue;"><span style="font-size: x-small;">[FN 56]</span></b></div>
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<span class="s1"></span><br /></div>
<div class="p7" style="text-align: justify;">
<span class="s1">A Glenbow Museum Communication Specialist, Tanis Shortt states: "sculptures in the exhibition" but admits "they were cast following the death of Rodin" and they are concerned the media will treat the Glenbow Museum as "an illegitimate source of cultural authenticity?" </span></div>
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<span class="s1"></span></div>
<div class="p6" style="text-align: justify;">
<span class="s1"></span></div>
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<span class="s1"></span></div>
<div class="p7" style="text-align: justify;">
<span class="s1">BEAT HIM TO THE PUNCH </span></div>
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<span class="s1">The Glenbow Museum's Communication Specialist Tanis Shortt stated that the museum developed a media strategy to notify the news media with a -media advisory- [on Gary Arseneau] and a "backgrounder" [on the authenticity of these sculptures] to "beat him to the punch."</span><b style="color: blue;"><span style="font-size: x-small;">[FN 57]</span></b></div>
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<div class="p7" style="text-align: justify;">
<span class="s1">The Glenbow Museum's "The Curious Fixation of the Rodin Chaser" <b>media advisory</b> stated: "Gary Arseneau constantly repeats his mantra that ‘dead men don’t sculpt’ and his claim that all posthumous Rodin casts are ‘fakes/reproductions’" and "Art experts, scholars and museum curators dismiss Arseneau’s accusations as nonsense." </span></div>
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<span class="s1"></span><br /></div>
<div class="p7" style="text-align: justify;">
<span class="s1">So, who are these so-called "art experts, scholars and museum curators" referred to in this <b>media advisory </b>[on Gary Arseneau] that supposedly believe the dead can sculpt and that anything cast, much less posthumously, is not, at best, a reproduction? </span></div>
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<div class="p7" style="text-align: justify;">
<span class="s1">The only name given on this Glenbow Museum -media advisory- [on Gary Arseneau] is the "Glenbow Museum's Communication Specialist Tanis Shortt" who admits later in this interview she has "no curatorial background."</span></div>
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<span class="s1"></span><br /></div>
<div class="p7" style="text-align: justify;">
<span class="s1">QUITE NEGATIVE AT PREVIOUS VENUES </span></div>
<div class="p7" style="text-align: justify;">
<span class="s1">Despite some misgivings within the Glenbow Museum concerning this -media advisory- [on Gary Arseneau] strategy, Glenbow Museum's Communication Specialist Tanis Shortt stated: "when we demonstrated how it had proven to be quite negative at the previous venues where the show had been hosted,"</span><span style="font-size: x-small;"><b style="color: blue;">[FN 58]</b><span class="s2"> </span></span><span class="s1">the museum signed off on it. </span></div>
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<span class="s1"></span><br /></div>
<div class="p7" style="text-align: justify;">
<span class="s1">So, when the Glenbow Museum didn't like the message, their Glenbow Museum's Communication Specialist Tanis Shortt recommended they attack the messenger. </span></div>
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<span class="s1"></span><br /></div>
<div class="p7" style="text-align: justify;">
<span class="s1">INITIALLY WANTED TO CALL HIM THE RODIN STALKER </span></div>
<div class="p7" style="text-align: justify;">
<span class="s1">As for the <b>media advisory</b> [on Gary Arseneau], the Glenbow Museum's Communication Specialist Tanis Shortt, stated: "The one hiccup that we thought was totally unexpected was we initially wanted to call him the Rodin Stalker because he'd actually, this fellow, who is the self proclaimed crusader, had previously been referred to as the Rodin Stalker in the media by the media in the U.S. And when we ran this initial document by the lawyers of the Cantor Foundation who's the owner of all these works, the lawyer actually advised that was not a good idea because the legal connotation to using the word stalking. Of course it's a felony. So, we actually had to go back and change it. And of course we thought stalker certainly conveyed a certain message and we still wanted to indicate why or we still wanted to use a word that sort of demonstrated how aggressive this person was in his approach to the media. So, we sort of back peddled and came up with the chaser, the Rodin Chaser. We thought it was still kind of fun phrase."</span><b style="color: blue;"><span style="font-size: x-small;">[FN 59]</span></b></div>
<div class="p6" style="text-align: justify;">
<span class="s1"></span><br /></div>
<div class="p7" style="text-align: justify;">
<span class="s1">On page 1412, of the <i>Seventh Edition of Black's Dictionary</i>, <b>stalking</b> is defined as: "1. The act or an instance of following another by stealth. 2. The offense of following or loitering near another, often surreptitiously with the purpose of annoying or harassing that person or committing a further crime such as assault or battery."</span><b style="color: blue;"><span style="font-size: x-small;">[FN 60]</span></b></div>
<div class="p6" style="text-align: justify;">
<span class="s1"></span><br /></div>
<div class="p7" style="text-align: justify;">
<span class="s1">So, even after being warned by the Iris and B. Gerald Cantor Foundation attorneys that referring to this scholar as a "stalker" would imply a "felony" has been committed, this "Glenbow Museum's Communication Specialist" Tanis Shortt still years later continues to potentially defame Gary Arseneau when she publicly states: "of course we thought stalker certainly conveyed a certain message." </span></div>
<div class="p6" style="text-align: justify;">
<span class="s1"></span><br /></div>
<div class="p7" style="text-align: justify;">
<span class="s1">The Glenbow Museum's Communication Specialist Tanis Shortt, when asked "in terms of briefing the media did you have to walk that balance so that you did not overwhelm them with information?" She responded: "Yea, absolutely and that's something we had to do on a day to day basis so we're not alienating ourselves because not everybody has a curatorial background, including myself."</span><b style="color: blue;"><span style="font-size: x-small;">[FN 61]</span></b></div>
<div class="p6" style="text-align: justify;">
<span class="s1"></span><br /></div>
<div class="p7" style="text-align: justify;">
<span class="s1">CASTING PROCESS - AN ART FORM </span></div>
<div class="p7" style="text-align: justify;">
<span class="s1">The Glenbow Museum's Communication Specialist Tanis Shortt was asked by Eric Bergman: "So, did they [media] find that they were able to ask more sophisticated questions of the Rodin Chaser because they had that information in advance and to pick through at what were really - really the facts were of the story, is that something that you, some feedback that you got back from reporters?” She responded: "It was, I think the other thing we were really please with was to see the level of interest in the whole casting process, its a pretty complicated process for an art form."</span><b style="color: blue;"><span style="font-size: x-small;">[FN 62]</span></b></div>
<div class="p6" style="text-align: justify;">
<span class="s1"></span><br /></div>
<div class="p7" style="text-align: justify;">
<span class="s1">OTHER ART MUSEUMS - INITIATE THE SAME STRATEGY </span></div>
<div class="p7" style="text-align: justify;">
<span class="s1">"Beyond that," the Glenbow Museum's Communication Specialist Tanis Shortt stated: "this media relations strategy has since been taken on using both our materials and speaking with us in advance to develop their own campaign by five other art museums across North America and I think that's a, that's a big success story in itself. - I think we were in even more pleased because it wasn't even just in Canada, we've actually had three art museums in the states who recognized the success of the campaign and wanting to take it on and initiate the same, initiate the same strategy for themselves."</span><span style="font-size: x-small;"><b style="color: blue;">[FN 63]</b> </span></div>
<div class="p6" style="text-align: justify;">
<span class="s1"></span><br /></div>
<div class="p7" style="text-align: justify;">
<span class="s1">What the Glenbow Museum's Communication Specialist Tanis Shortt failed to disclose, in this interview, is that these museums, with one known exception, plagiarized the Glenbow Museum <b>media advisory</b> [on Gary Arseneau] without giving proper attribution to its source. So, aside from the fraud, for monetary consideration, including but not limited to admission fees and city-state-federal grants, non-disclosed posthumous forgeries from the Iris and B. Gerald Cantor Foundation as sculptures, these museums were intellectually dishonest. </span></div>
<div class="p6" style="text-align: justify;">
<br />
<span class="s1"></span></div>
<div class="p6" style="text-align: justify;">
<span class="s1"></span></div>
<div class="p6" style="text-align: justify;">
<span class="s1"></span></div>
<div class="p7" style="text-align: justify;">
<span class="s1">For confirmation, compare these two pdf files : </span></div>
<div class="p7" style="text-align: justify;">
<span class="s1"><i>“The Curious Fixation of the "Rodin Chaser"</i> [pdf 201k] (September 23, 2004) *This media strategy won a 2006 International Association of Business Communicators (IABC) Gold Quill Award of Excellence in the Media Relations category). </span></div>
<div class="p7" style="text-align: justify;">
<span class="s1">http://www.glenbow.org/about/media/archived.cfm</span></div>
<div class="p6" style="text-align: justify;">
<span class="s1"></span><br /></div>
<div class="p7" style="text-align: justify;">
<span class="s1"><i>“Beware Vancouver of the “Rodin Chaser!”</i> May 16, 2005 ... Vancouver, BC – Beware Vancouver, the “Rodin Chaser” may strike in our city in ... Since 1999, the “Rodin Chaser” has dogged this acclaimed …</span></div>
<div class="p7" style="text-align: justify;">
<span class="s1">www.vanartgallery.bc.ca/media_room/pdf/rodin_chaser.pdf</span></div>
<div class="p6" style="text-align: justify;">
<span class="s1"></span><br /></div>
<div class="p7" style="text-align: justify;">
<span class="s1">As for the Glenbow Museum and Iris & B. Gerald Cantor Foundation's assertions that "Art experts, scholars and museum curators dismiss Arseneau’s accusations as nonsense," contrast that with the following, but not limited to, two examples: </span></div>
<div class="p6" style="text-align: justify;">
<span class="s1"></span><br /></div>
<div class="p7" style="text-align: justify;">
<span class="s1">DR. ROBERT TORCHIA </span></div>
<div class="p7" style="text-align: justify;">
<span class="s1">In an April 8, 1999 letter to Gary Arseneau, "concerning the Cummer's forthcoming exhibition of Rodin's Movement to Victor Hugo" from the Iris and B. Cantor Foundation, Cummer Museum of Art curator, systematic cataloger for the National Gallery of Art, author and Ph.D in Art History, Dr. Robert Torchia wrote: "Although this is an extremely complex issue, I have to admit that I am in basic agreement with your objections concerning the work's originality and degree of authenticity." </span></div>
<div class="p6" style="text-align: justify;">
<span class="s1"></span><br /></div>
<div class="p7" style="text-align: justify;">
<span class="s1">JUDITH SOBOL, CANTOR FOUNDATION</span></div>
<div class="p7" style="text-align: justify;">
<span class="s1">In a January 2, 2005 Opelika-Auburn News' published "Rodin's legacy, The artist who helped usher in the age of ambiguity in sculpture continues to raise questions almost 90 years after his death" article by Jason Nix, concerning an Iris and B. Gerald Cantor Foundation's Rodin: <b>In his Own Words </b>exhibition in 2005 at Auburn University, the Iris and B. Gerald Cantor Foundation Director Judith Sobol's is quoted stating: "We don't comment about his [Gary Arseneau] contentions because they don't bear any weight whatsoever in the art world - Nobody who knows anything about the field doubts the originality of these pieces. I don't understand what entitles him to a point of view that's covered by the press. It's talking about the picture frame and not the picture.” Yet, the reporter wrote: "Mark Graham, an AU art professor and interim department head, disagrees." </span></div>
<div class="p6" style="text-align: justify;">
<span class="s1"></span><br /></div>
<div class="p7" style="text-align: justify;">
<span class="s1">MARK GRAHAM, AUBURN UNIVERSITY ART PROFESSOR & DEPT CHAIR</span></div>
<div class="p7" style="text-align: justify;">
<span class="s1">Mark Graham continued: "Mr. Arseneau might be abrasive in his approach, but a lot of the issues he raises are real issues. - The Rodin estate has been turned into a Rodin industry. It's not common in sculpture to keep reproducing an artist's work after his death the way we see with this artist. - Like Arseneau, Graham takes issue with the use of the term 'original' to describe works produced after the Rodin's death. - The term 'original' is a stretch - a Rodin original is any version that was authorized by him or which had his input. With this, you're not seeing work that reflects Auguste Rodin's input. This exhibit is a Disneyland vacation of Rodin's art.”</span></div>
<div class="p7" style="text-align: justify;">
<span class="s1"><br /></span></div>
<div class="p13" style="text-align: justify;">
<span class="s1"><b>LAW, ETHICS AND THE VISUAL ARTS </b></span></div>
<div class="p7" style="text-align: justify;">
<span class="s1">On page 816-817 of Kluwer Law International’s published 1998 <i>Law, Ethics and the Visual Arts, Third Edition </i>by John Henry Merryman and Albert E. Elsen, they wrote about “Counterfeit Art.”</span><b style="color: blue;"><span style="font-size: x-small;">[FN 64]</span></b></div>
<div class="p6" style="text-align: justify;">
<br /></div>
<div class="p7" style="text-align: justify;">
<span class="s1">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.”</span><b style="color: blue;"><span style="font-size: x-small;">[FN 65]</span></b></div>
<div class="p6" style="text-align: justify;">
<span class="s1"> </span></div>
<div class="p7" style="text-align: justify;">
<span class="s1">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.”</span><b style="color: blue;"><span style="font-size: x-small;">[FN 66]</span></b></div>
<div class="p6" style="text-align: justify;">
<span class="s1"> </span></div>
<div class="p7" style="text-align: justify;">
<span class="s1">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…”</span><b style="color: blue;"><span style="font-size: x-small;">[FN 67]</span></b></div>
<div class="p6" style="text-align: justify;">
<span class="s1"> </span></div>
<div class="p13" style="text-align: justify;">
<span class="s1"><b>CONCLUSION </b></span></div>
<div class="p7" style="text-align: justify;">
<span class="s1">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 Honolulu Museum of Art and the Iris and B. Gerald Cantor Foundation will give full and honest disclosure for all reproductions as <b>reproductions,</b> 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 pay the $10 price of adult admission. </span></div>
<div class="p6" style="text-align: justify;">
<span class="s1"></span><br /></div>
<div class="p7" style="text-align: justify;">
<span class="s1">But, if these objects are not reproductions by definition and law but <b>forgeries</b>, then serious consequences of law may come into play for those who chose to misrepresent these <b>forgeries </b>for monetary consideration including but not limited to: admission fee, city-state-federal grants, corporate sponsorship, tax write-offs and outright sales.</span></div>
<div class="p6" style="text-align: justify;">
<span class="s1"></span><br /></div>
<div class="p7" style="text-align: justify;">
<span class="s1">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. </span></div>
<div class="p6" style="text-align: justify;">
<br />
<span class="s1"></span></div>
<div class="p6" style="text-align: justify;">
<span class="s1"></span></div>
<div class="p6" style="text-align: justify;">
<span class="s1"></span><br /></div>
<div class="p3" style="text-align: justify;">
<span class="s1"><b>FOOTNOTES:</b></span></div>
<div class="p1">
<span class="s1"><span style="font-size: x-small;">1.Iris & B. Gerald Cantor Foundation as of: 11/5/2014</span></span></div>
<div class="p2">
<span style="font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p1">
<span class="s1"><span style="font-size: x-small;">2. <a href="http://www.copyright.gov/title17/92chap1.html#101"><span class="s2">www.copyright.gov/title17/92chap1.html#101</span></a></span></span></div>
<div class="p2">
<span style="font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p1">
<span class="s1"><span style="font-size: x-small;">3. <a href="https://www.honolulumuseum.org/art/exhibitions/15038-auguste_rodin_human_experience_selections_iris_b_gerald_cantor_collections/"><span class="s2">https://www.honolulumuseum.org/art/exhibitions/15038-auguste_rodin_human_experience_selections_iris_b_gerald_cantor_collections/</span></a></span></span></div>
<div class="p2">
<span style="font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p1">
<span class="s1"><span style="font-size: x-small;">4. www.getty.edu website [Under their Getty Vocabulary Program]</span></span></div>
<div class="p2">
<span style="font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p1">
<span class="s1"><span style="font-size: x-small;">5. <a href="https://www.honolulumuseum.org/art/exhibitions/15038-auguste_rodin_human_experience_selections_iris_b_gerald_cantor_collections/"><span class="s2">https://www.honolulumuseum.org/art/exhibitions/15038-auguste_rodin_human_experience_selections_iris_b_gerald_cantor_collections/</span></a></span></span></div>
<div class="p2">
<span style="font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p1">
<span class="s1"><span style="font-size: x-small;">6. © 1999 By West Group, ISBN 0314022864</span></span></div>
<div class="p2">
<span style="font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p1">
<span class="s1"><span style="font-size: x-small;">7. Ibid</span></span></div>
<div class="p2">
<span style="font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p1">
<span class="s1"><span style="font-size: x-small;">8. http://www.cantorfoundation.org/about-us/our-mission/</span></span></div>
<div class="p2">
<span style="font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p1">
<span class="s1"><span style="font-size: x-small;">9. Volume 1, © Musee Rodin, Musee Rodin 979-2-9014-2890-9, RMN: 978-2-7118-4941-3, Paris 2007 </span></span></div>
<div class="p2">
<span style="font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p1">
<span class="s1"><span style="font-size: x-small;">10. Ibid</span></span></div>
<div class="p2">
<span style="font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p1">
<span class="s1"><span style="font-size: x-small;">11. © Iris and B. Gerald Cantor Foundation 2001, ISBN 1-85894-143 hardback</span></span></div>
<div class="p2">
<span style="font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p1">
<span class="s1"><span style="font-size: x-small;">12. Ibid</span></span></div>
<div class="p2">
<span style="font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p1">
<span class="s1"><span style="font-size: x-small;">13. Ibid</span></span></div>
<div class="p2">
<span style="font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p1">
<span class="s1"><span style="font-size: x-small;">14. Ibid</span></span></div>
<div class="p3">
<span style="font-size: x-small;"><span class="s1"><b></b></span><br /></span></div>
<div class="p1">
<span class="s1"><span style="font-size: x-small;">15. Volume 1, © Musee Rodin, Musee Rodin 979-2-9014-2890-9, RMN: 978-2-7118-4941-3, Paris 2007</span></span></div>
<div class="p2">
<span style="font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p1">
<span class="s1"><span style="font-size: x-small;">16. © Iris and B. Gerald Cantor Foundation 2001, ISBN 1-85894-143 hardback</span></span></div>
<div class="p2">
<span style="font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p1">
<span class="s1"><span style="font-size: x-small;">17. Iris & 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 </span></span></div>
<div class="p2">
<span style="font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p1">
<span class="s1"><span style="font-size: x-small;">18. © Iris and B. Gerald Cantor Foundation 2001, ISBN 1-85894-143 hardback</span></span></div>
<div class="p2">
<span style="font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p4">
<span class="s1"><span style="font-size: x-small;">19. 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</span></span></div>
<div class="p5">
<span style="font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p4">
<span class="s1"><span style="font-size: x-small;">20. <a href="http://www.cantorfoundation.org/2012/01/spotlight-on-the-three-faunesses/"><span class="s3">http://www.cantorfoundation.org/2012/01/spotlight-on-the-three-faunesses/</span></a></span></span></div>
<div class="p5">
<span style="font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p4">
<span class="s1"><span style="font-size: x-small;">21. <a href="http://www.cantorfoundation.org/resources/selected-bronzes/"><span class="s3">http://www.cantorfoundation.org/resources/selected-bronzes/</span></a></span></span></div>
<div class="p5">
<span style="font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p4">
<span class="s1"><span style="font-size: x-small;">22. © Iris and B. Gerald Cantor Foundation 2001, ISBN 1-85894-143 hardback</span></span></div>
<div class="p5">
<span style="font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p4">
<span class="s1"><span style="font-size: x-small;">23. Ibid</span></span></div>
<div class="p5">
<span style="font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p4">
<span class="s1"><span style="font-size: x-small;">24. Ibid</span></span></div>
<div class="p5">
<span style="font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p4">
<span class="s1"><span style="font-size: x-small;">25. Ibid</span></span></div>
<div class="p5">
<span style="font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p4">
<span class="s1"><span style="font-size: x-small;">26. 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</span></span></div>
<div class="p5">
<span style="font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p4">
<span class="s1"><span style="font-size: x-small;">27. <a href="http://www.cantorfoundation.org/Rodin/Bronze/rbrz.html"><span class="s3">http://www.cantorfoundation.org/Rodin/Bronze/rbrz.html</span></a></span></span></div>
<div class="p5">
<span style="font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p4">
<span class="s1"><span style="font-size: x-small;">28. © Iris and B. Gerald Cantor Foundation 2001, ISBN 1-85894-143 hardback</span></span></div>
<div class="p5">
<span style="font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p6">
<span class="s1"><span style="font-size: x-small;">29. <a href="http://www.cantorfoundation.org/resources/selected-bronzes/"><span class="s3">http://www.cantorfoundation.org/resources/selected-bronzes/</span></a></span></span></div>
<div class="p7">
<span style="font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p6">
<span class="s1"><span style="font-size: x-small;">30. © Iris and B. Gerald Cantor Foundation 2001, ISBN 1-85894-143 hardback</span></span></div>
<div class="p7">
<span style="font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p6">
<span class="s1"><span style="font-size: x-small;">31. Copyright © 1976 by the Philadelphia Museum of Art, Trade edition: ISBN 087923-157-2 </span></span></div>
<div class="p8">
<span style="font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p6">
<span class="s1"><span style="font-size: x-small;">32. © 1999 By West Group, ISBN 0314022864 </span></span></div>
<div class="p7">
<span style="font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p6">
<span class="s1"><span style="font-size: x-small;">33. 1981 Rodin Rediscovered ISBN 0-89468-001-3 (pbk)</span></span></div>
<div class="p7">
<span style="font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p6">
<span class="s1"><span style="font-size: x-small;">34. Copyright © 1993 by Ruth Butler, ISBN 0-300-05400-0</span></span></div>
<div class="p7">
<span style="font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p6">
<span class="s1"><span style="font-size: x-small;">35. Copyright © Bena Mayer, Executrix of the Estate of Ralph Mayer, 1991, ISBN 0-06-461012-8 (pbk.)</span></span></div>
<div class="p7">
<span style="font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p9">
<span class="s1"><span style="font-size: x-small;">36. p 281, "An Original in Sculpture" essay by Jean Chatelain, professor at the University of Paris and former director of the Museums of France, 1981 Rodin Rediscovered ISBN 0-89468-001-3 (pbk) </span></span></div>
<div class="p10">
<span style="font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p9">
<span class="s1"><span style="font-size: x-small;">37. [copy forward by email from a newspaper source] </span></span></div>
<div class="p9">
<span class="s1"><span style="font-size: x-small;">“SUMMARY: AUTHORIZED POSTHUMOUS CASTING OF THE WORK OF AUGUSTE RODIN </span></span></div>
<div class="p10">
<span style="font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p9">
<span class="s1"><span style="font-size: x-small;">“All works in the Iris and B. Gerald Cantor Collection and Cantor Foundation Collection are original Rodins. Some of these were made during Rodin’s lifetime, others were made after he died and according to his explicit wishes and instructions to the government of France. </span></span></div>
<div class="p10">
<span style="font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p9">
<span class="s1"><span style="font-size: x-small;">“In the early part of the 19th century, the creation of sculpture became a large-scale enterprise. Growing cities and an expanding middle class created new patrons and markets for modern sculpture. Advances in the techniques for creating editions in bronze allowed for the production of a great number of high quality examples. Auguste Rodin achieved success as an artist within this environment and naturally tailored his subjects as well as his output to satisfy an increasing demand for examples of this most popular works. During his lifetime, Rodin sometimes licensed commercial foundries to cast unlimited editions of his works. Certain foundries were even given the discretion to enlarge or reduce the size of the original model according to the demands of the market. Thousands of sculptures were produced by foundries that would make new casts without hesitation whenever there were customers for them. (There were, for example, more than 300 casts of The Kiss, in different dimensions, produced during Rodin’s lifetime.) </span></span></div>
<div class="p9">
<span class="s1"><span style="font-size: x-small;">“Throughout his lifetime, Rodin was keenly interested in the broad dissemination of his work. He employed a number of assistants to make plaster casts from clay sculptures. These plasters were exhibited and also were provided to foundries so that they could, in turn, use them to produce casts in bronze. Rodin generally did not supervise the steps of casting his bronzes as they emerged from the foundries that had contracts to produce large quantities of his works. </span></span></div>
<div class="p9">
<span class="s1"><span style="font-size: x-small;">“In 1916, Rodin willed his entire estate, including his artistic property and the right to continue to cast his work posthumously, to France. The French government’s agent who oversees this is the Musée Rodin. Since Rodin’s death in 1917, the Musée has been casting sculptures either from the molds left by the artist or from molds taken from his plasters. The Musée Rodin continued to use the Alexis Rudier foundry until it closed in 1953; after this the bronzes were cast at the foundry of George Rudier until 1983. More recently, the Coubertin Foundry has been used by the Musée Rodin because of its high standards of craftsmanship. People knowledgeable in the field are confident that Rodin fully understood the process he authorized and trusted his executors when he allowed them to cast bronzes from his original molds and models after his death. </span></span></div>
<div class="p10">
<span style="font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p9">
<span class="s1"><span style="font-size: x-small;">“Efforts have been made in France by the Musée Rodin and in the United States by the College Art Association to ensure the quality and authenticity of posthumous casts, as well as their accurate identification as such. In 1956, the casting of each of Rodin’s works was limited by French law to twelve examples. </span></span></div>
<div class="p9">
<span class="s1"><span style="font-size: x-small;">"Indeed, three of Rodin’s most important commissions, The Gates of Hell, the Monument to Balzac, and the Monument to Victor Hugo were, to his great disappointment, not cast during his lifetime. However, the right that he designated in his will for posthumous casting by his estate has made it possible for these commissions to be realized after his death as they had been intended. Thus the 20th and 21st century public and generations of artists and students have been able to see them. </span></span></div>
<div class="p10">
<span style="font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p9">
<span class="s1"><span style="font-size: x-small;">“A primary mission of the Iris and B. Gerald Cantor Foundation is to make work of Auguste Rodin available to a broad public audience through the organization and support of exhibitions, scholarship, and publications associated with the artist and his work.” </span></span></div>
<div class="p10">
<span style="font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p9">
<span class="s1"><span style="font-size: x-small;">38. Copyright © Bena Mayer, Executrix of the Estate of Ralph Mayer, 1991, ISBN 0-06-461012-8 (pbk.)</span></span></div>
<div class="p7">
<span style="font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p6">
<span class="s1"><span style="font-size: x-small;">39. Page 47, RODIN, Sculptures from the Musee Rodin Paris, Tasende Gallery, Library of Congress Catalog No: 99-072906, ISBN: 9655319-5-3</span></span></div>
<div class="p7">
<span style="font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p6">
<span class="s1"><span style="font-size: x-small;">40. © 1999 By West Group, ISBN 0314022864 </span></span></div>
<div class="p7">
<span style="font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p6">
<span class="s1"><span style="font-size: x-small;">41. http://www.cantorfoundation.org/resources/laws-govern-casting-rodins-work </span></span></div>
<div class="p7">
<br /></div>
<div class="p6">
<span class="s1"><span style="font-size: x-small;">42. http://www.cantorfoundation.org/Rodin/Bronze/rbrz.html </span></span></div>
<div class="p7">
<span style="font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p6">
<span class="s1"><span style="font-size: x-small;">43. <a href="http://www.cantorfoundation.org/resources/laws-govern-casting-rodins-work"><span class="s3">http://www.cantorfoundation.org/resources/laws-govern-casting-rodins-work</span></a> </span></span></div>
<div class="p7">
<span style="font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p6">
<span class="s1"><span style="font-size: x-small;">44. www.copyright.gov/title17/92chap1.html#101 </span></span></div>
<div class="p7">
<span style="font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p6">
<span class="s1"><span style="font-size: x-small;">454. Ibid</span></span></div>
<div class="p7">
<br /></div>
<div class="p6">
<span class="s1"><span style="font-size: x-small;">46. http://www.copyright.gov/title17/92chap1.html#106a </span></span></div>
<div class="p7">
<span style="font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p6">
<span class="s1"><span style="font-size: x-small;">47. page 6, https://aamd.org/our-members/members</span></span></div>
<div class="p7">
<span style="font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p6">
<span class="s1"><span style="font-size: x-small;">48. Published in 2001 by the Association of Art Museum Directors, 41 East 65th Street, New York, New York 10021, ISBN: 1-880974-02-9</span></span></div>
<div class="p7">
<span style="font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p6">
<span class="s1"><span style="font-size: x-small;">49. http://www.cbp.gov/sites/default/files/documents/icp061_3.pdf</span></span></div>
<div class="p6">
<span class="s1"><span style="font-size: x-small;">ORIGINAL SCULPTURES AND STATUARY, IN ANY MATERIAL</span></span></div>
<div class="p6">
<span class="s1"><span style="font-size: x-small;">Heading 9703 covers ancient or modern original sculptures and statuary in any material. In the following section we discuss which items are included, what the term “original” means, whether there are limits on how many copies can be made, and whether the sculptures must be created by an artist. </span></span></div>
<div class="p7">
<span style="font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p6">
<span class="s1"><span style="font-size: x-small;">Sculptures may be in any material (stone, reconstituted stone, terra-cotta, wood, ivory, metal, wax, etc.), in the round, in relief or in intaglio (statues, busts, figurines, groups, representations of animals, etc., including reliefs for architectural purposes). </span></span></div>
<div class="p7">
<span style="font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p6">
<span class="s1"><span style="font-size: x-small;">These works may be reproduced by various processes including the following:</span></span></div>
<div class="p6">
<span class="s1"><span style="font-size: x-small;">The artist carving the work directly from hard materials, or</span></span></div>
<div class="p6">
<span class="s1"><span style="font-size: x-small;">The artist modeling soft materials into figures, which are then cast in bronze or plaster, or are fired or otherwise hardened or reproduced by the artist in marble or other hard materials.</span></span></div>
<div class="p7">
<span style="font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p6">
<span class="s1"><span style="font-size: x-small;">In the latter process, the artist usually proceeds on the following lines: </span></span></div>
<div class="p6">
<span class="s1"><span style="font-size: x-small;">He begins by roughing out his idea as a model, also known as a maquette, (usually on a reduced scale) in clay or other plastic material; with this as a basis, he then models a “clay form.” This “clay form” is seldom sold, but is usually destroyed after it has served for molding a very limited number of copies decided in advance by the artist, or it is placed in a museum for study purposes. These reproductions include, firstly, the “plaster model” produced directly from the “clay form.” This “plaster model” is used either as a model for the execution of the work in stone or wood, or for preparing molds for casting in metal or wax.</span></span></div>
<div class="p7">
<span style="font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p6">
<span class="s1"><span style="font-size: x-small;">These two methods, casting (bronze) or carving (marble), are only two of several processes that can be used. Previously it was implied in the Explanatory Notes that these were the only two processes used. Although these are the most used, they are only two of many.</span></span></div>
<div class="p7">
<span style="font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p6">
<span class="s1"><span style="font-size: x-small;">The same sculpture may be reproduced as two or three “copies” in marble, wood, wax, bronze, etc., and a few in terra cotta or in plaster. Not only the preliminary model, but also the “clay form,” the “plaster model” and these “copies” constitute original works of the artist; the copies are in fact never quite identical as the artist has intervened at each stage with additional modeling, corrections to casts, and for the patina imparted to each article. Only rarely does the total number of replicas exceed twelve.</span></span></div>
<div class="p7">
<span style="font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p6">
<span class="s1"><span style="font-size: x-small;">The heading therefore covers not only the original models made by the sculptor but also copies and reproductions of those models made by the second process described above, whether these are made by the sculptor himself or by another artist.</span></span></div>
<div class="p6">
<span class="s1"><span style="font-size: x-small;">Additional U.S. Note 1 to Chapter 97 states that:</span></span></div>
<div class="p6">
<span class="s1"><span style="font-size: x-small;">Heading 9703 covers not only original sculpture made by the sculptor, but also the first 12 castings, replicas or reproductions made from a sculptor’s original work or model, by the sculptor himself or by another artist, with or without a change in scale and whether or not the sculptor is alive at the time the castings, replicas or reproductions are completed.</span></span></div>
<div class="p7">
<span style="font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p6">
<span class="s1"><span style="font-size: x-small;">The term “original” has been judicially defined as original in design, conception and execution, as distinguished from the works of skilled craftsmen that are representative of the decorative or industrial arts. </span></span></div>
<div class="p7">
<span style="font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p6">
<span class="s1"><span style="font-size: x-small;">The standard used in determining whether a creator of a work is a professional sculptor rather than a skilled craftsman is that he be a graduate of a course in sculpture at a recognized school of art (free fine art, not industrial art) or that he be recognized in art circles as a professional sculptor by the acceptance of his work in public exhibitions limited to the free fine arts. Thus, one who has not received the formal education may nevertheless be recognized as a professional sculptor by the merit of his publicly exhibited works.</span></span></div>
<div class="p7">
<span style="font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p6">
<span class="s1"><span style="font-size: x-small;">The limit of sculptures that we allow under heading 9703 in an edition is 12. The reason 12 is used (previously 10) is that fine art is normally very limited. If an artist such as Edgar Degas creates 15 of a particular sculpture only the first 12 or cast numbers 1 through 12 will be allowed in duty free. When an artist such as Salvadore Dali produces more than 50 in an edition, it is no longer fine art and none will be allowed duty free. </span></span></div>
<div class="p7">
<span style="font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p6">
<span class="s1"><span style="font-size: x-small;">50. Sculpture Review (ISSN 0747-5248) is published quarterly by the National Sculpture Society, Inc., 117 Avenue fo the Americas, New York, NY 10036, 212 7645645 </span></span></div>
<div class="p7">
<span style="font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p6">
<span class="s1"><span style="font-size: x-small;">51. © 1998 Iris and B. Gerald Cantor Foundation, ISBN: 1 85894 071 0 (exhibition paperback) </span></span></div>
<div class="p7">
<span style="font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p6">
<span class="s1"><span style="font-size: x-small;">52. http://www.buffalonews.com/LIVELY_DEBATE_ON_POSTHUMOUS_ART.html</span></span></div>
<div class="p7">
<span style="font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p6">
<span class="s1"><span style="font-size: x-small;">53. Ibid</span></span></div>
<div class="p7">
<span style="font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p4">
<span class="s1"><span style="font-size: x-small;">54.<a href="http://www.buffalonews.com/RODIN_EXHIBIT_CLOSES_SATURDAY_GALLERY_TO_FEATURE_MORE_SELF-PRODUCED_SHOWS.html"><span class="s3">http://www.buffalonews.com/RODIN_EXHIBIT_CLOSES_SATURDAY_GALLERY_TO_FEATURE_MORE_SELF-PRODUCED_SHOWS.html</span></a></span></span></div>
<div class="p5">
<span style="font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p6">
<span class="s1"><span style="font-size: x-small;">55. http://www.presentwithease.com/podcast.html </span></span></div>
<div class="p7">
<span style="font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p6">
<span class="s1"><span style="font-size: x-small;">56.http://www.presentwithease.com/tanisshortt.html </span></span></div>
<div class="p7">
<span style="font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p6">
<span class="s1"><span style="font-size: x-small;">57. Ibid </span></span></div>
<div class="p7">
<span style="font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p6">
<span class="s1"><span style="font-size: x-small;">58. ibid </span></span></div>
<div class="p7">
<span style="font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p6">
<span class="s1"><span style="font-size: x-small;">59. Ibid </span></span></div>
<div class="p7">
<span style="font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p6">
<span class="s1"><span style="font-size: x-small;">60. © 1999 By West Group, ISBN 0314022864 </span></span></div>
<div class="p7">
<span style="font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p6">
<span class="s1"><span style="font-size: x-small;">61. http://www.presentwithease.com/tanisshortt.html </span></span></div>
<div class="p7">
<span style="font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p6">
<span class="s1"><span style="font-size: x-small;">62. Ibid </span></span></div>
<div class="p7">
<span style="font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p6">
<span class="s1"><span style="font-size: x-small;">63. Ibid </span></span></div>
<div class="p7">
<span style="font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p6">
<span class="s1"><span style="font-size: x-small;">64. © Kluwer Law International 1998, ISBN: 90-411-0697-9 </span></span></div>
<div class="p7">
<span style="font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p6">
<span class="s1"><span style="font-size: x-small;">65. Ibid </span></span></div>
<div class="p7">
<span style="font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p6">
<span class="s1"><span style="font-size: x-small;">66. Ibid </span></span></div>
<div class="p7">
<br /></div>
<div class="p34" style="text-align: justify;">
</div>
<div class="p6">
<span class="s1"><span style="font-size: x-small;">67. Ibid</span></span></div>
<div class="p36" style="text-align: justify;">
<span class="s1"></span><br /></div>
<div class="p36" style="text-align: justify;">
<span class="s1"></span><br /></div>
<div class="p36" style="text-align: justify;">
<span class="s1"></span><br /></div>
<div class="p7" style="text-align: justify;">
<span class="s1"><b>PHOTOGRAPHS:</b></span></div>
<div class="p32" style="text-align: justify;">
<span class="s1"><span style="font-size: x-small;">Iris and B. Gerald Cantor Foundation </span></span><span style="font-size: x-small;"><b>Rodin: Figures </b>Checklist</span></div>
<div class="p36" style="text-align: justify;">
<span class="s1"></span><br /></div>
<div class="p36" style="text-align: justify;">
<span class="s1"></span><br /></div>
<div class="p36" style="text-align: justify;">
<span class="s1"></span><br /></div>
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<span class="s1"></span><br /></div>
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<div class="p36" style="text-align: justify;">
<span class="s1"></span><br /></div>
<div class="p36" style="text-align: justify;">
<span class="s1"></span><br /></div>
<div class="p36" style="text-align: justify;">
<span class="s1"></span><br /></div>
<div class="p36" style="text-align: justify;">
<span class="s1"></span><br /></div>
<div class="p36" style="text-align: justify;">
<span class="s1"></span><br /></div>
<div class="p36" style="text-align: justify;">
<span class="s1"></span><br /></div>
<div class="p36" style="text-align: justify;">
<span class="s1"></span><br /></div>
<div class="p36" style="text-align: justify;">
<span class="s1"></span><br /></div>
<br />
<div class="p36" style="text-align: justify;">
<span class="s1"></span><br /></div>
Gary Arseneauhttp://www.blogger.com/profile/10379667479866306615noreply@blogger.comtag:blogger.com,1999:blog-34909527.post-60902741105008013912015-04-18T21:16:00.000-04:002015-11-02T09:15:34.140-05:00Supersized FAKE Duchamp-Villon donated by Alfred Taubman to the Detroit Institute of ArtsOriginally published June 5, 2007 [Updated April 18, 2015]<br />
<br />
<span style="font-weight: bold;">NOTE:</span> All footnotes are enclosed as <span style="color: blue; font-size: x-small;">[FN]</span>.<br />
<br />
<a href="http://2.bp.blogspot.com/_N4RNkM-EcrI/RmS5w3gkhKI/AAAAAAAAAEk/wLI0kqMy7u0/s1600-h/Duchamp-VillonDIA.gif"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5072383329511441570" src="http://2.bp.blogspot.com/_N4RNkM-EcrI/RmS5w3gkhKI/AAAAAAAAAEk/wLI0kqMy7u0/s400/Duchamp-VillonDIA.gif" style="cursor: pointer; float: left; margin: 0pt 10px 10px 0pt;" /></a><span style="font-size: 85%;"><br /></span><span style="font-size: 85%;"><br /></span><br />
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<span style="font-size: 85%;"><br /></span><br />
<span style="font-size: 85%;">“PHOTO COURTESY OF THE DIA <i>The Grand Horse (</i>1914) is Duchamp-Villon's most important achievement as an artist and is a landmark of cubist sculpture.” <span style="color: blue;">americajr.com/news/taubmansculpture.html</span></span><br />
<span style="font-size: 85%;"><br /></span>
<br />
<div class="p1" style="text-align: justify;">
<span class="s1"><span style="font-size: large;"><b>T</b></span>he so-called “$2 million gift”<span style="color: blue; font-size: x-small;">[FN 1]</span> of a “Raymond Duchamp-Villon’s <i>Le Cheval Majeur</i> (The Grand Horse) Installed in the College for Creative Studies’ Josephine F. Ford Sculpture Garden”</span><span style="color: blue; font-size: x-small;">[FN 2]</span> at the Detroit Institute of Arts, is actually a non-disclosed posthumous (after 1966) supersized<span style="color: blue; font-size: x-small;">[FN 3]</span> “something that’s not what it purports to be”<span style="color: blue; font-size: x-small;">[FN 4]</span> which is one legal definition of -fake-.</div>
<div class="p2" style="text-align: justify;">
<span class="s1"></span><br /></div>
<div class="p1" style="text-align: justify;">
<span class="s1">Raymond Duchamp-Villon died in 1918.</span></div>
<div class="p2" style="text-align: justify;">
<span class="s1"></span><br /></div>
<div class="p1" style="text-align: justify;">
<span class="s1">In 1966, some forty-eight odd years after Raymond Duchamp-Villon’s death, his lifetime original 17 1/2 inch high (44 cm.) <i>Le Cheval</i> a.k.a. The Horse was posthumously -supersized- to approximately 5 feet in height (“150 cm.”)</span><span style="color: blue; font-size: x-small;">[FN 5]</span> and cast in bronze.</div>
<div class="p2" style="text-align: justify;">
<span class="s1"></span><br /></div>
<div class="p1" style="text-align: justify;">
<span class="s1">To add insult to injury a counterfeit <i>“R. Duchamp-Villon”</i> signature was inscribed and a false “1914” date and edition number were applied to create the illusion that Raymond Duchamp-Villon created and limited it during his lifetime, much less approved it.</span></div>
<div class="p2" style="text-align: justify;">
<span class="s1"></span><br /></div>
<div class="p1" style="text-align: justify;">
<span class="s1">By definition </span>under their Getty Vocabulary Program the term “sculptor” is defined as: “Artists who specialize in creating images and forms that are carried out primarily in three dimensions, generally in the media of stone, wood, or metal.”<span style="color: blue; font-size: x-small;">[FN 6]</span></div>
<div class="p1" style="text-align: justify;">
<br /></div>
<div class="p1" style="text-align: justify;">
The dead don't specialize in creating anything.</div>
<div class="p1" style="text-align: justify;">
<br /></div>
<div class="p1" style="text-align: justify;">
Under U.S. Copyright Law 101. Definitions, a “work of visual art” ie. “sculpture” is defined as: “multiple cast, carved, or fabricated sculptures of 200 or fewer that are consecutively numbered by the author and bear the signature or other identifying mar k of the author.”<span style="color: blue; font-size: x-small;">[FN 7]</span> </div>
<div class="p1" style="text-align: justify;">
<br /></div>
<div class="p1" style="text-align: justify;">
The dead don't sign and number.</div>
<div class="p1" style="text-align: justify;">
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<div class="p1" style="text-align: justify;">
Under New York Civil Code 11.01 Definitions,"’counterfeit’ means a work of fine art or multiple made, altered or copied, with or without intent to deceive, in such manner that it appears or is claimed to have an authorship which it does not in fact possess.”<span style="color: blue; font-size: x-small;">[FN 8]</span> </div>
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<br /></div>
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The dead don't sculpt.</div>
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<span class="s1">The Detroit Institute of Arts' director Graham W. J. Beal is a current member of the Association of Art Museum Directors.</span><span style="color: blue; font-size: x-small;">[FN 9]</span></div>
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<span class="s1"></span><br /></div>
<div class="p1" style="text-align: justify;">
<span class="s1">The Association of Art Museum Directors endorses the College Art Association’s ethical guidelines on sculptural reproduction. In part, those guidelines state: “all unauthorized enlargements - unless specifically condoned by the artist - should be considered as inauthentic - not be acquired by museums or exhibited as works of art.”</span><span style="color: blue; font-size: x-small;">[FN 10]</span></div>
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<span class="s1"></span><br />
The dead don't condone.<br />
<br /></div>
<div class="p1" style="text-align: justify;">
<span class="s1">Yet, despite their own endorsed ethical guidelines, the Detroit Institute of Arts' March 13, 2007 “A. ALFRED TAUBMAN GIVES $2 MILLION SCULPTURE” Press Release quotes the DIA director Graham W. J. Beal referring to this non-disclosed “inauthentic” bronze as an: “exceptional sculpture,” not to mention the donor and DIA Trustee A. Alfred Taubman stating it is a: “truly magnificent work of art."</span><span style="color: blue; font-size: x-small;">[FN 11]</span></div>
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<br />
<span class="s1"></span></div>
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<span class="s1">This excerpt from Detroit Institute of Arts' October 3, 2005 press release titled: "The Bronze Basher" will give some insight to the Detroit Institute of Art and its director Graham W. J. Beal's tactics to diminish the messenger when confronted with the truth:</span></div>
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<b>Beware Detroit! The Bronze Basher Is at it Again!</b></div>
<span class="s1"><div style="text-align: justify;">
<b>Adversary of art scholarship aims more false claims at the DIA</b></div>
</span><br />
<div class="p2" style="text-align: justify;">
<span class="s1">October 3, 2005 (Detroit)—In 2002, Florida gallery owner Gary Arseneau tried, unsuccessfully, to convince local media and Detroit Institute of Arts (DIA) visitors that the sculptures in one of the museum’s most successful exhibitions in its history were fakes. It’s a good thing that the nearly 500,000 people from around the world who enjoyed Degas and the Dance didn’t fall for his claims.</span></div>
<div class="p2" style="text-align: justify;">
<span class="s1">Arseneau, whose irresponsible allegations have been refuted by scholars around the world, is at it again, this time targeting the DIA’s upcoming exhibition Camille Claudel and Rodin: Fateful Encounter. The exhibition, featuring over 100 masterpieces by Claudel and Rodin, opens Oct. 9 and runs through Feb. 5, 2006. The DIA is the only U.S. venue for Fateful Encounter.</span></div>
<div class="p2" style="text-align: justify;">
<span class="s1">In three rambling documents sent to the museum and the media, Arseneau claims that many of the sculptures in the exhibition are fakes or reproductions. The museum emphatically denies his claims, which completely disregard the facts and the scholarship of curators and museum professionals from around the world.</span></div>
<div class="p2" style="text-align: justify;">
<span class="s1">Since 1999, Arseneau has conducted this same, tired routine on acclaimed exhibitions and museums across the United States, Canada and Europe. Shortly before an exhibition opens, he hits local media with inflammatory emails that denounce the sculptures in a given exhibition as fakes or reproductions. His “proof” is that many of the bronze sculptures were cast posthumously, and carry the artist’s signature. In the case of Rodin’s sculptures, this allegation crumbles when the terms of Rodin’s will and French law are examined.</span></div>
<div class="p2" style="text-align: justify;">
<span class="s1">Rodin willed his entire estate to France with the stipulation that a museum devoted to his works be established, which is the Musée Rodin. He authorized the casting of his work after his death, with no limit imposed on the number of casts, as he wanted to ensure the broad dissemination of his art. Rodin intended his original plasters and molds, which he considered the essence of his art, be used to create additional casts after his death. The Musée Rodin has faithfully complied with Rodin’s wishes.</span></div>
<div class="p2" style="text-align: justify;">
<span class="s1">DIA Director Graham W. J. Beal regards Arseneau’s attacks as a temporary annoyance, and he will not allow the museum to become distracted by a non-issue. “Mr. Arseneau’s increasingly wild claims are also increasingly counter-productive,” he said, “It is becoming more and more clear that his ill-founded accusations run counter to the facts and spirit of the serious contemporary scholarship that seeks to clarify the activities and intentions of French artists of the late 19th and early 20th century. Every single work of art in Fateful Encounter is legitimate and the research revealed in the catalogue’s essays correspondingly impeccable.”</span><span style="color: blue; font-size: x-small;">[FN 12]</span> </div>
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<div class="p1" style="text-align: justify;">
<span class="s1">Yet, in a June 3-7, 2003 minutes for the Association of Art Museum Directors meeting in Dallas, Texas, the Detroit Institute of Arts director Graham W. J. Beal seemed to have a more candid response: </span></div>
<ul>
<li style="text-align: justify;">"In the past few years, Gary Arseneau, has pursued special exhibitions that feature late 19th- and early 20th-century bronzes - notably those by Degas and Rodin – across the country, accusing art museums of showing fakes. He uses 16 page, footnoted press releases to stir up local media; a tactic that has enjoyed varied degrees of success. The crux of his argument is the AAMD’s endorsement of the CAA’s resolution. In light of the considerable research that has taken place, and to address the apparent conflict between our values and practices, the Art Issue committee concluded that the CAA be asked to update the resolution, with input from this committee. Failing that, the AAMD would reconsider its endorsement."<span style="color: blue; font-size: x-small;">[FN 13]</span> </li>
</ul>
<div class="p2" style="text-align: justify;">
<span class="s1"></span>Quite an admission in 2003 by the Detroit Institute of Arts director Graham W. J. Beal: "the apparent conflict between our values and practices."<br />
<br /></div>
<div class="p1" style="text-align: justify;">
<span class="s1">Rhetorically, shouldn't the public be given full and honest disclosure by the Detroit Institute of Arts and its director Graham W. J. Beal of </span>"the apparent conflict between our values and practices" so they might be able to give informed consent on whether to patronize a museum that thinks so little of the true legacy of the artists it pretends to have in their collection, much less in their exhibitions?</div>
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<span class="s1"></span><br /></div>
<div class="p1" style="text-align: justify;">
<span class="s1">Finally, would this misrepresentation, by a museum director and museum trustee (a former auction house CEO) of a posthumous supersized -fake- as a “sculpture” and “work of art" for millions of dollars of consideration, be potentially “a knowing misrepresentation of the truth or concealment of a material fact to induce another to act to his or her detriment”</span><span style="color: blue; font-size: x-small;">[FN 14]</span> which is one legal definition of -fraud-?</div>
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<span class="s1"></span><br /></div>
<div class="p1" style="text-align: justify;">
<span class="s1">In closing, this is just a part of the untold legacy of Alfred Taubman, the Detroit Institute of Arts and its director Graham W. J. Beal. </span></div>
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<br />
<span class="s1"></span></div>
<div class="p1" style="text-align: justify;">
<span class="s1">Caveat Emptor!</span><br />
<span class="s1"><br /></span></div>
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<span class="s1"><br /></span></div>
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<span class="s1">For additional information on contentious of authenticity with the Detroit Institute of Arts, link to: <a href="http://garyarseneau.blogspot.com/2005/09/bait-switch-camille-claudel-rodin.html" style="color: #3333ff;" target="_blank">21 FAKE RODINS & CLAUDELS at the Detroit Institute...</a></span></div>
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<span style="font-weight: bold;"><br /></span></div>
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<span style="font-weight: bold;"><br /></span></div>
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<span style="font-weight: bold;">FOOTNOTES:</span></div>
<div class="p1">
<span class="s1">1. <span style="color: blue;">www.dia.org/PressRelease/showpressreleases.asp?ID=342</span></span></div>
<div class="p1">
<span class="s1">2. Ibid</span></div>
<div class="p1">
<span class="s1">3. <span style="color: blue;">http://en.wikipedia.org/wiki/Supersize</span> “Supersized was a trademark that referred to the largest portion size available in meals offered by . A smaller meal portion could be made larger by Supersizing the meal. It was initially adopted positively, and in common use meant to make something better by increasing its size. The term is no longer in use for its original purpose, due to negative connotations with . Supersize McDonald's Supersizing obesity.” Source: Wikipedia, the free encyclopedia</span></div>
<div class="p1">
<span class="s1">4. page 617, <i>Seventh Edition of Black’s Law Dictionary</i>, ISBN 0-314-22864-0</span></div>
<div class="p1">
<span class="s1">5. <span style="color: blue;">search.sothebys.com/jsps/live/lot/LotDetail.jsp?lot_id=ZM2H</span></span></div>
<div class="p1">
<span class="s1">6. J. Paul Getty Trust’s <span style="color: blue;">www.getty.edu</span> website, under their Getty Vocabulary Program the term “sculptor” is defined as: “Artists who specialize in creating images and forms that are carried out primarily in three dimensions, generally in the media of stone, wood, or metal.”</span></div>
<div class="p1">
<span class="s1">7. <span style="color: blue;">http://www.copyright.gov/title17/92chap1.html#101</span> U.S. Copyright Law 101. Definitions, a “work of visual art” ie. “sculpture” is defined as: “multiple cast, carved, or fabricated sculptures of 200 or fewer that are consecutively numbered by the author and bear the signature or other identifying mark of the author.” </span></div>
<div class="p1">
<span class="s1">8. <span style="color: blue;">http://codes.lp.findlaw.com/nycode/ACA/C/11/11.01 </span>"’Counterfeit’ means a work of fine art or multiple made, altered or copied, with or without intent to deceive, in such manner that it appears or is claimed to have an authorship which it does not in fact possess.” (New Civil Code 11.01 Definitions)</span></div>
<div class="p1">
<span class="s1">9. <span style="color: blue;">www.aamd.org</span></span></div>
<div class="p1">
<span class="s1">10. <span style="color: blue;">www.collegeart.org/caa/ethics/sculpture.html </span>“A Statement on Standards for Sculptural Reproduction and Preventive Measures to Combat Unethical Casting in Bronze Approved by the CAA Board of Directors, April 27, 1974. Endorsed by the Association of Art Museum Directors and the Art Dealers Association of America.”</span></div>
<div class="p1">
<span class="s1">11. <span style="color: blue;">www.dia.org/PressRelease/showpressreleases.asp?ID=342</span></span></div>
<div class="p1">
<span class="s1">12. Association of Art Museum Directors, “<b>Forum: </b>AAMD Wide Messages <b>Topic: </b>Minutes - Dallas, June 3 - 7, 2003”</span></div>
<div class="p1">
<span class="s1">13. MEDIA ADVISORY FOR IMMEDIATE RELEASE Beware Detroit! The Bronze Basher Is at it Again! Adversary of art scholarship aims more false claims at the DIA</span></div>
<ul>
<li>
<div class="p1">
<span class="s1">October 3, 2005 (Detroit)—In 2002, Florida gallery owner Gary Arseneau tried, unsuccessfully, to convince local media and Detroit Institute of Arts (DIA) visitors that the sculptures in one of the museum’s most successful exhibitions in its history were fakes. It’s a good thing that the nearly 500,000 people from around the world who enjoyed Degas and the Dance didn’t fall for his claims.</span></div>
<div class="p1">
<span class="s1">Arseneau, whose irresponsible allegations have been refuted by scholars around the world, is at it again, this time targeting the DIA’s upcoming exhibition Camille Claudel and Rodin: Fateful Encounter. The exhibition, featuring over 100 masterpieces by Claudel and Rodin, opens Oct. 9 and runs through Feb. 5, 2006. The DIA is the only U.S. venue for Fateful Encounter.</span></div>
<div class="p1">
<span class="s1">In three rambling documents sent to the museum and the media, Arseneau claims that many of the sculptures in the exhibition are fakes or reproductions. The museum emphatically denies his claims, which completely disregard the facts and the scholarship of curators and museum professionals from around the world.</span></div>
<div class="p1">
<span class="s1">Since 1999, Arseneau has conducted this same, tired routine on acclaimed exhibitions and museums across the United States, Canada and Europe. Shortly before an exhibition opens, he hits local media with inflammatory emails that denounce the sculptures in a given exhibition as fakes or reproductions. His “proof” is that many of the bronze sculptures were cast posthumously, and carry the artist’s signature. In the case of Rodin’s sculptures, this allegation crumbles when the terms of Rodin’s will and French law are examined.</span></div>
<div class="p1">
<span class="s1">Rodin willed his entire estate to France with the stipulation that a museum devoted to his works be established, which is the Musée Rodin. He authorized the casting of his work after his death, with no limit imposed on the number of casts, as he wanted to ensure the broad dissemination of his art. Rodin intended his original plasters and molds, which he considered the essence of his art, be used to create additional casts after his death. The Musée Rodin has faithfully complied with Rodin’s wishes.</span></div>
<div class="p1">
<span class="s1">DIA Director Graham W. J. Beal regards Arseneau’s attacks as a temporary annoyance, and he will not allow the museum to become distracted by a non-issue. “Mr. Arsenau’s increasingly wild claims are also increasingly counter-productive,” he said, “It is becoming more and more clear that his ill-founded accusations run counter to the facts and spirit of the serious contemporary scholarship that seeks to clarify the activities and intentions of French artists of the late 19th and early 20th century. Every single work of art in Fateful Encounter is legitimate and the research revealed in the catalogue’s essays correspondingly impeccable.”</span></div>
<div class="p2">
<span class="s1"><b>Backgrounder on the Authenticity of the Bronze Casts in Camille Claudel and Rodin: Fateful Encounter</b></span></div>
<div class="p1">
<span class="s1">In the second half of the 19th century, artists and their works became increasingly more accessible: critics and reporters wrote stories and articles that engaged the public in the works and personal lives of artists, and purchasing art was becoming more common and fashionable. Steering away from the traditional means of making a living solely from single commissions, artists began creating multiple versions of their original artworks as lucrative commodities.</span></div>
<div class="p1">
<span class="s1">In order to produce as many casts as possible for sale to the public, artists often delegated this</span></div>
<div class="p1">
<span class="s1">job to employees in their studios. Though they followed the artist’s specific direction, the artist himself did not generally supervise his employees while they cast one of his sculptures.</span></div>
<div class="p1">
<span class="s1">Rodin often made multiple versions of the same work, especially toward the end of his life as he began to concern himself with posterity and the continuation of his legacy. Rodin often produced multiple versions of his most popular works, such as The Thinker, produced in different sizes and with detail variations.</span></div>
<div class="p1">
<span class="s1">The year before he died, in 1916, Rodin willed his entire estate and collection to France, along with the right to cast his works posthumously with the plasters and molds he left behind. Since its establishment in 1919, the Musée Rodin in Paris has been responsible for overseeing the endowment Rodin left for the French government, and regulating the use of these plasters and molds. In order to preserve the very special qualities inherent in a limited edition, in 1966 the French government limited the number of bronzes that can be produced from a single cast to 12. Before 1966 artists or their estates could cast as many bronzes as they wished. This law applies to all French artists.</span></div>
<div class="p1">
<span class="s1">In the case of Rodin’s work, the Musée Rodin adheres strictly to the stipulations of the French government and those of the artist to ensure there is no breach of the law with the casts they produce. Quality can, however, vary with each individual cast, despite the authentic mold. To protect the quality of the piece, an expert from the Musée Rodin scrutinizes each sculpture produced in order to maintain quality and integrity of Rodin’s work.</span></div>
<div class="p1">
<span class="s1">###</span></div>
<div class="p1">
<span class="s1">Exhibition organized by Musée national des beaux-arts du Québec, in Quebec City, with Musée Rodin in Paris. In Detroit, the exhibition has been made possible by a generous grant from the DaimlerChrysler Corporation Fund. Additional support provided by the Michigan Council for Arts and Cultural Affairs and the City of Detroit.</span></div>
<div class="p1">
<span class="s1">The Detroit Institute of Arts (DIA), one of the premier art museums in the United States, is home to more than 60,000 works that include a multicultural survey of human creativity from ancient times through the 21st century. From the first van Gogh painting to enter a U.S. museum (Self Portrait, 1887), to Diego Rivera's world-renowned Detroit Industry murals (1932–33), the DIA's collection is known for its quality, range, and depth.</span></div>
<div class="p1">
<span class="s1">The DIA will present a dynamic schedule of programs and activities for all ages, even as the museum’s building is undergoing a major renovation. Visitors can enjoy some of the DIA’s “greatest hits” while the museum prepares for an entirely new installation when renovations are completed in late 2007.</span></div>
<div class="p1">
<span class="s1">Museum hours are 10 a.m.–4 p.m. Wednesdays and Thursdays, 10 a.m.–9 p.m. Fridays, and 10 a.m.–5 p.m. Saturdays and Sundays. For special exhibition hours during the Super Bowl weekend, please visit dia.org.</span></div>
<div class="p1">
<span class="s1">Admission is a donation. We recommend $6 for adults and $3 for children. DIA members are admitted free. For membership information call 313-833-7971.</span></div>
<div class="p1">
<span class="s1">Programs are made possible with support from the Michigan Council for Arts and Cultural Affairs and the City of Detroit.</span></div>
<div class="p1">
<span class="s1">The DIA acknowledges Glenbow Museum in Calgary, Canada, for sharing their media strategy.</span></div>
<div class="p1">
<span class="s1"><span class="s1">Contact: Pamela Marcil 313-833-7899 </span><span class="s2">pmarcil@dia.org </span><span class="s1">Peter VanDyke 313-833-9151 </span><span class="s2">pvandyke@dia.org</span> </span></div>
</li>
</ul>
<div class="p1">
<span class="s1">14. Page 670 of the <i>Seventh Edition of Black’s Law Dictionary</i>, ISBN 0-314-22864-0</span></div>
Gary Arseneauhttp://www.blogger.com/profile/10379667479866306615noreply@blogger.com0tag:blogger.com,1999:blog-34909527.post-48089771346286510312014-04-23T01:13:00.000-04:002014-04-25T23:53:10.716-04:00Selling non-disclosed posthumous forgeries with dates that predate the death of the artists may be -Easy- but it's not -Art- dot com<div class="separator" style="clear: both; text-align: left;">
<span style="font-family: Times, Times New Roman, serif;"><b style="background-color: white; color: #333333; line-height: 20.80000114440918px; text-align: justify;">NOTE:</b><span style="background-color: white; color: #333333; line-height: 20.80000114440918px; text-align: justify;"> Footnotes are enclosed as:</span><span style="background-color: white; line-height: 20.80000114440918px; text-align: justify;"><span style="color: blue; font-size: x-small;"> [FN ] </span></span></span></div>
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<span style="font-family: Times, Times New Roman, serif;"><span style="background-color: white; line-height: 20.80000114440918px; text-align: justify;"><b>UPDATED: </b>April 23 & 25, 2014 </span></span></div>
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<span class="s1"><span style="font-family: Times, Times New Roman, serif;">Under U.S. Copyright Law "Section 107 contains a list of the various purposes for which the reproduction of a particular work may be considered fair, such as criticism, comment, news reporting, teaching, scholarship, and research. Section 107 also sets out four factors to be considered in determining whether or not a particular use is fair. [one of which is:] The purpose and character of the use, including whether such use is of commercial nature or is for nonprofit educational purposes."</span></span></div>
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<span class="s1"><span style="color: blue; font-family: Times, Times New Roman, serif;">http://www.copyright.gov/fls/fl102.html</span></span></div>
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<span class="s1"><span style="font-family: Times, Times New Roman, serif;">[mine]</span></span></div>
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<a href="http://3.bp.blogspot.com/-sjY8bL7AcD4/U1exbendhUI/AAAAAAAADEM/yD3pIapmzPA/s1600/4N11503_normal.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://3.bp.blogspot.com/-sjY8bL7AcD4/U1exbendhUI/AAAAAAAADEM/yD3pIapmzPA/s1600/4N11503_normal.jpg" height="301" width="400" /></a></div>
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<span class="s1"><span style="font-family: Times, Times New Roman, serif; font-size: x-small;">Henri Matisse (1869 - 1954), <i>King’s Sadness</i>, (Sad King), 1952, Gouache paper, cut, clowns on canvas, 292 x 386 cm. Registration: SDBDR. Henri Matisse / 1952, Performed in Nice, Purchased by the State, 1954, Award 1954, Stock Number: AM 3279 P</span></span></div>
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<span class="s1"><span style="color: blue; font-family: Times, Times New Roman, serif; font-size: x-small;">http://www.centrepompidou.fr/cpv/ressource.action?param.id=FR_R-606d6cc79b7efcfd68aebf5af361d5c0&param.idSource=FR_O-b13af42df01b9bd5126fb2b331a5bd</span></span></div>
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<span class="s1"><b>ORIGINAL GOUACHE PAPER, CUT, CLOWNS ON CANVAS</b></span></div>
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<span style="font-family: Times, Times New Roman, serif; margin-left: 1em; margin-right: 1em;"><a href="http://2.bp.blogspot.com/-DYlqVbRjcjQ/U1Zl0QJ57wI/AAAAAAAADDQ/6F8YU7gQlns/s1600/7051.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://2.bp.blogspot.com/-DYlqVbRjcjQ/U1Zl0QJ57wI/AAAAAAAADDQ/6F8YU7gQlns/s1600/7051.jpg" height="234" width="320" /></a></span></div>
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<span style="font-family: Times, Times New Roman, serif; font-size: x-small;"><span class="s1"><i>"Tristesse du Roi</i>, 1952, Silkscreen | by Henri Matisse | #7051, Paper size: 100 × 130 cm, Image size: 78 × 107 cm, On high quality, fine-grain art paper, </span>£129.95"</span></div>
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<span class="s1"><span style="color: blue; font-family: Times, Times New Roman, serif; font-size: x-small;">http://www.easyart.com/prints/henri-matisse/tristesse-du-roi-1952-7051#7051</span></span></div>
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<span class="s1"><span style="font-family: Times, Times New Roman, serif;"><b>NON-DISCLOSED POSTHUMOUS FORGERY</b></span></span><br />
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<span style="color: black; line-height: normal;"><span style="font-family: Times, Times New Roman, serif;"><b><span style="font-size: x-large;">H</span></b>enri Matisse died in 1954. </span></span><br />
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<span style="font-family: Times, Times New Roman, serif;"><span class="s1" style="color: black; line-height: 20.80000114440918px;">On page 137 of the <i>Seventh Edition of Black's Law Dictionary,</i> -bait and switch- is defined as: "Most states prohibit the bait and switch when the original product is not actually available as advertised.</span><span class="s1" style="color: #333333; line-height: 20.80000114440918px;">"</span><span class="s2" style="color: blue; font-size: x-small; line-height: 20.80000114440918px;">[FN 1]</span></span><br />
<span style="font-family: Times, Times New Roman, serif;"><span class="s2" style="color: blue; font-size: x-small; line-height: 20.80000114440918px;"><br /></span></span></div>
<div style="background-color: white; box-sizing: border-box; color: #1b1b1b; line-height: 20px; margin-bottom: 10px; text-align: justify;">
<span style="font-family: Times, Times New Roman, serif;"><span style="text-align: start;">The website Easyart.com</span> <u>baits</u> the public when it offers for sale at <span style="background-color: transparent;">£129.95 each </span>its' so-called "<i>Tristesse du Roi, 1952, </i>by Henri Matisse"<i> </i>and then <u>switches</u> the public when it discloses that it was actually posthumously done in 1991 some 37 years after Henri Matisse's death in 1954: </span></div>
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<ul>
<li style="text-align: justify;"><span style="font-family: Times, Times New Roman, serif;">"This high quality print was produced using the silkscreen method. Silkscreens are created one colour at a time making them ideal for artworks featuring bold areas of colour. This Open Edition print was published by King Posters in 1991. Silkscreen on 350gsm rag paper, printed by King Posters, Brighton. Limited stock - fewer than 100 copies remaining."<span style="background-color: white; color: blue; line-height: 20.80000114440918px; text-align: justify;"><span style="font-size: x-small;">[FN 2]</span></span></span></li>
</ul>
<div style="text-align: justify;">
<span style="font-family: Times, Times New Roman, serif;"><br /></span></div>
<div style="text-align: justify;">
<span style="font-family: Times, Times New Roman, serif;">The dead don't create artworks, much less in silkscreen.</span></div>
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<span style="font-family: Times, Times New Roman, serif;"><br /></span></div>
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<span style="font-family: Times, Times New Roman, serif;"><span style="background-color: white; color: #1b1b1b; line-height: 20px;">Yet, the webstie Easyart.com, run out of Brighton in the United Kingdom, would have the public believe and act on the belief that it is "t<span style="text-align: start;">he UK's favourite place to buy art."</span></span><span style="background-color: white; color: #1b1b1b; font-size: x-small; line-height: 20px;"><span style="color: blue; line-height: 20.80000114440918px;">[FN 3]</span><span style="text-align: start;"> </span></span></span></div>
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<span style="font-family: Times, Times New Roman, serif;"><br /></span></div>
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<div style="text-align: justify;">
<span class="s1" style="font-family: Times, Times New Roman, serif;">Silkscreens a.k.a. serigraphs are original works of visual art created by an artist and would -never- be trivialized as reproduction/poster.</span></div>
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<div style="text-align: justify;">
<span style="font-family: Times, Times New Roman, serif;"><span class="s1"></span><br /></span></div>
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<div style="text-align: justify;">
<span class="s1" style="font-family: Times, Times New Roman, serif;">This factual perspective is confirmed by U.S. Custom`s May 2006 An Informed Compliance Publication titled Works of Art, Collector`s Pieces Antiques, and Other Cultural Property, which -in part- 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."<span style="color: blue; font-size: x-small;">[FN 4]</span></span></div>
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<div style="text-align: justify;">
<span style="font-family: Times, Times New Roman, serif;"><span class="s1"></span><br /></span></div>
</div>
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<div style="text-align: justify;">
<span class="s1" style="font-family: Times, Times New Roman, serif;">In other words, silkscreens versus reproductions are not interchangeable, much less the same.</span></div>
</div>
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<div style="text-align: justify;">
<span style="font-family: Times, Times New Roman, serif;"><span class="s1"></span><br /></span></div>
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</span></div>
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<div style="text-align: justify;">
<span class="s1" style="font-family: Times, Times New Roman, serif;">This factual perspective is confirmed in the 1991 <i>The Fifth Edition of the Artist’s Handbook of Materials and Techniques</i> by Ralph Mayer, 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.”<span style="color: blue; font-size: x-small;">[FN 5]</span></span></div>
</div>
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<span class="s1" style="font-family: Times, Times New Roman, serif;"><br /></span></div>
<div class="p1" style="text-align: justify;">
<span class="s1" style="font-family: Times, Times New Roman, serif;">Remember, in 1991, Henri Matisse [d 1954] was some 37 years dead. The dead don't participate.</span><br />
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<br />
<span style="font-family: Times, 'Times New Roman', serif;">On page 661 of the </span><i style="font-family: Times, 'Times New Roman', serif;">Seventh Edition of Black's Law Dictionary</i><span style="font-family: Times, 'Times New Roman', serif;">, -forgery- is defined as: "The act of fraudulently making a false document or altering a real one to be used as if genuine."</span><span style="color: blue; font-family: Times, 'Times New Roman', serif; font-size: x-small;">[FN 6]</span><br />
<br /></div>
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<span style="font-family: Times, Times New Roman, serif; margin-left: 1em; margin-right: 1em;"><a href="http://2.bp.blogspot.com/-m6Nuiaf0XsU/U1cury3t84I/AAAAAAAADDw/IRbcjJTWllU/s1600/433954.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://2.bp.blogspot.com/-m6Nuiaf0XsU/U1cury3t84I/AAAAAAAADDw/IRbcjJTWllU/s1600/433954.jpg" height="320" width="216" /></a></span></div>
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<span class="s1"><span style="font-family: Times, Times New Roman, serif; font-size: x-small;">“<i>Galerie Dina Vierny</i>, 1982, Art Print | by Henri Matisse | #433954, £140, Paper size: 76 × 52 cm, Image size: 76 × 52 cm, On high quality, fine-grain art paper”</span></span></div>
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<span class="s1"><span style="color: blue; font-family: Times, Times New Roman, serif; font-size: x-small;">http://www.easyart.com/prints/henri-matisse/galerie-dina-vierny-1982-433954#433954</span></span></div>
<div class="p1">
<span class="s1"><b><span style="font-family: Times, Times New Roman, serif;">LITHOGRAPHIC PRINT A.K.A. LITHOGRAPHIC POSTER</span></b></span></div>
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<span class="s1"><span style="font-family: Times, Times New Roman, serif;"><br /></span></span></div>
<div style="background-color: white; box-sizing: border-box; line-height: 20px; margin-bottom: 10px;">
<span style="font-family: Times, Times New Roman, serif;">Once again, Henri Matisse died in 1954.</span><br />
<span style="font-family: Times, Times New Roman, serif;"><br /></span>
<span style="font-family: Times, Times New Roman, serif;">On page 1303 of the <i>Seventh Edition of Black’s Law Dictionary</i>, -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.”<span style="color: blue; font-size: x-small;">[FN 7]</span></span><br />
<div style="color: #1b1b1b;">
<span style="font-family: Times, Times New Roman, serif;"><br /></span></div>
<span style="font-family: Times, Times New Roman, serif;">The website Easyart.com makes the <u>representation</u> to the public when it offers for sale "<span style="line-height: normal;"><i>Galerie Dina Vierny</i></span><span style="line-height: normal;">, 1982, Art Print | by Henri Matisse</span>" as a "<span style="text-align: start;">high quality lithographic print [that] was produced on fine art paper providing beautiful colours and impressive detail"</span><span style="color: blue;"><span style="font-size: x-small;">[FN 8]</span></span><span style="text-align: start;"> </span>at <span style="background-color: transparent;">£140 each </span>when in fact Henri Matisse [d 1954] was 28 years dead in 1982. </span><br />
<div style="text-align: center;">
<span style="font-family: Times, Times New Roman, serif;">[mine]</span></div>
<span style="font-family: Times, Times New Roman, serif;"><br /></span>
<span style="font-family: Times, Times New Roman, serif;">Nothing can be posthumously [1982] "by" a dead Henri Matisse [d 1954].</span><br />
<span style="font-family: Times, Times New Roman, serif;"><br /></span>
<span style="font-family: Times, Times New Roman, serif;">On page 476 of the <i>Seventh Edition of Black’s Law Dictionary</i>, -disclosure- is defined as: “The act or process of making known something that was previously unknown.”<span style="font-size: x-small;"><span style="color: blue;">[FN 9]</span><span style="color: blue;"> </span></span></span><br />
<span style="font-family: Times, Times New Roman, serif;"><br /></span>
<span style="font-family: Times, Times New Roman, serif;">The website Easyart.com then makes the following <u>disclosure</u> for the same "<span style="line-height: normal;"><i>Galerie Dina Vierny</i></span><span style="line-height: normal;">, 1982, Art Print | by Henri Matisse</span>": "<span style="text-align: start;">This lithographic poster originates from the archives of the Parisian printing studio, Atelier Mourlot."</span><span style="color: blue;"><span style="font-size: x-small;">[FN 10]</span></span></span><br />
<span style="font-family: Times, Times New Roman, serif;"><br /></span>
<br />
<div style="text-align: justify;">
<span style="font-family: Times, Times New Roman, serif;">So, the website Easyart.com is using the vague ambiguous representation "high quality lithographic print" as an euphemism for their disclosure "Lithographic poster."</span></div>
</div>
<span style="font-family: Times, Times New Roman, serif;"><br /></span>
<br />
<div class="p1">
<span class="s1"><span style="font-family: Times, Times New Roman, serif;">In September 1998 Art World News trade magazine, the attorney Paul Winick (partner in the New York office of Thelen, Marrin, Johnson and Bridges), who specializes in intellectual property law, litigation and represents galleries, publishers and artists, wrote the article "Certificates of Authenticity: Dealer Liability."<span style="color: blue; font-size: x-small;">[FN 11]</span></span></span></div>
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<span style="font-family: Times, Times New Roman, serif;"><span class="s1"></span><br /></span></div>
<div class="p1">
<span class="s1"><span style="font-family: Times, Times New Roman, serif;">In his article he explains the application of the Uniform Commercial Code as it applies to the “sales of most forms of visual art.” The author wrote: “UCC express warranty arises from two sources: The description of the goods given by the seller, and the seller statements made to induce the sale.” Those statements are said to become part of the “basis of the bargain” made between buyer and seller and, therefore, a basis for legal action if the description or statements turn out later to have been false.”<span style="color: blue; font-size: x-small;">[FN 12]</span></span></span></div>
<div class="p2">
<span style="font-family: Times, Times New Roman, serif;"><span class="s1"></span><br /></span></div>
<div class="p1">
<span class="s1"><span style="font-family: Times, Times New Roman, serif;">The author also wrote: “Warranties need not depend on the sale document and can arise in statements made in advertisements or catalogues, so long as the buyer relied on those statements in formulating the bargain with the seller.”<span style="font-size: x-small;"><span style="color: blue;">[FN 13]</span> </span>and that “Warranties are applicable regardless of fault or intent. It is no defense that the seller did not mean to make a misstatement, or that he thought the misstatement to be true. If the goods (the artwork) do not conform to the promise made (the warranty), the seller is liable, whether or not he knew it to be true.”<span style="color: blue; font-size: x-small;">[FN 14]</span></span></span></div>
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<span style="font-family: Times, Times New Roman, serif;"><span class="s1"></span><br /></span></div>
<br />
<div class="p1">
<span class="s1"><span style="font-family: Times, Times New Roman, serif;">When it comes to “disclaimers,” Paul Winick wrote: “Disclaimers are not viewed favorably by courts and, unless there is some way to reconcile the disclaimer and the representation, the disclaimer is disregarded and the representation is given effect.”<span style="color: blue; font-size: x-small;">[FN 15]</span></span></span></div>
<span style="font-family: Times, Times New Roman, serif;"><br /></span></div>
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<span style="font-family: Times, Times New Roman, serif; margin-left: 1em; margin-right: 1em;"><a href="http://3.bp.blogspot.com/-l9W9abKRi1E/U1Zt4QefxUI/AAAAAAAADDg/JtiV2biNlfY/s1600/80886.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://3.bp.blogspot.com/-l9W9abKRi1E/U1Zt4QefxUI/AAAAAAAADDg/JtiV2biNlfY/s1600/80886.jpg" height="320" width="236" /></a></span></div>
<div class="p1" style="text-align: justify;">
<span class="s1" style="font-family: Times, Times New Roman, serif; font-size: x-small;">“<i>Femme nue assise et de dos</i>, 1899 (Silkscreen print), Silkscreen | by Auguste Rodin | #80886, £64.95, Paper size: 80 × 60 cm, Image size: 55 × 42 cm, On high quality, fine-grain art paper”</span></div>
<div class="p1" style="text-align: justify;">
<span class="s1" style="font-family: Times, Times New Roman, serif; font-size: x-small;">
</span></div>
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<span class="s1"><span style="color: blue; font-family: Times, Times New Roman, serif; font-size: x-small;">http://www.easyart.com/prints/auguste-rodin/femme-nue-assise-et-de-dos-1899-silkscreen-print-80886#80886</span></span></div>
<div class="p1">
<div style="text-align: justify;">
<span class="s1" style="font-family: Times, Times New Roman, serif;"><b>NON-DISCLOSED POSTHUMOUS FORGERY</b></span></div>
<div style="text-align: justify;">
<span class="s1" style="font-family: Times, Times New Roman, serif;"><br /></span></div>
</div>
<div class="p1">
<div style="text-align: justify;">
<span class="s1" style="font-family: Times, Times New Roman, serif;">Auguste Rodin died in 1917.</span></div>
<div style="text-align: justify;">
<span class="s1" style="font-family: Times, Times New Roman, serif;"><br /></span></div>
<div style="text-align: justify;">
<span class="s1" style="font-family: Times, Times New Roman, serif;">
</span></div>
<div class="p1">
<span class="s1"><span style="font-family: Times, Times New Roman, serif;">J. Paul Getty Museum, under their Getty Research, defines -counterfeit- as: "forgeries (derivative objects)" with a note stating: "Reproductions of whole objects when the intention is to deceive; includes sculptures cast without the artist's permission."<span style="color: blue; font-size: x-small;">[FN 16]</span></span></span></div>
</div>
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<div style="text-align: justify;">
<span class="s1" style="font-family: Times, Times New Roman, serif;"><br /></span></div>
</div>
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<div style="text-align: justify;">
<span style="font-family: Times, Times New Roman, serif;"><span class="s1">Yet, in another example of hubris by the website Easyart.com, they offer for sale at </span>£64.95 each a non-disclosed posthumous forgery as: </span></div>
</div>
<div class="p1" style="text-align: justify;">
</div>
<ul>
<li style="text-align: justify;"><span style="font-family: Times, Times New Roman, serif;">"<i>Femme nue assise et de dos</i>, 1899 (Silkscreen print) by Auguste Rodin This high quality print was produced using the silkscreen method. Silkscreens are created one colour at a time making them ideal for artworks featuring bold areas of colour. The silkscreen process is ideally suited to creating bold, bright images. A separate screen is used for each colour layer and many screens can be used to create a single image. All our silkscreens prints are hand-pulled by highly skilled printers. From the proofing of each colour to the choice of the paper, every decision is made with the artist's intentions in mind, resulting in an extremely high quality finish."<span style="color: blue; font-size: x-small;">[FN 17]</span></span></li>
</ul>
<div style="text-align: justify;">
<span style="font-family: Times, Times New Roman, serif;"><br /></span></div>
<div style="text-align: justify;">
<span style="font-family: Times, Times New Roman, serif;">The Musee Rodin acknowledges that Auguste Rodin's originals were in "<span style="color: #383728; line-height: 14.47987174987793px;">Graphite pencil, watercolour, gouache."</span><span style="line-height: 14.47987174987793px;"><span style="color: blue; font-size: x-small;">[FN 18] </span></span>"Graphite pencil, watercolour, gouache" reproduced result in reproductions.</span></div>
<div style="text-align: justify;">
<span style="font-family: Times, Times New Roman, serif;"><br /></span></div>
<div style="text-align: justify;">
<span style="font-family: Times, Times New Roman, serif;">Since the website Easyart.com acknowledges that they "started out 25 years ago in a basement in Brighton,"<span style="font-size: x-small;"><span style="color: blue;">[FN 19]</span> </span>around 1990, some 73 years after Auguste Rodin's death in 1917, who posthumously proofed each colour and made the posthumous determination of the "artist's intentions" for a dead Auguste Rodin [d 1917]?</span></div>
<div style="text-align: justify;">
<span style="font-family: Times, Times New Roman, serif;"><br /></span></div>
<div style="text-align: justify;">
<span style="font-family: Times, Times New Roman, serif;">The dead don't proof, much less have intentions.</span><br />
<span style="font-family: Times, Times New Roman, serif;"><br /></span>
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<a href="http://3.bp.blogspot.com/-48QeFb4oCok/U1rwtOObxtI/AAAAAAAADEY/1Be-aFrNAYs/s1600/433958.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://3.bp.blogspot.com/-48QeFb4oCok/U1rwtOObxtI/AAAAAAAADEY/1Be-aFrNAYs/s1600/433958.jpg" height="400" width="263" /></a></div>
<div class="p1">
<span class="s1"><span style="font-size: x-small;"><i>L'Art Independant au Petit Palais</i>, 1937, Art Print | by Henri Matisse | #433958, £3500, Print details, Paper size: 75 × 50 cm, Image size: 75 × 50 cm, On high quality, fine-grain art paper</span></span></div>
<div class="p1">
<span class="s1"><span style="color: blue; font-size: x-small;">http://www.easyart.com/prints/henri-matisse/l-art-independant-au-petit-palais-1937-433958#433958</span></span></div>
<div class="p1">
<b>ART PRINT, LITHOGRAPHIC PRINT OR POSTER</b></div>
</div>
<div style="text-align: justify;">
<br />
<div class="p1">
<span class="s1">The website Easyart.com represents the above image titled: <i>L'Art Independant au Petit Palais</i></span> 1937 as an "art print by Henri Matisse [<span class="s1">for the sale's price of] </span>£3500""<span style="color: blue; font-size: x-small;">[FN 20]</span> and that this "high quality lithographic print was produced on fine art paper providing beautiful colours and impressive detail."<span style="color: blue; font-size: x-small;">[FN 21]</span> </div>
<div class="p2">
<span class="s1"></span></div>
<div class="p2">
<div style="text-align: center;">
<span class="s1"></span>[mine]</div>
<div style="text-align: center;">
<br /></div>
</div>
<div class="p1">
<span class="s1">Then the website Easyart discloses, in contradiction to the representation "art print" and/or "lithographic print" that it is actually a "lithographic poster [that] originates from the archives of the Parisian printing studio, Atelier Mourlot."</span><span style="color: blue; font-size: x-small;">[FN 22]</span></div>
<div class="p1" style="text-align: center;">
<span class="s1">[mine]</span></div>
<div class="p1">
<span class="s1"><br /></span></div>
<div class="p1">
<span class="s1">In other words, nothing more than a reproduction.</span></div>
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<span class="s1"><br /></span></div>
<div class="p1">
<span class="s1">Yet, the website Easyart.com convolutes the disclosure of reproduction/poster with a red herring when mention the Atelier Mourlot "grew to fame in the early twentieth century for reviving traditional limestone lithography by collaborating with contemporary artists of the time, including Braque, Picasso and Matisse."</span><span style="color: blue; font-size: x-small;">[FN 23]</span></div>
<div class="p1">
<span class="s1"><br /></span></div>
<div class="p1">
<span class="s1">One has nothing to do with the other.</span></div>
<div class="p1">
<br /></div>
<div class="p1">
<span class="s1">Then in attempt to justify the </span><span class="s1">"</span>£3500" price for a so-called "art print," "lithographic print," and/or "poster," the website Easyart.com hypes this reproduction/poster by stating: "This old and extremely rare poster was the first lithographic poster created for Matisse by Fernand Mourlot at the Atelier Mourlot. It features Matisse's 1935 painting titled <i>'Le Rêve' </i>and was created for an exhibition of Masters of Independent Art at the Petit Palais in Paris in 1937. Only 3 available."<span style="color: blue; font-size: x-small;">[FN 24]</span></div>
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<br /></div>
<div class="p1">
<span class="s1">Under U.S. Copyright Law, § 101. Definitions, a -derivative work- is defined as: "a work based upon one or more preexisting works, such as - art reproduction."<span style="color: blue; font-size: x-small;">[FN 25]</span> </span></div>
<div class="p2">
<span class="s1"></span><br /></div>
<div class="p1">
<span class="s1">Therefore, anything reproduced from Henri Matisse's 1935 painting titled <i>Le Reve</i> would be, at best, a "derivative work" ie., reproduction.</span></div>
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<span style="font-family: Times, Times New Roman, serif;"><span class="s1"></span><br /></span></div>
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<span class="s1"><span style="font-family: Times, Times New Roman, serif;">ATTRIBUTION SHALL NOT APPLY TO ANY REPRODUCTION </span></span></div>
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</div>
<div class="p1">
<span class="s1"><span style="font-family: Times, Times New Roman, serif;">Under U.S. Copyright law § 106A. the "Rights of certain authors to attribution and integrity - shall not apply to any reproduction."<span style="color: blue; font-size: x-small;">[FN 26] </span></span></span></div>
<span style="font-family: Times, Times New Roman, serif;"><br /></span>
<span style="font-family: Times, Times New Roman, serif;">So, when you combine the website Easyart.com's convoluted promotion of reproductions and forgeries as "art print" and "lithographic print" with the lack of connoisseurship by the news media you end up with published misrepresentations, with or without intent, of reproductions and/or forgeries as original works of visual art ie., lithographs:</span><br />
<br />
<ul>
<li style="text-align: justify;"><span style="font-family: Times, Times New Roman, serif;"><span style="line-height: 18px; text-align: start;">"Eleven original prints, such as </span><i style="line-height: 18px; text-align: start;">L’Art Indépendant au Petit Palais</i><span style="line-height: 18px; text-align: start;"> -- the first lithograph Matisse created with Fernand Mourlot in 1937 – are available through </span><a href="http://www.easyart.com/" style="border-bottom-color: rgb(45, 69, 99); border-bottom-style: dotted; border-bottom-width: 1px; color: #2d4563; line-height: 18px; text-align: start; text-decoration: none;"><b>Easyart.com</b></a><span style="line-height: 18px; text-align: start;">."<span style="color: blue; line-height: normal; text-align: justify;"><span style="font-size: x-small;">[FN 27]</span> </span> [The Times' published April 22, 2014 "Rare Matisse lithographs go on sale" article]</span></span></li>
<li style="text-align: justify;"><span style="font-family: Times, Times New Roman, serif;"><span style="line-height: 18px;">"</span>A Matisse for £85? Rare selection of lithograph prints from the great artist go up for sale... including one for less than the cost of a posh meal out - Online poster retailer is selling 11 of the artist's original lithographs - One of the posters is being sold for just £85 by site Easyart.com"<span style="color: blue; font-size: x-small; text-align: justify;">[FN 28]</span><span style="color: blue; font-size: x-small; text-align: justify;"> </span><span style="text-align: justify;">[Daily Mail's published April 25, 2014 titled article]</span></span></li>
<li style="text-align: start;"><span style="font-family: Times, Times New Roman, serif;"><span style="text-align: justify;">“Eleven rare original lithographs by Matisse have gone on sale to coincide with an exhibition of his cut-outs at Tate Modern. Art website Easyart.com is selling the prints as part of its rare and limited editions collection.”<span style="color: blue; font-size: x-small;">[FN 29] </span> [Evening Standard’s published</span><span style="text-align: justify;"> </span><span style="text-align: justify;">April 26, 2014 “Pick up a Matisse for just £85 as rare lithographs go on sale at Tate Modern” article by Simon Freedman]</span></span></li>
</ul>
<br />
<div class="p2">
<span class="s1"><span style="font-family: Times, Times New Roman, serif;">LAW, ETHICS AND THE VISUAL ARTS</span></span></div>
<div class="p2">
<span class="s1"><span style="font-family: Times, Times New Roman, serif;">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.”<span style="color: blue; font-size: x-small;">[FN 30] </span>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.”<span style="color: blue; font-size: x-small;">[FN 31]</span></span></span></div>
<div class="p1">
<span style="font-family: Times, Times New Roman, serif;"><span class="s1"></span><br /></span></div>
<div class="p2">
<span class="s1"><span style="font-family: Times, Times New Roman, serif;">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.”<span style="color: blue; font-size: x-small;">[FN 32]</span></span></span></div>
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<span style="font-family: Times, Times New Roman, serif;"><span class="s1"></span><br /></span></div>
<br />
<div class="p2">
<span class="s1"><span style="font-family: Times, Times New Roman, serif;">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...”<span style="color: blue; font-size: x-small;">[FN 33]</span></span></span></div>
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<span class="s1"><span style="color: blue; font-family: Times, Times New Roman, serif; font-size: x-small;"><br /></span></span></div>
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<span style="font-family: Times, Times New Roman, serif;">
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<div class="p1">
<span class="s1"><span style="font-family: Times, Times New Roman, serif;">CONCLUSION </span></span></div>
<div class="p1">
<span class="s1"><span style="font-family: Times, Times New Roman, serif;">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 website Easyart.com will give full and honest disclosure for all reproductions as: -reproductions- it would allow patrons to give informed consent on whether to express interest in those reproductions, much less whether to purchase one.</span></span></div>
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<span style="font-family: Times, Times New Roman, serif;"><span class="s1"></span><br /></span></div>
<div class="p1">
<span class="s1"><span style="font-family: Times, Times New Roman, serif;">But if these images are not reproductions by definition and law, but -forgeries- with or without counterfeit signatures or inscriptions applied, much less posthumous, to create the illusion the artist created it, much less approved and signed it, then serious consequences of law may come into play for those who chose to misrepresent these -forgeries- for profit.</span></span></div>
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<span style="font-family: Times, Times New Roman, serif;"><span class="s1"></span><br /></span></div>
<div class="p1">
<span class="s1"><span style="font-family: Times, Times New Roman, serif;">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. </span></span></div>
<span class="s1" style="font-family: Times, Times New Roman, serif;"><br /></span>
<span class="s1" style="font-family: Times, Times New Roman, serif;"><br /></span>
<span class="s1" style="font-family: Times, Times New Roman, serif;"><br /></span></div>
<div class="p1" style="text-align: justify;">
<span class="s1"><span style="font-family: Times, Times New Roman, serif;"><span class="s8" style="background-color: white; color: #333333; line-height: 20.80000114440918px; text-align: left;"><b>FOOTNOTES:</b></span></span></span><br />
<span style="font-family: Times, Times New Roman, serif; font-size: x-small;"><span class="s1"><span class="s1" style="background-color: white; color: #333333; line-height: 20.80000114440918px; text-align: left;">1. </span></span><span style="background-color: white; color: #333333; line-height: 20.80000114440918px; text-align: left;">Copyright © 1999, By West Group, ISBN 0-314-22864-0</span></span><br />
<span style="font-family: Times, Times New Roman, serif; font-size: x-small;"><span class="s1"><span class="s1" style="background-color: white; color: #333333; line-height: 20.80000114440918px; text-align: left;">2. </span></span><span style="color: #333333; line-height: 20.80000114440918px;">http://www.easyart.com/about</span></span><br />
<span style="font-family: Times, Times New Roman, serif; font-size: x-small;"><span class="s1"><span class="s1" style="background-color: white; color: #333333; line-height: 20.80000114440918px; text-align: left;">3. </span></span><span style="color: blue;">http://www.easyart.com/prints/henri-matisse/tristesse-du-roi-1952-7051#7051</span></span></div>
<div class="p1">
<span class="s1" style="font-family: Times, Times New Roman, serif; font-size: x-small;">4. http://www.cbp.gov/xp/cgov/trade/legal/informed_compliance_pubs/</span></div>
<div class="p1" style="text-align: justify;">
<span class="s1" style="font-family: Times, Times New Roman, serif; font-size: x-small;">
</span></div>
<div class="p1">
<span class="s1" style="font-family: Times, Times New Roman, serif; font-size: x-small;">5. Copyright © 1991 Bena Mayer, Executrix of the Estate of Ralph Mayer ISBN 0-670-83701-6</span></div>
<div class="p1">
<span style="font-family: Times, Times New Roman, serif; font-size: x-small;"><span class="s1">6. </span><span style="background-color: white; color: #333333; line-height: 20.80000114440918px;">1. Copyright © 1999, By West Group, ISBN 0-314-22864-0</span></span><br />
<span style="background-color: white; color: #333333; line-height: 20.80000114440918px;"><span style="font-family: Times, Times New Roman, serif; font-size: x-small;">7. Copyright © 1999, By West Group, ISBN 0-314-22864-0 </span></span></div>
<div class="p1">
<span class="s1" style="font-family: Times, Times New Roman, serif; font-size: x-small;"><span style="background-color: white; color: #333333; line-height: 20.80000114440918px;">8. </span><span style="color: blue; text-align: justify;">http://www.easyart.com/prints/henri-matisse/galerie-dina-vierny-1982-433954#433954</span></span><br />
<span class="s1" style="font-family: Times, Times New Roman, serif; font-size: x-small;"><span style="background-color: white; color: #333333; line-height: 20.80000114440918px;">9. Copyright © 1999, By West Group, ISBN 0-314-22864-0 </span><br style="background-color: white; color: #333333; line-height: 20.80000114440918px;" /><span style="background-color: white; color: #333333; line-height: 20.80000114440918px;">10. </span><span style="color: blue; text-align: justify;">http://www.easyart.com/prints/henri-matisse/galerie-dina-vierny-1982-433954#433954</span></span><br />
<div class="p1">
<span class="s1"><span style="font-family: Times, Times New Roman, serif; font-size: x-small;">11. http://www.artworldnews.com/</span></span></div>
<div class="p1">
<span class="s1"><span style="font-family: Times, Times New Roman, serif; font-size: x-small;">12. Ibid</span></span></div>
<div class="p1">
<span class="s1"><span style="font-family: Times, Times New Roman, serif; font-size: x-small;">13. Ibid</span></span></div>
<div class="p1">
<span class="s1"><span style="font-family: Times, Times New Roman, serif; font-size: x-small;">14. Ibid</span></span><br />
<span style="font-family: Times, 'Times New Roman', serif; font-size: x-small;">15. Ibid</span><br />
<span class="s1" style="font-family: Times, 'Times New Roman', serif; font-size: x-small;">16. </span><span style="background-color: white; color: #333333; font-family: Times, 'Times New Roman', serif; font-size: x-small; line-height: 20.80000114440918px;">http://www.getty.edu/vow/AATFullDisplay?find=counterfeit&logic=AND&;note=&english=N&prev_page=1&subjectid=300121305</span><br />
<span class="s1" style="font-family: Times, 'Times New Roman', serif; font-size: x-small;">17. </span><span style="color: blue; font-family: Times, 'Times New Roman', serif; font-size: x-small; text-align: justify;">http://www.easyart.com/prints/auguste-rodin/femme-nue-assise-et-de-dos-1899-silkscreen-print-80886#80886</span><br />
<span style="font-family: Times, 'Times New Roman', serif; font-size: x-small; text-align: justify;">18. </span><span style="font-family: Times, 'Times New Roman', serif; font-size: x-small;">http://www.musee-rodin.fr/en/collections/drawings/cloud</span><br />
<span style="font-family: Times, 'Times New Roman', serif; font-size: x-small;">19. http://www.easyart.com/about</span><br />
<span style="font-family: Times, Times New Roman, serif; font-size: x-small;">20. </span><span style="color: blue; font-size: x-small; text-align: justify;">http://www.easyart.com/prints/henri-matisse/l-art-independant-au-petit-palais-1937-433958#433958</span><br />
<span style="font-size: x-small; text-align: justify;">21. Ibid</span><br />
<span style="font-size: x-small; text-align: justify;">22</span><span style="color: blue; font-size: x-small; text-align: justify;"> http://www.easyart.com/prints/henri-matisse/l-art-independant-au-petit-palais-1937-433958#433958</span><br />
<span style="font-family: Times, Times New Roman, serif; font-size: x-small;">23. Ibid</span><br />
<span style="font-family: Times, Times New Roman, serif; font-size: x-small;">24. Ibid</span><br />
<span style="font-family: Times, 'Times New Roman', serif; font-size: x-small;">25. www.copyright.gov/title17/92chap1.html#101 - § 106A. Rights of certain authors to attribution and integrity37 (a) Rights of Attribution and Integrity. — Subject to section 107 and independent of the exclusive rights provided in section 106, the author of a work of visual art — (1) shall have the right — (A) to claim authorship of that work, and (3) The rights </span><span style="font-size: x-small;"><span style="font-family: Times, 'Times New Roman', serif;">described in paragraphs (1) and (2) of subsection (a) shall not apply to any reproduction,</span><span style="font-family: Times, 'Times New Roman', serif;"> </span></span><br />
<div class="p1">
<span class="s1"><span style="font-family: Times, Times New Roman, serif; font-size: x-small;">26. www.copyright.gov/title17/92chap1.html#101 - § 101. Definitions2 A “derivative work” is a work based upon one or more preexisting works, such as a translation, musical arrangement, dramatization, fictionalization, motion picture version, sound recording, art reproduction </span></span></div>
<div class="p1">
<span style="font-size: x-small;"><span class="s1">27. </span>http://www.thetimes.co.uk/tto/business/industries/media/article4069644.ece?CMP=OTH-gnws-standard-2014_04_22</span></div>
<div class="p1">
<span class="s1"><span style="font-size: x-small;">28. http://www.dailymail.co.uk/news/article-2609965/A-Matisse-85-Rare-selection-lithograph-prints-great-artist-sale-including-one-cost-posh-meal-out.html#ixzz2zxYJjRk3 </span></span></div>
<div class="p1">
<span class="s1"><span style="font-size: x-small;">29. http://www.standard.co.uk/news/london/pick-up-a-matisse-for-just-85-as-rare-lithographs-go-on-sale-at-tate-modern-9274906.html</span></span></div>
<div class="p1">
<span class="s1"><span style="font-size: x-small;">30. © Kluwer Law International 1998, ISBN 90-411-0697-9</span></span></div>
<div class="p1">
<span class="s1"><span style="font-size: x-small;">
</span></span></div>
<div class="p1">
<span class="s1"><span style="font-size: x-small;">31. Ibid</span></span></div>
<div class="p1">
<span class="s1"><span style="font-size: x-small;">32. Ibid</span></span></div>
<div class="p1">
<span class="s1"><span style="font-size: x-small;">33. Ibid</span></span></div>
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Gary Arseneauhttp://www.blogger.com/profile/10379667479866306615noreply@blogger.comtag:blogger.com,1999:blog-34909527.post-61872910246855977682014-04-14T13:37:00.001-04:002014-05-09T22:57:48.488-04:00Prints of Thieves, HRH Prince Charles' Non-disclosed Reproductions are -not- Lithographs, even when one is sold for $11,000<div class="p1" style="text-align: justify;">
<span class="s1"><b>NOTE:</b> Footnotes are enclosed as:<span style="color: blue; font-size: x-small;"> [FN ]</span></span></div>
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<div class="p1" style="text-align: justify;">
<span class="s1"><b>UPDATED:</b> May 9, 2014 with the recently disclosed $11,000 auction price for this non-disclosed reproduction/poster, falsely attributed to Prince Charles as an original work of visual art ie., lithograph, with additional background information on the how Prince Charles got involved in this fraud in 1990, some 24 years ago.</span><br />
<span class="s1"><br /></span>
<span class="s1">Under U.S. Copyright Law "Section 107 contains a list of the various purposes for which the reproduction of a particular work may be considered fair, such as criticism, comment, news reporting, teaching, scholarship, and research. Section 107 also sets out four factors to be considered in determining whether or not a particular use is fair. [one of which is:] The purpose and character of the use, including whether such use is of commercial nature or is for nonprofit educational purposes."</span></div>
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<div style="text-align: center;">
<span class="s1" style="color: blue; font-size: x-small;">http://www.copyright.gov/fls/fl102.html</span></div>
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<div style="text-align: center;">
<span class="s1" style="font-size: x-small;">[mine]</span><br />
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<a href="http://1.bp.blogspot.com/--zw_urzaaTY/U0vaqHnFhwI/AAAAAAAADCw/W6ri9ROqHJI/s1600/HRH-print-in-frame-300x262.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://1.bp.blogspot.com/--zw_urzaaTY/U0vaqHnFhwI/AAAAAAAADCw/W6ri9ROqHJI/s1600/HRH-print-in-frame-300x262.jpg" /></a></div>
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<span class="s1" style="font-size: x-small;"><b>A Royal Masterpiece Auction Event</b></span></div>
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<span class="s1" style="font-size: x-small;">April 16, 2014 6:00 pm, The Savannah Philharmonic, requests the pleasure of your company, at the extraordinary live, auction event of HRH Charles Prince of Wales’s limited edition signed lithograph (12/20) of His beloved Highgrove House proceeds to benefit your Savannah Philharmonic and The Prince of Wales Foundation on Wednesday, the sixteenth of April 6:00pm – 8:00pm Live Auction 7 o’clock in the evening Whitman House, 611 Whitaker Street, $30 per person $5 bidding pre-registration fee Wine and Hors d’oeuvres served To purchase tickets and register to bid, please call 912.232.6002 Tickets, registration, and online bidding also available atsavannahphilharmonic.org/royalauctiononline Online bidding will open Monday, March 10, 2014. ATTIRE: Business</span></div>
<div class="p1" style="text-align: justify;">
<div style="text-align: center;">
<span class="s1" style="color: blue; font-size: x-small;">http://www.savannahphilharmonic.org/event/a-royal-masterpiece-auction-event/</span></div>
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<div style="text-align: center;">
<span class="s1"><b>NON-DISCLOSED REPRODUCTION/POSTER</b></span></div>
</div>
<div class="p2" style="text-align: justify;">
<span class="s1"></span><br /></div>
<div class="p1" style="text-align: justify;">
<span class="s1"><span style="font-size: large;"><b>T</b></span>he so-called "HRH Charles Prince of Wales’s limited edition signed lithograph (12/20) of His beloved Highgrove House" is actually a non-disclosed reproduction/poster reproduced from one of his watercolours. </span></div>
<div class="p2" style="text-align: justify;">
<span class="s1"></span><br /></div>
<div class="p1" style="text-align: justify;">
<span class="s1">The Savannah Philharmonic Orchestra. HRH Prince Charles, and his Prince of Wales' Charitable Foundation auctioned this non-disclosed reproduction/poster as an original work of visual art ie., "lithograph" to an unsuspecting victim for -$11,000-</span><span style="color: blue; font-size: x-small;">[FN 1]</span> on April 16, 2014 in the A Royal Masterpiece Auction Event at the Whitman House on 611 Whitaker Street in Savannah, Georgia.<br />
<br />
Without full and honest disclosure for this reproduction/poster reproduced from Prince Charles' watercolour, how could anyone give informed consent on whether to express interest, much less purchase it for $11,000?</div>
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<span class="s1"></span><br /></div>
<div class="p1" style="text-align: justify;">
<span class="s1">On page 1488 of the <i>Seventh Edition of Black's Law Dictionary</i>, -thieve- is defined as: "To steal; to commit theft or larceny."<span style="color: blue; font-size: x-small;">[FN 2]</span> Additionally, on page 885, -larceny- is defined, in part, as: "Common-law larceny has been broadened by some statutes to include embezzlement and false pretenses, all three of which are often, subsumed under the statutory crime of 'theft.'"<span style="color: blue; font-size: x-small;">[FN 3]</span></span></div>
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<span class="s1">The misrepresentation and sale, by the Savannah Philharmonic Orchestra, HRH Prince Charles and his Prince of Wales' Charitable Foundation, of reproduction/posters as original works of visual art ie., lithographs is documented in this monograph using independent references, statutory law and their own published words.</span></div>
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<span class="s1"></span><br /></div>
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<span class="s1">Hence, the Prints of Thieves.</span></div>
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<a href="http://4.bp.blogspot.com/-38eeMJeNpPE/U0va4WIwpfI/AAAAAAAADC4/Sjsz1Bp166c/s1600/PrinceCharlesLithoInfo.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://4.bp.blogspot.com/-38eeMJeNpPE/U0va4WIwpfI/AAAAAAAADC4/Sjsz1Bp166c/s1600/PrinceCharlesLithoInfo.jpg" height="400" width="325" /></a></div>
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<span class="s1"><b>"Lithograph Information"</b></span></div>
</div>
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<span class="s1" style="font-size: x-small;">The Prince of Wales' Charitable Foundation, A company registered in England (No. 6777589), Registered Charity No. 1127255, Office Clarence House, St. James', London SW1A 1BA</span></div>
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<span class="s1"></span><br />
<br />
The Prince of Wales' Charitable Foundation would have the public believe and act on the belief that Prince Charles' so-called "lithographs" are "reproduced from an original watercolour."<br />
<br /></div>
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<span class="s1">Lithographs are original works of visual art created by an artist and would -never- be trivialized as reproduction/poster of a watercolour even if reproduced from Prince Charles' "watercolours."</span></div>
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<span class="s1"></span><br /></div>
<div class="p1" style="text-align: justify;">
<span class="s1">This factual perspective is confirmed by U.S. Custom`s May 2006 An Informed Compliance Publication titled Works of Art, Collector`s Pieces Antiques, and Other Cultural Property, which -in part- 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."<span style="color: blue; font-size: x-small;">[FN 4]</span></span></div>
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<span class="s1"></span><br /></div>
<div class="p1" style="text-align: justify;">
<span class="s1">In other words, lithographs versus reproductions are not interchangeable, much less the same.</span></div>
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<span class="s1"></span><br /></div>
<div class="p1" style="text-align: justify;">
<span class="s1">This factual perspective is confirmed in the 1991 <i>The Fifth Edition of the Artist’s Handbook of Materials and Techniques</i> by Ralph Mayer, 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.”<span style="color: blue; font-size: x-small;">[FN 5]</span></span></div>
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<span class="s1"><b>"Cover Letter to Savannah Philharmonic Orchestra"</b></span></div>
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<span class="s1" style="font-size: x-small;">The Prince of Wales' Charitable Foundation, A company registered in England (No. 6777589), Registered Charity No. 1127255, Office Clarence House, St. James', London SW1A 1BA</span></div>
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<span class="s1">Additionally, The Prince of Wales' Charitable Foundation is fostering the illusion to the public that reproductions have "Artist Proofs" and that they have some additional value as such when they demand three conditions for its' auction: 1) "the Artist's Proof should be sold for no less than 4,000 [pounds]," 2) "the Artist Proof must not remain unsold," and 3) "an image of the Artist's Proof must not be featured on the internet."</span><br />
<span class="s1"><br /></span><span class="s1">On page 22 of Ralph Mayer’s 1991 <i>The Harper Collins Art Terms and Techniques Dictionary</i>, -artist proof- is defined as: “one of the PROOFS in a LIMITED EDITIONS of ORIGINAL PRINTS. An artist’s proof must bear the artist’s signature or mark and, since the early 20th century, is usually numbered.”<span style="color: blue; font-size: x-small;">[FN 6]</span></span></div>
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<span class="s1">So, it would seem HRH Prince Charles and his Prince of Wales Charitable Foundation are using "artist proof" as an euphemism to not only further mask the reproductions they are misrepresenting for sale as original works of visual art ie., lithographs but to garner a much more substantial price.</span></div>
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<span class="s1">This deception is further perpetuated on HRH Prince Charles' official government website where it misrepresents, for sale, reproductions from "mechanically reproduced works photographed or redrawn on plates" as lithographs: </span></div>
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<ul>
<li>"The Prince's interest began during the 1970s and 1980s when he was inspired by Robert Waddell, who had been his art master at Gordonstoun in Scotland. In time, The Prince met leading artists such as Edward Seago, with whom he discussed watercolour technique, and received further tuition from John Ward, Bryan Organ and Derek Hill. The copyright of The Prince’s watercolours belongs to A. G. Carrick Ltd, a trading arm of The Prince’s Charities Foundation. The name uses two of The Prince's four Christian names - Arthur and George - and one of his titles, The Earl of Carrick. Over the years The Prince has agreed to exhibitions of his watercolours and of lithographs made from them, on the understanding that any income they generate goes to The Prince of Wales's Charitable Foundation. Money from the sale of the lithographs also goes to the Foundation but the paintings themselves are never for sale."<span style="color: blue; font-size: x-small;">[FN 7]</span></li>
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<span class="s1">Then to go from the ridiculous to the sublime, HRH Prince Charles uses the proceeds from the sale of these non-disclosed reproductions to fund a school to attract students to learn many things, one of which is -printmaking-:</span></div>
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<li>"The Prince of Wales and The Duchess of Cornwall met artists at a reception for The Prince's Drawing School. The Prince's Drawing School is an educational charity set up by His Royal Highness in 2000 to be a centre of excellence for observational drawing. - Since The Prince began selling lithographs of his watercolours to raise money for charity, an estimated £4 million has been raised for The Prince of Wales's Charitable Foundation. The Prince's Drawing School provides life-drawing classes and workshops as well as courses in painting, sculpture, printmaking and calligraphy. Each week, The Prince‘s Drawing School attracts more than 400 students including local school children, architects, designers and art students."<span style="color: blue; font-size: x-small;">[FN 8]</span></li>
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<span class="s1">The Savannah Philharmonic Orchestra mailing address is 30 West Broughton Street, Suite 205 in Savannah, Georgia.</span></div>
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<span class="s1">So, if the Savannah Philharmonic Orchestra sells, on April 16, 2014 in their <b>A Royal Masterpiece Auction Event</b> at the Whitman House on 611 Whitaker Street in Savannah, Georgia, this non-disclosed reproduction, of HRH Prince Charles' watercolour, as an original work of visual art ie., lithograph and fails to disclose it as the reproduction/poster, what if any penalty would there be in the State of Georgia?</span></div>
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<span class="s1">Georgia Annotated Code 10-1-430 to 10-1-437 requires disclosure of reproductions as “reproductions” if sold for $100 or more. Specifically, Georgia Annotated Code 10-1-437 states: "Georgia law provides for disclosure in writing of information concerning certain fine prints and photographs prior to effecting a sale of them. This law requires disclosure of such matters as the identity of the artist, the artist's signature, the medium, whether the multiple is a reproduction..”<span style="color: blue; font-size: x-small;">[FN 9]</span> The statutory penalties for failing to disclose a reproduction as a “reproduction” may include but not limited to: refund, interest, treble damages and potential fines per occurrence.</span></div>
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<span class="s1">On page 137 of the <i>Seventh Edition of Black's Law Dictionary</i>, -bait and switch- is defined as: "Most states prohibit the bait and switch when the original product is not actually available as advertised."<span style="color: blue; font-size: x-small;">[FN 10]</span></span></div>
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<span class="s1">So, when the </span>Savannah Philharmonic Orchestra. HRH Prince Charles, and his Prince of Wales' Charitable Foundation misrepresents a reproduction/poster as an original work of visual art ie., lithograph, how does that potentially affect other artists, much less the consumer?</div>
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<span class="s1">The United States Federal Trade Commission's" Policy Statement of Unfairness" states: “A seller’s failure to present complex and technical data on his product may lessen a consumer’s ability to choose, for example, but may also reduce the initial price he must pay for the article.---Finally, the injury must be one which consumers could not reasonably have avoided.”<span style="color: blue; font-size: x-small;">[FN 11]</span></span></div>
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<span class="s1">Rhetorically, would </span>Savannah Philharmonic Orchestra. HRH Prince Charles, and his Prince of Wales' Charitable Foundation's misrepresentation, with or without intent, of a reproduction/poster as an original work of visual art ie., lithograph and offered for sale in an auction benefit be an attempt "to forge, copy, or imitate (something) without a right to do so and with the purpose of deceiving or defrauding"<span style="color: blue; font-size: x-small;">[FN 12]</span> which is legal definition of -counterfeit-?</div>
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<span class="s1">The United States Postal Inspection Service, under Section 1341, Fraud and Swindles, states: “Whoever, having devised or intending to devise any scheme or artifice to defraud, or for obtaining money or property by means of false or fraudulent pretenses, representation or promises, or to sell, dispose of, loan, exchange, alter, give away, distribute, supply, or furnish or procure for unlawful use any counterfeit or spurious coin, obligation, security, or other article, or anything represented to be or intimated or held out to be such counterfeit or spurious article, for the purpose of executing such scheme or artifice or attempting so to do, places in any post office or authorized depository for mail matter, any matter or thing whatever to be sent or delivered by the Postal Service, or deposits or causes to be deposited any matter or thing whatever to sent or delivered by any private or commercial interstate carrier, or takes or receives therefrom, any such matter or thing, or knowingly causes to be delivered by mail or such carrier according to the direction thereon, or at the place at which it is directed to be delivered by the person to whom it is addressed, any such matter or thing, shall be fined under this title or imprisoned not more than five years, or both. If the violation affects a financial institution, such person shall be fined not more than $1,000,000 or imprisoned not more than 30 years, or both.”<span style="color: blue; font-size: x-small;">[FN 13]</span></span></div>
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<span class="s1">In the March 17, 2004 News-10-Now’s “US Attorney’s Office investigates art fraud” story by Carmen Grant, State of New York Assistant U.S. Attorney Lisa Fletcher is quoted as stating: “What we found is that Anthony Marone and William Yager conspired with one another, since at least as far back as 1999, to post on ebay for auction works of art that they represented to be original by original famous artists, and what they actually sold was counterfeit works of art. By doing that they committed several federal offenses including conspiracy to commit wire fraud and mail fraud.”<span style="color: blue; font-size: x-small;">[FN 14]</span></span></div>
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<span style="font-family: Times, Times New Roman, serif;">Finally, this Vintage Magazine published August 16, 2012 "</span><span style="font-family: Times, 'Times New Roman', serif; line-height: 1.2em; text-align: start;">History of HRH The Prince of Wales’ Signed Lithographs" article chronicles the ignorance -at best- of </span><span style="font-family: Times, 'Times New Roman', serif; line-height: 19.19999885559082px; text-align: start;">the heir to the British Monarchy: </span><span style="font-family: Times, 'Times New Roman', serif; line-height: 1.2em; text-align: start;">Prince Charles, and the hubris of Belgravia Gallery's owner Anna Hunter</span><span style="font-family: Times, 'Times New Roman', serif; line-height: 1.2em; text-align: start;">:</span><br />
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<span style="font-family: Times, Times New Roman, serif;">"Almost twenty years ago, I posted a letter which marked a change of course in my career. The handwritten letter, in my trademark brown ink, was to The Prince of Wales, asking him if he would consider making signed lithographs from his beautiful watercolours which could be sold in aid of his charities. I had seen them in a Sunday colour supplement and suggested that they might be made into lithographs under the guidance of Stanley Jones, the celebrated printmaker who had previously worked with Henry Moore for thirty years, and with Elizabeth Frink, Hockney, Kitaj, Ruskin Spear and Carel Weight among others. The two latter artists were very supportive of the idea – we had been working together for a few years.<span id="more-460"></span></span></div>
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<span style="font-family: Times, Times New Roman, serif;">"I heard nothing for some months – a good sign, I thought, not a “no”. Then just before Christmas in 1989, came a call from St James’ Palace from Richard Aylard, then Private Secretary to the Prince of Wales. They were very keen to progress the idea of signed lithographs, and would I like to come in to discuss this?</span></div>
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<span class="s1">"A week later I met Richard and an assistant and showed them the portfolio of artists’ prints the company had produced. I was greatly surprised and honoured to be offered the opportunity to publish some of the Prince’s watercolours as limited editions just as I had set out in my letter. Richard asked me if I would like to meet the artist and a date was fixed for the following week. He informed me that there was to be an exhibition of the Prince’s work in Urbino, Italy, at the home where Raphael was born, planned for May 1990 and a catalogue was needed, hardback, in Italian and English – could we produce this? It was clear an affirmative answer was required which I nervously gave them.</span></div>
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<span class="s1">"My first meeting with the Prince took place in a beautiful drawing room at St James’ Palace. I was delighted that some sixty watercolours had been sent from a number of different places and laid out on a table for me to choose which were to be his first lithographs. The Prince entered the room and we chatted at length about the proposed images, Stanley Jones and his work, the charity, the provenance, the paper we would use (Somerset, with a special watermark of the feathers badge insignia). The meeting was memorable, the Prince loved the idea, a book of his watercolours was about to be published, and he seemed genuinely surprised at the interest in his watercolours which he had then been painting for some twenty years.</span></div>
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<span class="s1">"The first two images were chosen, of Wensleydale in Yorkshire which he called in his book ‘God’s own country’. His staff kindly sent around twenty original watercolours to my home which I then drove to Cambridge to give to Stanley Jones. After a few weeks, the first proof was ready, Stanley having done the delicate tracings, and then making the twelve plates from which the images were printed on Curwen Studio’s 1940′s printing press. Once this was ready Stanley and I went to meet the Prince again, this time at Highgrove, the Prince’s beautiful Gloucestershire Home.</span></div>
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<span class="s1">"I was surprised at its homeliness and comfort. The Prince fetched his watercolour palate and mixed the exact colours he uses regularly; Stanley Jones was then able to revise the image. A few weeks later we brought an amended proof to Highgrove on which the Prince wrote – in the time honoured tradition of printing – “good to pull”.</span></div>
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<span class="s1">"We started working with an excellent public relations specialist to publicise the work. The Times ran an article about this being something of a coup for a small publisher as did other publications, TV and radio. Sales ensued; the works, signed by the Prince were deemed to be good investments.</span></div>
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<span class="s1">"An edition of Windsor Castle followed the Yorkshire scenes. This had been painted just before a thunder storm when a great shaft of yellow light flooded the castle through the black skies. The Prince was unable to complete the painting because the heavens opened – other works in his collection are scarred with raindrops. This edition sold very quickly, then came another of Sandringham, and while attending a proofing session at Sandringham, we chose the next in the series, Balmoral.</span></div>
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<span class="s1">"My contract was for six editions of 295, and as we reached the fifth, it occurred to me that it would be fun to do three editions of 100 each rather than 295 of one. The three chosen were classics – again but this time bathed in a luminous pink sky, and the enigmatic Hong Kong from HMY Britannia which was launched in 1997 to coincide with the handover of Hong Kong to China and the final voyage of the much loved Royal Yacht. Again, all three were very sought after, with prices of some of them rising from around £2,500 to £12,000-£15,000 a few years later.</span></div>
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<span class="s1">"During the time these were produced, the Royal Family went through some very turbulent years. However more lithographs were produced: scenes of Highgrove, Greece and some of Scottish landscapes which I chose with the head of the print department from Sotheby’s. The Prince of Wales’s lithographshave developed a following among collectors and admirers of the Prince’s work. Beautifully presented in a lavish presentation box, the works are very covetable. The certificates of authenticity are signed by the Prince’s Private Secretary, currently Sir Michael Peat. Regularly appearing at charity auctions and from sales at the gallery, we estimate that over £4,000,000 has been raised to date. Sales have benefitted over a hundred charities which represent the Prince’s diverse interests; from international disaster appeals to supporting farmers affected by foot and mouth, architectural projects and many others. It was through our connection with this work that we were asked to launch and market lithographs by Nelson Mandela and had the privilege of meeting him too, both at his home in Johannesburg (where he called the Prince of Wales “a very fine fellow”) and on Robben Island at a dinner when he described his joy at drawing.</span></div>
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<span class="s1">"The Prince of Wales sent a generous letter of support for Mr Mandela’s artistic endeavours, praising Belgravia Gallery’s work.</span></div>
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<span class="s1">"It has been an interesting result from one letter which, when posting it, I remember thinking 50:50 odds that I might receive a reply."</span><span style="color: blue; font-size: x-small;">[FN 15]</span></div>
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<span style="font-family: Times, 'Times New Roman', serif; line-height: 1.2em; text-align: start;">STANLEY JONES, CHROMIST</span><br />
<span style="font-family: Times, 'Times New Roman', serif; line-height: 1.2em; text-align: start;">In other words, in 1990, Curwen Studio's Stanley Jones was the chromist [someone who copies another artist's work], who reproduced the "delicate tracings" by his hand and fingers, from Prince Charles' watercolours, </span>for the "making [of] the twelve plates from which the images" were reproduced resulting in reproductions. Those resulting reproductions in 1990 and thousands upon thousands of resulting reproductions from Prince Charles' watercolours over the last 24 years that followed, have been misrepresented as original works of visual art ie., lithographs, resulting in a massive multi-decade multi-million dollar fraud.<br />
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Prince Charles and all involved have no shame.<br />
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<span class="s1">CONCLUSION</span></div>
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<span class="s1">Without full and honest disclosure of reproductions as -reproductions- by the Savannah Philharmonic Orchestra. HRH Prince Charles, and his Prince of Wales' Charitable Foundation, how could the consumer have ever given informed consent on whether to express interest in a reproduction/poster of Prince Charles' watercolour, and/or whether to purchase a reproduction/poster of Prince Charles' watercolour for $11,000, not to mention the unfair trade against those artists who actually create and print their editions of original works of visual art ie., lithographs, much less those who sell fully disclosed reproductions?</span></div>
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<span class="s1"><b>FOOTNOTES:</b></span></div>
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<span class="s1" style="font-size: x-small;">1. Savannah Philharmonic Orchestra's House Manager Bob (912) 659-2813</span><br />
<span class="s1" style="font-size: x-small;">2. © 1999 By West Group, ISBN 0314022864</span></div>
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<span class="s1" style="font-size: x-small;">3. Ibid</span></div>
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<span class="s1" style="font-size: x-small;">4. http://www.cbp.gov/xp/cgov/trade/legal/informed_compliance_pubs/</span></div>
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<span style="font-size: x-small;"><span class="s1">5. Copyright </span>© 1991 Bena Mayer, Executrix of the Estate of Ralph Mayer ISBN 0-670-83701-6</span><br />
<span class="s1" style="font-size: x-small;">6.Copyright © 1991 by Bena Mayer, ISBN 0-06-461012-8 (pbk.)</span></div>
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<span class="s1" style="font-size: x-small;">7. http://www.princeofwales.gov.uk/focus/watercolours</span></div>
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<span class="s1" style="font-size: x-small;">8. http://www.princeofwales.gov.uk/news-and-diary/trh-meet-artists-the-princes-drawing-school</span></div>
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<span class="s1" style="font-size: x-small;">9.http://www.leginfo.ca.gov/cgi-bin/waisgate WAISdocID=35364124403+2+0+0&WAISaction=retrieve</span></div>
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<span class="s1" style="font-size: x-small;">10. © 1999 By West Group, ISBN 0314022864</span></div>
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<span class="s1" style="font-size: x-small;">11. http://www.ftc.gov/privacy/privacyinitiatives/promises.html</span></div>
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<span style="font-size: x-small;"><span class="s1">12. </span>© 1999 By West Group, ISBN 0314022864</span><br />
<span class="s1" style="font-size: x-small;">13. http://www.law.cornell.edu/uscode/uscode18/usc_sec_18_00001341----000-.html</span></div>
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<span class="s1" style="font-size: x-small;">14. news10now.com/content/all_news/?ArID= 12317&SecID=83</span><br />
<span class="s1" style="font-size: x-small;">15. http://www.thevintagemagazine.com/arts-culture/history-of-hrh-the-prince-of-wales-signed-lithographs/</span></div>
Gary Arseneauhttp://www.blogger.com/profile/10379667479866306615noreply@blogger.comtag:blogger.com,1999:blog-34909527.post-51319844729607928652014-03-31T00:26:00.000-04:002016-04-17T17:12:34.282-04:00Chromist-made reproductions are -not- original works of visual art, much less by Chuck Close<div>
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<span style="font-family: "times" , "times new roman" , serif;"><b>NOTE:</b><span style="font-size: small;"> Footnotes are enclosed as:</span><span style="color: #2672ec;"><span style="font-size: small;"> </span><span style="font-size: x-small;">[FN ]</span></span></span></div>
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<span style="font-family: "times" , "times new roman" , serif;">Under U.S. Copyright Law "<span style="text-align: start;">Section 107 contains a list of the various purposes for which the reproduction of a particular work may be considered fair, such as criticism, comment, news reporting, teaching, scholarship, and research. Section 107 also sets out four factors to be considered in determining whether or not a particular use is fair. [one of which is:] </span><span style="text-align: start;">The purpose and character of the use, including whether such use is of commercial nature or is for nonprofit educational purposes." </span><a href="http://www.copyright.gov/fls/fl102.html" style="text-align: left; text-decoration: none;"><span style="color: blue;">http://www.copyright.gov/fls/fl102.html</span></a></span></div>
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<span style="font-family: "times" , "times new roman" , serif;">[mine]</span></div>
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<span class="ecxs1" style="line-height: 21.30000114440918px;"><br class="Apple-interchange-newline" /><span style="font-family: times, 'times new roman', serif; line-height: normal;">Chuck Close's (American, born 1940) 2002 </span><i style="font-family: times, 'times new roman', serif; line-height: normal;">Self-Portrait</i><span style="font-family: times, 'times new roman', serif; line-height: normal;"> is a 43-color woodcut. The esteemed artist has reinterpreted his self-portrait in many different painting and printmaking techniques over the decades. Photo courtesy Jordan D. Schnitzer.</span></span></div>
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<span class="ecxs1" style="line-height: 21.30000114440918px;"><a href="http://newsok.com/video-and-interviews-chuck-close-maps-faces-experiments-with-printmaking-techniques-in-new-oklahoma-city-museum-of-art-exhibit/article/3914930" style="color: #0068cf; cursor: pointer; font-weight: inherit; line-height: 21.30000114440918px; text-decoration: underline;" target="_blank"><span style="font-family: "times" , "times new roman" , serif; line-height: normal;">http://newsok.com/video-and-interviews-chuck-close-maps-faces-experiments-with-printmaking-techniques-in-new-oklahoma-city-museum-of-art-exhibit/article/3914930</span></a></span></div>
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<span class="ecxs1" style="line-height: 22.720001220703125px;"><b style="font-weight: bold; line-height: 22.720001220703125px;"><span style="font-family: "times" , "times new roman" , serif;">NON-DISCLOSED CHROMIST-MADE REPRODUCTION</span></b></span></div>
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<span style="font-family: "times" , "times new roman" , serif; line-height: normal;"><span style="line-height: 20px;"><span style="font-size: x-large;"><b>M</b></span>any of the so-called "</span><span style="background-color: white; font-size: small; line-height: 20.479999542236328px;">etchings, linoleum cuts, lithographs, screen prints, woodcuts, and paper pulp multiples" in the </span></span><span style="font-family: "times" , "times new roman" , serif;"><span style="background-color: white; color: #333333; line-height: 20.479999542236328px; text-align: -webkit-left;">December 13, 2013-February 16, 2014</span><span style="background-color: white; font-size: small; line-height: 20.479999542236328px;"> </span></span><span style="font-family: "times" , "times new roman" , serif; font-size: small; line-height: 1.5em;"><b style="line-height: 22.720001220703125px;">Chuck Close: Works on Paper</b> exhibition at Oklahoma City Museum of Art were non-disclosed chromist-made [someone who copies an artist's work] reproductions falsely attributed as original works of visual art to the artist Chuck Close</span><span style="font-family: "times" , "times new roman" , serif; font-size: small; line-height: 20px;"> for monetary considerations including but not limited to admission fees, city-state-federal grants, and corporate sponsorship, not to mention future outright sales and tax write-offs.</span></div>
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<span style="font-family: "times" , "times new roman" , serif; line-height: normal;"><span style="font-size: small; line-height: 20px;">Yet, the Oklahoma City Museum of Art Curator Jennifer Klos stated: "</span><span style="font-size: small; line-height: 22.399999618530273px;">This exhibition has some of the traditional printmaking techniques: We have etchings and silkscreens and woodcuts. But then we also have a variety of these techniques [Chuck Close] utilized that go well beyond even pushing the boundaries of what we think of as printmaking.</span><span style="line-height: 22.399999618530273px;">"<span style="color: #2672ec; font-size: x-small; line-height: normal;">[FN 1]</span></span></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: small; line-height: normal;"><span style="line-height: 20px;">This monograph will document these contentious issues of authenticity.</span></span></div>
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<span style="font-family: "times" , "times new roman" , serif;"><span class="ecxs1"><span style="font-size: small; line-height: normal;"><b style="line-height: 22.720001220703125px;">MUSEUM ADMISSION*</b> </span></span></span><br />
<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><span class="ecxs1"><span style="line-height: normal;">"</span></span><span style="line-height: normal;">Members: Free, Adults: $12, Seniors (62+): $10, College Students (with ID): $10, Military (with ID): $5, Children (ages 6-18): $10, Children (ages five and under): Free, Tours (15 or more): $7 per person, Senior Tours (15 or more): $6.50 per person, School Tours (15 or more): $3 per person" </span></span><br />
<span style="color: #2672ec; font-family: "times" , "times new roman" , serif; line-height: normal;">http://www.okcmoa.com/visit/hours-and-admissions/</span><span style="color: #2672ec; font-family: "times" , "times new roman" , serif; line-height: 20px;"> </span></div>
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<span style="font-family: "times" , "times new roman" , serif;"><span style="line-height: 20px;"><span style="font-size: small; line-height: normal;">In the NewsOk's published December 15, 2013 "Video and interviews: Chuck Close maps faces, experiment with printmaking techniques in new Oklahoma city Museum of Art exhibit" blog by Entertainment Reporter </span></span><span style="background-color: white; color: #444444; line-height: 22.720001220703125px;">Brandy McDonnell</span><span style="line-height: normal;">, the reporter wrote:</span></span></div>
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<li style="margin: 0px 0px 3px; text-align: justify;"><span style="font-family: "times" , "times new roman" , serif; line-height: normal;"><span style="font-size: small; line-height: 22.399999618530273px;">"Along with admiring his artistic prowess, [</span><span style="font-size: small; line-height: 22.399999618530273px;">Curtis Jones, an associate professor of printmaking at the University of Oklahoma]</span><span style="font-size: small; line-height: 22.399999618530273px;"> said he considers Close an inspirational person. Close overcame dyslexia as a child and went on to graduate from UW and later Yale. In 1988, a collapsed artery in his spine that left Close partially paralyzed and confined to a wheelchair; he was able to continue painting using a brush strapped to his arm with a Velcro harness."</span><span style="color: #2672ec; font-size: x-small; line-height: 22.399999618530273px;">[FN 2]</span></span></li>
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<span style="line-height: 20.80000114440918px; text-align: justify;"><span style="font-family: "times" , "times new roman" , serif; font-size: small; line-height: normal;">U.S. CUSTOMS</span></span></div>
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<span style="font-family: "times" , "times new roman" , serif; line-height: normal;"><span style="font-size: small; line-height: 20.80000114440918px; text-align: justify;">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: </span><span style="font-size: small; font-style: italic; line-height: 20.80000114440918px; text-align: justify;">"</span><span style="font-size: small; line-height: 20.80000114440918px; text-align: justify;">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."</span><span style="color: #2672ec; font-size: x-small; line-height: 22.399999618530273px;">[FN 3]</span></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: small; line-height: normal;"><span style="line-height: 20px;">Considering how labor intensive and challenging original printmaking can be for a healthy artist, how was the physically challenged Chuck Close, </span><span style="line-height: 20px;">after being partially paralyzed in 1988,</span><span style="line-height: 20px;"> </span><span style="line-height: 20px;">able to "wholly </span><span style="line-height: 20.80000114440918px; text-align: justify;">executed by hand by the artist, irrespective of the process or of the material employed by him, but excluding any mechanical or photomechanical process?"</span></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: small; line-height: normal;"><span style="line-height: 20px;">The answer is a partially paralyzed Chuck Close was -not- able to continue </span><span style="line-height: 20px;">and chromists [someone who copies an artist's work] were subsequently hired to reproduce Chuck Close's artworks.</span></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: small; line-height: normal;"><span style="line-height: 20px;">How can this be proven?</span></span></div>
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<span style="line-height: 20px;"><span style="font-family: "times" , "times new roman" , serif; font-size: small; line-height: normal;">The rationalization for this -deception-, by Chuck Close and others, is laid out in an excerpt from a May 14-Aug 22, 2004 Miami Art Museum's promotional pdf for their<b style="line-height: 22.720001220703125px;"> Chuck Close Prints Process and Collaboration </b>exhibition:</span></span></div>
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<li style="margin: 0px 0px 3px; text-align: justify;"><span style="font-family: "times" , "times new roman" , serif; line-height: normal;"><span style="font-size: small; line-height: 22.720001220703125px;">"Close collaboration - </span><span style="font-size: small; line-height: 22.720001220703125px;">Close works alone for long hours when he paints, usually keeping company with a radio or television. Every single artistic decision he makes belongs to him. In contrast, printmaking is collaborative. It requires him to work with a community of master printers, which means managing personalities as well as artistic styles, giving up control, and occasionally (though not often) compromising. For their part, the remarkably skilled artisans involved in these projects have to meet Close’s exacting demands and learn how to translate the spirit of his art into new form. Since his first major print in 1972, Close has continually set printmaking challenges for himself and his collaborators. “I am always pushing the envelope,” he says. In this way, both he and the printmakers have to find solutions together, neither one has the upper hand. Sometimes these artisans — chromists (trained to choose and mix colors), block cutters and screenprinters — spend more time with the print than Close himself. That is not easy for an artist as precise and in control as Close, but with time, he has learned that it makes the best prints. Collaboration has expanded Close’s horizons, resulting in prints and editions he never could have made on his own."</span><span style="color: #2672ec; font-size: x-small; line-height: 22.399999618530273px;">[FN 4]</span></span></li>
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<span style="font-family: "times" , "times new roman" , serif; font-size: small; line-height: normal;">So, Chuck Close would have us believe and act on the belief that "collaboration has expanded [his] horizons, resulting in prints and editions he never could have made on his own."</span></div>
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<span style="line-height: 20.795454025268555px;"><span style="font-family: "times" , "times new roman" , serif;">WORK OF VISUAL ART -EXCLUDES- COPIES THAT ARE COLLABORATIVE</span></span></div>
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<span style="font-family: "times" , "times new roman" , serif; line-height: normal;">Aside the U.S. Customs' requirement, noted earlier, that <span style="font-size: small; line-height: 20.80000114440918px;"> "</span><span style="font-size: small; line-height: 20.80000114440918px;">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</span>, the Visual Artist’s Rights Act (H.R. bill 5316), which amended the Copyright Act of 1976, and was signed into law on December 1, 1990 specifically addresses the concept of "collaboration." In the 1995 <span style="font-size: small; font-style: italic; line-height: 22.720001220703125px;">The Visual Artist’s Business and Legal Guide</span> compiled and edited by Gregory T. Victoroff, Esq., attorney Katherine M. Thompson specifically addresses issue of “collaboration” in the 1990 Visual Artist’s Rights Act. On page 28, the attorney wrote: “The VARA amends the Copyright Act to create a definition for a “work of visual art.” According to Section 602, -<u style="line-height: 22.720001220703125px;">excluded are items</u> - that generally exist in multiple copies and are collaborative in nature.”<span style="color: blue; line-height: 22.399999618530273px;">[FN 5]</span> </span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: small; line-height: normal;"><span style="line-height: 20px;">This additional excerpt from a May 14-Aug 22, 2004 Miami Art Museum's promotional pdf for their</span><b style="line-height: 22.720001220703125px;"> Chuck Close Prints Process and Collaboration </b><span style="line-height: 20px;">exhibition further exposes Chuck Close's hubris:</span></span></div>
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<li style="margin: 0px 0px 3px; text-align: justify;"><span style="font-family: "times" , "times new roman" , serif; line-height: normal;"><span style="font-size: small; line-height: 22.720001220703125px;">"Despite his starting point in a photograph, every aspect of his prints is hand-made. Close is adamant about “not trying to make reproductions.” Even when photographic processes are commonly used in print studios to translate images onto a matrix (as in silk screen or photogravure), he insists it be done by hand. This means, of course, that his collaborators must learn to make marks like Close’s, to render the spirit of his style in woodblock, silk screen, or pulp paper. As he says, 'We make art the old-fashioned way.'"</span><span style="color: #2672ec; font-size: x-small; line-height: 22.399999618530273px;">[FN 6]</span></span></li>
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<span style="font-family: "times" , "times new roman" , serif; font-size: small; line-height: normal;">What a devastating admission by Chuck Close that "<span style="line-height: 22.720001220703125px;">his collaborators must learn to make marks like Close’s, to render the spirit of his style in woodblock, silk screen, or pulp paper." At best, that's a reproduction by any other name.</span></span></div>
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<span style="font-family: "times" , "times new roman" , serif; line-height: normal;"><span style="font-size: small; line-height: 20.80000114440918px; text-align: justify;">That factual perspective is confirmed in </span><span style="font-size: small; font-style: italic; line-height: 20.80000114440918px; text-align: justify;">The Fifth Edition of the Artist`s Handbook of Materials and Techniques</span><span style="font-size: small; line-height: 20.80000114440918px; text-align: justify;"> 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."</span><span style="color: #2672ec; font-size: x-small; line-height: 22.399999618530273px;">[FN 7]</span></span></div>
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<span style="line-height: 20.80000114440918px; text-align: justify;"><span style="font-family: "times" , "times new roman" , serif; font-size: small; line-height: normal;">U.S. COPYRIGHT LAW 106A</span></span></div>
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<span style="font-family: "times" , "times new roman" , serif; line-height: normal;"><span style="font-size: small; line-height: 20.80000114440918px; text-align: justify;">Additionally, under U.S. Copyright Law 106 A, “The Rights of Attribution - shall not apply to any reproduction?”</span><span style="color: #2672ec; font-size: x-small; line-height: 22.399999618530273px;">[FN 8]</span></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: small; line-height: normal;"><span style="line-height: 20.80000114440918px;">In other words, if an artist, such as Chuck Close, authorizes a printer and/or chromist to reproduce their work, the resulting reproductions cannot be attributed to the artist. That printer that reproduced those reproductions would own them. That printer would only be contractually obligated to give the artist the reproductions they paid for. The artist pays for 100 reproductions, they get a 100 reproductions. All of the reproduction overruns [potentially dozens or more], all plates, negatives, digital files and the like used to reproduce those reproductions, would be owned by the printer and if they chose to do so that printer [or future new owner] could reproduce more reproductions without the knowledge or permission of the artist.</span></span></div>
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<span style="font-family: "times" , "times new roman" , serif; line-height: normal;"><br style="line-height: 20.80000114440918px;" /><span style="font-size: small; line-height: 20.80000114440918px;">PRINTING TRADE CUSTOMS</span><br style="line-height: 20.80000114440918px;" /><span style="font-size: small; line-height: 20.80000114440918px;">This perspective is confirmed by the Printing Industries of America, Inc. in their published Printing Trade Customs, which, in part, states: “6. PREPARATORY MATERIALS Working mechanical art, type, negatives, positives, flats, plates, and other items when supplied by the printer, shall remain his exclusive property unless otherwise agreed in writing.”</span><span style="color: #2672ec; font-size: x-small; line-height: 22.399999618530273px;">[FN 9]</span><br style="line-height: 20.80000114440918px;" /><br style="line-height: 20.80000114440918px;" /><span style="font-size: small; line-height: 20.80000114440918px;">U.S. COPYRIGHT LAW COMPILATIONS AND DERIVATIVE WORKS</span><br style="line-height: 20.80000114440918px;" /><span style="font-size: small; line-height: 20.80000114440918px;">Under U.S. Copyright Law 103. “Subject matter of copyright: Compilations and derivative works,” it states: “The copyright in a compilation or derivative work extends only to the material contributed by the author of such work.”</span><span style="color: #2672ec; font-size: x-small; line-height: 22.399999618530273px;">[FN 10]</span></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: small; line-height: normal;"><span style="line-height: 20.80000114440918px;">SMOKING GUN</span></span></div>
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<span style="font-family: "times" , "times new roman" , serif; line-height: normal;"><span style="font-size: small; line-height: 20.80000114440918px;">Now for the "the piece of physical or documentary evidence that conclusively impeaches an adversary on an outcome-determinative issue or destroys the adversary's credibility" which is one legal definition of -smoking gun-.</span><span style="color: #2672ec; font-size: x-small; line-height: 22.399999618530273px;">[FN 11]</span><span style="font-size: small; line-height: 20.80000114440918px;"> </span></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: small; line-height: normal;"><span class="ecxs1" style="line-height: 22.720001220703125px;"><i>Lyle</i>, 2002, </span>149-color silk screen, 65 1/2 x 54", Edition of 80, Brand X Editions, New York, printer (Robert Blanton, Thomas Little), Pace Editions, Inc.,, New York, publisher, Courtesy the artist and Pace Editions, Inc., New York </span></div>
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<span class="ecxs1" style="line-height: 21.30000114440918px;"><span style="font-family: "times" , "times new roman" , serif; font-size: small; line-height: normal;">Photo: <span style="color: #2672ec;">http://www.sanjosemuseumofart.org/content/chuck-close-prints-process-and-collaboration</span></span></span></div>
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<b style="line-height: 23.11111068725586px;"><span style="font-family: "times" , "times new roman" , serif; font-size: small; line-height: normal;">NON-DISCLOSED CHROMIST-MADE REPRODUCTION</span></b></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: small; line-height: normal;"><span style="line-height: 20.80000114440918px;">CHUCK CLOSE PRINTS, PROCESS AND COLLABORATION</span></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: small; line-height: normal;"><span style="line-height: 20.80000114440918px;">In the Princeton University Press, Blaffer Gallery and the Art Museum of the University of Houston's published 2003 </span><i style="line-height: 20.80000114440918px;">Chuck Close Prints, Process and Collaboration </i><span style="line-height: 20.80000114440918px;">catalogue by Terrie Sulton with an essay by Richard Shiff, the following admissions were made.</span></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: small; line-height: normal;"><span style="line-height: 20.80000114440918px;">IN 2002, THOMAS LITTLE, BY HIS OWN HAND, DREW THE MYLARS FOR THE SCREENS, NOT CHUCK CLOSE</span><br style="line-height: 22.720001220703125px;" /><span style="line-height: 20.80000114440918px;">On page 97 of the Chapter titled: "Silk Screen" with the subtitle: "Robert Blanton and Thomas Little, Brand X Editions," Thomas Little is quoted stating: </span></span></div>
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<span style="line-height: 20.80000114440918px;"><span style="font-family: "times" , "times new roman" , serif; font-size: small; line-height: normal;"><br style="line-height: 22.720001220703125px;" /></span></span></div>
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<li style="margin: 0px 0px 3px;"><span style="font-family: "times" , "times new roman" , serif; line-height: normal;"><span style="font-size: small; line-height: 20.80000114440918px;">"Once it was decided that we would work on Lyle, I went to see the painting. I had my Pantone color guide, the book that most printers use for color matching and mixing, and we spread the pages and began to look at color. We planned to go from light to dark, warm to cool, yellow to purple. Then, form a transparency of the painting, we generated a Duratrans, which is like a big 35 millimeter slide. It's translucent and gives a good representation of the mark, which is very important in Chuck's work. From the Duratrans, we made decisions about color separations, and then I hand drew the many layers of Mylars that we needed for the print. From there we made the screens."</span><span style="color: #2672ec; font-size: x-small; line-height: 22.399999618530273px;">[FN 12]</span></span></li>
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<span style="font-family: "times" , "times new roman" , serif; font-size: small; line-height: normal;"><span style="line-height: 20.80000114440918px;">In other words, Chuck Close is knowingly having others reproduce his work which he in turn -falsely- claims as original works of visual art attributable to him.</span></span></div>
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<span style="font-family: "times" , "times new roman" , serif; line-height: normal;"><span style="font-size: small; line-height: 20.80000114440918px;">On page 137 of the </span><i style="font-size: medium; line-height: 20.80000114440918px;">Seventh Edition of Black's Law Dictionary,</i><span style="font-size: small; line-height: 20.80000114440918px;"> -bait and switch- is defined as: "Most states prohibit the bait and switch when the original product is not actually available as advertised."</span><span style="color: #2672ec; font-size: x-small; line-height: 22.399999618530273px;">[FN 13]</span></span></div>
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<span class="ecxs1"><span style="font-family: "times" , "times new roman" , serif; font-size: small; line-height: normal;">Plate 97 (opposite) <i>Emma</i>, 2002, 113-color Japanese-style ukiyo-e woodcut, 43 x 35 in. (109.2 x 88.9 cm), Edition of 55, Pace Editions Ink, New York, printer (Yasu Shibata), Pace Editions, Inc., New York, publisher. [page 115, 2003 Chuck Close Prints, Process and Collaboration catalogue by Terrie Sulton with an essay by Richard Shiff] </span></span></div>
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<span class="ecxs1"><span style="font-family: "times" , "times new roman" , serif; font-size: small; line-height: normal;">Photo: <span style="color: #2672ec;">http://glasstire.com/2003/09/02/chuck-close-prints-process-and-collaboration/</span></span></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: small; line-height: normal;"><b style="line-height: 22.720001220703125px;">NON-DISCLOSED CHROMIST-MADE REPRODUCTION</b> </span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: small; line-height: normal;"><span style="line-height: 20.80000114440918px;">IN 2002, YASU SHIBATA, BY HIS OWN HAND, CUT AND PRINTED THE WOODBLOCKS, NOT CHUCK CLOSE</span><br style="line-height: 22.720001220703125px;" /><span style="line-height: 20.80000114440918px;">On page 112 of the Chapter titled: "Japanese-Style Woodcut" with the subtitle: "Yasu Shibata, Pace Editions, Inc.," Yasu Shibata stated: </span></span></div>
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<span style="line-height: 20.80000114440918px;"><span style="font-family: "times" , "times new roman" , serif; font-size: small; line-height: normal;"><br style="line-height: 22.720001220703125px;" /></span></span></div>
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<li style="margin: 0px 0px 3px;"><span style="font-family: "times" , "times new roman" , serif; line-height: normal;"><span style="font-size: small; line-height: 20.80000114440918px;">"This technique is three hundred years old. Traditionally, it takes two people to make such a print. One person decides about the colors and the color separations, draws on the blocks and prints. The second person just does the carving. That is the way it works in Japan, even today. When I started at Tyler Graphics in 1991, I was the only printer for woodblocks, and so I had to cut the block and print it too. This is how I worked on Emma."</span><span style="color: #2672ec; font-size: x-small; line-height: 22.399999618530273px;">[FN 14]</span></span></li>
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<span style="font-family: "times" , "times new roman" , serif; font-size: small; line-height: normal;"><span style="line-height: 20.80000114440918px;"><br style="line-height: 22.720001220703125px;" /></span></span></div>
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<span style="line-height: 20.80000114440918px;"><span style="font-family: "times" , "times new roman" , serif; font-size: small; line-height: normal;">In other words, Chuck Close is knowingly having others reproduce his work which he in turn -falsely- claims as original works of visual art attributable to him.</span></span><br />
<span style="line-height: 20.80000114440918px;"><span style="font-family: "times" , "times new roman" , serif; font-size: small; line-height: normal;"><br /></span></span>
<span style="font-family: "times" , "times new roman" , serif; line-height: 20.80000114440918px;"><span style="background-color: white; color: #444444; line-height: normal;"><span style="line-height: 20.80000114440918px;">Once again, on page 137 of the </span><i style="line-height: 20.80000114440918px;">Seventh Edition of Black's Law Dictionary,</i><span style="line-height: 20.80000114440918px;"> -bait and switch- is defined as: "Most states prohibit the bait and switch when the original product is not actually available as advertised."</span></span><span style="background-color: white; color: #2672ec; line-height: 22.399999618530273px;"><span style="font-size: x-small;">[FN 15]</span></span></span></div>
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<span class="ecxs1"><span style="font-family: "times" , "times new roman" , serif; font-size: small; line-height: normal;"><i>Leslie</i>, 1986, woodcut, Edition of 100, 31 3/8 x 25 1/4 inches, Woodcut printed in colors, Signed, dated and numbered in pencil</span></span></div>
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<span class="ecxs1"><span style="font-family: "times" , "times new roman" , serif; font-size: small; line-height: normal;">Photo/Text: <span style="color: #2672ec;">http://www.printed-editions.com/artwork/chuck-close-leslie-18351</span></span></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: small; line-height: normal;"><b style="line-height: 22.720001220703125px;">NON-DISCLOSED CHROMIST-MADE REPRODUCTION </b></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: small; line-height: normal;"><span style="line-height: 20.80000114440918px;">IN 1986, TADASHI TODA BY HIS OWN HAND, CUT AND PRINTED THE WOODBLOCKS, NOT CHUCK CLOSE</span></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: small; line-height: normal;"><span style="line-height: 20.80000114440918px;">Unfortunately, Chuck Close's use of chromists to reproduce by their hands his paintings was not a decision he made after 1988 because of "</span><span style="line-height: 22.399999618530273px;">a collapsed artery in his spine that left Close partially paralyzed and confined to a wheelchair" and that left him able to continue painting only using a brush strapped to his arm with a Velcro harness. </span><span style="line-height: 20.80000114440918px;">On page 111 </span><span style="line-height: 20.80000114440918px;">of this same Chapter titled: "Japanese-Style Woodcut" with the subtitle: "Yasu Shibata, Pace Editions, Inc.," Chuck Close is quoted stating:</span></span></div>
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<span style="line-height: 20.80000114440918px;"><span style="font-family: "times" , "times new roman" , serif; font-size: small; line-height: normal;"><br style="line-height: 22.720001220703125px;" /></span></span></div>
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<li style="margin: 0px 0px 3px;"><span style="font-family: "times" , "times new roman" , serif; line-height: normal;"><span style="font-size: small; line-height: 20.80000114440918px;">"I am used to making every mark myself. I like to make every decision, carve everything, draw every line. It wasn't until I went to Kyoto in 1986 with Kathan Brown from Crown Point Press to make Japanese woodblock print that I ever gave over the responsibilities for separating the image out to anyone else. I had sent a watercolor gouache over to Japan for the master printer to work on it ahead of time, and I was shocked to see when I got there that it had become his piece. Then I had to wrest it away and make it mind again. The printer I was working with, Tadashi Toda, is very highly regarded in Japan. With us also was Hidekatsu Takada, a printer who had spent the first twenty-one years of his life in Kyoto working with a printer, and another twenty years working with American artists in California as an etching printer with Crown Point. He was acting as translator. When we arrived, a lot of work had already been done. I pointed to a specific shape and said to Takada, 'Tell him it is too green.' He started talking and talking, and there was an intense reaction from Mr. Toda. Finally, I asked, 'Why is it taking so long?' Takada said, 'You don't understand what I have to say is, 'Chuck is thrilled with what you have done, he thinks you are a genius. He thinks it is perfection. Beyond his wildest dreams. Nothing could be done to improve it. However, in the interest of intellectual curiosity, not that it would be better than what you have done, just to see what would happen, could you possibly make it a little less green?' We had to go through this process every time. I needed to be positive about any corrections I wanted to make. I found it strange yet interesting to let someone interpret the work, to make decisions about color and separations. I realized we had to work together to get a good print."</span><span style="color: #2672ec; font-size: x-small; line-height: 22.399999618530273px;">[FN 16]</span></span></li>
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<span style="line-height: 20.80000114440918px;"><span style="font-family: "times" , "times new roman" , serif; font-size: small; line-height: normal;"><br style="line-height: 22.720001220703125px;" /></span></span></div>
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<span style="line-height: 20.80000114440918px;"><span style="font-family: "times" , "times new roman" , serif; font-size: small; line-height: normal;">In other words, Chuck Close is knowingly having others reproduce his work which he in turn -falsely- claims as original works of visual art attributable to him.</span></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: small; line-height: normal;"><span style="line-height: 20.80000114440918px;"><br style="line-height: 22.720001220703125px;" /></span></span></div>
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<span style="font-family: "times" , "times new roman" , serif; line-height: normal;"><span style="font-size: small; line-height: 20.80000114440918px;">To belabor a point, on page 137 of the </span><i style="line-height: 20.80000114440918px;">Seventh Edition of Black's Law Dictionary,</i><span style="font-size: small; line-height: 20.80000114440918px;"> -bait and switch- is defined as: "Most states prohibit the bait and switch when the original product is not actually available as advertised."</span><span style="color: #2672ec; font-size: x-small; line-height: 22.399999618530273px;">[FN 17]</span></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: small; line-height: normal;">Plate 106, <i>Lucas</i>/Woodcut, 1993, Woodcut with pochoir, 46 1/2 x 36 in., (118.1 x 91.4 cm,)m Edition of 50, Karl Hecksher, New York, printer, Pace Editions, Inc., New York, publisher</span></div>
<div style="line-height: 21.30000114440918px; text-align: center;">
<span style="font-family: "times" , "times new roman" , serif; font-size: small; line-height: normal;">[page 121, <span style="line-height: 20.80000114440918px; text-align: justify;">2003 </span><i style="line-height: 20.80000114440918px; text-align: justify;">Chuck Close Prints, Process and Collaboration</i><span style="line-height: 20.80000114440918px; text-align: justify;"> catalogue by Terrie Sulton with an essay by Richard Shiff</span>] Photo: <a href="http://www.vmfa.state.va.us/Exhibitions/Chuck-Close-People-Who-Matter-to-Me/" style="color: #0068cf; cursor: pointer; font-weight: inherit; line-height: 22.720001220703125px;" target="_blank"><span style="color: #2672ec; line-height: normal;">http://www.vmfa.state.va.us/Exhibitions/Chuck-Close-People-Who-Matter-to-Me/</span></a></span></div>
<div style="line-height: 21.30000114440918px; text-align: center;">
<span style="font-family: "times" , "times new roman" , serif; font-size: small; line-height: normal;"><b style="line-height: 22.720001220703125px;">NON-DISCLOSED CHROMIST-MADE REPRODUCTION</b></span></div>
<div style="line-height: 21.30000114440918px; text-align: center;">
<span style="font-family: "times" , "times new roman" , serif; font-size: small; line-height: normal;"><br style="line-height: 22.720001220703125px;" /></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: small; line-height: normal;"><br style="line-height: 22.720001220703125px;" /></span></div>
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<div style="text-align: justify;">
<span style="line-height: 20.80000114440918px;"><span style="font-family: "times" , "times new roman" , serif; font-size: small; line-height: normal;">IN 1993, KARL HECKSHER, BY HIS OWN HAND, CUT AND PRINTED THE WOODBLOCKS, NOT CHUCK CLOSE</span></span></div>
<div style="text-align: justify;">
<span style="font-family: "times" , "times new roman" , serif; font-size: small; line-height: normal;"><span style="line-height: 20.80000114440918px;">On pages 125-126 </span><span style="line-height: 20.80000114440918px;">of the Chapter titled: "European-Style Woodcut" with the subtitle: "Karl Hecksher," Karl Hecksher is quoted stating:</span></span></div>
<div style="text-align: justify;">
<span style="line-height: 20.80000114440918px;"><span style="font-family: "times" , "times new roman" , serif; font-size: small; line-height: normal;"><br style="line-height: 22.720001220703125px;" /></span></span></div>
<div style="text-align: justify;">
<ul style="margin: 0px 0px 20px 1em; padding: 0px 0px 0px 1em;">
<li style="margin: 0px 0px 3px;"><span style="font-family: "times" , "times new roman" , serif; line-height: normal;"><span style="font-size: small; line-height: 20.80000114440918px;">"Chuck decides what image he wants to do; he decides what size he wants, what the margins around the image, he likes me to have the painting so I can see the color balance, so I can see firsthand what he has done. In the case of Lucas, I didn't have the painting. I don't know how it would have changed the print if I had the painting in the studio. I worked from an 8 x 10 inch transparency and had a color C- print made to the scale of the image. I used this to pull off the forms that I would then transfer to the block and carve, and I drew the forms by hand. In this case, the print is the same size as the painting."</span><span style="color: #2672ec; font-size: x-small; line-height: 22.399999618530273px;">[FN 18]</span></span></li>
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<span style="font-family: "times" , "times new roman" , serif; font-size: small; line-height: normal;"><br style="line-height: 22.720001220703125px;" /></span></div>
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<div style="text-align: justify;">
<span style="line-height: 20.80000114440918px;"><span style="font-family: "times" , "times new roman" , serif; font-size: small; line-height: normal;">In other words, Chuck Close is knowingly having others reproduce his work which he in turn -falsely- claims as original works of visual art attributable to him.</span></span></div>
<div style="text-align: justify;">
<span style="font-family: "times" , "times new roman" , serif; font-size: small; line-height: normal;"><span style="line-height: 20.80000114440918px;"><br style="line-height: 22.720001220703125px;" /></span></span></div>
<div style="text-align: justify;">
<span style="font-family: "times" , "times new roman" , serif; line-height: normal;"><span style="font-size: small; line-height: 20.80000114440918px;">Once again, to be labor a key point, on page 137 of the </span><i style="line-height: 20.80000114440918px;">Seventh Edition of Black's Law Dictionary,</i><span style="font-size: small; line-height: 20.80000114440918px;"> -bait and switch- is defined as: "Most states prohibit the bait and switch when the original product is not actually available as advertised."</span><span style="color: #2672ec; font-size: x-small; line-height: 22.399999618530273px;">[FN 19]</span></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: small; line-height: normal;"><br style="line-height: 22.720001220703125px;" /></span></div>
<div style="line-height: 21.30000114440918px;">
<span style="font-family: "times" , "times new roman" , serif; line-height: normal;"><span style="font-size: small; line-height: 20.80000114440918px; text-align: justify;">In </span><span style="font-size: small; font-style: italic; line-height: 20.80000114440918px; text-align: justify;">A GUIDE TO THE COLLECTING AND CARE OF ORIGINAL PRINTS</span><span style="font-size: small; line-height: 20.80000114440918px; text-align: justify;"> sponsored by the The Print Council of America and authored by Carl Zigrosser and Christa M. Gaehde, the authors wrote: "An original print is a work of art, the general requirements of which are: </span><b style="line-height: 20.80000114440918px; text-align: justify;">a.</b><span style="font-size: small; line-height: 20.80000114440918px; text-align: justify;"> 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. </span><b style="line-height: 20.80000114440918px; text-align: justify;">b.</b><span style="font-size: small; line-height: 20.80000114440918px; text-align: justify;"> The print is made from the said material, by the artist or pursuant to his directions. </span><b style="line-height: 20.80000114440918px; text-align: justify;">c.</b><span style="font-size: small; line-height: 20.80000114440918px; text-align: justify;"> The finished print is approved by the artist."</span><span style="color: #2672ec; font-size: x-small; line-height: 22.399999618530273px;">[FN 20]</span></span></div>
<div style="line-height: 21.30000114440918px;">
<span style="line-height: 20.80000114440918px; text-align: justify;"><span style="font-family: "times" , "times new roman" , serif; font-size: small; line-height: normal;"><br style="line-height: 22.720001220703125px;" /></span></span></div>
<div style="line-height: 21.30000114440918px; text-align: justify;">
<span style="font-family: "times" , "times new roman" , serif; font-size: small; line-height: normal;"><span style="line-height: 20.80000114440918px;">By published admission, since 1986 [some 28 years], Chuck Close has been either incapable or unwilling and/or both to always be the "artist who alone has created the master image in or upon the plate, stone, wood block or other material, for the purpose of creating the print." </span></span></div>
<div style="line-height: 21.30000114440918px; text-align: justify;">
<span style="font-family: "times" , "times new roman" , serif; font-size: small; line-height: normal;"><span style="line-height: 20.80000114440918px;"><br style="line-height: 22.720001220703125px;" /></span></span></div>
<div style="line-height: 21.30000114440918px; text-align: justify;">
<span style="font-family: "times" , "times new roman" , serif; font-size: small; line-height: normal;"><span style="line-height: 20.80000114440918px;">Chuck Close, participating chromists, printers, collectors, galleries and museums have, with or without intent, no shame.</span></span></div>
<div style="line-height: 21.30000114440918px;">
<span style="line-height: 20.80000114440918px; text-align: justify;"><span style="font-family: "times" , "times new roman" , serif; font-size: small; line-height: normal;"><br style="line-height: 22.720001220703125px;" /></span></span></div>
<div style="line-height: 21.30000114440918px;">
<span style="line-height: 20.80000114440918px; text-align: justify;"><span style="font-family: "times" , "times new roman" , serif; font-size: small; line-height: normal;">FTC POLICY STATEMENT OF UNFAIRNESS</span></span></div>
<div style="line-height: 21.30000114440918px;">
<span style="font-family: "times" , "times new roman" , serif; line-height: normal;"><span style="font-size: small; line-height: 20.80000114440918px; text-align: justify;">The United States Federal Trade Commission's" Policy Statement of Unfairness" states: “A seller’s failure to present complex and technical data on his product may lessen a consumer’s ability to choose, for example, but may also reduce the initial price he must pay for the article.---Finally, the injury must be one which consumers could not reasonably have avoided.”</span><span style="color: #2672ec; font-size: x-small; line-height: 22.399999618530273px;">[FN 21]</span></span></div>
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<span style="font-family: "times" , "times new roman" , serif;"><br /></span></div>
<div style="line-height: 21.30000114440918px; text-align: justify;">
<span style="font-family: "times" , "times new roman" , serif;"><b>CONCLUSION</b></span></div>
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<div class="ecxp1" style="margin-bottom: 1.35em; text-align: justify;">
<span class="ecxs1"><span style="font-family: "times" , "times new roman" , serif; font-size: small; line-height: normal;">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.</span></span></div>
<div class="ecxp1" style="margin-bottom: 1.35em; text-align: justify;">
<span style="font-family: "times" , "times new roman" , serif;"><br /></span></div>
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<span style="font-family: "times" , "times new roman" , serif;"><span style="line-height: normal;"><b style="line-height: 21.30000114440918px;">FOOTNOTES:</b></span><span style="font-size: 12pt; line-height: 22.720001220703125px;"> </span></span></div>
<div align="left">
<ol style="background-color: white; color: #444444; line-height: 21.30000114440918px;">
<li style="margin: 0px 0px 3px;"><a href="http://newsok.com/video-and-interviews-chuck-close-maps-faces-experiments-with-printmaking-techniques-in-new-oklahoma-city-museum-of-art-exhibit/article/3914930" style="color: #0068cf; cursor: pointer; font-weight: inherit;" target="_blank"><span style="font-family: "times" , "times new roman" , serif; line-height: normal;">http://newsok.com/video-and-interviews-chuck-close-maps-faces-experiments-with-printmaking-techniques-in-new-oklahoma-city-museum-of-art-exhibit/article/3914930 </span></a></li>
<li style="margin: 0px 0px 3px;"><span style="font-family: "times" , "times new roman" , serif; line-height: normal;">Ibid</span></li>
<li style="margin: 0px 0px 3px;"><a href="http://www.cbp.gov/xp/cgov/trade/legal/informed_compliance_pubs/" style="color: #0068cf; cursor: pointer; font-weight: inherit;" target="_blank"><span style="font-family: "times" , "times new roman" , serif; line-height: normal;">http://www.cbp.gov/xp/cgov/trade/legal/informed_compliance_pubs/</span></a></li>
<li style="margin: 0px 0px 3px;"><a href="http://www.pamm.org/sites/default/files/mam_cclose_gnotes.pdf" style="color: #0068cf; cursor: pointer; font-weight: inherit;" target="_blank"><span style="font-family: "times" , "times new roman" , serif; line-height: normal;">http://www.pamm.org/sites/default/files/mam_cclose_gnotes.pdf</span></a></li>
<li style="margin: 0px 0px 3px;"><span style="font-family: "times" , "times new roman" , serif; line-height: normal;">Publisher: Prentice Hall (October 20, 1994), ISBN-10: 0133045935, ISBN-13: 978-0133045932</span></li>
<li style="margin: 0px 0px 3px;"><a href="http://www.pamm.org/sites/default/files/mam_cclose_gnotes.pdf" style="color: #0068cf; cursor: pointer; font-weight: inherit;" target="_blank"><span style="font-family: "times" , "times new roman" , serif; line-height: normal;">http://www.pamm.org/sites/default/files/mam_cclose_gnotes.pdf</span></a></li>
<li style="margin: 0px 0px 3px;"><span style="font-family: "times" , "times new roman" , serif; line-height: normal;">Copyright © Bena Mayer, Executrix of the Estate of Ralph Mayer, 1991, ISBN 0-06-461012-8 (pbk.)</span></li>
<li style="margin: 0px 0px 3px;"><span style="font-family: "times" , "times new roman" , serif; line-height: normal;">www.copyright.gov/title17/92chap1.html#101 - § 106A. Rights of certain authors to attribution and integrity37 (a) Rights of Attribution and Integrity. — Subject to section 107 and independent of the exclusive rights provided in section 106, the author of a work of visual art — (1) shall have the right — (A) to claim authorship of that work, and (3) The rights described in paragraphs (1) and (2) of subsection (a) shall not apply to any reproduction, </span></li>
<li style="margin: 0px 0px 3px;"><a href="http://www.graphicsquote.com/tradecustoms.html" style="color: #0068cf; cursor: pointer; font-weight: inherit;" target="_blank"><span style="font-family: "times" , "times new roman" , serif; line-height: normal;">www.graphicsquote.com/tradecustoms.html</span></a></li>
<li style="margin: 0px 0px 3px;"><a href="http://www.law.cornell.edu/uscode/text/17/103" style="color: #0068cf; cursor: pointer; font-weight: inherit;" target="_blank"><span style="font-family: "times" , "times new roman" , serif; line-height: normal;">http://www.law.cornell.edu/uscode/text/17/103</span></a></li>
<li style="margin: 0px 0px 3px;"><span style="font-family: "times" , "times new roman" , serif; line-height: normal;">page 1394, Seventh Edition of Black’s Law Dictionary, © 1999 By West Group, ISBN 0314022864</span></li>
<li style="margin: 0px 0px 3px;"><span style="font-family: "times" , "times new roman" , serif; line-height: normal;">Publisher: Princeton University Press (August 25, 2003), ISBN-10: 069111577X, ISBN-13: 978-0691115771</span></li>
<li style="margin: 0px 0px 3px;"><span style="font-family: "times" , "times new roman" , serif; line-height: normal;">Seventh Edition of Black’s Law Dictionary, © 1999 By West Group, ISBN 0314022864</span></li>
<li style="margin: 0px 0px 3px;"><span style="font-family: "times" , "times new roman" , serif; line-height: normal;">Publisher: Princeton University Press (August 25, 2003), ISBN-10: 069111577X, ISBN-13: 978-0691115771</span></li>
<li style="margin: 0px 0px 3px;"><span style="font-family: "times" , "times new roman" , serif; line-height: normal;">Seventh Edition of Black’s Law Dictionary, © 1999 By West Group, ISBN 0314022864</span></li>
<li style="margin: 0px 0px 3px;"><span style="font-family: "times" , "times new roman" , serif; line-height: normal;">Publisher: Princeton University Press (August 25, 2003), ISBN-10: 069111577X, ISBN-13: 978-0691115771</span></li>
<li style="margin: 0px 0px 3px;"><span style="font-family: "times" , "times new roman" , serif; line-height: normal;">Seventh Edition of Black’s Law Dictionary, © 1999 By West Group, ISBN 0314022864</span></li>
<li style="margin: 0px 0px 3px;"><span style="font-family: "times" , "times new roman" , serif; line-height: normal;">Publisher: Princeton University Press (August 25, 2003), ISBN-10: 069111577X, ISBN-13: 978-0691115771</span></li>
<li style="margin: 0px 0px 3px;"><span style="font-family: "times" , "times new roman" , serif; line-height: normal;">Seventh Edition of Black’s Law Dictionary, © 1999 By West Group, ISBN 0314022864</span></li>
<li style="margin: 0px 0px 3px;"><span style="font-family: "times" , "times new roman" , serif; line-height: normal;">Publisher: Crown (June 1, 1983), ISBN-10: 0517038056, ISBN-13: 978-0517038055</span></li>
<li style="margin: 0px 0px 3px;"><span style="font-family: "times" , "times new roman" , serif; line-height: normal;">http://www.ftc.gov/bcp/policystmt/ad-unfair.htm</span></li>
</ol>
<div style="background-color: white; color: #444444;">
<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><br /></span></div>
<div style="background-color: white; color: #444444;">
<b><span style="font-family: "times" , "times new roman" , serif;">PRIOR VENUES FOR A "CHUCK CLOSE PRINTS PROCESS AND COLLABORATION" EXHIBITION</span></b><b><span style="font-family: "times" , "times new roman" , serif;">:</span></b><br />
<span style="font-family: "times" , "times new roman" , serif;">Blaffer Gallery, the Art Museum of the University of Houston, September 13 - November 23, 2003</span></div>
<div style="background-color: white; color: #444444;">
<span style="font-family: "times" , "times new roman" , serif;"><br />
The Metropolitan Museum of Art, New York, January 13 - April 18, 2004</span></div>
<div style="background-color: white; color: #444444;">
<span style="font-family: "times" , "times new roman" , serif;"><br />
Miami Art Museum, May 14 - August 22, 2004</span></div>
<div style="background-color: white; color: #444444;">
<span style="font-family: "times" , "times new roman" , serif;"><br />
Knoxville Museum of Art, Tennessee, October 29, 2004 - March 27, 2005</span></div>
<div style="background-color: white; color: #444444;">
<span style="font-family: "times" , "times new roman" , serif;"><br />
Mint Museum of Art, Charlotte, North Carolina, April 16 - August 7, 2005</span></div>
<div style="background-color: white; color: #444444;">
<span style="font-family: "times" , "times new roman" , serif;"><br />
Addison Gallery of American Art, Andover, Massachusetts, September 6 - December 4, 2005</span></div>
<div style="background-color: white; color: #444444;">
<span style="font-family: "times" , "times new roman" , serif;"><br />
Modern Art Museum of Fort Worth, April 16 - June 18, 2006</span></div>
<div style="background-color: white; color: #444444;">
<span style="font-family: "times" , "times new roman" , serif;"><br />
Fine Arts Museum of San Francisco, California Palace of the Legion of Honor, July 14 - September 24, 2006</span></div>
<div style="background-color: white; color: #444444;">
<span style="font-family: "times" , "times new roman" , serif;"><br />
Bellevue Art Museum, Washington, October 22, 2006 - January 7, 2007</span></div>
<div style="background-color: white; color: #444444;">
<span style="font-family: "times" , "times new roman" , serif;"><br />
Orange County Museum of Art, Newport Beach, California, January 28 - April 20, 2007</span></div>
<div style="background-color: white; color: #444444;">
<span style="font-family: "times" , "times new roman" , serif;"><span style="color: black;"><br /></span>
<span style="color: black;">Boise Art Museum, Idaho, May 12 - August 11, 2007</span></span></div>
<div style="background-color: white;">
<div style="color: black;">
<span style="font-family: "times" , "times new roman" , serif;"><br />
Portland Art Museum, Oregon, September - December 2007</span></div>
<div>
<div style="color: black;">
<span style="font-family: "times" , "times new roman" , serif;"><span style="line-height: 16.079999923706055px;"><br /></span>
<span style="line-height: 16.079999923706055px;">Sungkok Art Museum, Seoul, Korea, June 19, </span><span style="color: #333333;">2008 - September 28, 2008</span></span></div>
<span style="font-family: "times" , "times new roman" , serif;"><span style="color: #444444;"><br /></span>
<span style="color: #444444;">Frist Center for the Visual Arts, </span><span style="color: #262626; line-height: 19.440000534057617px;">June 25 - September 13, 2009</span></span></div>
</div>
<div style="background-color: white; color: #444444;">
<span style="font-family: "times" , "times new roman" , serif;"><br />
San Jose Museum of Art, <span class="date-display-start" style="color: #434344; line-height: 19.499401092529297px;">October 6, 2009</span><span class="date-display-separator" style="color: #434344; line-height: 19.499401092529297px;"> - </span><span class="date-display-end" style="color: #434344; line-height: 19.499401092529297px;">January 10, 2010</span></span></div>
<div style="background-color: white; color: #444444;">
<span style="font-family: "times" , "times new roman" , serif;"><br />
Corcoran Gallery of Art, July 3, 2010 - September 26, 2010</span></div>
<div style="background-color: white;">
<div style="color: #444444;">
<span style="font-family: "times" , "times new roman" , serif;"><span style="line-height: 16.079999923706055px;"><br /></span>
<span style="line-height: 16.079999923706055px;">Scottsdale Museum of Contemporary Art, 2010</span></span></div>
<span style="font-family: "times" , "times new roman" , serif;"><span style="line-height: 18px;"><br /></span>
<span style="line-height: 18px;">Kunsthal Rotterdam, January 28, 2012 - May 20, 2012</span></span></div>
<div>
<div style="background-color: white; color: #444444;">
<span style="color: black; line-height: 18px;"><span style="font-family: "times" , "times new roman" , serif;"><br /></span></span></div>
<div style="background-color: white;">
<span style="line-height: 16.079999923706055px;"><span style="font-family: "times" , "times new roman" , serif;">Museum der Moderne, Salzburg, Austria, </span></span><span style="line-height: 16.079999923706055px;"><span style="font-family: "times" , "times new roman" , serif;">October 27, 2012 - February 17, 2013</span></span><br />
<span style="font-family: "times" , "times new roman" , serif;"><span style="color: #262626; line-height: 16.899999618530273px;"><br /></span>
<span style="color: #262626; line-height: 16.899999618530273px;">White Cube Bermondsey, March 6, 2013 – April 21, 2013</span></span></div>
<div style="background-color: white; color: #444444;">
<span style="font-family: "times" , "times new roman" , serif;"><span style="line-height: 16.079999923706055px;"><br /></span>
<span style="line-height: 16.079999923706055px;">Museo de Arte Contemporáneo Esteban Vicente, Segovia, 2013</span></span></div>
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<li style="-webkit-appearance: none; border-bottom-left-radius: 0px; border-bottom-right-radius: 0px; border-top-left-radius: 0px; border-top-right-radius: 0px; border: none; margin: 0px; outline: none; padding: 0px;"><span style="font-family: "times" , "times new roman" , serif;">Oklahoma City Museum of Art, </span><span style="line-height: 20.479999542236328px;"><span style="font-family: "times" , "times new roman" , serif;">December 13, 2013-February 16, 2014</span></span></li>
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Gary Arseneauhttp://www.blogger.com/profile/10379667479866306615noreply@blogger.comtag:blogger.com,1999:blog-34909527.post-19360875654610102562014-02-11T23:03:00.000-05:002014-02-12T23:44:21.669-05:00Deception, Are These Really Rodins or Non-disclosed Posthumous Second-generation or more removed Forgeries with Counterfeit "A Rodin" Signatures in Bogus Editions?<div style="text-align: justify;">
<span style="color: #741b47; font-size: large;"><span style="font-family: Times, Times New Roman, serif; font-weight: bold;">Gruppo Mondiale Est., Gary Snell, and an ever growing -cast- of others, who have millions upon millions or more reasons to want the museum admission paying public, wealthy collectors, corporate sponsors, judicial and government officials -not- to understand, much less </span><span style="font-family: Times, 'Times New Roman', serif;"><b>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.</b></span></span></div>
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<a href="http://2.bp.blogspot.com/-J_0w-qbXVpQ/UqylMkqozgI/AAAAAAAAC_g/xl2fJgRHwKw/s1600/870_35299cfc207f7bb.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: Times, Times New Roman, serif;"><br class="Apple-interchange-newline" /><img border="0" src="http://2.bp.blogspot.com/-J_0w-qbXVpQ/UqylMkqozgI/AAAAAAAAC_g/xl2fJgRHwKw/s400/870_35299cfc207f7bb.jpg" height="640" width="424" /></span></a></div>
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<span style="font-size: x-small;"><span class="s1" style="font-family: Times, Times New Roman, serif;">AUGUSTE RODIN (1840 -1917), </span><i style="font-family: Times, 'Times New Roman', serif;">Iris, Messenger of the Gods, </i><span style="font-family: Times, 'Times New Roman', serif;">Circa 1895, </span><span style="font-family: Times, 'Times New Roman', serif;">Bronze, </span><span style="font-family: Times, 'Times New Roman', serif;">H. 82.7 cm ; W. 69 cm ; D. 63 cm, </span><span style="font-family: Times, 'Times New Roman', serif;">S.1068, </span><span style="font-family: Times, 'Times New Roman', serif;">Cast made Fonderie Alexis Rudier (?) before 1916.</span></span></div>
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<span class="s2" style="font-family: Times, Times New Roman, serif; font-size: x-small;"><a href="http://www.musee-rodin.fr/en/collections/sculptures/iris-messenger-gods">http://www.musee-rodin.fr/en/collections/sculptures/iris-messenger-gods</a></span></div>
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<b><span style="font-family: Times, Times New Roman, serif;">LIFETIME CAST [PHOTO OF PUBLIC DOMAIN WORK]</span></b></div>
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<span style="font-family: Times, Times New Roman, serif;"><b>UPDATED:</b> February 11, 2014 with Footnotes [Originally written November 1, 2001]</span><br />
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<span style="font-family: Times, Times New Roman, serif;"><span style="text-align: start;"><b>NOTE:</b> Footnotes are enclosed as:<span style="color: blue;"> [FN ]</span></span></span><br />
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<span style="font-family: Times, Times New Roman, serif;"><span style="text-align: start;">"</span><i style="background-color: white; line-height: 19.1875px; text-align: start;"><b>Bridgeman Art Library v. Corel Corp.</b></i><span style="background-color: white; line-height: 19.1875px; text-align: start;">, 36 F. Supp. 2d 191 (S.D.N.Y. 1999), was a decision by the United States District Court for the Southern District of New York, </span><span style="background-color: white; line-height: 19.1875px; text-align: start;">which ruled that exact photographic copies of public domain of </span><span style="background-color: white; line-height: 19.1875px; text-align: start;">images could not be protected by copyright</span><span style="background-color: white; line-height: 19.1875px; text-align: start;"> in the United States because the copies lack originality."<span style="color: blue;">[FN 1]</span></span></span><br />
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<span style="font-family: Times, Times New Roman, serif;">Additionally, under U.S. Copyright Law "</span><span style="background-color: white; text-align: start;"><span style="font-family: Times, Times New Roman, serif;">Section 107 contains a list of the various purposes for which the reproduction of a particular work may be considered fair, such as criticism, comment, news reporting, teaching, scholarship, and research. Section 107 also sets out four factors to be considered in determining whether or not a particular use is fair. [one of which is:] </span></span><span style="background-color: white; font-family: Times, 'Times New Roman', serif; text-align: start;">The purpose and character of the use, including whether such use is of commercial nature or is for nonprofit educational purposes."<span style="color: blue;">[FN 2]</span></span></div>
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<span style="font-family: Times, Times New Roman, serif; font-weight: normal;">[mine]</span><br />
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<span style="font-family: Times, Times New Roman, serif; font-size: x-large; font-weight: bold;">INTRODUCTION</span><br />
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<span style="font-family: Times, Times New Roman, serif;">Auguste Rodin died in 1917. </span></div>
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<span style="font-family: Times, Times New Roman, serif;">For the last 70 odd years after Auguste Rodin's death in 1917, the Musee Rodin owned an exclusive "right of reproduction to objects given by him,"</span><span style="background-color: white; color: blue; font-family: Times, 'Times New Roman', serif;">[FN 3] </span><span style="font-family: Times, Times New Roman, serif;"> which in part and/or whole, fell into the public domain in the late 1980's. Yet, despite Auguste Rodin's 1916 <i>Will</i> mandating the "right of reproduction to objects given by him"<span style="color: blue;"><span style="background-color: white;"> </span></span></span><span style="font-family: Times, Times New Roman, serif;">upon his death to the State of France, the Musee Rodin has admitted at one time on their website [subsequently removed] and to this scholar [in written correspondence] to violating Auguste Rodin <i>Will</i> by using posthumously reproduced plasters for casting in bronze, rather than his original lifetime plasters, resulting in 2nd-generation-removed bronze forgeries, not reproductions, much less sculptures. The Musee Rodin's fraud is further compounded by their posthumous inscription of non-disclosed counterfeit <i>"A Rodin"</i> signatures and bogus edition numbers to these non-disclosed posthumous 2nd-generation-removed bronze forgeries.</span></div>
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<span style="font-family: Times, Times New Roman, serif;">Auguste Rodin died in 1917. The dead don't posthumously sign, much less edition.</span></div>
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<span style="font-family: Times, Times New Roman, serif;">To add insult to injury, these non-disclosed posthumous second-generation-removed bronze forgeries with counterfeit <i>"A. Rodin" </i>signatures in bogus editions have been misrepresented by the Musee Rodin, museums and collectors as original works of visual art ie., sculptures, falsely attributed to Auguste Rodin, creating a false market for huge profiteering through admission fees, city-state-federal grants, corporate sponsorship, outright sales and tax write-offs, while deceptively leading the public that they were in the presence of an original work of art ie., sculpture, much less something Auguste Rodin created, much less approved.</span></div>
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<span style="font-family: Times, Times New Roman, serif;">Auguste Rodin died in 1917. The dead don't sculpt.</span></div>
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<span style="font-family: Times, Times New Roman, serif;">So, when Georges Rudier foundry, that cast non-disclosed posthumous second-generation-removed bronze forgeries for the Musee Rodin from 1952 to the late 1980's, went bankrupt, the Gruppo Mondiale and its director Gary Snell snapped up the opportunity to acquire this bankrupt foundry with its' collection of posthumous plaster reproductions, authorized by the Musee Rodin, from Auguste Rodin's original lifetime plasters.</span><br />
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<span style="font-family: Times, Times New Roman, serif;">So, instead of a corrupt Musee Rodin having exclusive rights to flood the marketplace with the sale of non-disclosed second-generation-removed bronze forgeries with applied counterfeit <i>"A Rodin"</i> signatures falsely attributed as original works of visual ie., sculpture to a dead Auguste Rodin, others like Gruppo Mondiale could now participate and profit almost indistinguishably from the Musee Rodin's posthumous collection by using the same posthumous plasters, moulds and the like for casting in bronze.</span><br />
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<span style="font-family: Times, Times New Roman, serif;">GRUPPO MONDIALE AND PINOCCHIO</span><br />
<span style="font-family: Times, Times New Roman, serif;"><span style="background-color: white; line-height: 20.799999237060547px;">Unfortunately, Gruppo Mondiale is very much like The Coachman in the old 1940 Disney classic movie Pinocchio. As you may know, the movie is the story of a wooden puppet named Pinocchio who desperately wants to become a real little boy. In his journey to become human, Pinocchio comes across The Coachman’s hench men Honest John and Gideon who lure him to Pleasure Island to eat whatever he wishes and create havoc all day when the true and sinster purpose is to turn wayward boys into donkeys for sale.</span></span><span style="background-color: white; color: blue; font-family: Times, 'Times New Roman', serif; text-align: start;">[FN 4]</span><br />
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<span style="font-family: Times, Times New Roman, serif;">GRUPPO MONDIALE EST AND MACLAREN ART CENTRE TO SPLIT $135 MILLION</span></div>
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<span style="font-family: Times, Times New Roman, serif;">In the Globe and Mail's published March 10, 2004 "Gallery faces closure over bronzes" article by James Adams, The reporter wrote: "A multimillion-dollar deal to bring hundreds of bronze sculptures attributed to the French master Auguste Rodin to a small Ontario art gallery has collapsed, with the result that the gallery may be forced to close its doors as early as next month. The MacLaren Art Centre in Barrie, Ont., a city of about 120,000 people, 90 kilometres north of Toronto, was expecting to take possession last year of 510 Rodin bronzes, purportedly worth more than $135-million, from an Italian-based art company, Gruppo Mondiale. Some of these bronzes would then have been sold to collectors and institutions, with Gruppo and the MacLaren sharing in the proceeds; others would have stayed in Barrie as a linchpin to something called ArtCity, an ambitious project, first conceived in the mid-eighties, to place sculpture by Canadian and international artists in and around Barrie, thereby turning the locale into a tourist destination the equal of Stratford and Niagara-on-the-Lake."</span><span style="background-color: white; color: blue; font-family: Times, 'Times New Roman', serif; text-align: start;">[FN 5]</span></div>
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<span style="font-family: Times, Times New Roman, serif;">510 RODINS NEVER DELIVERED BY GRUPPO MONDIALE EST</span></div>
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<span style="font-family: Times, Times New Roman, serif;">Additionally, the James Adams wrote: "While the MacLaren claims to have clear title to the bronzes, all supposedly cast from 1999 onwards, it has yet to see the 10 editions made from each of the 51 Rodins, including such classics as Eternal Spring and The Age of Bronze. Negotiations between the MacLaren and Gruppo Mondiale to get the bronzes to Barrie have been ongoing for more than two years, but reached an impasse recently. Indeed, there are concerns if all 510 bronzes actually exist as bronzing experts say it takes anywhere from 31⁄2 months to six months to make one finished, professionally acceptable bronze, depending on the size and complexity of the object being cast."</span><span style="background-color: white; color: blue; font-family: Times, 'Times New Roman', serif; text-align: start;">[FN 6]</span></div>
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<span style="font-family: Times, Times New Roman, serif;">MACLAREN ART CENTRE GOES BANKRUPT</span></div>
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<span style="font-family: Times, Times New Roman, serif;">In Globe and Mail's published June 14, 2005 "Deal lacked proper checks, report says" article by James Adams, the reporter wrote: "The 16-page report, more than a year in the making, was ordered by Barrie's city council last April. Councillors in the city, with a population of about 130,000, created the six-member Rodin Transaction Examination Committee upon learning that the MacLaren Art Centre was facing a deficit of at least $1-million and unable to make any payments on the $2.7-million it owed the city for an expansion and renovation of its space."</span><span style="background-color: white; color: blue; font-family: Times, 'Times New Roman', serif; text-align: start;">[FN 7]</span></div>
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<span style="font-family: Times, Times New Roman, serif;">ROYAL ONTARIO MUSEUM GAINS $200,000 IN UNPAID BILLS</span></div>
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<span style="font-family: Times, Times New Roman, serif;">As for the Royal Ontario Museum, their initial financial stake that turned into a loss was addressed in a Globe and Mail published January 18, 2003 "Inside the hidden kingdom" article by Sarah Milroy, the reporter wrote: " last year's Rodin fiasco (which ended up costing the ROM more than $200,000 in unpaid bills when the MacLaren Art Centre's proposed world tour of the exhibit found no other takers)."</span><span style="background-color: white; color: blue; font-family: Times, 'Times New Roman', serif; text-align: start;">[FN 8]</span></div>
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<span style="font-family: Times, Times New Roman, serif;">$40 MILLION DONATION TAX WRITEOFF</span></div>
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<span style="font-family: Times, Times New Roman, serif;">In the Globe and Mail's published November 5, 2006 "Canadian collectors cry foul on report" article by James Adams, the reporter wrote: "At stake is the fate of versions of some of the world's most famous sculptures, among them three plaster renditions of <i>The Kiss</i>, two of <i>The Thinker</i> and three of the <i>Age of Bronze</i>, part of a collection that the 10 businessmen bought from an Italian dealer in 2000. By donating their 28 plasters to the MacLaren, a registered Canadian charity, they would have been able to claim their full market value as a break against taxable income. At one time, the MacLaren valued the entire Rodin project at more than $40-million."</span><span style="background-color: white; color: blue; font-family: Times, 'Times New Roman', serif; text-align: start;">[FN 9]</span></div>
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<span style="font-family: Times, Times New Roman, serif;">WHO ARE THESE BUSINESSMEN?</span></div>
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<span style="font-family: Times, Times New Roman, serif;">Additionally, in this Globe and Mail published article, the reporter James Adams names those ten businessmen. They are: 1) Rolling Stones' tour manager Michael Cohl, 2) broadcasting billionaire Allan Slaight, 3) Toronto investment banker Robert Foster, 4) pollster Martin Goldfarb, 5) developers Garnet Watchorn and 6) Graham Goodchild, 7) Standard Broadcasting CFO David Coriat, 8) venture capitalist Anthony Lloyd, 9) Mad Catz Interactive founder Pat Brigham and 10) the estate of the late John M. S. Lecky, Calgary-based founder of Canada 3000 airlines.</span><span style="background-color: white; color: blue; font-family: Times, 'Times New Roman', serif; text-align: start;">[FN 10]</span></div>
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<span style="font-family: Times, Times New Roman, serif;">GRUPPO MONDIALE EST. PARTNERS WITH RODIN INTERNATIONAL</span></div>
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<span style="font-family: Times, Times New Roman, serif;">Rodin International L.C., located at 201 Bird Road in Coral Gables, Florida, began selling Gruppo Mondiale Est.'s so-called Rodins sometime after 2002. On their<span style="color: #3333ff;"> </span>website, it stated: "These are only three examples of major sculptors with posthumous bronzes, but the list could be continued endlessly. The essence of this is that posthumous casts are an essential part of our understanding of the artist’s lifetime work. They complete the image and character of the artist, and sometimes formulate it altogether. These works are significant additions to their respective collections and are visited by millions of visitors annually. At recent auctions some posthumous bronzes have actually sold at much higher prices than lifetime casts."</span><span style="background-color: white; color: blue; font-family: Times, 'Times New Roman', serif; text-align: start;">[FN 11]</span></div>
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<span style="font-family: Times, Times New Roman, serif;">GRUPPO MONDIALE EST SUES RODIN INTERNATIONAL LC</span></div>
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<span style="font-family: Times, Times New Roman, serif;">On February 8, 2007, Gruppo Mondiale Est. filed suit, in the Florida Southern District Court before William M. Hoeveler, demanding $6 million for trademark infringement against Rodin International LC among others.</span><span style="background-color: white; color: blue; font-family: Times, 'Times New Roman', serif; text-align: start;">[FN 12]</span></div>
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<span style="font-family: Times, Times New Roman, serif;">GRUPPO MONDIALE EST NOW PARTNERS WITH TWENTY 21 COLLECTIONS</span></div>
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<span style="font-family: Times, Times New Roman, serif;">Twenty 21 Collections, located at 309 East Paces Ferry Road N.E., Suite 110 in Atlanta, Georgia, began selling Gruppo Mondiale Est.'s so-called Rodins sometime after 2007. On their website, it states: "We showcase the Masters Edition of Auguste Rodin posthumous original bronzes. The exquisite Masters Edition of first generation bronzes is cast from critically evaluated and authenticated original plasters and molds executed by Auguste Rodin. The bronzes are foundered in the traditional method using original patina and metallurgical information. Provenance is traced to Auguste Rodin, Alexis Rudier, George and Eugene Rudier and the Rudier Foundry."</span><span style="background-color: white; color: blue; font-family: Times, 'Times New Roman', serif; text-align: start;">[FN 13]</span></div>
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<span style="font-family: Times, Times New Roman, serif;">TWENTY 21 COLLECTIONS PARTNERS WITH DRAGON FINE ARTS</span></div>
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<span style="font-family: Times, Times New Roman, serif;">Dragon Fine Arts, located at 719 Greeley Drive in Nashville, Tennessee, is promoting on their website, the following: "September 10-13: Public Exhibition, Rodin at Bella Luce, Dragon Fine Arts, in association with Twenty 21 Collections/Gallery Rodin, and Jimmy Franks’ Bella Luce, introduces an exquisite collection of limited edition posthumous original bronzes by Auguste Rodin, offering the private collector a rare opportunity of ownership of this great master’s art. 24 acclaimed artists and sculptors will be included in this exhibition and sale., Open from 11 a.m. to 6 p.m., $15 admission, Proceeds will benefit New Hope Academy.”</span><span style="background-color: white; color: blue; font-family: Times, 'Times New Roman', serif; text-align: start;">[FN 14]</span></div>
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<span style="font-family: Times, Times New Roman, serif;">This Bella Luce estate is located at 414 Lake Valley Drive in Franklin, Tennessee.</span></div>
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<span style="font-family: Times, Times New Roman, serif;">GRUPPO MONDIALE EST's COLLECTION OF BRONZES CHECKLIST</span></div>
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<span style="font-family: Times, Times New Roman, serif;">On Gruppo Mondiale Est's website</span><span style="font-family: Times, 'Times New Roman', serif;">, the titles and dimensions given in their "Auguste Rodin Collection of Bronzes"</span><span style="background-color: white; color: blue; font-family: Times, 'Times New Roman', serif; text-align: start;">[FN 15]</span><span style="font-family: Times, 'Times New Roman', serif;"> checklist is exactly the same (except for the listed dates predating Rodin's death) as the Dragon Fine Art's "Master Collection Posthumous Original Bronzes"</span><span style="background-color: white; color: blue; font-family: Times, 'Times New Roman', serif; text-align: start;">[FN 16]</span><span style="font-family: Times, 'Times New Roman', serif;"> checklist for their partner Twenty 21 Collections' upcoming "Rodin at Bella Luce" exhibit and sale on September 10-13, 2009 at the Bella Luce estate in Franklin, Tennessee.</span></div>
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<span style="font-size: x-small;">IRIS (SMALL), Plaster* - Height cm. 39 H (44 long = 17 3/8 ")</span><br />
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<span style="font-size: x-small;">IRIS (SMALL), Bronze - Height cm. 38,5 H (43 long = 16 7/8 ")</span><br />
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<span style="font-weight: bold;">RIGHT-HANDED PLASTER, LEFT-HANDED BRONZE</span></div>
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Rhetorically speaking, does Gruppo Mondiale Est.'s right hand know what its' left hand is doing?</div>
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<span style="font-family: Times, Times New Roman, serif;">MASTER COLLECTION POSTHUMOUS ORIGINAL BRONZES </span></div>
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<span style="font-family: Times, Times New Roman, serif;">Below is copy of the price list for the so-called <span style="font-weight: bold;">"</span>Master Collection Posthumous Original Bronzes" received from Dragon Fine Art's representative Carol Lochidge.</span></div>
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<span style="font-family: Times, Times New Roman, serif;">1. <i>The Great Thinker</i> (1903) 183 c.m. $655,000.00</span></div>
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<span style="font-family: Times, Times New Roman, serif;">2. <i>The Thinker </i>(1880) medium, 73 c.m. $228,000.00</span></div>
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<span style="font-family: Times, Times New Roman, serif;">3. <i>The Hand of the Great Thinker</i> (1903) 38 c.m. $13,000.00 in gallery</span></div>
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<span style="font-family: Times, Times New Roman, serif;">4. <i>The Hand of the Thinker</i> (1880) 15 c.m. $6,500.00</span></div>
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<span style="font-family: Times, Times New Roman, serif;">5. <i>The Age of Bronze</i> (1876) large, 180 c.m. $232,000.00 in gallery</span></div>
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<span style="font-family: Times, Times New Roman, serif;">6. <i>The Age of Bronze</i> (1898) medium, 103 c.m. $110,000.00</span></div>
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<span style="font-family: Times, Times New Roman, serif;">7. <i>The Age of Bronze </i>(1898) Small, 63 c.m. $55,000.00</span></div>
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<span style="font-family: Times, Times New Roman, serif;">8. <i>Bust Age of Bronze</i> (1898) 28 c.m. $26,500.00</span></div>
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<span style="font-family: Times, Times New Roman, serif;">9. <i>Bust Age of Bronze</i> (1989) large, 53 c.m. $56,000.00</span></div>
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<span style="font-family: Times, Times New Roman, serif;">10. <i>The Walking Man</i> (1877) 85 c.m. $82,000.00 in gallery</span></div>
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<span style="font-family: Times, Times New Roman, serif;">11. <i>Head of St John the Baptist</i> (1879) 37 c.m. $48,000.00</span></div>
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<span style="font-family: Times, Times New Roman, serif;">12. <i>Head of Eustache de St. Pierre </i>(1885) 34.5 c.m. $35,500.00 in gallery</span></div>
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<span style="font-family: Times, Times New Roman, serif;">13. <i>Eternal Spring </i>(1884) 65 c.m. $98,500.00</span></div>
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<span style="font-family: Times, Times New Roman, serif;">14.<i> Eve</i> (1883) medium 74 c.m. $82,000.00</span></div>
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<span style="font-family: Times, Times New Roman, serif;">15.<i> Torso Morhardt </i>(1890s) 39 c.m. $28,000.00</span></div>
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<span style="font-family: Times, Times New Roman, serif;">16. <i>Nijinsky</i> (1912) 31 c.m. $14,000.00</span></div>
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<span style="font-family: Times, Times New Roman, serif;">17. <i>Fallen Caryatid With Her Stone</i> (1881-82) 43 c.m. $46,500.00</span></div>
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<span style="font-family: Times, Times New Roman, serif;">18. <i>Feminine Torso</i> (1880) 29 c.m. $6,500.00 in gallery</span></div>
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<span style="font-family: Times, Times New Roman, serif;">19<i>. The Danaid</i> (1886) 13 c.m.h x23 c.m. L $18,000.00</span></div>
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<span style="font-family: Times, Times New Roman, serif;">20. <i>Eve</i> (1881) Large 170.5 c.m. $232,000.00</span></div>
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<span style="font-family: Times, Times New Roman, serif;">21. <i>Iris, Messenger of the Gods</i> (1891) 93 c.m. $145,000.00</span></div>
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<span style="font-family: Times, Times New Roman, serif;">22. <i>The Kiss </i>(1885) 85.5 c.m. $232,000.00 sold, avail from foundry</span></div>
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<span style="font-family: Times, Times New Roman, serif;">23. <i>Study for Walking Man</i> (1877) 53 c.m. $53,500.00</span></div>
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<span style="font-family: Times, Times New Roman, serif;">24. <i>Hand of Rodin holding Female Form</i> (1917) 22 c.m. $16,000.00</span></div>
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<span style="font-family: Times, Times New Roman, serif;">25. <i>Man With the Broken Nose</i> (1862-63) 25.1 c.m. $19,500.00 in gallery</span></div>
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<span style="font-family: Times, Times New Roman, serif;">26. <i>Balzac in Dominican Robe</i> (1893) 106 c.m. $110,000.00 in gallery</span></div>
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<span style="font-family: Times, Times New Roman, serif;">27. <i>Balzac Nude</i> (1892) 74.5 c.m. $89,000.00</span></div>
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<span style="font-family: Times, Times New Roman, serif;">28. <i>Dance Movement A </i>(1910-11) 64.5 c.m. $48,500.00</span></div>
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<span style="font-family: Times, Times New Roman, serif;">29.<i> Dance Movement B </i>(1910-11) 33 c.m. $24,500.00 in gallery</span></div>
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<span style="font-family: Times, Times New Roman, serif;">30. <i>Dance Movement D </i>(1910-11) 32 c.m. $24,500.00 in gallery</span></div>
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<span style="font-family: Times, Times New Roman, serif;">31. <i>Dance Movement E </i>(1910-11) 35 c.m. $24,500.00 in gallery</span></div>
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<span style="font-family: Times, Times New Roman, serif;">32. <i>Torso of Adele </i>(1881-82) 44 c.m. $29,000.00</span></div>
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<span style="font-family: Times, Times New Roman, serif;">33. <i>Hand of Adam</i> (1880) 32 c.m. $26,000.00</span></div>
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<span style="font-family: Times, Times New Roman, serif;">34. <i>Left Hand of Pierre Wiessant </i>(1886) 33 c.m. $20,500.00</span></div>
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<span style="font-family: Times, Times New Roman, serif;">35. <i>Head of Balzac </i>(1896) 17.5 c.m. $16,500.00 in gallery</span></div>
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<span style="font-family: Times, Times New Roman, serif;">36.<i> Nijinsky</i> (1912) small 17 c.m. $11,000.00 in gallery</span></div>
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<span style="font-family: Times, Times New Roman, serif;">37.<i> Eve </i>(1884) medium, round base 68 c.m. $62,500.00</span></div>
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<span style="font-family: Times, Times New Roman, serif;">38. <i>Study for Pierre Wiessant </i>(1885-86) 62.5 c.m. $54,000.00 in gallery</span></div>
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<span style="font-family: Times, Times New Roman, serif;">39. <i>Hand of God </i>(1897-1900) 13 c.m. $13,000.00</span></div>
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<span style="font-family: Times, Times New Roman, serif;">40. <i>Children with Lizard </i>(1885) 35 c.m. $46,500.00</span></div>
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<span style="font-family: Times, Times New Roman, serif;">41. <i>Burgher Andrieu d’Andres </i>(1900) 43 c.m. $65,500.00</span></div>
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<span style="font-family: Times, Times New Roman, serif;">42. <i>The Shade</i> (1880) 94 c.m. $109,000.00 sold, avail from foundry</span></div>
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<span style="font-family: Times, Times New Roman, serif;">43. <i>Crouching Woman</i> (1880-82) 31 c.m. $33,500.00</span></div>
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<span style="font-family: Times, Times New Roman, serif;">44. <i>Right Hand of Pierre Wiessant</i> (1885-86) 32 c.m. $19,500.00</span></div>
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<span style="font-family: Times, Times New Roman, serif;">45. <i>Study of Hand </i>(1885) 25 c.m. $13,500.00</span></div>
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<span style="font-family: Times, Times New Roman, serif;">46. <i>Bust of Balzac </i>(1892) 19.5 c.m. $23,500.00 in gallery</span></div>
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<span style="font-family: Times, Times New Roman, serif;">47. <i>Iris Messenger of the Gods </i>(1891) 38.5 c.m. $49,000.00 in gallery</span></div>
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<span style="font-family: Times, Times New Roman, serif;">48. <i>Bust of Jean D`Aire </i>(1886) 45 c.m. $54,000.00 in gallery</span></div>
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<span style="font-family: Times, Times New Roman, serif;">49. <i>The Kiss </i>(1885-03) small 25 c.m. $46,500.00</span></div>
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<span style="font-family: Times, Times New Roman, serif;">50.<i> The Kiss </i>(1885-98) medium, 60.5 c.m. $135,000.00</span></div>
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<span style="font-family: Times, Times New Roman, serif;">51. <i>The Danaid </i>(1885-86) Large 30c.m. high $98,500.00</span></div>
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<span style="font-family: Times, Times New Roman, serif;">52. <i>The Hand of God </i>(1902-3) 112 c.m. $1,085,000.00 in gallery</span></div>
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<span style="font-family: Times, Times New Roman, serif;">53. <i>The Athlete</i> (1901) 41 c.m. $84,000.00</span></div>
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<span style="font-family: Times, Times New Roman, serif;">54. <i>Fugit Amor </i>(1882-83) 37 c.m. $59,500.00</span></div>
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<span style="font-family: Times, Times New Roman, serif;">55. <i>Kneeling Fauness</i> (1884) 50 c.m. $69,000.00</span></div>
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<span style="font-family: Times, Times New Roman, serif;">56. <i>St John the Baptist Preaching</i> (1878) 54 c.m. $68,000.00</span></div>
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<span style="font-family: Times, Times New Roman, serif;">57. <i>The Kiss</i> 16 “ (1885-8) 40 c.m. $85.500.00</span></div>
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<span style="font-family: Times, Times New Roman, serif;">TWENTY 21 COLLECTION's CURATOR ERIN WERTENBERGER</span></div>
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<span style="font-family: Times, Times New Roman, serif;">In a September 4, 2009 email from the Twenty 21 Collections' owner and curator Erin Wertenberger of the upcoming <b>Rodin at Bella Luce</b> exhibit and sale, the curator wrote the following: "The collection of posthumous original bronzes by Auguste Rodin is the Masters Edition Collection. There are currently 57 bronzes cast from original plasters and molds executed by Rodin and through the Rudier Foundry, his principle foundry. The Masters Edition has established their own private foundry and utilizes the original metallurgy and patina notes as defined by Rodin. Finishes are as specific to the original finishes as is possible to achieve. The foundry is located in Italy so that the original, timeless casting methods of Rodin's time could be used. These bronzes are editioned and after the casting has been accomplished all of the plasters and molds are being placed in public institutions, and will never be used again for any future bronzes."</span><span style="background-color: white; color: blue; font-family: Times, 'Times New Roman', serif; text-align: start;">[FN 17]</span></div>
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<span style="font-family: Times, Times New Roman, serif;">Aside the sea of -red flags- like not mentioning Gruppo Mondiale Est. involvement, much less ownership of these posthumous forgeries, should the public suspend disbelief or just believe these plasters and/or molds, unless destroyed, "will never be used again for any future bronzes."</span></div>
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<span style="font-family: Times, Times New Roman, serif;">These vague and ambiguous promises is what the MacLaren Art Centre was lead to believe and look where that got them, for all intents and purposes: -bankrupt-.</span></div>
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<span style="text-align: justify;"><span style="font-family: Times, Times New Roman, serif;">In other words, when it comes to these so-called "editions," the only thing limited is the lack of transparency to these non-disclosed forgeries, with or without intent, by all the principals involved in this multi-multi-million dollar fraud.</span></span><br />
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<span style="font-size: x-small;">"Organized by the MacLaren Art Centre of Barrie, Ontario, From Plaster to Bronze: The Sculpture of Auguste Rodin provides fresh insight into Rodin's unique working techniques, notably his translation of foundry plasters into cast bronze sculptures, and the unusual manner in which he continuously deconstructed, reshaped and refined his plasters."</span></div>
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<span style="color: #3333ff; font-size: x-small;">http://www.rom.on.ca/rodin/intro.html</span></div>
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<span style="font-family: Times, Times New Roman, serif; font-size: x-large;"><b>DECEPTION</b></span></div>
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<span style="color: purple; font-family: Times, Times New Roman, serif;"><i>"Organized by the MacLaren Art Centre of Barrie, Ontario, From Plaster to Bronze: The Sculpture of Auguste Rodin provides fresh insight into Rodin's unique working techniques, notably his translation of foundry plasters into cast bronze sculptures, and the unusual manner in which he continuously deconstructed, reshaped and refined his plasters."</i></span><span style="background-color: white; color: blue; font-family: Times, 'Times New Roman', serif; text-align: start;">[FN 18]</span></div>
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<span style="font-family: Times, Times New Roman, serif;"><span style="font-size: 28.88888931274414px;"><span style="font-weight: bold;">T</span></span>he MacLaren Art Centre organized September 20 to December 23, 2001 <b>From Plaster to Bronze: The Sculpture of Auguste Rodin</b> exhibition at the Royal Ontario Museum is introduced on their website as: “In the first stop of a major international tour, this revealing exhibit brings together almost 70 sculptures by Auguste Rodin, one of the seminal figures in modern art.”</span><span style="background-color: white; color: blue; font-family: Times, 'Times New Roman', serif; text-align: start;">[FN 19]</span></div>
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<span style="font-family: Times, Times New Roman, serif;">These "almost 70 sculptures," is actually 66 total, with the museum's checklist descriptions given as: 18 “Auguste Rodin bronzes” and 48 “Auguste Rodin plasters.”</span></div>
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<span style="font-family: Times, Times New Roman, serif;">As for the 18 so-called "Auguste Rodin bronzes," 17 are non-disclosed forgeries, posthumously forged between 1962 and 2000 with counterfeit<i> “A Rodin”</i> signatures applied.</span></div>
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<span style="font-family: Times, Times New Roman, serif;">On page 661 of the <span style="font-style: italic;">Seventh Edition of Black's Law Dictionary</span>, -forgery- is defined as: "the act of fraudulently making a false document or altering a real one to be used as if geniune."</span><span style="background-color: white; color: blue; font-family: Times, 'Times New Roman', serif; text-align: start;">[FN 20]</span></div>
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<span style="font-family: Times, Times New Roman, serif;">Auguste Rodin died in 1917. The dead don't sculpt.</span></div>
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<span style="font-family: Times, Times New Roman, serif;">The Mackenzie Art Gallery's “bronze” titled <i>Eternal Spring</i> (1916) is potentially the only attributable lifetime cast to Auguste Rodin in this exhibition.</span></div>
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<span style="font-family: Times, Times New Roman, serif;">Additionally, the Musee Rodin admits on their website to the posthumous practice of sending plaster forgeries of Auguste Rodin's original plasters for casting in bronze to the foundries. Thus not only violating Auguste Rodin's 1916 <i>Will</i> but making the subsequent posthumously cast bronzes by the Musee Rodin second-generation-removed forgeries in bronze.</span></div>
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<span style="font-family: Times, Times New Roman, serif;"><br /></span></div>
<div style="text-align: justify;">
<span style="font-family: Times, Times New Roman, serif;">Therefore, thirty-seven of the 48 “Auguste Rodin plasters" listed in this exhibition, as “foundry plasters”(28) and as “studio or foundry plasters”(9) with so-called <i>“A Rodin”</i> signatures applied, acquired from foundries that cast for the Musee Rodin would be posthumous forgeries.</span></div>
<div style="text-align: justify;">
<span style="font-family: Times, Times New Roman, serif;"><br /></span></div>
<div style="text-align: justify;">
<span style="font-family: Times, Times New Roman, serif;">The dead don't sign.</span></div>
<div style="text-align: justify;">
<span style="font-family: Times, Times New Roman, serif;"><br /></span></div>
<div style="text-align: justify;">
<span style="font-family: Times, Times New Roman, serif;">As for the other eleven "studio cast" plasters in this exhibition, are we to suspend disbelief or just believe, that despite the MacLaren Art Centre, Royal Ontario Museum and Gruppo Mondiale Est. misrepresenting at least 55 plaster and bronze forgeries as "sculptures by Auguste Rodin," that these -studio casts- are authentic lifetime plasters realized by Auguste Rodin?</span></div>
<div style="text-align: justify;">
<span style="font-family: Times, Times New Roman, serif;"><br /></span></div>
<div style="text-align: justify;">
<span style="font-family: Times, Times New Roman, serif;">So, what is at stake?</span></div>
<div style="text-align: justify;">
<span style="font-family: Times, Times New Roman, serif;"><br /></span></div>
<div style="text-align: justify;">
<span style="font-family: Times, Times New Roman, serif;">This monograph documents these contentious issues of authenticity and avarice by the principals Gruppo Mondiale Est., MacLaren Art Centre, Royal Ontario Museum and wealthy investors.</span></div>
<div style="text-align: justify;">
<span style="font-family: Times, Times New Roman, serif;"><br /></span></div>
<div style="text-align: justify;">
<span style="font-family: Times, Times New Roman, serif;">MACLAREN ART CENTRE'S EXHIBITION CHECKLIST SUMMARY</span></div>
<span style="font-family: Times, Times New Roman, serif; font-weight: bold;">
</span>
<br />
<div style="text-align: justify;">
<span style="font-family: Times, Times New Roman, serif;">(Summarized directly from the MacLaren Art Centre’s published checklist for "Foundry Casts," "Studio or Foundry Casts," "Posthumous Casts" and "Lifetime Casts" have numbering mine and MacLaren Art Center's numbering enclosed with ( ), with their given title and listed date.)</span></div>
<div style="text-align: justify;">
<div style="text-align: center;">
<span style="font-family: Times, Times New Roman, serif;"><br /></span></div>
</div>
<div style="text-align: justify;">
<div style="text-align: center;">
<span style="font-family: Times, Times New Roman, serif;">FOUNDRY CASTS {plaster}</span></div>
</div>
<div style="text-align: justify;">
<div style="text-align: center;">
<span style="font-family: Times, Times New Roman, serif;">1. (#1) <i>The Thinker</i> (medium) - 1880</span></div>
</div>
<div style="text-align: justify;">
<div style="text-align: center;">
<span style="font-family: Times, Times New Roman, serif;">2. (#3) <i>The Kiss</i> (medium) - 1903</span></div>
</div>
<div style="text-align: justify;">
<div style="text-align: center;">
<span style="font-family: Times, Times New Roman, serif;">3. (#7) <i>Man with a Broken Nose</i> - 1872</span></div>
</div>
<div style="text-align: justify;">
<div style="text-align: center;">
<span style="font-family: Times, Times New Roman, serif;">4. (#8) <i>The Age of Bronze</i> (small) - 1898</span></div>
</div>
<div style="text-align: justify;">
<div style="text-align: center;">
<span style="font-family: Times, Times New Roman, serif;">5. (#9) <i>The Kiss</i> (small) - 1903</span></div>
</div>
<div style="text-align: justify;">
<div style="text-align: center;">
<span style="font-family: Times, Times New Roman, serif;">6. (#10) <i>Bust of Balzac</i> (reduction) - 1898</span></div>
</div>
<div style="text-align: justify;">
<div style="text-align: center;">
<span style="font-family: Times, Times New Roman, serif;">7. (#17) <i>Fallen Caryatid Carrying Her Stone</i> - 1880-82</span></div>
</div>
<div style="text-align: justify;">
<div style="text-align: center;">
<span style="font-family: Times, Times New Roman, serif;">8. (#19)<i> Study for Eustache </i>- 1886</span></div>
</div>
<div style="text-align: justify;">
<div style="text-align: center;">
<span style="font-family: Times, Times New Roman, serif;">9. (#21) <i>Bust of Burgher Jean D’Aire</i> - 1898</span></div>
</div>
<div style="text-align: justify;">
<div style="text-align: center;">
<span style="font-family: Times, Times New Roman, serif;">10. (#22)<i> Ninjinsky </i>(small) - 1912</span></div>
</div>
<div style="text-align: justify;">
<div style="text-align: center;">
<span style="font-family: Times, Times New Roman, serif;">11. (#23) <i>Daniad</i> - 1888</span></div>
</div>
<div style="text-align: justify;">
<div style="text-align: center;">
<span style="font-family: Times, Times New Roman, serif;">12. (#25) <i>Iris, Messenger of the Gods</i> (small) - 1891</span></div>
</div>
<div style="text-align: justify;">
<div style="text-align: center;">
<span style="font-family: Times, Times New Roman, serif;">13. (#28) <i>Fugit Amor</i> - 1900</span></div>
</div>
<div style="text-align: justify;">
<div style="text-align: center;">
<span style="font-family: Times, Times New Roman, serif;">14. (#29) <i>Torso of Adele</i> - 1881</span></div>
</div>
<div style="text-align: justify;">
<div style="text-align: center;">
<span style="font-family: Times, Times New Roman, serif;">15. (#31) <i>Feminine Torso</i> - 1880</span></div>
</div>
<div style="text-align: justify;">
<div style="text-align: center;">
<span style="font-family: Times, Times New Roman, serif;">16. (#42) <i>The Hand of Adam</i> - 1881</span></div>
</div>
<div style="text-align: justify;">
<div style="text-align: center;">
<span style="font-family: Times, Times New Roman, serif;">17. (#43) <i>The Hand of God </i>- 1898</span></div>
</div>
<div style="text-align: justify;">
<div style="text-align: center;">
<span style="font-family: Times, Times New Roman, serif;">18. (#46) <i>Balzac</i> (Nude) - 1892</span></div>
</div>
<div style="text-align: justify;">
<div style="text-align: center;">
<span style="font-family: Times, Times New Roman, serif;">19. (#48) <i>Balzac in a Monk’s Robe</i> - 1893</span></div>
</div>
<div style="text-align: justify;">
<div style="text-align: center;">
<span style="font-family: Times, Times New Roman, serif;">20. (#52) <i>The Kiss</i> - 1885</span></div>
</div>
<div style="text-align: justify;">
<div style="text-align: center;">
<span style="font-family: Times, Times New Roman, serif;">21. (#53) <i>Dance Movement “A”</i> - 1910-1911</span></div>
</div>
<div style="text-align: justify;">
<div style="text-align: center;">
<span style="font-family: Times, Times New Roman, serif;">22. (#54) <i>Dance Movement “B”</i> - 1910-1911</span></div>
</div>
<div style="text-align: justify;">
<div style="text-align: center;">
<span style="font-family: Times, Times New Roman, serif;">23. (#55) <i>Dance Movement “C”</i> - 1910-1911</span></div>
</div>
<div style="text-align: justify;">
<div style="text-align: center;">
<span style="font-family: Times, Times New Roman, serif;">24. (#56) <i>Dance Movement “D”</i> - 1910-1911</span></div>
</div>
<div style="text-align: justify;">
<div style="text-align: center;">
<span style="font-family: Times, Times New Roman, serif;">25. (#61) <i>Nijinsky</i> - 1912</span></div>
</div>
<div style="text-align: justify;">
<div style="text-align: center;">
<span style="font-family: Times, Times New Roman, serif;">26. (#63)<i> Right Hand of Pierre Wiessant</i> - 1886</span></div>
</div>
<div style="text-align: justify;">
<div style="text-align: center;">
<span style="font-family: Times, Times New Roman, serif;">27. (#64) <i>Left Hand of Pierre Wiessant</i> - 1886</span></div>
</div>
<div style="text-align: justify;">
<div style="text-align: center;">
<span style="font-family: Times, Times New Roman, serif;">28. (#67) <i>The Thinker</i> (great) - 1903</span></div>
</div>
<div style="text-align: justify;">
<div style="text-align: center;">
<span style="font-family: Times, Times New Roman, serif;"><br /></span></div>
</div>
<div style="text-align: justify;">
<div style="text-align: center;">
<span style="font-family: Times, Times New Roman, serif;">STUDIO OR FOUNDRY CASTS {plaster}</span></div>
</div>
<div style="text-align: justify;">
<div style="text-align: center;">
<span style="font-family: Times, Times New Roman, serif;">1. (#13) <i>Eve</i> (large) - 1881</span></div>
</div>
<div style="text-align: justify;">
<div style="text-align: center;">
<span style="font-family: Times, Times New Roman, serif;">2. (#14) <i>Age of Bronze</i> (large) - 1876</span></div>
</div>
<div style="text-align: justify;">
<div style="text-align: center;">
<span style="font-family: Times, Times New Roman, serif;">3. (#15) B<i>ust Age of Bronze </i>(large) - 1898</span></div>
</div>
<div style="text-align: justify;">
<div style="text-align: center;">
<span style="font-family: Times, Times New Roman, serif;">4. (#18) <i>Eve</i> (second version) (medium) - 1883</span></div>
</div>
<div style="text-align: justify;">
<div style="text-align: center;">
<span style="font-family: Times, Times New Roman, serif;">5. (#20) <i>Head of Eustache Saint Pierre</i> - 1886</span></div>
</div>
<div style="text-align: justify;">
<div style="text-align: center;">
<span style="font-family: Times, Times New Roman, serif;">6. (#26) <i>Andrieu d’Andres</i> (reduction) - 1898</span></div>
</div>
<div style="text-align: justify;">
<div style="text-align: center;">
<span style="font-family: Times, Times New Roman, serif;">7. (#32) <i>Iris, Messenger of the Gods</i> - 1891</span></div>
</div>
<div style="text-align: justify;">
<div style="text-align: center;">
<span style="font-family: Times, Times New Roman, serif;">8. (#33) <i>Crouching Woman</i> - 1881</span></div>
</div>
<div style="text-align: justify;">
<div style="text-align: center;">
<span style="font-family: Times, Times New Roman, serif;">9. (#37) <i>Bust of The Age of Bronze</i> (small) - 1898</span></div>
</div>
<div style="text-align: justify;">
<div style="text-align: center;">
<span style="font-family: Times, Times New Roman, serif;"><br /></span></div>
</div>
<div style="text-align: justify;">
<div style="text-align: center;">
<span style="font-family: Times, Times New Roman, serif;">STUDIO CASTS<span style="font-weight: bold;"> </span>{plaster}</span></div>
</div>
<div style="text-align: justify;">
<div style="text-align: center;">
<span style="font-family: Times, Times New Roman, serif;">1 (#4) <i>Idyll of Ixelles</i> - 1874-1876</span></div>
</div>
<div style="text-align: justify;">
<div style="text-align: center;">
<span style="font-family: Times, Times New Roman, serif;">2. (#11) <i>Hand of Rodin Holding Torso</i> - 1917</span></div>
</div>
<div style="text-align: justify;">
<div style="text-align: center;">
<span style="font-family: Times, Times New Roman, serif;">3. (#16) <i>Torso Morhardt</i> (large) - 1891</span></div>
</div>
<div style="text-align: justify;">
<div style="text-align: center;">
<span style="font-family: Times, Times New Roman, serif;">4. (#24) <i>Study of Danaid </i>- 1886</span></div>
</div>
<div style="text-align: justify;">
<div style="text-align: center;">
<span style="font-family: Times, Times New Roman, serif;">5. (#27) <i>The Shade</i> (First Version) - 1881</span></div>
</div>
<div style="text-align: justify;">
<div style="text-align: center;">
<span style="font-family: Times, Times New Roman, serif;">6. (#30) <i>Torso Walking Man</i> - 1878</span></div>
</div>
<div style="text-align: justify;">
<div style="text-align: center;">
<span style="font-family: Times, Times New Roman, serif;">7. (#36) <i>The Age of Bronze</i> (medium) - 1898</span></div>
</div>
<div style="text-align: justify;">
<div style="text-align: center;">
<span style="font-family: Times, Times New Roman, serif;">8. (#41) <i>Head of St. John the Baptist</i> - 1879</span></div>
</div>
<div style="text-align: justify;">
<div style="text-align: center;">
<span style="font-family: Times, Times New Roman, serif;">9. (#45) <i>Head of Balzac</i> - 1879</span></div>
</div>
<div style="text-align: justify;">
<div style="text-align: center;">
<span style="font-family: Times, Times New Roman, serif;">10. (#50) <i>Eternal Spring</i> 1884</span></div>
</div>
<div style="text-align: justify;">
<div style="text-align: center;">
<span style="font-family: Times, Times New Roman, serif;">11. (#65) <i>The Hand of God</i> (Date not known)</span></div>
</div>
<div style="text-align: justify;">
<div style="text-align: center;">
<span style="font-family: Times, Times New Roman, serif;"><br /></span></div>
</div>
<div style="text-align: justify;">
<div style="text-align: center;">
<span style="font-family: Times, Times New Roman, serif;">POSTHUMOUS CASTS {bronze}</span></div>
</div>
<div style="text-align: justify;">
<div style="text-align: center;">
<span style="font-family: Times, Times New Roman, serif;">1. (#34) <i>Fallen Caryatid Carrying Her Stone</i> - 1999-2000</span></div>
</div>
<div style="text-align: justify;">
<div style="text-align: center;">
<span style="font-family: Times, Times New Roman, serif;">2. (#35) <i>Study of Danaid </i>- 1999-2000</span></div>
</div>
<div style="text-align: justify;">
<div style="text-align: center;">
<span style="font-family: Times, Times New Roman, serif;">3. (#38) <i>The Age of Bronze</i> - 1999-2000</span></div>
</div>
<div style="text-align: justify;">
<div style="text-align: center;">
<span style="font-family: Times, Times New Roman, serif;">4. (#40) <i>The Age of Bronze</i> - 1999-2000</span></div>
</div>
<div style="text-align: justify;">
<div style="text-align: center;">
<span style="font-family: Times, Times New Roman, serif;">5. (#44)<i> Eve</i> (large) - 1881</span></div>
</div>
<div style="text-align: justify;">
<div style="text-align: center;">
<span style="font-family: Times, Times New Roman, serif;">6. (#57) <i>Dance Movement “A”</i> - 1999-2000</span></div>
</div>
<div style="text-align: justify;">
<div style="text-align: center;">
<span style="font-family: Times, Times New Roman, serif;">7. (#58) <i>Dance Movement “B”</i> - 1999-2000</span></div>
</div>
<div style="text-align: justify;">
<div style="text-align: center;">
<span style="font-family: Times, Times New Roman, serif;">8. (#59) <i>Dance Movement “C”</i> - 1999-2000</span></div>
</div>
<div style="text-align: justify;">
<div style="text-align: center;">
<span style="font-family: Times, Times New Roman, serif;">9. (#60) <i>Dance Movement “D” </i>- 1999-2000</span></div>
</div>
<div style="text-align: justify;">
<div style="text-align: center;">
<span style="font-family: Times, Times New Roman, serif;">10. (#62)<i> Nijinsky</i> - 1999-2000</span></div>
</div>
<div style="text-align: justify;">
<div style="text-align: center;">
<span style="font-family: Times, Times New Roman, serif;">11. (#66) <i>Hand of Rodin Holding Torso</i> - 1999-2000</span></div>
</div>
<div style="text-align: justify;">
<div style="text-align: center;">
<span style="font-family: Times, Times New Roman, serif;">12. (#>66) <i>Large Clenched Left Hand with Half-Length Figure of a Woman</i> - 1972</span></div>
</div>
<div style="text-align: justify;">
<div style="text-align: center;">
<span style="font-family: Times, Times New Roman, serif;">13. (#>66) <i>Blessing Left Hand</i> - (posthumous)</span></div>
</div>
<div style="text-align: justify;">
<div style="text-align: center;">
<span style="font-family: Times, Times New Roman, serif;">14. (#68) <i>The Thinker</i> - 1999-2000</span></div>
</div>
<div style="text-align: justify;">
<div style="text-align: center;">
<span style="font-family: Times, Times New Roman, serif;"><br /></span></div>
</div>
<div style="text-align: justify;">
<div style="text-align: center;">
<span style="font-family: Times, Times New Roman, serif;">LIFETIME CASTS {bronze}</span></div>
</div>
<div style="text-align: justify;">
<div style="text-align: center;">
<span style="font-family: Times, Times New Roman, serif;">1. (#2) <i>Eustache de St. Pierre Holding Torso</i> (lifetime) - 1895 (Vancouver)</span></div>
</div>
<div style="text-align: justify;">
<div style="text-align: center;">
<span style="font-family: Times, Times New Roman, serif;">2. (#39) <i>The Age of Bronze</i> - 1876 (Edmonton)</span></div>
</div>
<div style="text-align: justify;">
<div style="text-align: center;">
<span style="font-family: Times, Times New Roman, serif;">3. (#49) <i>Balzac</i> - 1897 (Edmonton)</span></div>
</div>
<div style="text-align: justify;">
<div style="text-align: center;">
<span style="font-family: Times, Times New Roman, serif;">4. (#51) <i>Eternal Spring</i> - 1916 (MacKenzie)</span></div>
</div>
<div style="text-align: justify;">
<span style="font-family: Times, Times New Roman, serif;"><br /></span></div>
<br />
<span style="font-family: Times, Times New Roman, serif;"><br /></span>
<br />
<div style="text-align: justify;">
<span style="font-family: Times, Times New Roman, serif;">DEFINITIONS</span></div>
<span style="font-family: Times, Times New Roman, serif; font-weight: bold;">
</span>
<br />
<div style="text-align: justify;">
<span style="font-family: Times, Times New Roman, serif;">To properly address the contentious isseus of authenticity with <b>From Plaster to Bronze: The Sculpture of Auguste Rodin</b> exhibition at the Royal Ontario Museum, it is a must to first document the definitions of the key terms: reproduction, replica, original, sculpture, sculptor, signature, fake, forgeries and counterfeit.</span></div>
<div style="text-align: justify;">
<span style="font-family: Times, Times New Roman, serif;"><br /></span></div>
<div style="text-align: justify;">
<span style="font-family: Times, Times New Roman, serif;">Then using those independent and published definitions, the documented facts surrounding this exhibit with the relevant statutory laws applied and including industry’s endorsed standards on ethics, one will come to only one conclusion: “The dead don't sculpt.”</span></div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
<span style="font-family: Times, Times New Roman, serif;">First, let’s address one important and serious omission the MacLaren Art Centre and others involved in this deception make.</span></div>
<div style="text-align: justify;">
<span style="font-family: Times, Times New Roman, serif;"><br /></span></div>
<div style="text-align: justify;">
<span style="font-family: Times, Times New Roman, serif;">MACLAREN ART CENTRE</span></div>
<div style="text-align: justify;">
<span style="font-family: Times, Times New Roman, serif;">The MacLaren Art Centre writes: “He {Rodin} bequeaths his estate to the French government for the installation of a Rodin museum at the Hotel Biron.”</span><span style="background-color: white; color: blue; font-family: Times, 'Times New Roman', serif; text-align: start;">[FN 21]</span></div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
<span style="font-family: Times, Times New Roman, serif;">The key but very important -omission- is that Auguste Rodin specifically gave in writing in 1916 to the State of France upon his death the “right of reproduction”</span><span style="font-family: Times, 'Times New Roman', serif;"> to his art.</span></div>
<div style="text-align: justify;">
<span style="font-family: Times, Times New Roman, serif;"><br /></span></div>
<div style="text-align: justify;">
<span style="font-family: Times, Times New Roman, serif;">WHAT IS AN OMISSION?</span></div>
<div style="text-align: justify;">
<span style="font-family: Times, Times New Roman, serif;">On page 1116 of the <span style="font-style: italic;">Seventh Edition of Black's Law Dictionary</span>, -omission- is defined as: "The act of leaving something out."</span><span style="background-color: white; color: blue; font-family: Times, 'Times New Roman', serif; text-align: start;">[FN 22]</span></div>
<div style="text-align: justify;">
<span style="font-family: Times, Times New Roman, serif;"><br /></span>
<span style="font-family: Times, 'Times New Roman', serif;">RODIN’S -RIGHT OF REPRODUCTION- GIFT TO FRANCE</span></div>
<div style="text-align: justify;">
<span style="font-family: Times, Times New Roman, serif;">This “right of reproduction” is documented by the former Musee Rodin curator Monique Laurent on page 285 in the National Gallery of Art’s 1981 <span style="font-style: italic;">Rodin Rediscovered </span>exhibition catalogue: “Let us indicate right away on this subject that he never fixed a precise limit to the number made. The only indication on this point occurs in the text of the donation of 1 April 1916, according to which “notwithstanding the transfer of artistic ownership authorized to the State of M. Rodin, the latter expressly reserves for himself the enjoyment, during his life, of the reproduction rights of those objects given by him, being well understood that the said right of reproduction will remain strictly personal to the donor who is forbidden to cede it for whatever reason to any third party. He will have, in consequence, the right to reproduce and to edit his works and to make impressions or mold for the usage which suits him. In the event that M. Rodin, exercising the right that he has thus reserved, contracts with an art editor for the reproduction in bronze of one or several works included in the present donation, the contract of publication cannot be made for a period of more than five years and the number of reproductions of each work shall not exceed ten.”</span><span style="background-color: white; color: blue; font-family: Times, 'Times New Roman', serif; text-align: start;">[FN 23]</span></div>
<div style="text-align: justify;">
<span style="font-family: Times, Times New Roman, serif;"><br /></span></div>
<div style="text-align: justify;">
<span style="font-family: Times, Times New Roman, serif;">This excerpt from Auguste Rodin’s 1916 <span style="font-style: italic;">Will</span> makes it quite clear that Auguste Rodin understood his “right of reproduction” he was giving to the State of France upon his death. It is also very clear that the State of France also understood the “right of reproduction” so well that they got edition of “ten” restrictions and “five year publication” time constraints put on Auguste Rodin before his death but with no such posthumous restrictions put upon themselves.</span></div>
<div style="text-align: justify;">
<span style="font-family: Times, Times New Roman, serif;"><br /></span></div>
<div style="text-align: justify;">
<span style="font-family: Times, Times New Roman, serif;">After Auguste Rodin died November 17, 1917 the State of France then owned the “right of reproduction” to Auguste Rodin’s art to make -reproductions-. </span><span style="font-family: Times, 'Times New Roman', serif;">Eighty-four years later in 2001, much of Auguste Rodin’s art is in the public domain so anyone can reproduce it.</span></div>
<div style="text-align: justify;">
<span style="font-family: Times, Times New Roman, serif;"><br /></span></div>
<div style="text-align: justify;">
<span style="font-family: Times, Times New Roman, serif;">Why would the MacLaren Art Centre and others fail to disclose this specific “right of reproduction?”</span></div>
<div style="text-align: justify;">
<span style="font-family: Times, Times New Roman, serif;"><br /></span></div>
<div style="text-align: justify;">
<span style="font-family: Times, Times New Roman, serif;">WHAT IS A REPRODUCTION?</span></div>
<div style="text-align: justify;">
<span style="font-family: Times, Times New Roman, serif;">In Ralph Mayer’s <span style="font-style: italic;">A Dictionary of Art Terms and Techniques, -</span>reproduction- is defined as: “A general term for any copy, likeness, or counterpart of an original work of art or of a photograph, done in the same medium as the original or in another, and done by someone other than the creator of the original.”</span><span style="background-color: white; color: blue; font-family: Times, 'Times New Roman', serif; text-align: start;">[FN 24]</span></div>
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<span style="font-family: Times, Times New Roman, serif;"><br /></span></div>
<div style="text-align: justify;">
<span style="font-family: Times, Times New Roman, serif;">In the J. Paul Getty Trust’s website, under their Getty Vocabulary Program, 0reproduction- is defined as: “Use with regard to copies of art images, art objects, or other valued images or objects, made without intent to deceive; with regard to art images, includes photographic reproductions; implies more precise and faithful imitation than does the term -copies (derivative objects).' Where the intent is to deceive, use “forgeries” or “counterfeits.”</span><span style="background-color: white; color: blue; font-family: Times, 'Times New Roman', serif; text-align: start;">[FN 25]</span></div>
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<span style="font-family: Times, Times New Roman, serif;"><br /></span></div>
<div style="text-align: justify;">
<span style="font-family: Times, Times New Roman, serif;">Based on the prior two documented and independent definitions for reproduction, anything reproduced from Auguste Rodin’s art would be a -reproduction-. Anything posthumously reproduced directly from Auguste Rodin’s art would absolutely have to be a -reproduction- since it obviously would have to been “done by someone other than the creator of the original” since obviously Auguste Rodin would have still been dead at the time.</span></div>
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<span style="font-family: Times, Times New Roman, serif;"><br /></span></div>
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<span style="font-family: Times, Times New Roman, serif;">MACLAREN ART CENTRE AND CASTS THAT REPLICATE</span></div>
<div style="text-align: justify;">
<span style="font-family: Times, Times New Roman, serif;">On the MacLaren Art Centre’s website, it stated: “These {foundry plasters} are casts that replicate either the exhibition or reserve plasters and provide the first step in the process of translating a sculpture from plaster to bronze. The accuracy and detailing of the foundry plasters is essential. This helps to ensure that the finished work captures and conveys with as much fidelity as possible the form, dimensions, and nuances the artist intended.”</span><span style="background-color: white; color: blue; font-family: Times, 'Times New Roman', serif; text-align: start;">[FN 26]</span></div>
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<span style="font-family: Times, Times New Roman, serif;"><br /></span></div>
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<span style="font-family: Times, Times New Roman, serif;">WHAT IS A REPLICA?</span></div>
<div style="text-align: justify;">
<span style="font-family: Times, Times New Roman, serif;">In Ralph Mayer’s <span style="font-style: italic;">Dictionary of Art Terms and Techniques</span>, -replica- is defined as: “In the fine arts, an exact copy or duplicate of a work, done in the same size and in the same medium, and done by the artist who created the original (or, sometimes, done under the artist’s direct supervision). A replica is considered in all important respects to be equal of the original and of other replicas of the same work. The word is sometimes loosely used for any copy of a work done in the same medium by someone other than the creator of the original.”</span><span style="background-color: white; color: blue; font-family: Times, 'Times New Roman', serif; text-align: start;">[FN 27]</span></div>
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<span style="font-family: Times, Times New Roman, serif;"><br /></span></div>
<div style="text-align: justify;">
<span style="font-family: Times, Times New Roman, serif;">So, based on the above definition unless the artist creates the replica it would not be a -replica-. It would instead be a reproduction.</span></div>
<div style="text-align: justify;">
<span style="font-family: Times, Times New Roman, serif;"><br /></span></div>
<div style="text-align: justify;">
<span style="font-family: Times, Times New Roman, serif;">Therefore, why is the term "translating,” used by the MacLaren Art Centre's description, instead of -reproducing- in describing the bronze casting process for these posthumous bronze reproductions? </span><span style="font-family: Times, 'Times New Roman', serif;">If these objects were fully and honestly disclosed, wouldn’t the MacLaren Art Centre, the Royal Ontario Museum and Gruppo Mondiale Est. have to admit that they are at least -reproductions-? This admission would mean these objects were “done by someone other than the creator of the original?”</span></div>
<div style="text-align: justify;">
<span style="font-family: Times, Times New Roman, serif;"><br /></span></div>
<div style="text-align: justify;">
<span style="font-family: Times, Times New Roman, serif;">So, are they -reproductions- or something worse?</span></div>
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<span style="font-family: Times, Times New Roman, serif;"><br /></span></div>
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<span style="font-family: Times, Times New Roman, serif;">THE SAME PLASTER MODEL WILL BE USED</span></div>
<div style="text-align: justify;">
<span style="font-family: Times, Times New Roman, serif;">On page 279 of the essay “An Original in Sculpture” in the National Gallery of Art’s 1981 <span style="font-style: italic;">Rodin Rediscovered</span> exhibition catalogue, University of Paris Professor and former Director of the Museums of France Jean Chatelain wrote: “The examples are made from the same model but are eventually completed by different craftsmen at intervals of several years. When the twelfth copy of The Burghers of Calais is cast, the same plaster model will be used as was used the first time in 1894, but of course different craftsmen will carry out the casting.”</span><span style="background-color: white; color: blue; font-family: Times, 'Times New Roman', serif; text-align: start;">[FN 28]</span></div>
<div style="text-align: justify;">
<span style="font-family: Times, Times New Roman, serif;"><br /></span></div>
<div style="text-align: justify;">
<span style="font-family: Times, Times New Roman, serif;">In other words, Jean Chatelain believes and wants the reader to believe that same lifetime plasters realized by Rodin would used for casting lifetime and posthumous bronzes.</span></div>
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<span style="font-family: Times, Times New Roman, serif;"><br /></span></div>
<div style="text-align: justify;">
<span style="font-family: Times, 'Times New Roman', serif;">Tthe Musee Rodin went officially into business in 1919.</span></div>
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<span style="font-family: Times, Times New Roman, serif;"><br /></span></div>
<div style="text-align: justify;">
<span style="font-family: Times, Times New Roman, serif;">Therefore everything Musee Rodin authorizes is -posthumous- or in other words after Auguste Rodin’s November 17, 1917 death.</span></div>
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<span style="font-family: Times, Times New Roman, serif;"><br /></span></div>
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<span style="font-family: Times, Times New Roman, serif;">NOT FROM THE ORIGINAL PLASTERS</span></div>
<span style="font-family: Times, Times New Roman, serif; font-weight: bold;">
</span>
<br />
<div style="text-align: justify;">
<span style="font-family: Times, Times New Roman, serif;">Now contrast Jean Chatelain’s published 1981 statement: “the same plaster model will be used” with the two independently documented 2001 statements by the Musee Rodin’s curator Antoinette Romain:</span></div>
<div style="text-align: justify;">
<span style="font-family: Times, Times New Roman, serif;"><br /></span></div>
<div style="text-align: justify;">
<span style="font-family: Times, Times New Roman, serif;">1) In the Musee Rodin's 2001 website, the Musee Rodin curator Antoinette Romain wrote: “Consequently, whenever it is decided to release a new "subject", a copy is first made from the old mould which can be sent without risk to the foundry where it undergoes the necessary preparations for casting. It is coated with an unmoulding agent, usually in a dark colour, and cut, before being cast again. This practice not only ensures absolute fidelity to the original but also preserves the old plasters which are obviously more valuable since they were made during the lifetime of Rodin.”</span><span style="background-color: white; color: blue; font-family: Times, 'Times New Roman', serif; text-align: start;">[FN 29]</span></div>
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<span style="font-family: Times, Times New Roman, serif;"><br /></span></div>
<div style="text-align: justify;">
<span style="font-family: Times, Times New Roman, serif;">2) The Musee Rodin curator Antoinette Romain confirmed, in a February 2, 2000 FAX, the Musee Rodin practice of making plaster copies of Rodin’s “original plasters” for reproducing in bronze. Translated from “French” to “English” by me using AltaVista Translations and <i>The Oxford French Dictionary</i>, the Musee Rodin curator states: “We take a new proof in the moulds which we possess to avoid sending the original plasters to the foundry. These moulds are the moulds of Rodin, and thus ensure us a perfect fidelity. In this way the original plasters remain intact.”</span><span style="background-color: white; color: blue; font-family: Times, 'Times New Roman', serif; text-align: start;">[FN 30]</span></div>
<div style="text-align: justify;">
<span style="font-family: Times, Times New Roman, serif;"><br /></span></div>
<div style="text-align: justify;">
<span style="font-family: Times, Times New Roman, serif;">The University of Paris Professor and former Director of the Museums of France Jean Chatelain has just be contradicted.</span></div>
<div style="text-align: justify;">
<span style="font-family: Times, Times New Roman, serif;"><br /></span></div>
<div style="text-align: justify;">
<span style="font-family: Times, Times New Roman, serif;">In other words, by avoiding sending the hypothetical original plasters to the foundry, they have willingly given up the authentic original surface details made by the working fingers of Rodin himself or that Rodin approved through his collaboration with his “sculpteur reproducteur habituel” Henri Lebosse. Each time the surface of one of these subjects is approximated by the necessary crude handling of the materials used in the reproduction processes, there is visible change. The resulting pieces may be interesting to look at, but it is an absurdity to pretend they are just the way Rodin would have wanted and intended for them to appear.</span></div>
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<br /></div>
<div style="text-align: justify;">
<span style="font-family: Times, Times New Roman, serif;">What laws or decrees by the State of France require disclosure of reproductions as "reproductions?”</span><br />
<span style="font-family: Times, Times New Roman, serif;"><br /></span></div>
<div style="text-align: justify;">
<span style="font-family: Times, 'Times New Roman', serif;">REPRODUCTIONS MUST CARRY THE NOTATION REPRODUCTION</span></div>
<div style="text-align: justify;">
<span style="font-family: Times, Times New Roman, serif;">In March 3, 1981 the State of France passed a decree 81.255 on the suppression of frauds in transactions involving art works. </span><span style="font-family: Times, 'Times New Roman', serif;">This is decree is documented on page 281 in Jean Chatelain’s essay “An Original in Sculpture,” published in the 1981 </span><span style="font-family: Times, 'Times New Roman', serif; font-style: italic;">Rodin Rediscovered</span><span style="font-family: Times, 'Times New Roman', serif;"> exhibition catalogue. In part, he wrote that Article 9 of this decree published March 21, 1981 in the Journal Officiel requires: “All facsimiles, casts of casts, copies, or other reproductions of an original work of art as set out in Article 71 of Appendix III of the General Code of Taxes, executed after the date of effectiveness of the present decree, must carry in a visible and indelible manner the notation ‘Reproduction’.”</span><span style="background-color: white; color: blue; font-family: Times, 'Times New Roman', serif; text-align: start;">[FN 31]</span></div>
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<span style="font-family: Times, Times New Roman, serif;"><br /></span></div>
<div style="text-align: justify;">
<span style="font-family: Times, Times New Roman, serif;">After 1981 does the Musee Rodin mark their authorized -Rodin- bronze reproductions in a “visible and indelible manner” as “reproductions” as required by this French decree?</span></div>
<div style="text-align: justify;">
<span style="font-family: Times, Times New Roman, serif;"><br /></span></div>
<div style="text-align: justify;">
<span style="font-family: Times, Times New Roman, serif;">Aside the reproductions offered for sale in their gift shop, the bronzes sold to wealthy collectors and cultural institutions by the Musee Rodin seem -not- to "</span><span style="font-family: Times, 'Times New Roman', serif;">carry in a visible and indelible manner the notation ‘Reproduction’."</span></div>
<div style="text-align: justify;">
<span style="font-family: Times, Times New Roman, serif;"><br /></span></div>
<div style="text-align: justify;">
<span style="font-family: Times, Times New Roman, serif;">Since, the Musee Rodin readily admits they do not send the original plasters realized by Auguste Rodin during his lifetime but posthumous plaster forgeries for casting in bronze, the results would be second-generation-removed bronze forgeries.</span></div>
<div style="text-align: justify;">
<span style="font-family: Times, Times New Roman, serif;"><br /></span></div>
<div style="text-align: justify;">
<span style="font-family: Times, Times New Roman, serif;">Those foundries involved in the posthumous bronze casting of plaster forgeries sent to them by the Musee Rodin, in part, are “Alexis Rudier” and “Georges Rudier.”</span></div>
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<span style="font-family: Times, Times New Roman, serif;"><br /></span></div>
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<span style="font-family: Times, Times New Roman, serif;">LIST OF FOUNDRIES</span></div>
<div style="text-align: justify;">
<span style="font-family: Times, Times New Roman, serif;">(Source: Monique Laurent, 1981 <span style="font-style: italic;">Rodin Rediscovered</span> (pages 285-293)</span><span style="background-color: white; color: blue; font-family: Times, 'Times New Roman', serif; text-align: start;">[FN 32]</span></div>
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<span style="font-family: Times, Times New Roman, serif;">1880-1883 Gruet Jeune</span></div>
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<span style="font-family: Times, Times New Roman, serif;">1881-1904 F. Rudier</span></div>
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<span style="font-family: Times, Times New Roman, serif;">April 1882-Jan 1883 F. Laird</span></div>
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<span style="font-family: Times, Times New Roman, serif;">25 April 1882 Eugene Gonon</span></div>
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<span style="font-family: Times, Times New Roman, serif;">1884-1889 Pierre Bingen</span></div>
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<span style="font-family: Times, Times New Roman, serif;">1891-1895 Adolpe Gruet</span></div>
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<div style="text-align: center;">
<span style="font-family: Times, Times New Roman, serif;">1895 to mid-1898 J.B. Griffoul</span></div>
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<span style="font-family: Times, Times New Roman, serif;">1895-1898 Thiebaut Freres</span></div>
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<div style="text-align: center;">
<span style="font-family: Times, Times New Roman, serif;">1895 Societe Nationale des Bronzes, formerly J. Peterman</span></div>
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<div style="text-align: center;">
<span style="font-family: Times, Times New Roman, serif;">1896-1901 Leon Perzinka</span></div>
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<span style="font-family: Times, Times New Roman, serif;">1887-1894 Griffoul, associated with Lorge</span></div>
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<div style="text-align: center;">
<span style="font-family: Times, Times New Roman, serif;">4 April 1898-1908 Thiebaut Freres, Fumiere et Gavignot</span></div>
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<div style="text-align: center;">
<span style="font-family: Times, Times New Roman, serif;">June 1898 to March 1899 A. (Auguste) Griffoul et Cie</span></div>
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<div style="text-align: center;">
<span style="font-family: Times, Times New Roman, serif;">24 October 1898, MM. Fumiere et Gavignot</span></div>
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<div style="text-align: justify;">
<div style="text-align: center;">
<span style="font-family: Times, Times New Roman, serif;">1899 Camille Groult, heir to Dargenton et Groult</span></div>
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<span style="font-family: Times, Times New Roman, serif;">1901 L. Gasne</span></div>
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<span style="font-family: Times, Times New Roman, serif;">1902 E. Gruet Jeune</span></div>
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<div style="text-align: center;">
<span style="font-family: Times, Times New Roman, serif;">1902 G. Sevin</span></div>
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<div style="text-align: center;">
<span style="font-family: Times, Times New Roman, serif;">1903 Pierre Griffoul</span></div>
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<div style="text-align: center;">
<span style="font-family: Times, Times New Roman, serif;">1904 Philippet</span></div>
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<div style="text-align: center;">
<span style="font-family: Times, Times New Roman, serif;">1906-1908 H. Gonot et E. Joret</span></div>
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<div style="text-align: center;">
<span style="font-family: Times, Times New Roman, serif;">1910 C. Durant</span></div>
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<div style="text-align: center;">
<span style="font-family: Times, Times New Roman, serif;">1912 Valsuani</span></div>
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<div style="text-align: center;">
<span style="font-family: Times, Times New Roman, serif;">1912-1913 Phillippe Montagutelli</span></div>
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<div style="text-align: center;">
<span style="font-family: Times, Times New Roman, serif;">1913 Rene Fulda</span></div>
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<div style="text-align: center;">
<span style="font-family: Times, Times New Roman, serif;">1898-1918 Le Blanc-Barbedienne</span></div>
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<div style="text-align: center;">
<span style="font-family: Times, Times New Roman, serif;">1902-1952 Alexis Rudier</span></div>
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<span style="font-family: Times, Times New Roman, serif;"><br /></span></div>
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<div style="text-align: center;">
<span style="font-family: Times, Times New Roman, serif;">1917 Auguste Rodin dies</span></div>
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<div style="text-align: center;">
<span style="font-family: Times, Times New Roman, serif;"><br /></span></div>
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<div style="text-align: center;">
<span style="font-family: Times, Times New Roman, serif;">1952- Georges Rudier</span></div>
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<div style="text-align: justify;">
<div style="text-align: center;">
<span style="font-family: Times, Times New Roman, serif;">1964-1978 Susse</span></div>
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<div style="text-align: center;">
<span style="font-family: Times, Times New Roman, serif;">1969- Godard</span></div>
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<div style="text-align: center;">
<span style="font-family: Times, Times New Roman, serif;">1973- Coubertin</span></div>
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<div style="text-align: center;">
<span style="font-family: Times, Times New Roman, serif;"><br /></span></div>
</div>
<div style="text-align: justify;">
<span style="font-family: Times, Times New Roman, serif;"><br /></span></div>
<br />
<div style="text-align: justify;">
<span style="font-family: Times, Times New Roman, serif;"><br /></span></div>
<span style="font-family: Times, Times New Roman, serif;"><br /></span>
<br />
<div style="text-align: justify;">
<span style="color: purple; font-family: Times, Times New Roman, serif;"><i>"COLLECTION OF BRONZES FOR SALE</i></span></div>
<span style="color: purple; font-family: Times, Times New Roman, serif;"><i>
</i></span>
<br />
<div style="text-align: justify;">
<span style="color: purple; font-family: Times, Times New Roman, serif;"><i>The collection consists of a series of over 50 Rodin sculptures, from which will be cast 8 pieces each, with a certificate of authenticity. This document guarantees that the bronze was cast by the lost wax process from a foundry plaster identical to the original. Each bronze is finished using the exact same patinas and techniques as used during the life of the artist. A</i><i>ll dimensions and details are exact to life time casts. Each cast has Masters Limited Edition cachet and is numbered."</i></span><span style="background-color: white; color: blue; font-family: Times, 'Times New Roman', serif; text-align: start;">[FN 33]</span></div>
<br />
<span style="font-family: Times, 'Times New Roman', serif; text-align: justify;">GRUPPO MONDIALE EST.</span><br />
<span style="font-family: Times, Times New Roman, serif; font-weight: bold;">
</span>
<br />
<div style="text-align: justify;">
<span style="font-family: Times, Times New Roman, serif;">The Gruppo Mondiale Est. claims on their website that their “Master Edition Auguste Rodin bronze casts” are from “Rodin’s original plasters.”</span><span style="background-color: white; color: blue; font-family: Times, 'Times New Roman', serif; text-align: start;">[FN 34]</span></div>
<div style="text-align: justify;">
<span style="font-family: Times, Times New Roman, serif;"><br /></span></div>
<div style="text-align: justify;">
<span style="font-family: Times, Times New Roman, serif;">Addiitionally, on the Gruppo Mondiale Est.’s website, the -provenance- provide for their “Rodin plasters”</span><span style="background-color: white; color: blue; font-family: Times, 'Times New Roman', serif; text-align: start;">[FN 35]</span><span style="font-family: Times, 'Times New Roman', serif;"> are: 1) Alexis Rudier Foundeur, Paris, 2) Eugene Rudier, Paris, 3) Georges Rudier, Paris, and 4) Private collection (France) to Gruppo Mondiale Est.</span></div>
<div style="text-align: justify;">
<span style="font-family: Times, Times New Roman, serif;"><br /></span></div>
<div style="text-align: justify;">
<span style="font-family: Times, Times New Roman, serif;">How can Gruppo Mondiale Est. have “Rodin’s original plasters” for posthumous casting in bronze, if the Musee Rodin doesn't even send Auguste Rodin's original plasters to those same foundries: Alexis Rudier and Georges Rudier that Gruppo Mondiale Est. claims to have acquired them from?</span></div>
<div style="text-align: justify;">
<span style="font-family: Times, Times New Roman, serif;"><br /></span></div>
<div style="text-align: justify;">
<span style="font-family: Times, Times New Roman, serif;">The Gruppo Mondiale Est., located in Via Roma, 74 33050 Trivignano Udinese, Udine Italy, is the source of the majority of the -plasters- and -bronzes-, donated to the MacLaren Art Centre Collection, that are currently exhibited in the <b>From Plaster to Bronze: The Sculpture of Auguste Rodin</b> exhibition at the Royal Ontario Museum.</span></div>
<div style="text-align: justify;">
<span style="font-family: Times, Times New Roman, serif;"><br /></span></div>
<div style="text-align: justify;">
<span style="font-family: Times, Times New Roman, serif;">RED FLAGS</span></div>
<div style="text-align: justify;">
<span style="font-family: Times, Times New Roman, serif;">Aside from Musee Rodin’s admission of sending plaster forgeries to those prior mentioned foundries, there are other -RED FLAGS- to Gruppo Mondiale Est. claim that they have “Rodin’s original plasters.”</span></div>
<div style="text-align: justify;">
<span style="font-family: Times, Times New Roman, serif;"><br /></span></div>
<div style="text-align: justify;">
<span style="font-family: Times, Times New Roman, serif;">What are some of those -red flags-?</span></div>
<div style="text-align: justify;">
<span style="font-family: Times, Times New Roman, serif;"><br /></span></div>
<div style="text-align: justify;">
<span style="font-family: Times, Times New Roman, serif;">ALEXIS RUDIER WAS RUN BY EUGENE RUDIER</span></div>
<div style="text-align: justify;">
<span style="font-family: Times, Times New Roman, serif;">One of those -red flags- is Gruppo Mondiale Est. listing “Alexis Rudier” and “Eugene Rudier” separately when actually they were the same foundry using his father’s name -Alexis Rudier- that was run by Eugene Rudier from 1902 till his death in 1952.</span></div>
<div style="text-align: justify;">
<span style="font-family: Times, Times New Roman, serif;"><br /></span></div>
<div style="text-align: justify;">
<span style="font-family: Times, Times New Roman, serif;">ALEXIS RUDIER CASTS ARE IN MAJORITY POSTHUMOUS</span></div>
<div style="text-align: justify;">
<span style="font-family: Times, Times New Roman, serif;">On page 290 of the 1981 <span style="font-style: italic;">Rodin Rediscovered </span>exhibition catalogue’s “Rodin and His Founders” essay, the former Musee Rodin curator Monique Laurent writes: “Studying of the existing {Musee Rodin} archives brings out a curious paradox: not a single document is found from Alexis Rudier, so that this prestigious mark, long considered Rodin’s ideal standard in bronze and symbolizing for amateurs the old cast acknowledged and endorsed by him, is actually a label of little significance. ...the Musee Rodin owns no proof of collaboration between Alexis and Rodin. Even more, his name appears for the first time on 24 March 1902, five years after his {Francois} death, with the formula “Alexis Rudier, Veuve Alexis Rudier et Fils Successeur... starting in 1902, the uninterrupted production of the firm concerned in reality the activity of Alexis’s son Eugene.” ...the casts of Alexis Rudier {foundry} are in the great majority posthumous since the mark was used for at least thirty-five years after the sculptor’s death... Georges Rudier, Eugene’s nephew, took over the directing of the business and made casts under his own name ...sometime around 1952 or a “year or two later.”</span><span style="background-color: white; color: blue; font-family: Times, 'Times New Roman', serif; text-align: start;">[FN 36]</span></div>
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<span style="font-family: Times, Times New Roman, serif;">HENRY BONNARD IS ACTUALLY HENRY-BONNARD</span></div>
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<span style="font-family: Times, Times New Roman, serif;">Gruppo Mondiale Est. commingling of dates, facts and terms brought to memory a 1995 telephone conversation with the Remington Museum Director Lowell McAllister. In that conversation he told about the inside joke on all the posthumous forged “Remington bronzes.” It was that those individuals deceptively selling them to unsuspecting victims would promote them as being from the original “Henry Bonnard Bronze Company.” The joke is the “Henry Bonnard” is actually two separate people Mr. Henry and Mr. Bonnard. It’s really the “Henry-Bonnard Bronze Foundry.”</span></div>
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<span style="font-family: Times, Times New Roman, serif;">PROVENANCE UNAVAILABLE FROM GRUPPO MONDIALE EST</span></div>
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<span style="font-family: Times, Times New Roman, serif;">When Gruppo Mondiale Est. was directly asked to provide complete documentation for the provenance of these plasters, their representative Colin Mills responded in January 27, 2001, by stating: “We have officially recognized ‘provenance’ for our pieces, although for legal reasons it can only be disclosed to certified attorneys.”</span><span style="background-color: white; color: blue; font-family: Times, 'Times New Roman', serif; text-align: start;">[FN 37]</span></div>
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<span style="font-family: Times, Times New Roman, serif;">Despite Gruppo Mondiale Est. representative’s “legal reasons” not to fully disclose the provenance for their -Rodin plasters-, what other historical and published documentation might give doubt to their claim that they have “Rodin’s original plasters?”</span></div>
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<span style="font-family: Times, Times New Roman, serif;">LEONCE BENEDITE, FIRST MUSEE RODIN DIRECTOR</span></div>
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<span style="font-family: Times, Times New Roman, serif;">First, the last few years before Auguste Rodin’s death, his control and oversight of his plasters was subverted by those entrusted by the State of France to protect it. A prime example of this subversion is the first Musee Rodin director Leonce Benedite.</span></div>
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<span style="font-family: Times, Times New Roman, serif;">GATES OF HELL REARRANGED BY BENEDITE</span></div>
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<span style="font-family: Times, Times New Roman, serif;">On page 148, in Albert Elsen’s 1985 <span style="font-style: italic;">Gates of Hell by Auguste Rodin</span> catalogue, on page 148, the author wrote: “As events after Rodin’s death were to prove, Benedite did overstep his authority on certain occasions. In the matter of the final assembly of the doorway, Judith Cladel, who was dismissed by Benedite as a curator at the Musee Rodin, wrote during the years 1933-36 that workmen told her in 1917 that Benedite edited their efforts on at least one occasion in a way they felt Rodin would not have approved: ‘Some of Rodin’s scandalized assistants who cast his plasters made it known to me that, charged with the reassembly of The Gates of Hell, they received orders to place certain figures in different arrangement than that which the artist wanted, because 'that would be better.’”</span><span style="background-color: white; color: blue; font-family: Times, 'Times New Roman', serif; text-align: start;">[FN 38]</span></div>
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<span style="font-family: Times, Times New Roman, serif;"><span style="text-align: justify;">BENEDITE AUTHORIZED POSTHUMOUS ENLARGEMENTS</span><span style="font-weight: bold;"></span></span><br />
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<span style="font-family: Times, Times New Roman, serif;">One of those -occasions- that Albert Elsen refers to is in his Footnote 17 on page 253 of his book. It stated: “In 1921, during the course of a trial on charges brought by the State against a founder who was casting Rodin’s work without authorization, it was shown that Benedite had authorized the enlargement of Rodin’s La Defense after the artist’s death.”</span><span style="background-color: white; color: blue; font-family: Times, 'Times New Roman', serif; text-align: start;">[FN 39]</span></div>
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<span style="font-family: Times, Times New Roman, serif;">HENRI LEBOSSE, SCULPTEUR REPRODUCTEUR HABITUEL</span></div>
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<span style="font-family: Times, Times New Roman, serif;">Second, on page 253 in Albert Elsen’s “Rodin’s “Perfect Collaborator,” Henri Lebosse” essay, in the National Gallery of Art’s 1981 <span style="font-style: italic;">Rodin Rediscovered </span>exhibition catalogue, Stanford Professor and Rodin scholar wrote: “From the mid-1890’s until his death, Rodin entrusted most if not all of his important enlargements and reductions to this dedicated and today unknown technician who referred to himself as Rodin’s ‘sculpteur reproducteur habituel.’ Lebosse wrote the master on January 24, 1903. ‘I would like to be your perfect collaborator.’”</span><span style="background-color: white; color: blue; font-family: Times, 'Times New Roman', serif; text-align: start;">[FN 40]</span></div>
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<span style="font-family: Times, Times New Roman, serif;">HENRI LEBOSSE BETRAYS RODIN'S LEGACY</span></div>
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<span style="font-family: Times, Times New Roman, serif;">Unfortunately, on page 256 of this essay, Albert Elsen documents that Henri Lebosse became one of Auguste Rodin’s biggest betrayers. After August Rodin’s death in 1917, the Musee Rodin Director Benedite directed Henri Lebosse to increase the original scale of the sculpture “The Defense” four times. Albert Elsen wrote: “Tragically for Rodin’s “perfect collaborator,” the Verdun enlargement became part of a 1920 scandal involving fake works, marble carvers who continued to turn out sculpture signed with Rodin’s name, and unauthorized bronze casts by the Baredienne foundry.”</span><span style="background-color: white; color: blue; font-family: Times, 'Times New Roman', serif; text-align: start;">[FN 41]</span><br />
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<span style="font-family: Times, Times New Roman, serif;">1918-1919 RODIN FAKES IMPLICATE ITALIAN SCULPTOR</span></div>
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<span style="font-family: Times, Times New Roman, serif;">On page 289 in the 1981 <span style="font-style: italic;">Rodin Rediscovered</span> exhibition catalogue, Monique Laurent further explains the circumstances behind the 1919 scandal and trial when she writes: “As for Philippe Montagutelli, founder, 54, avenue du maine in Paris, who worked in 1912 and 1913 on Clemenceau, France and Carrie-Belleuse, among others, but in September 1913, Rodin challenged him and filed a complaint for counterfeiting. This first affair would be followed in 1918-1919 by a famous trial for fakes and counterfeits in which the sculptor Archilles Fidi of Italian origin, was also implicated.”</span><span style="background-color: white; color: blue; font-family: Times, 'Times New Roman', serif; text-align: start;">[FN 42]</span></div>
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<span style="font-family: Times, Times New Roman, serif;">Is it obvious that if it makes no difference to the Musee Rodin whether Auguste Rodin’s “original plasters” are used for reproducing bronzes, why would Gruppo Mondiale Est. want to make that distinction?</span></div>
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<span style="font-family: Times, Times New Roman, serif;">WHAT IS AN ORIGINAL?</span></div>
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<span style="font-family: Times, Times New Roman, serif;">In the J. Paul Getty Trust’’s website that “supports limited research and cataloging efforts,” under their Getty Vocabulary Program, the term -original- is defined as: “Use to distinguish from reproductions or other types of copies.”</span><span style="background-color: white; color: blue; font-family: Times, 'Times New Roman', serif; text-align: start;">[FN 43]</span></div>
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<span style="font-family: Times, Times New Roman, serif;">In Ralph Mayer’s <span style="font-style: italic;">Dictionary of Art Terms and Techniques,</span> -original- is defined as: “An artist’s independent creation. 2. a work of art considered as a PROTOTYPE, as that from which copies and reproductions have been made.”</span><span style="background-color: white; color: blue; font-family: Times, 'Times New Roman', serif; text-align: start;">[FN 44]</span></div>
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<span style="font-family: Times, Times New Roman, serif;">WHAT IS A SCULPTURE?</span></div>
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<span style="font-family: Times, Times New Roman, serif;">Additionally, on page 352, in Ralph Mayer’s <span style="font-style: italic;">Dictionary of Art Terms & Techniques</span>, -sculpture- is defined as: “The creation of three dimensional forms by carving, modeling or assembly. In carving, the sculptor removes unwanted material.... In modeling on the other hand, the sculptor creates a form by building it up...”</span><span style="background-color: white; color: blue; font-family: Times, 'Times New Roman', serif; text-align: start;">[FN 45]</span></div>
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<span style="font-family: Times, Times New Roman, serif;">The definition of -sculpture- is further confirmed by J. Paul Getty Trust’s website, under their Getty Vocabulary Program, where it is defined as: “Use for works of art in which images and forms are carried out primarily in three dimensions, especially those that retain the quality of being tangible objects or groups of objects.”</span><span style="background-color: white; color: blue; font-family: Times, 'Times New Roman', serif; text-align: start;">[FN 46]</span></div>
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<span style="font-family: Times, Times New Roman, serif;">WHAT IS A SCULPTOR?</span></div>
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<span style="font-family: Times, Times New Roman, serif;">This is answered in the J. Paul Getty Trust’s website, under their Getty Vocabulary Program, -sculptor- is defined as: “Artists who specialize in creating images and forms that are carried out primarily in three dimensions, generally in the media of stone, wood, or metal.”</span><span style="background-color: white; color: blue; font-family: Times, 'Times New Roman', serif; text-align: start;">[FN 47]</span></div>
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<span style="font-family: Times, Times New Roman, serif;">Based on the above documented definitions for the terms original, sculpture, and sculptor, Auguste Rodin would have to be living to be a -sculptor- which would obviously allow him the ability to create his own -original- works of visual art in -sculpture-.</span></div>
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<span style="font-family: Times, Times New Roman, serif;">Therefore, anything reproduced from Auguste Rodin’s art, after his death November 17, 1917, would be, at best, a -reproduction-. Obviously, if it is a -reproduction-, it would have been done by someone other than the artist. As a result it could not be an -original- work of visual art ie., -sculpture-.</span></div>
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<span style="font-family: Times, Times New Roman, serif;">The dead don't sculpt.</span></div>
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<span style="font-family: Times, Times New Roman, serif;">Since, the Musee Rodin authorized “Rodin” bronzes cast from posthumous plaster reproductions instead of from Rodin’s “original work{s} of art” ie., lifetime plasters as required by Auguste Rodin's 1916 <i>Will</i>, what should they be called?</span></div>
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<span style="font-family: Times, Times New Roman, serif;">WHAT IS A FAKE?</span></div>
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<span style="font-family: Times, Times New Roman, serif;">On page 617 of the <span style="font-style: italic;">Seventh Edition of Black’s Law Dictionary</span>, -fake- is defined as: “Something that is not what it purports to be.”</span><span style="background-color: white; color: blue; font-family: Times, 'Times New Roman', serif; text-align: start;">[FN 48]</span></div>
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<span style="font-family: Times, Times New Roman, serif;">Would forgeries forged from reproductions of Auguste Rodin’s original art misrepresented as sculpture be “something that is not what it purports to be?”</span></div>
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<span style="font-family: Times, Times New Roman, serif;">"A RODIN" SIGNATURE</span></div>
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<span style="font-family: Times, Times New Roman, serif;">In referring to Auguste Rodin’s lifetime practice of signing his bronzes, on page 22 of the former Musee Rodin curator Monique Laurent’s 1988 <span style="font-style: italic;">RODIN</span> book, the former Musee Rodin curator wrote: “Most of the bronzes are stamped with the artist’s signature (copied from an example supplied by him and also with the stamp of the foundry). Some, although perfectly authentic, are unsigned. But there is no question of any of them being numbered or dated; these are modern methods, linked with notion of rarity and speculation in art.”</span><span style="background-color: white; color: blue; font-family: Times, 'Times New Roman', serif; text-align: start;">[FN 49]</span></div>
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<span style="font-family: Times, Times New Roman, serif;">This documentation directly confirms that during Auguste Rodin’s lifetime he authorized his “signature” to be stamped on his bronzes.</span></div>
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<span style="font-family: Times, Times New Roman, serif;">So, once Auguste Rodin died in 1917, the State of France would have the “right of reproduction” to his art but would anyone other than a living Auguste Rodin have the right to posthumously apply his signature?</span></div>
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<span style="font-family: Times, Times New Roman, serif;">-A RODIN- CACHE MARK ADDED AFTER 1919 TRIAL</span></div>
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<span style="font-family: Times, Times New Roman, serif;">In her essay “Rodin and His Founders” on page 290 in the 1981 <span style="font-style: italic;">Rodin Rediscovered</span> exhibition catalogue, the former curator Monique Laurent wrote: “It had been thought that a dating element could be found thanks to the cachet A. RODIN, cast in relief on the interior of certain casts by Alexis Rudier. According to the founder Georges Rudier, the addition of this mark would have been agreed on with the Rudier Foundry after the trial of 1919 in which Montagutelli was implicated in order to betray illicit castings, but there exist several casts made during Rodin’s lifetime bearing this signature.”</span><span style="background-color: white; color: blue; font-family: Times, 'Times New Roman', serif; text-align: start;">[FN 50]</span></div>
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<span style="font-family: Times, Times New Roman, serif;">The above published reference shows the arrogance of the Musee Rodin and the State of France. They act as if they are the only ones that can counterfeit Auguste Rodin’s signature. When in fact no one but the living artists themselves can sign their name.</span></div>
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<span style="font-family: Times, Times New Roman, serif;">WHAT IS A SIGNATURE?</span></div>
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<span style="font-family: Times, Times New Roman, serif;">This is answered in the J. Paul Getty Trust’s website, Under their Getty Vocabulary Program, -signature- is defined as: “Persons' names written in their own hand.”</span><span style="background-color: white; color: blue; font-family: Times, 'Times New Roman', serif; text-align: start;">[FN 51]</span></div>
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<span style="font-family: Times, Times New Roman, serif;">On page 1387 of the <span style="font-style: italic;">Seventh Edition of Black’s Law Dictionary, </span>-signature- is defined as: “A person's name or mark written by that person or at the person's direction.”</span><span style="background-color: white; color: blue; font-family: Times, 'Times New Roman', serif; text-align: start;">[FN 52]</span></div>
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<span style="font-family: Times, Times New Roman, serif;">WHAT IS A FORGERY?</span></div>
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<span style="font-family: Times, Times New Roman, serif;">In Ralph Mayer’s <span style="font-style: italic;">Dictionary of Art Terms and Techniques</span> it defines -forgery- as: “In the fine arts, the creation of a spurious work with intention of deceiving and/or defrauding; also, the spurious work itself. A forgery is rarely a copy of an original.”</span><span style="background-color: white; color: blue; font-family: Times, 'Times New Roman', serif; text-align: start;">[FN 53]</span></div>
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<span style="font-family: Times, Times New Roman, serif;">In J. Paul Getty Trust’s website, under their Getty Vocabulary Program, -forgery- is defined as: “Use for valued objects or documents that are made or altered with intent to deceive; may range in falsehood from counterfeiting of whole works to altering of signatures or other deliberate misrepresentations. Distinguished from "copies (derivative objects)" by the intention of deception.”</span><span style="background-color: white; color: blue; font-family: Times, 'Times New Roman', serif; text-align: start;">[FN 54]</span></div>
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<span style="font-family: Times, Times New Roman, serif;">As noted earlier, on page 661 of the <i>Seventh Edition of Black's Law Dictionary</i>, -forgery- is defined as: "the act of fraudulently making a false document or altering a real one to be used as if genuine."</span><span style="background-color: white; color: blue; font-family: Times, 'Times New Roman', serif; text-align: start;">[FN 55]</span></div>
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<span style="font-family: Times, Times New Roman, serif;">So, if the Musee Rodin’s authorized -Rodins- are: “the act of fraudulently making a false document or altering a real one to be used as if genuine," would they be considered -forgeries-?</span></div>
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<span style="font-family: Times, Times New Roman, serif;">WHAT IS COUNTERFEIT?</span></div>
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<span style="font-family: Times, Times New Roman, serif;">This is answered in the J. Paul Getty Trust’s website, under their Getty Vocabulary Program, -counterfeit- is defined as: “To forge; to copy or imitate, without authority or right, and with a view to deceive or defraud, by passing the copy or thing forged for that which is original or genuine.”</span><span style="background-color: white; color: blue; font-family: Times, 'Times New Roman', serif; text-align: start;">[FN 56]</span></div>
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<div style="text-align: justify;">
<span style="font-family: Times, Times New Roman, serif;">On page 354 of <span style="font-style: italic;">Seventh Edition of Black’s Law Dictionary,</span> -counterfeit- is defined as: “To forge, copy, or imitate (something) without a right to do so and with the purpose of deceiving or defrauding."</span><span style="background-color: white; color: blue; font-family: Times, 'Times New Roman', serif; text-align: start;">[FN 57]</span></div>
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<span style="font-family: Times, Times New Roman, serif;">New York statute 11.01 defines “counterfeit” as: “a work of fine art or multiple made, altered or copied, with or without intent to deceive, in such a manner that it appears or is claimed to have authorship which it does not in fact possess.”</span><span style="background-color: white; color: blue; font-family: Times, 'Times New Roman', serif; text-align: start;">[FN 58]</span></div>
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<div style="text-align: justify;">
<span style="font-family: Times, Times New Roman, serif;">Would the any sculpture in the <b>From Plaster to Bronze: The Sculpture of Auguste Rodin</b> exhibition be -counterfeit- if: “altered or copied, with or without intent to deceive, in such a manner that it appears or is claimed to have authorship which it does not in fact possess?”</span></div>
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<div style="text-align: justify;">
<span style="font-family: Times, Times New Roman, serif;">What if any documentation has been presented to authenticate any of these objects promoted as “sculptures by Auguste Rodin?”</span></div>
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<span style="font-family: Times, 'Times New Roman', serif;">DECLARATIONS OF AUTHENTICITY</span></div>
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<span style="font-family: Times, Times New Roman, serif;">[EXCERPT] The “Declarations of Authentication” for the MacLaren Art Centre’s plasters were completed and authenticated by Dr. David Schaff. The title of the cover letter for these “Declarations” is: “Attestations of Authenticity for a Collection of Twenty one works in plaster by Auguste Rodin.”</span></div>
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<span style="color: black; font-family: Times, Times New Roman, serif;">WHO IS DR. DAVID SCHAFF?</span></div>
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<span style="font-family: Times, Times New Roman, serif;">Dr. David Schaff, is described on the Royal Ontario Museum's <span style="color: #3333ff;">www.rom.on.ca </span>website as the "Curator of the Rodin exhibition and a noted Rodin scholar"</span><span style="background-color: white; color: blue; font-family: Times, 'Times New Roman', serif; text-align: start;">[FN 59]</span><span style="font-family: Times, 'Times New Roman', serif;"> for the MacLaren Art Centre organized September 20 to December 23, 2001 </span><b style="font-family: Times, 'Times New Roman', serif;">From Plaster to Bronze: The Sculpture of Auguste Rodin</b><span style="font-family: Times, 'Times New Roman', serif;"> exhibition at the Royal Ontario Museum.</span></div>
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<span style="font-family: Times, Times New Roman, serif;">Therefore, to carefully lay a foundation for factually evaluating these “Declarations” for these “plasters” published in writing as -authentic-, first let’s define certain key terms -provenance- and -authentic-.</span></div>
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<span style="font-family: Times, Times New Roman, serif;">PROVENANCE AS DEFINED BY SOTHEBYS</span></div>
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<span style="font-family: Times, Times New Roman, serif;">The auction house Sotheby’s on their website defines -provenance- as: "The history ownership of the property being sold. This can be an important part of the authentication process as it establishes the chain for ownership back (if possible) to the time the piece was made.”</span><span style="background-color: white; color: blue; font-family: Times, 'Times New Roman', serif; text-align: start;">[FN 60]</span></div>
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<span style="font-family: Times, Times New Roman, serif;">On page 127 of the <span style="font-style: italic;">Seventh Edition of Black’s Law Dictionary</span>, -authentication- is defined as: “Broadly, the act of proving that something (as a document) is true or genuine, esp. so that it may be admitted as evidence.”</span><span style="background-color: white; color: blue; font-family: Times, 'Times New Roman', serif; text-align: start;">[FN 61]</span></div>
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<span style="font-family: Times, Times New Roman, serif;">In the “Attestations of Authenticity for a Collection of twenty-one works in plaster by Auguste Rodin” cover letter Dr. Schaff wrote: “I have reviewed original documentation for the major works, which substantiated their provenance.”</span></div>
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<span style="font-family: Times, Times New Roman, serif;">Does Dr. Schaff provide copies of that documentation? Provenance without documentation is not worth the paper it’s not printed on.</span></div>
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<span style="font-family: Times, Times New Roman, serif;">Also, Dr. Schaff’s writes: “{He} examined every work in person. This examination took place on a number of occasions, both before the conservation of some of the plasters and after its completion.”</span><span style="background-color: white; color: blue; font-family: Times, 'Times New Roman', serif; text-align: start;">[FN 62]</span><span style="font-family: Times, 'Times New Roman', serif;"> Aside the number of occasions he examined these “plasters, what does Dr. Schaff mean by “conservation” of these plasters?</span></div>
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<span style="font-family: Times, Times New Roman, serif;">This is answered, in part, when Dr. Schaff wrote: “It is my conclusion that conservation has returned their surfaces to those created by Rodin.”</span><span style="background-color: white; color: blue; font-family: Times, 'Times New Roman', serif; text-align: start;">[FN 63]</span></div>
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<span style="font-family: Times, Times New Roman, serif;">Regardless of Dr. Schaff’s opinion, what was the photographic documented condition of these plasters before these posthumous “conservation” changes were made and specifically what was altered? Who authorized this “conservation” and who was it that was entrusted with the responsibility of subjectively substituting their judgment for Auguste Rodin in this posthumous “conservation” of these alleged “Rodin plasters?”</span></div>
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<span style="font-family: Times, Times New Roman, serif;">Let’s address three independent and published documented facts which put Dr. Schaff’s written assertions in serious doubt.</span></div>
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<span style="font-family: Times, Times New Roman, serif;">LEBOSSE DOING MOST IF NOT ALL PLASTER ENLARGEMENTS</span></div>
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<span style="font-family: Times, Times New Roman, serif;">First, as documented earlier, on page 253 in the National Gallery of Art’s published 1981 <span style="font-style: italic;">Rodin Rediscovered</span> exhibition catalogue, Stanford Professor and Rodin scholar Albert Elsen wrote: “By 1900, it seems Lebosse was personally doing most if not all, of the enlargements {in plaster} in a separate part of the studio and probably left the less exacting reductions to others.”</span><span style="background-color: white; color: blue; font-family: Times, 'Times New Roman', serif; text-align: start;">[FN 64]</span></div>
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<span style="font-family: Times, Times New Roman, serif;">Would the credibility of the -conservation- of these “Rodin plasters,” that “returned their surfaces to those created by Rodin,” be potentially seriously flawed if one was to leave out the historical contribution by Auguste Rodin’s “sculpteur reproducteur habituel,” Henri Lebosse and others’ substantial and documented contribution in their enlargements and reduction?</span></div>
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<span style="font-family: Times, Times New Roman, serif;">So, others are responsible for “return{ing} their surfaces to those created by Rodin.”</span></div>
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<span style="font-family: Times, Times New Roman, serif;">OXYMORON</span></div>
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<span style="font-family: Times, Times New Roman, serif;">Isn't that an "combination of contradictory ideas or terms"</span><span style="background-color: white; color: blue; font-family: Times, 'Times New Roman', serif; text-align: start;">[FN 65]</span><span style="font-family: Times, 'Times New Roman', serif;"> which is one definition of -oxymoron- found on page 230 of </span><span style="font-family: Times, 'Times New Roman', serif; font-style: italic;">Webster's New World Pocket Dictionary</span><span style="font-family: Times, 'Times New Roman', serif;">.</span></div>
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<span style="font-family: Times, Times New Roman, serif;">CONSERVATION OF POSTHUMOUS PLASTER FORGERIES</span></div>
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<span style="font-family: Times, Times New Roman, serif;">Second, and once again as documented earlier, the Musee Rodin on their 2001 website stated: “Consequently, whenever it is decided to release a new ‘subject,’ a copy is first made from the old mould which can be sent without risk to the foundry where it undergoes the necessary preparations for casting. It is coated with an unmoulding agent, usually in a dark colour, and cut, before being cast again. This practice not only ensures absolute fidelity to the original but also preserves the old plasters which are obviously more valuable since they were made during the lifetime of Rodin.”</span><span style="background-color: white; color: blue; font-family: Times, 'Times New Roman', serif; text-align: start;">[FN 66]</span></div>
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<span style="font-family: Times, Times New Roman, serif;">So, the -conservation- of these posthumous -plaster- forgeries might return their surfaces to those subjectively and posthumously forged by the Musee Rodin but not by a dead Auguste Rodin.</span></div>
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<span style="font-family: Times, Times New Roman, serif;">The dead don't conserve.</span></div>
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<span style="font-family: Times, Times New Roman, serif;">Third, and most serious and glaring flaw in the authentication for these -Rodin plasters- is the documented reference to “Signature” and being “signed A. Rodin.”</span></div>
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<span style="font-family: Times, Times New Roman, serif;">Once again, as documented earlier, in referring to Auguste Rodin’s lifetime practice of signing his bronzes, on page 22 in the former Musee Rodin curator Monique Laurent’s 1988 <span style="font-style: italic;">RODIN</span> book, she wrote: “Most of the bronzes are stamped with artist’s signature (copied from an example supplied by him and also with the stamp of the foundry). Some, although perfectly authentic, are unsigned. But there is no question of any of them being numbered or dated; these are modern methods, linked with notion of rarity and speculation in art.”</span><span style="background-color: white; color: blue; font-family: Times, 'Times New Roman', serif; text-align: start;">[FN 67]</span></div>
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<span style="font-family: Times, Times New Roman, serif;">The historical documentation states that Auguste Rodin, during his lifetime, had the foundries trace his name to his bronzes from a sample supplied by him. The Musee Rodin acknowledges that they posthumously forged plaster forgeries from Auguste Rodin’s original plasters to send to the foundries.</span></div>
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<span style="font-family: Times, Times New Roman, serif;">The thirty-seven of the forty-eight plasters in the MacLaren Art Centre exhibition checklist are listed as “foundry cast” and/or “studio or foundry cast.”</span></div>
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<span style="font-family: Times, Times New Roman, serif;">If this did not sway you that these -plasters- are posthumous forgeries, the counterfeit “A. Rodin” signature posthumously applied should leave you with no doubt.</span></div>
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<span style="font-family: Times, Times New Roman, serif;">As documented earlier the legal definition of -signature- is: “a person's names written in their own hand.”</span></div>
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<span style="font-family: Times, Times New Roman, serif;">DR. SCHAFF CONCLUDES THEY ARE ORIGINAL WORKS BY RODIN</span></div>
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<span style="font-family: Times, Times New Roman, serif;">In the “Conclusion” for these “declarations," Dr. Schaff states: “Allowing for the normal practice of the artist’s studio, I conclude that these are original works by Auguste Rodin (1840-1917).”</span><span style="background-color: white; color: blue; font-family: Times, 'Times New Roman', serif; text-align: start;">[FN 68]</span></div>
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<span style="font-family: Times, Times New Roman, serif;">Of course, that is if one suspends disbelief and just believes, that despite documentation to the contrary, Henri Lebosse did not reproduce plasters for Rodin, that foundries did not reproduce those plasters into bronze and that the Musee Rodin does not send posthumous 1st-generation-removed plaster forgeries for casting 2nd-generation-removed forgeries into bronze.</span></div>
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<a href="http://1.bp.blogspot.com/_N4RNkM-EcrI/SqWxKToA9pI/AAAAAAAABIM/S1frB5djkMU/s1600-h/Dr.SchaffRodinCertificate.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><span style="font-family: Times, Times New Roman, serif;"><img alt="" border="0" src="http://1.bp.blogspot.com/_N4RNkM-EcrI/SqWxKToA9pI/AAAAAAAABIM/S1frB5djkMU/s640/Dr.SchaffRodinCertificate.jpg" height="640" id="BLOGGER_PHOTO_ID_5378900120588842642" style="float: left; margin: 0pt 10px 10px 0pt; text-align: justify;" width="523" /></span></a><br />
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<span style="font-family: Times, Times New Roman, serif;">DECLARATION OF AUTHENTICITY" FOR HAND OF RODIN: HOLDING A TORSO</span></div>
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<span style="font-family: Times, Times New Roman, serif;">[EXCERPT] In this “declaration” Dr. Schaff wrote: “<i>Hand of Rodin Holding a Torso</i> (the torso, a cast of an original work by Auguste Rodin: the hand of Auguste Rodin on his deathbed. Inscribed on wrist: <i>A Rodin</i>.” Dr. Schaff continues by stating: “I have personally examined this work of art and affirm that it conforms with minor variations, to other examples of the composition and to the studio practices of Auguste Rodin.”</span></div>
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<span style="font-family: Times, Times New Roman, serif;">LIFE CAST FORGED TO A TORSO</span></div>
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<span style="font-family: Times, Times New Roman, serif;">Now contrast Dr. Schaff assertions that this <i>Hand of Rodin Holding a Torso</i> plaster is “original work by Auguste Rodin” with page 637 in the 1976 <span style="font-style: italic;">Sculpture of Auguste Rodin</span> by John Tancock, where the author wrote: “Three weeks before Rodin’s death, Paul Cruet, who was largely responsible at that time for making Rodin’s molds, took this cast of his right hand. Into it was inserted a cast of a small torso by Rodin, <i>Small Torso A</i>, one of the innumerable small fragments possibly connected with The Gates of Hell (no. 1). The torso has since been cast separately. This composite work, made from a life cast and an original work, which pays homage to Rodin the sculptor. This plaster was “not signed or inscribed.”</span><span style="background-color: white; color: blue; font-family: Times, 'Times New Roman', serif; text-align: start;">[FN 69]</span></div>
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<span style="font-family: Times, Times New Roman, serif;">Early in Auguste Rodin’s career his Age of Bronze -bronze- was criticized by some critics as being cast from life despite his denials.</span></div>
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<span style="font-family: Times, Times New Roman, serif;">So, on his deathbed a stroke-ridden invalid Auguste Rodin’s hand is subsequently cast in plaster and combined with one of his original plaster sculptures and eighty-four years later is promoted in Dr. Schaff’s -declaration- as a “cast of an original work by Auguste Rodin” and inscribed with his signature: “A Rodin.”</span></div>
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<span style="font-family: Times, Times New Roman, serif;">The same unethical practice of casting from life Auguste Rodin fought so hard to deny about his art, is now attributed directly to him with a counterfeit “A Rodin” signature applied to create the illusion he approved the entire process when he obviously did not.</span></div>
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<span style="font-family: Times, Times New Roman, serif;">MORAL RIGHTS AND THE RIGHTS OF ATTRIBUTION</span></div>
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<span style="font-family: Times, Times New Roman, serif;">The 1990 Visual Artist’s Rights Act amended the 1976 Copyright Act of 1976. In part, it granted the artist the “Right of Attribution” which ends when the artist dies.</span></div>
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<span style="font-family: Times, Times New Roman, serif;">In the <i>Visual Artist’s Business and Legal Guide</i> Attorney Katherine M. Thompson states: “The Berne Convention of 1886 provides artists with moral rights in their work. This international treaty requires all members to adhere to a minimum standard of moral rights for their artists. When the United States became a signatory, however, it sought to change the Copyright Act only where necessary to comply. The VARA amends the Copyright Act to provide a definition of art; to grant artists additional rights, such as the right of attribution and the right of integrity.”</span><span style="background-color: white; color: blue; font-family: Times, 'Times New Roman', serif; text-align: start;">[FN 70]</span></div>
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<span style="font-family: Times, Times New Roman, serif;">Since, the “Right of Attribution” dies when the artist dies how can Dr. Schaff refer to a posthumous and -imaginary reconstruction- forgery of the <i>Hand of Rodin Holding a Torso</i> with a counterfeit <i>“A Rodin”</i> signature applied as a "cast of an original work by Auguste Rodin?"</span></div>
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<span style="font-family: Times, Times New Roman, serif;">One would have to get the impression that perception is preferred over reality by the majority of the MacLaren Art Centre, Royal Ontario Museum and Gruppo Mondiale Est. principals involved in the exhibition of these so-called “plasters” and “bronzes” promoted as “sculptures by Auguste Rodin.”</span></div>
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<i><span style="color: purple; font-family: Times, Times New Roman, serif;">“Masters Edition Rodin casts, however, do not implicate the droit moral for several reasons. First, they are not lifetime casts, but rather recasts from foundry plasters. Therefore, the moral rights related to physical control over the works, such as the rights of withdrawal, alteration and publication, do not extend to them. Moreover, the re-casts do not alter the plasters or the image embodied in the Rodin originals and, therefore, they do not involve the droit au respect de l'Oeuvre. Finally, all the bronze casts contain accurate attribution, thus respecting droit a la paternite and avoiding any confusion regarding the origins of each work.”</span></i><span style="background-color: white; color: blue; font-family: Times, 'Times New Roman', serif; text-align: start;">[FN 71]</span></div>
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<span style="font-family: Times, Times New Roman, serif;">ALL THE BRONZE CASTS CONTAIN ACCURATE ATTRIBUTION</span></div>
<div style="text-align: justify;">
<span style="font-family: Times, Times New Roman, serif;">In the excerpt from Gruppo Mondiale Est.'s above FAQ, on its'<span style="color: #3333ff;"> </span>website, it stated: "all the bronze casts contain accurate attribution."</span><span style="background-color: white; color: blue; font-family: Times, 'Times New Roman', serif; text-align: start;">[FN 72]</span></div>
<div style="text-align: justify;">
<span style="font-family: Times, Times New Roman, serif;"><br /></span></div>
<div style="text-align: justify;">
<span style="font-family: Times, Times New Roman, serif;">Though Gruppo Mondiale Est. makes a big to do on their website about copyright when they state: "with respect to copyright law, the United States, Europe, South America, and Asia provide that all copyright in a work expire seventy (70) years after the death of the author," under U.S. Copyright Law 106a, the "Rights of Attribution shall not apply to any reproductions."</span><span style="background-color: white; color: blue; font-family: Times, 'Times New Roman', serif; text-align: start;">[FN 73]</span></div>
<div style="text-align: justify;">
<span style="font-family: Times, Times New Roman, serif;"><br /></span></div>
<div style="text-align: justify;">
<span style="font-family: Times, Times New Roman, serif;">MASK THE DISCLOSURE OF REPRODUCTIONS AND FORGERIES</span></div>
<div style="text-align: justify;">
<span style="font-family: Times, Times New Roman, serif;">Throughout Gruppo Mondiale Est.'s website, the overt or subtle abuse of terms is used to mask the disclosure of reproductions and forgeries they promote for sale.</span></div>
<div style="text-align: justify;">
<span style="font-family: Times, Times New Roman, serif;"><br /></span></div>
<div style="text-align: justify;">
<span style="font-family: Times, Times New Roman, serif;">GRUPPO MONDIALE EST.'s DOUBLE TALK</span><br />
<span style="font-family: Times, 'Times New Roman', serif;">Aside the Gruppo Mondiale Est's</span><span style="font-family: Times, 'Times New Roman', serif;"> titled website, here are eight examples of their double talk: </span></div>
<div style="text-align: justify;">
<br />
<ol>
<li><span style="font-family: Times, Times New Roman, serif;">"using the finest craftsman and techniques developed by Rodin's fondeurs, bronze casts were created"</span><span style="background-color: white; color: blue; font-family: Times, 'Times New Roman', serif; text-align: start;">[FN 74]</span><span style="font-family: Times, 'Times New Roman', serif;"> is misleading since cast by definition is "to reproduce an object, such as a piece of sculpture, by means of a MOLD" resulting in reproduced, -not- "created," reproductions., </span></li>
<li><span style="font-family: Times, 'Times New Roman', serif;">"The collection consists of a series of over 50 Rodin sculptures, from which will be cast 8 pieces each"</span><span style="background-color: white; color: blue; font-family: Times, 'Times New Roman', serif; text-align: start;">[FN 75]</span><span style="font-family: Times, 'Times New Roman', serif;"> is misleading since posthumous forgeries promoted as "pieces" does -not- attain the minimum threshold of disclosure., </span></li>
<li><span style="font-family: Times, 'Times New Roman', serif;">"The book was printed by Arti Grafiche Amilcare Pizzi S.p.A., one of the premier art book printers"<span style="background-color: white; color: blue; text-align: start;">[FN 76]</span> is misleading since the Gruppo Mondiale Est.'s published book consists mostly of reproductions and forgeries., </span></li>
<li><span style="font-family: Times, 'Times New Roman', serif;">"photographic work done by Mario Carrieri (considered the foremost photographer of sculpture)"<span style="background-color: white; color: blue; text-align: start;">[FN 77]</span> is misleading since the vast majority of photographs in this book will be of reproductions and forgeries, -not- "sculptures.", </span></li>
<li><span style="font-family: Times, 'Times New Roman', serif;">"The objective of the project is to bring the highest quality reissue of the most important Rodin bronzes"<span style="background-color: white; color: blue; text-align: start;">[FN 78]</span> is overtly misleading since posthumously cast bronzes, in this case, would be forged -not- "reissued.", </span></li>
<li><span style="font-family: Times, 'Times New Roman', serif;">"This site is just part of this project, but it will become one of the many instruments today available to acquire knowledge about Auguste Rodin's art"<span style="background-color: white; color: blue; text-align: start;">[FN 79]</span> is overtly misleading since the vast majority of the plasters and bronzes are either posthumous reproductions or outright forgeries., </span></li>
<li><span style="font-family: Times, 'Times New Roman', serif;">"Copyright regimes enable an artist to control and profit from their work, thereby encouraging artistic endeavor for the benefit of the artist"<span style="background-color: white; color: blue; text-align: start;">[FN 80]</span> is misleading since a dead artist has no "control" and no "artistic endeavor" and finally, </span></li>
<li><span style="font-family: Times, 'Times New Roman', serif;">"These casts are equal in all details to lifetime casts and are among the finest casts ever done from this remarkable artist"<span style="background-color: white; color: blue; text-align: start;">[FN 81]</span> is convoluted to an extreme since even the "finest casts" can never be "done from this remarkable artist" who happens to be dead.</span></li>
</ol>
<br />
<br /></div>
<div style="text-align: justify;">
<span style="font-family: Times, Times New Roman, serif;"><br /></span></div>
<div style="text-align: justify;">
<span style="font-family: Times, Times New Roman, serif;">Why would Gruppo Mondiale Est., the MacLaren Art Centre and the Royal Ontario Museum fail to disclose and fully document the complete provenance of these plaster reproductions and bronze forgeries they deceptively promote as “sculptures by Auguste Rodin?”</span></div>
<div style="text-align: justify;">
<span style="font-family: Times, Times New Roman, serif;"><br /></span></div>
<div style="text-align: justify;">
<span style="font-family: Times, Times New Roman, serif;">$40 MILLION REASONS NOT TO DOCUMENT</span></div>
<div style="text-align: justify;">
<span style="font-family: Times, Times New Roman, serif;">Could this be answered, in part, by the MacLaren Art Centre’s March 29, 2001 Press Release titled: “$40 Million Donation of Rodin Sculptures Kicks Off ArtCity in Barrie?” The beginning to the text of their press release immediately reaffirms the -value- promoted in the title when it states: “The MacLaren Art Centre today launched ArtCity with the donation and loan of sculpture by Auguste Rodin valued at $40 million.”</span><span style="background-color: white; color: blue; font-family: Times, 'Times New Roman', serif; text-align: start;">[FN 82]</span></div>
<div style="text-align: justify;">
<span style="font-family: Times, Times New Roman, serif;"><br /></span></div>
<div style="text-align: justify;">
<span style="font-family: Times, Times New Roman, serif;">Based on the 1999 and 2001 dates given for the 24 MacLaren Art Centre's -bronzes-, they could not be “sculptures by Auguste Rodin.”</span></div>
<div style="text-align: justify;">
<span style="font-family: Times, Times New Roman, serif;"><br /></span></div>
<div style="text-align: justify;">
<span style="font-family: Times, Times New Roman, serif;">Auguste Rodin died in 1917, some 82 years earlier.</span></div>
<div style="text-align: justify;">
<span style="font-family: Times, Times New Roman, serif;"><br /></span></div>
<div style="text-align: justify;">
<span style="font-family: Times, Times New Roman, serif;">The dead don't sculpt.</span></div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
<span style="font-family: Times, Times New Roman, serif;">FOUNDRY PLASTERS</span></div>
<div style="text-align: justify;">
<span style="font-family: Times, Times New Roman, serif;">Also, based on prior documentation, the MacLaren Art Centre’s 25 -plasters- are most likely posthumous plaster forgeries ie., “foundry plasters” of Rodin’s original plasters and therefore could not be “sculptures by Auguste Rodin.”</span></div>
<div style="text-align: justify;">
<span style="font-family: Times, Times New Roman, serif;"><br /></span></div>
<div style="text-align: justify;">
<span style="font-family: Times, Times New Roman, serif;">Would the -$40 million- promoted value for these so-called “sculptures by Auguste Rodin” dramatically change if, as previously documented, the majority of these -plasters- and -bronzes- were posthumous forgeries?</span></div>
<div style="text-align: justify;">
<span style="font-family: Times, Times New Roman, serif;"><br /></span></div>
<div style="text-align: justify;">
<span style="font-family: Times, Times New Roman, serif;">TWO POSTHUMOUS FORGERIES FROM CANTOR CENTER</span></div>
<div style="text-align: justify;">
<span style="font-family: Times, Times New Roman, serif;">In the MacLaren Art Centre’s exhibition checklist, it lists a "<i>Large Clenched Left Hand with Half-Length Figure of a Woman</i> (ca. 1890) bronze (posthumous cast authorized by Musee Rodin, 1972)” and “<i>Blessing Left Hand</i> (1880-1884) bronze (posthumous cast taken from 1880-1884 plaster)” on loan from the Iris and B. Gerald Cantor Center for Visual Arts at Stanford University.</span></div>
<div style="text-align: justify;">
<span style="font-family: Times, Times New Roman, serif;"><br /></span></div>
<div style="text-align: justify;">
<span style="font-family: Times, Times New Roman, serif;">On page 582 and 593, in the 2003 published <span style="font-style: italic;">Rodin's Art, The Rodin Collection of the Iris and B. Gerald Cantor Center for Visual Arts at Stanford University</span> catalogue, both of the above posthumous bronzes are listed as: <i>"Signed A. Rodin."</i></span><span style="background-color: white; color: blue; font-family: Times, 'Times New Roman', serif; text-align: start;">[FN 83]</span></div>
<div style="text-align: justify;">
<span style="font-family: Times, Times New Roman, serif;"><br /></span></div>
<div style="text-align: justify;">
<span style="font-family: Times, Times New Roman, serif;">How'd the dead Auguste Rodin do that?</span></div>
<div style="text-align: justify;">
<span style="font-family: Times, Times New Roman, serif;"><br /></span></div>
<div style="text-align: justify;">
<span style="font-family: Times, Times New Roman, serif;">There have been some scholars who have questioned the posthumous -casting- of the numerous plaster hands and pieces found in Rodin’s studio after his death. Despite these questions, the Musee Rodin is well within its right to posthumously reproduce any of Rodin’s original plasters. The real question is do these -posthumous casts- authorized by the Musee Rodin also have Musee Rodin approved counterfeit “A Rodin” signatures applied?</span></div>
<div style="text-align: justify;">
<span style="font-family: Times, Times New Roman, serif;"><br /></span></div>
<div style="text-align: justify;">
<span style="font-family: Times, Times New Roman, serif;">TWO POSTHUMOUS FORGERIES FROM EDMONTON ART GALLERY</span></div>
<div style="text-align: justify;">
<span style="font-family: Times, Times New Roman, serif;">In the MacLaren Art Centre’s exhibition checklist, it lists a “<i>Balzac</i> (1897)” and “<i>The Age of Bronze </i>(1876)” as “bronzes” loaned from the “Collection of the Edmonton Art Gallery.” The Edmonton Art Gallery’s very own registration documentation for these two bronzes are as follows:</span></div>
<div style="text-align: justify;">
<span style="font-family: Times, Times New Roman, serif;"><br /></span></div>
<div style="text-align: justify;">
<span style="font-family: Times, Times New Roman, serif;">“Acquisition date: Mar 1, 1978</span></div>
<div style="text-align: justify;">
<span style="font-family: Times, Times New Roman, serif;">Accession No.: 78.7.2</span></div>
<div style="text-align: justify;">
<span style="font-family: Times, Times New Roman, serif;">Artist: Auguste Rodin,</span></div>
<div style="text-align: justify;">
<span style="font-family: Times, Times New Roman, serif;">Title: <i>L'age D'airain</i>, 1876</span></div>
<div style="text-align: justify;">
<span style="font-family: Times, Times New Roman, serif;">Edition: Cast No. 12 of 12</span></div>
<div style="text-align: justify;">
<span style="font-family: Times, Times New Roman, serif;">Dimensions (h,w,d): 104.8 x 34.3 x 29.5 cm</span></div>
<div style="text-align: justify;">
<span style="font-family: Times, Times New Roman, serif;">Material: cast bronze</span></div>
<div style="text-align: justify;">
<span style="font-family: Times, Times New Roman, serif;">Markings/labels:On right of right side of base - by Musee Rodin, 1970;</span></div>
<div style="text-align: justify;">
<span style="font-family: Times, Times New Roman, serif;">On back right of base - Georges Rudier Fondeur, Paris</span></div>
<div style="text-align: justify;">
<span style="font-family: Times, Times New Roman, serif;">Signature: base, top - <i>A. Rodin</i></span></div>
<div style="text-align: justify;">
<span style="font-family: Times, Times New Roman, serif;">Source: Westburne International Industries. Prior to donation to EAG from the</span></div>
<div style="text-align: justify;">
<span style="font-family: Times, Times New Roman, serif;">collection of J.A. Scrymgeour”</span></div>
<div style="text-align: justify;">
<span style="font-family: Times, Times New Roman, serif;"><br /></span></div>
<div style="text-align: justify;">
<span style="font-family: Times, Times New Roman, serif;">“Acquisition date: Mar 1, 1978</span></div>
<div style="text-align: justify;">
<span style="font-family: Times, Times New Roman, serif;">Accession No.: 78.7.1</span></div>
<div style="text-align: justify;">
<span style="font-family: Times, Times New Roman, serif;">Artist: Auguste Rodin</span></div>
<div style="text-align: justify;">
<span style="font-family: Times, Times New Roman, serif;">Title:<i> Balzac</i>, 1897</span></div>
<div style="text-align: justify;">
<span style="font-family: Times, Times New Roman, serif;">Edition: 12 of 12</span></div>
<div style="text-align: justify;">
<span style="font-family: Times, Times New Roman, serif;">Dimensions: 106.7 x 53.3 x 47.0 cm</span></div>
<div style="text-align: justify;">
<span style="font-family: Times, Times New Roman, serif;">Material: cast bronze</span></div>
<div style="text-align: justify;">
<span style="font-family: Times, Times New Roman, serif;">Markings/labels:On top of right side of base: By Musee Rodin 1962;</span></div>
<div style="text-align: justify;">
<span style="font-family: Times, Times New Roman, serif;">On right of back of base: Georges Rudier Fondeur, Paris</span></div>
<div style="text-align: justify;">
<span style="font-family: Times, Times New Roman, serif;">Signature: base, top - <i>A. Rodin</i></span></div>
<div style="text-align: justify;">
<span style="font-family: Times, Times New Roman, serif;">Source: Westburne International Industries. Prior to donation to EAG from the</span></div>
<div style="text-align: justify;">
<span style="font-family: Times, Times New Roman, serif;">collection of J.A. Scrymgeour”</span></div>
<div style="text-align: justify;">
<span style="font-family: Times, Times New Roman, serif;"><br /></span></div>
<div style="text-align: justify;">
<span style="font-family: Times, Times New Roman, serif;">There are three -RED FLAGS- which impeach the dates of “1876” and “1897” given by the MacLaren Art Centre and the Edmonton Art Gallery for these two “bronzes”:</span></div>
<ul>
<li style="text-align: justify;"><span style="font-family: Times, Times New Roman, serif;">1) The Georges Rudier foundry went into business in 1952,<span style="background-color: white; color: blue; text-align: start;">[FN 84]</span> </span></li>
<li style="text-align: justify;"><span style="font-family: Times, Times New Roman, serif;">2) The practice of numbering edition of twelve began after the passage of the French decree “Article 425 of the Penal Code” in 1957,<span style="background-color: white; color: blue; text-align: start;">[FN 85]</span></span></li>
<li style="text-align: justify;"><span style="font-family: Times, Times New Roman, serif;">3 ) The dates “1962” and “1970” on the respective “bronzes” are dead giveaways. Also, the final impeachment of these two “bronzes” is that they are listed as having Auguste Rodin’s <i>“A Rodin”</i> signature.</span></li>
</ul>
<div style="text-align: justify;">
<span style="font-family: Times, Times New Roman, serif;"><br /></span></div>
<div style="text-align: justify;">
<span style="font-family: Times, Times New Roman, serif;">In 1962 and 1970, Auguste Rodin was still dead. </span><span style="font-family: Times, 'Times New Roman', serif;">The dead don't sign.</span></div>
<div style="text-align: justify;">
<span style="font-family: Times, Times New Roman, serif;"><br /></span></div>
<div style="text-align: justify;">
<span style="font-family: Times, Times New Roman, serif;">POSTHUMOUS FORGERY FROM VANCOUVER ART GALLERY</span></div>
<div style="text-align: justify;">
<span style="font-family: Times, Times New Roman, serif;">In the MacLaren Art Centre’s exhibition checklist lists: “<i>Eustache de St. Pierre </i>(1884) 1895 version bronze (lifetime cast)” as loaned by the Vancouver Art Gallery. A “lifetime cast” means that Auguste Rodin was alive and personally approved its casting in bronze and authorized his signature applied. The Vancouver Art Gallery’s registration documentation for this “lifetime cast” states:</span></div>
<ul>
<li style="text-align: justify;"><span style="font-family: Times, Times New Roman, serif;">“1) foundry name is inscribed on the back of shoulder (incised and cast), which reads: G. Rudier F. Paris, Foundry name is also mentioned in our files: Georges Rudier inherited Alexis Rudier/Foundeur Paris foundry in 1952 and all the bronzes manufactured by this foundry bear the mark, Georges Rudier/Fondeur Paris, and are inscribed with the date of the casting. On works which weren't cast during the artist's lifetime, the number of the cast from the edition of twelve is inscribed, while the new editions of works that had been cast previously are recorded but unnumbered.</span></li>
<li style="text-align: justify;"><span style="font-family: Times, Times New Roman, serif;">“2) According to our records, the statue is one of an edition of twelve. But that number is not inscribed on the statue.</span></li>
<li style="text-align: justify;"><span style="font-family: Times, Times New Roman, serif;">“3) Signature on the bronze is incised at the base of neck, in front, on left side: <i>‘A. Rodin,’</i> but not dated. There is an incision on left side at back: ‘Rodin, 1964.’</span></li>
<li style="text-align: justify;"><span style="font-family: Times, Times New Roman, serif;">“4) <i>Eustache de St. Pierre</i> was acquired in 1983. It was a gift to the Gallery from Dr. Max Stern.”</span></li>
</ul>
<div style="text-align: justify;">
<span style="font-family: Times, Times New Roman, serif;"><br /></span></div>
<div style="text-align: justify;">
<span style="font-family: Times, Times New Roman, serif;">This MacLaren Art Centre listed -lifetime cast-, from Vancouver Art Gallery, was actually reproduced forty-seven years after Rodin’s death in “1964.”</span></div>
<div style="text-align: justify;">
<span style="font-family: Times, Times New Roman, serif;"><br /></span></div>
<div style="text-align: justify;">
<span style="font-family: Times, Times New Roman, serif;">Auguste Rodin died in 1917. </span><span style="font-family: Times, 'Times New Roman', serif;">The dead don't sculpt.</span></div>
<div style="text-align: justify;">
<span style="font-family: Times, Times New Roman, serif;"><br /></span></div>
<div style="text-align: justify;">
<span style="font-family: Times, Times New Roman, serif;">MUSEUMS EXIST FOR THEIR AUTHENTICITY</span></div>
<div style="text-align: justify;">
<span style="font-family: Times, Times New Roman, serif;">Does it really matter whether an object exhibited in a museum, is -authentic-?</span></div>
<div style="text-align: justify;">
<span style="font-family: Times, Times New Roman, serif;"><br /></span></div>
<div style="text-align: justify;">
<span style="font-family: Times, Times New Roman, serif;">This issue is addressed in the New Zealand News' published January 2, 2001 editorial article: “Museums exist for their authenticity.” This editorial powerfully addresses the issues of authenticity and museums. It stated:</span></div>
<div style="text-align: justify;">
<br />
<ul>
<li><i style="font-family: Times, 'Times New Roman', serif;">“Museums have been enthusiastically brightening themselves in recent times. They are no longer content to be serious, rather austere storehouses of cultural treasure. They aim to be lively, entertaining places with interactive displays and other imaginative methods of engaging people in order to educate them.</i></li>
</ul>
<ul>
<li><i style="font-family: Times, 'Times New Roman', serif;">“That is fine, so long as they remember that their distinguishing value still lies in authenticity. That is what we look for in a museum. We do not need a museum simply to discover what something looked like. Drawings and photographs in books can do that well enough. In a museum we expect to encounter the real thing. A replica, no matter how faithful to the original it might be, is not the same thing.</i></li>
</ul>
<ul>
<li><i style="font-family: Times, 'Times New Roman', serif;">“That assumes, of course, that we know it is a replica. It is not hard for a museum to deceive people if it is so inclined. And there is a danger these days that well-meaning theorists will convince one another that it really does not matter. What is reality anyway, they may ask? If something is made in the exact image of the authentic object, the imitation is real in its own way. And if people believe it is a relic of the past, well it is in a way.</i></li>
</ul>
<ul>
<li><i style="font-family: Times, 'Times New Roman', serif;">“If museums ever succumb to that philosophy, they will not survive. Their credibility will crumble if they become no more than theme parks filled with plastic and plaster representations of reality. There is a place for artifice in museums but it must be carefully presented as such. Patrons have a right to know when looking at a cast of a fossil, for example, whether they are seeing the actual stone in which the plant or animal was preserved, or a cast of the cast. When an ancient urn or a life-sized skeleton is only partly authentic, the public should be able to clearly discern the real bits.</i></li>
</ul>
<ul>
<li><i style="font-family: Times, 'Times New Roman', serif;">“The value of museums is the opportunity they provide for people to feel a connection with others long ago or far away. There is nothing quite like seeing an object that has survived the centuries to sense that connection. Those who seek that connection need museums. They must not be deceived.”</i><span style="background-color: white; color: blue; font-family: Times, 'Times New Roman', serif; text-align: start;">[FN 86]</span></li>
</ul>
</div>
<div style="text-align: justify;">
<span style="font-family: Times, Times New Roman, serif;"><br /></span></div>
<div style="text-align: justify;">
<span style="font-family: Times, Times New Roman, serif;">Are any of the plasters and bronzes promoted as -Rodin sculptures-, that can be documented, really -authentic- in this <b>From Plaster to Bronze: The Sculpture of Auguste Rodin</b> exhibition at the Royal Ontario Museum?”</span></div>
<div style="text-align: justify;">
<span style="font-family: Times, Times New Roman, serif;"><br /></span></div>
<div style="text-align: justify;">
<span style="font-family: Times, Times New Roman, serif;">There is at least one probable -authentic- lifetime Auguste Rodin bronze.</span></div>
<div style="text-align: justify;">
<span style="font-family: Times, Times New Roman, serif;"><br /></span></div>
<br />
<div style="text-align: justify;">
<span style="font-family: Times, Times New Roman, serif;">ONE AUTHENTIC LIFETIME CAST FROM MACKENZIE ART GALLERY</span></div>
<span style="font-family: Times, Times New Roman, serif; font-weight: bold;">
</span>
<br />
<div style="text-align: justify;">
<span style="font-family: Times, Times New Roman, serif;">In the MacLaren Art Centre exhibition checklist they list an “Eternal Spring (1916) bronze” as on loan from the MacKenzie Art Gallery. The MacKenzie Art Gallery’s registration documentation for their “bronze” is:</span></div>
<ul>
<li style="text-align: justify;"><span style="font-family: Times, Times New Roman, serif;">“Rodin, Auguste (French 1840-1917)</span></li>
<li style="text-align: justify;"><span style="font-family: Times, Times New Roman, serif;"><i>Eternal Spring</i>, 1917</span></li>
<li style="text-align: justify;"><span style="font-family: Times, Times New Roman, serif;">Bronze 65.4 x 80 x 40 cm</span></li>
<li style="text-align: justify;"><span style="font-family: Times, Times New Roman, serif;">MacKenzie Art Gallery, University of Regina Collection</span></li>
<li style="text-align: justify;"><span style="font-family: Times, Times New Roman, serif;">Gift of Mr. Norman MacKenzie</span></li>
<li style="text-align: justify;"><span style="font-family: Times, Times New Roman, serif;">Assession Number: 1916-4</span></li>
<li style="text-align: justify;"><span style="font-family: Times, Times New Roman, serif;">Signature: base: <i>Rodin</i> on base beneath male outstretched arm</span></li>
<li style="text-align: justify;"><span style="font-family: Times, Times New Roman, serif;">Marks: inside of base VI VI</span></li>
<li style="text-align: justify;"><span style="font-family: Times, Times New Roman, serif;">back side of base stamped BARBEDIENNE Fondeur</span></li>
<li style="text-align: justify;"><span style="font-family: Times, Times New Roman, serif;">“History/Certification: Edition size believed to be approximately 141 [Rodin: Sculpture and Drawings, Catherine Lampert, (London: Arts Council of Great Britain, 1986), p. 206-207</span></li>
<li style="text-align: justify;"><span style="font-family: Times, Times New Roman, serif;">“Certificate dated 1916 signed by G. Leblance Barbedienne, certifying execution of bronze caste of model supervised by Rodin.</span></li>
<li style="text-align: justify;"><span style="font-family: Times, Times New Roman, serif;">Purchased from Jules Mogey of Paris. Previously owned by Mogey’s son who was a sculptor, but had been recently killed in World War 1.”</span></li>
</ul>
<div style="text-align: justify;">
<span style="font-family: Times, Times New Roman, serif;"><br /></span></div>
<div style="text-align: justify;">
<span style="font-family: Times, Times New Roman, serif;">The MacKenzie Art Gallery’s documentation for their <i>Eternal Spring</i> is confirmed, in part, in the National Gallery of Art’s 1981 <span style="font-style: italic;">Rodin Rediscovered</span> exhibition catalogue by the former Musee Rodin curator Monique Laurent. The former Musee Rodin curator documents, in her essay “Observations on Rodin and his Founders,” the foundries that have “cast” lifetime and posthumous reproduction bronzes.</span></div>
<div style="text-align: justify;">
<span style="font-family: Times, Times New Roman, serif;"><br /></span></div>
<div style="text-align: justify;">
<span style="font-family: Times, Times New Roman, serif;">BARBEDIENNE FOUNDRY 1899 TO 1919</span></div>
<div style="text-align: justify;">
<span style="font-family: Times, Times New Roman, serif;">On page 289 of her essay, the former Musee Rodin curator wrote: “Rodin reached an agreement of the same kind for twenty years with the foundry Gustave Leblanc-Barbedienne, which was directed by the nephew of its founder, Ferdinard Barbedienne. Leblanc-Barbedienne thus owned exclusive rights to working of reductions of the Eternal Spring and of The Kiss except for the original size which the obligation to reserve the casting for the same firm. - For Eternal Spring, with the reservation of some uncertainties, the division of the castings from 1899 to 1919 is the following: fifty casts with a height of 0.40 meters; sixty-nine examples at 0.23 meters; the 0.52 meter size model did not appear until 1908 and thirty-two cast were made of it up to 1919.”</span><span style="background-color: white; color: blue; font-family: Times, 'Times New Roman', serif; text-align: start;">[FN 87]</span></div>
<div style="text-align: justify;">
<span style="font-family: Times, Times New Roman, serif;"><br /></span></div>
<div style="text-align: justify;">
<span style="font-family: Times, Times New Roman, serif;">The MacKenzie Art Gallery’s detailed documentation allows any scholar and historian, using other documented and published references, to independently confirm with confidence the -provenance- of this bronze <i>Eternal Spring</i>. Whether it is technically a -lifetime cast- before Rodin’s death on November 17, 1917 or posthumously reproduced sometime before the Barbedienne foundry contract expired in 1919, it may never be known. Though the date of Jules Mogey son’s death in World War 1 would in all probability would nail it down.</span></div>
<div style="text-align: justify;">
<span style="font-family: Times, Times New Roman, serif;"><br /></span></div>
<div style="text-align: justify;">
<span style="font-family: Times, Times New Roman, serif;">ASSOCIATION OF ART MUSEUM DIRECTORS</span></div>
<div style="text-align: justify;">
<span style="font-family: Times, Times New Roman, serif;">Three of the six museums contributing to the September 20 to 23, 2001 <b>From Plaster to Bronze: The Sculpture of Auguste Rodin</b> exhibition at the Royal Ontario Museum are members of the Association of Art Museum Directors. Those members are: “Edmonton Art Gallery, Alberta, Canada, Vancouver Art Gallery Stanford University Museum of Art, California.”</span></div>
<div style="text-align: justify;">
<span style="font-family: Times, Times New Roman, serif;"><br /></span></div>
<div style="text-align: justify;">
<span style="font-family: Times, Times New Roman, serif;">The MacLaren Art Centre, Royal Ontario Museum and the MacKenzie Art Gallery are not members of the Association of Art Museum Directors.</span></div>
<div style="text-align: justify;">
<span style="font-family: Times, Times New Roman, serif;"><br /></span></div>
<div style="text-align: justify;">
<span style="font-family: Times, Times New Roman, serif;">COLLEGE ART ASSOCIATION</span></div>
<div style="text-align: justify;">
<span style="font-family: Times, Times New Roman, serif;">The Association of Art Museum Directors endorses the College Art Association’s April 27, 1974 Statement on Standards for Sculptural Reproduction and Preventive Measures to Combat Unethical Casting in Bronze.</span></div>
<div style="text-align: justify;">
<span style="font-family: Times, Times New Roman, serif;"><br /></span></div>
<div style="text-align: justify;">
<span style="font-family: Times, Times New Roman, serif;">STANDARDS FOR SCULPTURAL REPRODUCTION</span></div>
<div style="text-align: justify;">
<span style="font-family: Times, Times New Roman, serif;">In the College Art Association’s Ethics and Guidelines, under the subtitle Unauthorized Translation Into New Materials. it states: “A more complex problem of sculptural reproduction occurs when the artist’s heirs or executors cast his work in a new medium other than that clearly intended by the artist for the final version of his work. This would be the case when an artist’s work was originally carved in wood or stone and then posthumously cast in bronze. In the absence of authorization from the artist this form of moulage should be rejected as unethical.” It continues by stating: “All bronze casting from finished bronzes, all unauthorized enlargements, and all transfers into new materials, unless specifically condoned by the artist, all works cast as a result of being in the public domain should be considered as inauthentic or counterfeit. Unauthorized casts of works in the public domain cannot be looked upon as accurate presentations of the artist’s achievement. Accordingly, in the absence of relevant laws and for moral reasons, such works should: -- Not be acquired by museums or exhibited as works of art.”</span><span style="background-color: white; color: blue; font-family: Times, 'Times New Roman', serif; text-align: start;">[FN 88]</span></div>
<div style="text-align: justify;">
<span style="font-family: Times, Times New Roman, serif;"><br /></span></div>
<div style="text-align: justify;">
<span style="font-family: Times, Times New Roman, serif;">The College Art Association also recommends: “all transfers into new materials, unless specifically condoned by the artist--should be considered inauthentic and counterfeit.” and “in absence of relevant laws and for moral reason, such work should: 1. Not be sold by art dealers or auctioneers. 2. Not be acquired by museums or exhibited as works of art. 3. Not be cast by foundries. 4. Be clearly identified for what they are by art historians and critics who may write about them.” and the CAA recommends: “Artists, scholars, critics and dealers should give all possible assistance in exposing the described abuses.”</span><span style="background-color: white; color: blue; font-family: Times, 'Times New Roman', serif; text-align: start;">[FN 89]</span></div>
<div style="text-align: justify;">
<span style="font-family: Times, Times New Roman, serif;"><br /></span></div>
<div style="text-align: justify;">
<span style="font-family: Times, Times New Roman, serif;">When anyone posthumously reproduces an object and fails to disclose it as a reproduction, much less a forgery, should we not speak out against such abuses?</span></div>
<div style="text-align: justify;">
<span style="font-family: Times, Times New Roman, serif;"><br /></span></div>
<div style="text-align: justify;">
<span style="font-family: Times, Times New Roman, serif;">When anyone posthumously applies a counterfeit signature to a forgery, should we not speak out against such abuses?</span></div>
<div style="text-align: justify;">
<span style="font-family: Times, Times New Roman, serif;"><br /></span></div>
<div style="text-align: justify;">
<span style="font-family: Times, Times New Roman, serif;">When a cultural institution or museum exhibits these posthumous forgeries with counterfeit signatures applied as “sculptures” and/or as “signed” by the artist, should we not speak out against such abuses?</span></div>
<div style="text-align: justify;">
<span style="font-family: Times, Times New Roman, serif;"><br /></span></div>
<div style="text-align: justify;">
<span style="font-family: Times, Times New Roman, serif;">GEORGIA O’KEEFE AND LEWIS W. HINE</span></div>
<div style="text-align: justify;">
<span style="font-family: Times, Times New Roman, serif;">Here are two published and documented examples of similar deceptions:</span></div>
<div style="text-align: justify;">
<span style="font-family: Times, Times New Roman, serif;"><br /></span></div>
<div style="text-align: justify;">
<span style="font-family: Times, Times New Roman, serif;">1) </span>In a New York Times published March 7, 2000 “ARTS IN AMERICA; If It's Not an O'Keeffe, Exactly What Is It? by Gretchen Reynolds, wrote i<span style="font-family: Times, Times New Roman, serif;">n 1989 the National Gallery of Art Director J. Carter Brown referred to the mysterious discovery of a “lost” series of 28 evocative watercolors by Georgia O’Keefe (allegedly created from 1916-1918) as: “a national treasure.” Eleven years later the Santa Fe, New Mexico Georgia O’Keefe Museum curator Ms. Lynes, having done an intensive study of the paper used by O’Keefe, found that some of the paper used for these 28 O’Keefe watercolors was unavailable in the United States before 1930 and some not till the 1960’s. The dealer had to refund the $5 million purchase price. </span><span style="background-color: white; color: blue; font-family: Times, 'Times New Roman', serif; text-align: start;">[FN 90]</span></div>
<div style="text-align: justify;">
<span style="font-family: Times, Times New Roman, serif;"><br /></span></div>
<div style="text-align: justify;">
<span style="font-family: Times, Times New Roman, serif;">2) </span>In a New York Times published November 12, 1999 “Authenticity of Famed Photographer's Prints Scrutinized” article by Grace Gluecky, the reporter wrote of t<span style="font-family: Times, Times New Roman, serif;">he well-known photographer Lewis W. Hine, who died in 1940 and was “socially committed artist who was concerned more with substance of his image than with their finish and was not particularly known for his skills as a printer.” In recent years “high quality prints by Lewis W. Hine” were turning up in increasing numbers. Then the recent discovery of hundreds of “unauthorized posthumous prints,” some with his signature, apparently from Hine’s original negatives was found to be printed on paper made after 1950. During Hine’s life there was no collector’s market, he signed very few photographs and if signed most were in block letters. All the photographs in questioned are signed. One dealer was quoted: “The important thing is that if there are fakes, let’s get them off the market.”</span><span style="background-color: white; color: blue; font-family: Times, 'Times New Roman', serif; text-align: start;">[FN 91]</span><span style="font-family: Times, 'Times New Roman', serif;"> </span></div>
<div style="text-align: justify;">
<span style="font-family: Times, Times New Roman, serif;"><br /></span></div>
<div style="text-align: justify;">
<span style="font-family: Times, Times New Roman, serif;">These two examples of deception directly show that if at “the time the piece was made” the artist was dead then common sense would dictate that it could not authentically be attributed to that artist. </span><span style="font-family: Times, 'Times New Roman', serif;">The dead don't create art.</span></div>
<div style="text-align: justify;">
<span style="font-family: Times, Times New Roman, serif;"><br /></span></div>
<div style="text-align: justify;">
<span style="font-family: Times, Times New Roman, serif;">Is the issue of full and honest disclosure addressed in any state laws or statutes?</span></div>
<div style="text-align: justify;">
<span style="font-family: Times, Times New Roman, serif;"><br /></span></div>
<div style="text-align: justify;">
<span style="font-family: Times, Times New Roman, serif;">The States of California and New York are two of thirteen states in the the United States that have legislative statutes for full disclosure of print and sculpture reproductions as -reproductions- if sold for $100 or more [$1,500 threshold for sculpture reproductions in the State of New York]</span><span style="font-family: Times, 'Times New Roman', serif;">.</span></div>
<div style="text-align: justify;">
<span style="font-family: Times, Times New Roman, serif;"><br /></span></div>
<div style="text-align: justify;">
<span style="font-family: Times, Times New Roman, serif;">CALIFORNIA CIVIL CODE STATUTES</span></div>
<div style="text-align: justify;">
<span style="font-family: Times, Times New Roman, serif;">California Civil Code Statute Section 1738 defines -artist- as: “the person who creates a work of fine art.”</span><span style="background-color: white; color: blue; font-family: Times, 'Times New Roman', serif; text-align: start;">[FN 92]</span><span style="font-family: Times, 'Times New Roman', serif;"> -Fine art- is defined as: “a painting, sculpture, drawing, work of graphic art (including etching, lithograph, silkscreen).”</span><span style="background-color: white; color: blue; font-family: Times, 'Times New Roman', serif; text-align: start;">[FN 93]</span><span style="font-family: Times, 'Times New Roman', serif;"> Section 1741 states: “This title shall apply to any fine art multiple when offered for sale or sold at wholesale or retail from one hundred dollars ($100) or more, exclusive of any frame.”</span><span style="background-color: white; color: blue; font-family: Times, 'Times New Roman', serif; text-align: start;">[FN 94]</span><span style="font-family: Times, 'Times New Roman', serif;"> Section 1742 (b) states: “California law provides for disclosure in writing of information -- whether the multiple is a reproduction.”</span><span style="background-color: white; color: blue; font-family: Times, 'Times New Roman', serif; text-align: start;">[FN 95]</span></div>
<div style="text-align: justify;">
<span style="font-family: Times, Times New Roman, serif;"><br /></span></div>
<div style="text-align: justify;">
<span style="font-family: Times, Times New Roman, serif;">These California statutes directly address galleries, dealers and artists and full and honest disclosure in the sale of their art or reproductions of their art if sold for $100 or more.</span></div>
<div style="text-align: justify;">
<span style="font-family: Times, Times New Roman, serif;"><br /></span></div>
<div style="text-align: justify;">
<span style="font-family: Times, Times New Roman, serif;">NEW YORK STATUTES</span></div>
<div style="text-align: justify;">
<span style="font-family: Times, Times New Roman, serif;">§ 15.01. Full disclosure in the sale of certain visual art objects produced in multiples. "Article fifteen of the New York arts and cultural affairs law provides for disclosure in writing of certain information concerning multiples of prints and photographs when sold for more than one hundred dollars ($100) each, exclusive of any frame, and of sculpture when sold for more than fifteen hundred dollars, prior to effecting a sale of them. This law requires disclosure of such matters as the identity of the artist, the artist's signature, the medium, whether the multiple is a reproduction, the time when the multiple was produced, use of the master which produced the multiple, and the number of multiples in a 'limited edition.’”</span><span style="background-color: white; color: blue; font-family: Times, 'Times New Roman', serif; text-align: start;">[FN 96]</span></div>
<div style="text-align: justify;">
<span style="font-family: Times, Times New Roman, serif;"><br /></span></div>
<div style="text-align: justify;">
<span style="font-family: Times, Times New Roman, serif;">Under these state statutes, the failure to give full and honest disclosure to sculpture reproductions as “reproductions” ranges in potential penalties from -refund-, -interest-, -treble damages-, -attorney fees-, -expert witness fees- and -court costs- and other serious questions of law with the penalties they may incur.</span></div>
<div style="text-align: justify;">
<span style="font-family: Times, Times New Roman, serif;"><br /></span></div>
<div style="text-align: justify;">
<span style="font-family: Times, Times New Roman, serif;">Museums, cultural institutions, may not directly be named in these statutes but should museums in California, New York and around the world, much less in Canada, be held to a lessor standard of legal and ethical disclosure than galleries, artists and dealers?</span></div>
<div style="text-align: justify;">
<span style="font-family: Times, Times New Roman, serif;"><br /></span></div>
<div style="text-align: justify;">
<span style="font-family: Times, Times New Roman, serif;">FEDERAL TRADE COMMISSION</span></div>
<div style="text-align: justify;">
<span style="font-family: Times, Times New Roman, serif;">The United States Federal Trade Commission Policy Statement of Unfairness states: “A seller’s failure to present complex and technical data on his product may lessen a consumer’s ability to choose, for example, but may also reduce the initial price he must pay for the article.---Finally, the injury must be one which consumers could not reasonably have avoided.”</span><span style="background-color: white; color: blue; font-family: Times, 'Times New Roman', serif; text-align: start;">[FN 97]</span></div>
<div style="text-align: justify;">
<span style="font-family: Times, Times New Roman, serif;"><br /></span></div>
<div style="text-align: justify;">
<span style="font-family: Times, Times New Roman, serif;">CONCLUSION</span></div>
<div style="text-align: justify;">
<span style="font-family: Times, Times New Roman, serif;">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 Royal Ontario Museum, the MacLaren Art Centre, Gruppo Mondiale Est. and all other participants will give full and honest disclosure for all reproductions as: -reproductions- it would allow museum patrons to give informed consent on whether they wish to attend an exhibit of reproductions, much less pay the price of admission</span></div>
<div style="text-align: justify;">
<span style="font-family: Times, Times New Roman, serif;"><br /></span></div>
<div style="text-align: justify;">
<span style="font-family: Times, Times New Roman, serif;">But if these objects are not reproductions by definition, direct copies of the artist’s original artwork, but second-generation-removed (or more) -forgeries- with or without posthumously forged counterfeit signatures, then serious consequences of law may come into play for those who chose to misrepresent these -fakes- for profit.</span></div>
<div style="text-align: justify;">
<span style="font-family: Times, Times New Roman, serif;"><br /></span></div>
<div style="text-align: justify;">
<span style="font-family: Times, Times New Roman, serif;">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.</span></div>
<div style="text-align: justify;">
<br /></div>
<span style="font-family: Times, Times New Roman, serif;"><span style="font-weight: bold;"></span><br /></span>
<br />
<div style="text-align: justify;">
<span style="font-family: Times, Times New Roman, serif; font-weight: bold;">FOOTNOTES:</span></div>
<div class="p1">
</div>
<ol>
<li>http://en.wikipedia.org/wiki/Bridgeman_Art_Library_v._Corel_Corp. </li>
<li><a href="http://www.copyright.gov/fls/fl102.html">http://www.copyright.gov/fls/fl102.html</a></li>
<li>1981 Rodin Rediscovered ISBN 0-89468-001-3 (pbk) </li>
<li>http://en.wikipedia.org/wiki/Pinocchio_(1940_film)</li>
<li>http://www.globeandmail.com/servlet/ArticleNews</li>
<li>Ibid</li>
<li>Ibid</li>
<li>Ibid</li>
<li>Ibid</li>
<li>Ibid</li>
<li><a href="http://rodininternational.com/Posthumous.html">rodininternational.com/Posthumous.html</a></li>
<li><a href="http://dockets.justia.com/docket/court-flsdce/case_no-1:2007cv20333/case_id-290112">http://dockets.justia.com/docket/court-flsdce/case_no-1:2007cv20333/case_id-290112</a></li>
<li>www.2021collectionsgalleryrodin.com/ aboutthegallery.html</li>
<li><a href="http://dragonfinearts.com/index.php/events/">dragonfinearts.com/index.php/events/</a></li>
<li>www.rodin-art.com </li>
<li><a href="http://dragonfinearts.com/index.php/events/">dragonfinearts.com/index.php/events/</a></li>
<li><span class="s1"><b>From: Erin Werternberger </b>2021collections@bellsouth.net <b>Subject: </b>Rodin inquiry</span><span class="s3">, </span><span class="s1"><b>Date: </b>September 4, 2009 at 1:18 PM <b>To: </b><a href="mailto:gwarseneau@hotmail.com"><span class="s4">gwarseneau@hotmail.com</span></a></span></li>
<li><a href="http://www.rom.on.ca/rodin/intro.html">http://www.rom.on.ca/rodin/intro.html</a></li>
<li><a href="http://www.rom.on.ca/">www.rom.on.ca</a></li>
<li>Copyright © 1999, By West Group, ISBN 0-314-22864-0</li>
<li>www.maclarenart.com</li>
<li>Copyright © 1999, By West Group, ISBN 0-314-22864-0</li>
<li>1981 Rodin Rediscovered ISBN 0-89468-001-3 (pbk)</li>
<li>Copyright © Bena Mayer, Executrix of the Estate of Ralph Mayer, 1991, ISBN 0-06-461012-8 (pbk.)</li>
<li> <a href="http://www.getty.edu/"><span class="s2">www.getty.edu</span></a></li>
<li><a href="http://www.plaster2bronze.com/">www.plaster2bronze.com</a></li>
<li>Copyright © Bena Mayer, Executrix of the Estate of Ralph Mayer, 1991, ISBN 0-06-461012-8 (pbk.)</li>
<li>1981 Rodin Rediscovered ISBN 0-89468-001-3 (pbk)</li>
<li><a href="http://www.musee-rodin.fr/">www.musee-rodin.fr</a></li>
<li>Antoinette Romain February 2, 2000 FAX</li>
<li>1981 Rodin Rediscovered ISBN 0-89468-001-3 (pbk)</li>
<li>Ibid</li>
<li>www.rodin-art.com</li>
<li><a href="http://www.rodin-art.com/">www.rodin-art.com</a></li>
<li><a href="http://www.rodin-art.com/">www.rodin-art.com</a></li>
<li>1981 Rodin Rediscovered ISBN 0-89468-001-3 (pbk)</li>
<li><a href="http://www.rodin-art.com/">www.rodin-art.com</a></li>
<li>© 1985 by Albert E. Elsen ISBN 0-8047-1273-5, Published with the assistance of the Cantor Fitzgerald Foundation</li>
<li>Ibid</li>
<li>1981 Rodin Rediscovered ISBN 0-89468-001-3 (pbk)</li>
<li>Ibid</li>
<li>Ibid</li>
<li><a href="http://www.getty.edu/">www.getty.edu</a></li>
<li>Copyright © Bena Mayer, Executrix of the Estate of Ralph Mayer, 1991, ISBN 0-06-461012-8 (pbk.)</li>
<li>Ibid</li>
<li><a href="http://www.getty.edu/">www.getty.edu</a></li>
<li>Ibid</li>
<li>Copyright © 1999, By West Group, ISBN 0-314-22864-0</li>
<li>1981 Rodin Rediscovered ISBN 0-89468-001-3 (pbk)</li>
<li>Ibid</li>
<li><a href="http://www.getty.edu/">www.getty.edu</a></li>
<li>Copyright © 1999, By West Group, ISBN 0-314-22864-0</li>
<li>Copyright © Bena Mayer, Executrix of the Estate of Ralph Mayer, 1991, ISBN 0-06-461012-8 (pbk.)</li>
<li><a href="http://www.getty.edu/">www.getty.edu</a></li>
<li>Copyright © 1999, By West Group, ISBN 0-314-22864-0</li>
<li><a href="http://www.getty.edu/">www.getty.edu</a></li>
<li>Copyright © 1999, By West Group, ISBN 0-314-22864-0</li>
<li>.http://public.leginfo.state.ny.us/LAWSSEAF.cgi?QUERYTYPE=LAWS+&QUERYDATA=$$ACA11.01$$@TXACA011.01+&LIST=LAW+&BROWSER=BROWSER+&TOKEN=27067392+&TARGET=VIEW</li>
<li><a href="http://www.rom.on.ca/">www.rom.on.ca</a></li>
<li><a href="http://www.sothebys.com/">www.sothebys.com</a></li>
<li>Copyright © 1999, By West Group, ISBN 0-314-22864-0</li>
<li>The “Declarations of Authentication” for the MacLaren Art Centre’s plasters were completed and authenticated by Dr. David Schaff. The title of the cover letter for these “Declarations” is: “Attestations of Authenticity for a Collection of Twenty one works in plaster by Auguste Rodin.”</li>
<li>Ibid</li>
<li>1981 Rodin Rediscovered ISBN 0-89468-001-3 (pbk)</li>
<li>© 2000 by IDG Books Worldwide, Inc., ISBN 0-7645-6147-2</li>
<li><a href="http://www.musee-rodin.fr/">www.musee-rodin.fr</a></li>
<li>© 1988 by Ste Nlle des Editions du Chene, Translation copyright © by Emily Read, ISBN 0-8050-1252-4</li>
<li>The “Declarations of Authentication” for the MacLaren Art Centre’s plasters were completed and authenticated by Dr. David Schaff. The title of the cover letter for these “Declarations” is: “Attestations of Authenticity for a Collection of Twenty one works in plaster by Auguste Rodin.”</li>
<li>Copyright © 1976 by the Philadelphia Museum of Art, Trade edition: ISBN 087923-157-2</li>
<li>Publisher: Prentice Hall (October 20, 1994), ISBN-10: 0133045935, ISBN-13: 978-0133045932</li>
<li>www.rodin-art.com/</li>
<li><a href="http://www.rodin-art.com/">www.rodin-art.com</a></li>
<li>www.copyright.gov/title17/92chap1.html#106a</li>
<li><a href="http://www.rodin-art.com/">www.rodin-art.com</a></li>
<li>Ibid</li>
<li>Ibid</li>
<li>Ibid</li>
<li>Ibid</li>
<li>Ibid</li>
<li>Ibid</li>
<li>Ibid</li>
<li>http://article.wn.com/view/2001/03/29/40_Million_Donation_of_Rodin_Sculptures_Kicks_Off_ArtCity_in/</li>
<li>© 2003 by Oxford University Press, Inc., ISBN 0-19-513380-3 (cloth)</li>
<li>page 35, 1976 Sculpture of Auguste Rodin by John Tancock, Copyright © 1976 by the Philadelphia Museum of Art, Trade edition: ISBN 087923-157-2</li>
<li>page 281, 1981 Rodin Rediscovered, 1981 Rodin Rediscovered ISBN 0-89468-001-3 (pbk)</li>
<li>http://www.nzherald.co.nz/nz/news/article.cfm?c_id=1&objectid=170600</li>
<li>1981 Rodin Rediscovered ISBN 0-89468-001-3 (pbk)</li>
<li>www.collegeart.org/caa/ethics/sculpture.html</li>
<li>Ibid</li>
<li>http://www.nytimes.com/2000/03/07/arts/arts-in-america-if-it-s-not-an-o-keeffe-exactly-what-is-it.html</li>
<li>http://www.nytimes.com/1999/11/12/arts/authenticity-of-famed-photographer-s-prints-scrutinized.html</li>
<li>http://www.leginfo.ca.gov/cgi-bin/displaycode?section=civ&group=01001-02000&file=1738</li>
<li>Ibid</li>
<li>http://www.leginfo.ca.gov/cgi-bin/displaycode?section=civ&group=01001-02000&file=1740-1741</li>
<li>http://www.search-california-law.com/research/ca/CIV/1742./Cal-Civil-Code-Section-1742/text.html</li>
<li><a href="http://public.leginfo.state.ny.us/LAWSSEAF.cgi?QUERYTYPE=LAWS+&QUERYDATA=$$ACA15.01$$@TXACA015.01+&LIST=LAW+&BROWSER=BROWSER+&TOKEN=27067392+&TARGET=VIEW">http://public.leginfo.state.ny.us/LAWSSEAF.cgi?QUERYTYPE=LAWS+&QUERYDATA=$$ACA15.01$$@TXACA015.01+&LIST=LAW+&BROWSER=BROWSER+&TOKEN=27067392+&TARGET=VIEW</a></li>
<li>http://www.ftc.gov/ftc-policy-statement-on-unfairness</li>
</ol>
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</span>Gary Arseneauhttp://www.blogger.com/profile/10379667479866306615noreply@blogger.com1tag:blogger.com,1999:blog-34909527.post-41735046824687650602013-07-05T23:01:00.000-04:002017-12-17T12:37:33.278-05:00Posthumous Impressions from Reworked and Altered Plates can -NEVER- be etchings, much less by Goya, in a so-called "Disasters of War" exhibition at the University of California Santa Barbara<b style="font-family: Times, 'Times New Roman', serif;">NOTE:</b><span style="font-family: "times" , "times new roman" , serif;"> Footnotes enclosed as: </span><span style="color: blue; font-family: "times" , "times new roman" , serif;">[FN ]</span><br />
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<span style="font-family: "times" , "times new roman" , serif;"><b>UPDATED</b>: July 12, 2013 with British Museum links for JPGs</span><br />
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<a href="http://1.bp.blogspot.com/-T4PJ3x1h8Hw/T0AAVMOIneI/AAAAAAAACUg/XnvksoLcWic/s1600/GoyaforgeryPlate71USD.jpg" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: "times" , "times new roman" , serif;"><img border="0" height="316" src="https://1.bp.blogspot.com/-T4PJ3x1h8Hw/T0AAVMOIneI/AAAAAAAACUg/XnvksoLcWic/s400/GoyaforgeryPlate71USD.jpg" width="400" /></span></a></div>
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<span style="font-family: "times" , "times new roman" , serif;">Plate 71 from Francisco Goya’s “Disasters of War” series. USD [a.k.a. University of San-Diego]<br /><span style="color: blue;">http://www.utsandiego.com/photos/2012/feb/06/534482/</span><br /><b>POSTHUMOUS FORGERY</b><b> FROM A REWORKED AND ALTERED PLATE</b></span><br />
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<a href="http://2.bp.blogspot.com/-5j_HdgQ6Srs/T0ABP9Std5I/AAAAAAAACUo/KdeYKGLews4/s1600/GoyaBritishMuseumPlate71.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: "times" , "times new roman" , serif;"><img border="0" height="350" src="https://2.bp.blogspot.com/-5j_HdgQ6Srs/T0ABP9Std5I/AAAAAAAACUo/KdeYKGLews4/s400/GoyaBritishMuseumPlate71.jpg" width="400" /></span></a></div>
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<span style="font-family: "times" , "times new roman" , serif;"><i>Contra el bien general</i> (Against the common good), etching, Print made by Francisco Goya, 1812-1820, Plate 71: demon with bat's wing ears sitting on chair writing in volume, with imploring figures below to right; 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: 176 millimetre, Width: 216 millimetres<br /><span style="color: blue;">http://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=1396068&partId=1&searchText=Goya%2c+1812-1820%2c+Plate+71&page=1</span><br /><b>AUTHENTIC LIFETIME GOYA ETCHING</b></span></div>
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<span style="font-family: "times" , "times new roman" , serif;"><b><span style="font-size: x-large;">T</span>he </b>University of San Diego's touring <b>Goya: Disasters of War</b> exhibition, opening on July 13 - September 22, 2013 at the University of California Santa Barbara's <span style="background-color: white; line-height: 16px; text-align: start;">Art, Design & Architecture Museum, </span>is a -fraud-.</span><br />
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<span style="font-family: "times" , "times new roman" , serif;">On page 670 of the <i>Seventh Edition of Black's Law Dictionary</i>, -fraud- is defined as: "A knowing misrepresentation of the truth or concealment of a material fact to induce another to act to his or her detriment."<span style="color: blue; font-size: x-small;">[FN 1]</span></span><br />
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<span style="font-family: "times" , "times new roman" , serif;">The University of California Santa Barbara's Art, Design & Architecture Museum July 13 - September 22, 2013 <b>Goya: Disasters of War</b> exhibition is "a </span><span style="font-family: "times" , "times new roman" , serif;">knowing misrepresentation of the truth or concealment of a material fact to induce another to act to his or her detriment"</span><span style="font-family: "times" , "times new roman" , serif;"> that contains 80 non-disclosed posthumous -forgeries, impressed in 1863 or later by the Royal Academy of Fine Arts of San Fernando [Madrid, Spain] from posthumously reworked and altered </span><span style="font-family: "times" , "times new roman" , serif;">etching plates. </span><br />
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<span style="font-family: "times" , "times new roman" , serif;">On page 1186 of the </span><i style="font-family: Times, 'Times New Roman', serif;">Seventh Edition of Black's Law Dictionary</i><span style="font-family: "times" , "times new roman" , serif;">, -posthumous- is defined as: "Occurring or existing after death."</span><span style="color: blue; font-family: "times" , "times new roman" , serif; font-size: x-small;">[FN 2]</span><br />
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<span style="font-family: "times" , "times new roman" , serif;">Francisco de Goya y Lucientes died in 1828. </span><span style="font-family: "times" , "times new roman" , serif;">In 1863, when the </span><span style="font-family: "times" , "times new roman" , serif;">Royal Academy of Fine Arts of San Fernando [Madrid, Spain] posthumously reworked and altered </span><span style="font-family: "times" , "times new roman" , serif;">Francisco de Goya y Lucientes <i>Disasters of War</i> etching plates and subsequently printed the first of some 80,000 non-disclosed posthumous forgeries, he was some 35 years dead.</span><br />
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<span style="font-family: "times" , "times new roman" , serif;">On page 661 of the <i>Seventh Edition of Black's Law Dictionary</i>, -forgery- is defined as: "The act of fraudulently making a false document or altering a real one to be used as if genuine."<span style="color: blue; font-size: x-small;">[FN 3]</span></span><br />
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<span style="font-family: "times" , "times new roman" , serif;">The dead don't etch.</span><br />
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<span style="font-family: "times" , "times new roman" , serif;">This ordinary sense perspective is confirmed in <i>A GUIDE TO THE COLLECTING AND CARE OF ORIGINAL PRINTS </i>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."<span style="color: blue; font-size: x-small;">[FN 4]</span></span><br />
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<span style="font-family: "times" , "times new roman" , serif;"><span style="text-align: start;">Additionally, this is legally supported by U.S. Customs </span><span class="s1">May 2006 An Informed Compliance Publication titled <i>Works of Art, Collector`s Pieces Antiques, and Other Cultural Property</i>, which 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."</span><span style="color: blue; font-size: x-small;">[FN 5]</span><span class="s1"> </span><span class="s2"> </span></span><br />
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<span style="text-align: start;"><span style="font-family: "times" , "times new roman" , serif;">In other words, after Francisco de Goya y Lucientes' death in 1828, a dead Goya could not have: 1) created the master image in 1863, 2) been pursuant to his directions in 1863 or 3) been approved by the artist in 1863. </span></span><br />
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<span style="font-family: "times" , "times new roman" , serif;">The dead don’t create, pursue or approve.</span><br />
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<span style="font-family: "times" , "times new roman" , serif;">On page 137 of the </span><i style="font-family: Times, 'Times New Roman', serif;">Seventh Edition of Black's Law Dictionary</i><span style="font-family: "times" , "times new roman" , serif;">, -bait and switch- is defined as: "Most states prohibit the bait and switch when the original product is not actually available as advertised."</span><span style="color: blue; font-family: "times" , "times new roman" , serif; font-size: x-small;">[FN 6]</span><br />
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<span style="font-family: "times" , "times new roman" , serif;">That -fraud- is never more evident when one compares the University of California Santa Barbara's "Opening Reception: July 12" -bait-: </span><br />
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<li><span style="font-family: "times" , "times new roman" , serif;">"From 1810-1820 Spanish artist Francisco Goya (1746-1828) made an extraordinary body of work, a suite of 80 prints that lay bare, in darkly comic, frightening and visceral ways, the harrowing events that took place during and after the Peninsular War between Spain and France. Using allegory and striking images coupled with text, Goya's prints were one of first works of art to fully convey the brutal inhumanity of war."<span style="font-size: x-small;"><span style="color: blue;">[FN 7]</span> </span></span></li>
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<span style="font-family: "times" , "times new roman" , serif;"><i>versus </i>the University of California Santa Barbara's July 2, 2013 Press Release -switch-: </span><br />
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<li><span style="font-family: "times" , "times new roman" , serif;">"Goya completed the eighty etchings in the series from 1810 to 1823, in different printing techniques including engraving and drypoint. While most of the prints were made during the Napoleonic occupation of Spain and the subsequent decade, the images were published thirty years after Goya's death, likely because of their controversial anti-war subjects."<span style="color: blue; font-size: x-small;">[FN 8]</span></span></li>
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<span style="font-family: "times" , "times new roman" , serif;">Both of these statements are overtly misleading, including but not limited to, the following reasons: 1) despite the statement that they were "published thirty years after Goya's death," Goya actually printed some 485 authentic lifetime <i>Disasters of War </i>etchings, from his<i> </i>original etching<i> </i>plates, none of which are in this exhibition, 2) anything posthumous "published" -at best- would be posthumous impressions and -not- original works of visual art ie., "etchings" and 3) the posthumous reworking and altering of Goya's lifetime etching plates with aquatint, lines and titles forever eliminates any attribution of the subsequent printed forgeries to dead Francisco de Goya y Lucientes.</span><br />
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<span style="font-family: "times" , "times new roman" , serif;"><span style="text-align: start;">Yet, in complete contradiction to their so-called <b>Goya: Disasters of War exhibition</b>, the University Art Museum a.k.a. Art, Design & Architecture Museum at the University of California, Santa Barbara's -Mission-</span><span style="text-align: start;"> is: "to serve as a unique educational </span><span style="text-align: start;">resource for the various audiences of the university </span><span style="text-align: start;">and the community </span><span style="text-align: start;">through the collection, preservation, and interpretation of works of art, architecture, </span><span style="text-align: start;">and design. By presenting innovative, challenging, and culturally diverse </span><span style="text-align: start;">exhibitions, producing catalogues </span><span style="text-align: start;">and other publications</span><span style="text-align: start;">, and organizing interdisciplinary </span><span style="text-align: start;">programs on issues of historical, social and cultural</span><span style="text-align: start;"> relevance, the UAM seeks to promote scholarship</span><span style="text-align: start;">, inspire creative excellence, and deepen an understanding of the visual arts </span><span style="text-align: start;">produced by the world’s peoples, past and present."<span style="color: blue; font-size: x-small;">[FN 9]</span></span></span><br />
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The University of California Santa Barbara and their Art, Design & Architecture Museum do not practice what the preach.</span><br />
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<span style="font-family: "times" , "times new roman" , serif;">Therefore, to fill this ethical vacuum created by the </span><span style="font-family: "times" , "times new roman" , serif;">University of California, Santa Barbara, their </span><span style="font-family: "times" , "times new roman" , serif;">Art, Design & Architecture Museum and the University of San Diego this monograph will "serve as a unique educational resource for the various audiences of the university and community - to promote scholarship, inspire creative excellence, and deepen an understanding of the visual arts produced by the world's people, past and present" by documenting the following and more</span><span style="font-family: "times" , "times new roman" , serif;">: </span></div>
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<li><span style="font-family: "times" , "times new roman" , serif;">the University of San-Diego's representation <i>versus</i> their disclosure, </span></li>
<li><span style="font-family: "times" , "times new roman" , serif;">Goya plates were posthumously altered with aquatint, </span></li>
<li><span style="font-family: "times" , "times new roman" , serif;">Goya plates were posthumously altered with lines, </span></li>
<li><span style="font-family: "times" , "times new roman" , serif;">Goya plates were posthumously altered with titles, </span></li>
<li><span style="font-family: "times" , "times new roman" , serif;">80,000 or more of never ending editions, </span></li>
<li><span style="font-family: "times" , "times new roman" , serif;">Ethics that are preached not practiced,</span></li>
<li><span style="font-family: "times" , "times new roman" , serif;"><span style="text-align: justify;">Urban Legend/Myth Defined,</span></span></li>
<li><span style="font-family: "times" , "times new roman" , serif;"><span style="text-align: justify;">Professional Practices in Art Museums,</span></span></li>
<li><span style="font-family: "times" , "times new roman" , serif;"><span style="text-align: justify;"><i>The Faun</i>, Posthumous Forgery,</span></span></li>
<li style="text-align: justify;"><span style="font-family: "times" , "times new roman" , serif;">Victoria Sancho Lobis, new curator at Art Institute of Chicago,</span></li>
<li style="text-align: justify;"><span style="font-family: "times" , "times new roman" , serif;">Art Institute of Chicago's flood of posthumous forgeries,</span></li>
<li style="text-align: justify;"><span style="font-family: "times" , "times new roman" , serif;">Law, Ethics and the Visual Arts, and</span></li>
<li style="text-align: justify;"><span style="font-family: "times" , "times new roman" , serif;">Conclusion</span></li>
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<a href="http://4.bp.blogspot.com/-7_f4M76ash0/T0ACr0bwOiI/AAAAAAAACUw/dymp_RfwH-o/s1600/GoyaPlate71GravePlate71.jpg" imageanchor="1"><span style="font-family: "times" , "times new roman" , serif;"><img border="0" height="400" src="https://4.bp.blogspot.com/-7_f4M76ash0/T0ACr0bwOiI/AAAAAAAACUw/dymp_RfwH-o/s400/GoyaPlate71GravePlate71.jpg" width="345" /></span></a></div>
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<span style="font-family: "times" , "times new roman" , serif;">UNIVERSITY OF SAN DIEGO'S REPRESENTATION</span><br />
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<span style="font-family: "times" , "times new roman" , serif;">In the University of San-Diego’s “Goya’s Disasters of War: A Legacy in Print <span style="background-color: white; line-height: 18px; margin: 0px; padding: 0px; text-align: start;">Thursday, February 9, 2012 – Sunday, May 27, 2012</span>” press release, it made the -representation- that: “Between 1810 and 1820 Spanish artist Francisco de Goya y Lucientes (1746-1828) created the Disasters of War series, a set of 80 prints created through the etching and aquatint processes.”<span style="color: blue; font-size: x-small;">[FN 10]</span></span><br />
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<span style="font-family: "times" , "times new roman" , serif;">On page 1303 of the <i>Seventh Edition of Black’s Law Dictionary</i>, -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.”<span style="color: blue; font-size: x-small;">[FN 11]</span></span></div>
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<span style="font-family: "times" , "times new roman" , serif;">UNIVERSITY OF SAN DIEGO'S DISCLOSURE</span><br />
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<span style="font-family: "times" , "times new roman" , serif;">Yet, in complete contradiction to its’ initial -representation-, the University of San-Diego made the following -disclosure-: “Often arresting and horrific, the subjects for these prints arose from Goya’s direct encounter with the effects of the Peninsular War in Spain. Due to the disturbing nature of these prints and their tacit challenge to authority, the series was not published until 1863, thirty-five years after the artist’s death.”<span style="color: blue; font-size: x-small;">[FN 12]</span></span></div>
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<span style="font-family: "times" , "times new roman" , serif;">On page 476 of the <i>Seventh Edition of Black’s Law Dictionary,</i> -disclosure- is defined as: “The act or process of making known something that was previously unknown.”<span style="color: blue; font-size: x-small;">[FN 13]</span></span><br />
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<span style="font-family: "times" , "times new roman" , serif;">In other words, a dead Goya has never seen the so-called “prints” that University of San-Diego is so eager to give him credit for.</span></div>
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<span style="font-family: "times" , "times new roman" , serif;">A LEGACY IN PRINT</span><br />
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<span style="font-family: "times" , "times new roman" , serif;">Then to go from the ridiculous to the sublime, the University of San-Diego gave these non-disclosed posthumous [after 1863] reworked and altered forgeries, the exhibition titled: <b>Goya’s Disasters of War: a Legacy in Print</b>.</span></div>
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<span style="font-family: "times" , "times new roman" , serif;">On page 901 of the <i>Seventh Edition of Black’s Law Dictionary,</i> -legacy- is defined as: “a gift by will, esp. of personal property.”<span style="color: blue; font-size: x-small;">[FN 14]</span></span></div>
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<span style="font-family: "times" , "times new roman" , serif;">Despite Goya’s legacy ending upon his death in 1828, the University of San-Diego has chosen to misrepresent these non-disclosed posthumous [after 1863] forgeries, falsely attributed to a dead Goya [d 1828], from posthumously reworked and altered plates as a: “landmark in the history of printmaking”[FN 8] and hype it as “the cornerstone of USD’s permanent collection.”<span style="color: blue; font-size: x-small;">[FN 15]</span></span></div>
<span style="font-family: "times" , "times new roman" , serif;"><br /></span>
<span style="font-family: "times" , "times new roman" , serif;">PRINTS REFLECT THE IDEAS - OF THEIR TIME</span><br />
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<span style="font-family: "times" , "times new roman" , serif;">“More than any other artistic medium, prints reflect the ideas and innovations of their time,”<span style="color: blue; font-size: x-small;">[FN 16] </span>states the University of San-Diego.</span><br />
<span style="font-family: "times" , "times new roman" , serif;"><br /></span>
<span style="font-family: "times" , "times new roman" , serif;">In this case, in 1863, some 35 or more years after Francisco de Goya y Lucientes' death in 1828, these non-disclosed forgeries reflect the arrogance of the Royal Academy of Fine Arts of San Fernando [Madrid, Spain] who self-serving decide to posthumously alter and rework, with aquatint, lines and titles, Goya's lifetime etching plates to fit the sensibilities of the mid-19th-century printing of those resulting forgeries.</span><br />
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<span style="font-family: "times" , "times new roman" , serif;">The Royal Academy of Fine Arts of San Fernando [Madrid, Spain] had no shame.</span></div>
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<span style="font-family: "times" , "times new roman" , serif;">In a Union Tribune published March 27, 2012 "Goya Purist Takes on USD exhibit, 'the dead don't etch' he says" article by John Wilkens, instead of embracing the facts surrounding this uncomfortable truth, the University of San Diego's curator of USD's print collection Victoria Sancho Lobis is quoted stating: </span></div>
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<li style="text-align: justify;"><span style="font-family: "times" , "times new roman" , serif;">“The consensus is that these prints represent the realization of the artist’s intentions,” said Lobis, who has degrees from Yale, Williams College and Columbia University. Any alterations to the plates were minor, she said, and don’t change Goya’s vision, which has been influencing other artists with its power and intimacy for two centuries."<span style="color: blue; font-size: x-small;">[FN 17]</span></span></li>
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<div style="text-align: justify;">
<span style="font-family: "times" , "times new roman" , serif;">On page 1382 of the <i>Seventh Edition of Black's Law Dictionary</i>, -shill- is defined as: "A person who poses as an innocent bystander at a confidence game but actually serves a decoy for the perpetrators of a scheme."</span></div>
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<b><span style="font-family: "times" , "times new roman" , serif;">POSTHUMOUS FORGERY FROM A REWORKED AND ALTERED PLATE</span></b><br />
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<a href="http://2.bp.blogspot.com/-ryG3qyhgw7Q/T0AH-pXcQLI/AAAAAAAACVA/KPy12y1jolY/s1600/GoyaBritishMuseumPlate72.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: "times" , "times new roman" , serif;"><img border="0" height="350" src="https://2.bp.blogspot.com/-ryG3qyhgw7Q/T0AH-pXcQLI/AAAAAAAACVA/KPy12y1jolY/s400/GoyaBritishMuseumPlate72.jpg" width="400" /></span></a></div>
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<span style="font-family: "times" , "times new roman" , serif;"><i>Las resultas</i> (The consequences), etching, Print made by Francisco Goya, 1812-1820, Plate 72: bat-like creature (vampire?) sucking at chest of corpse, others seen swooping in behind; 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: 175 millimetre, Width: 216 millimetres</span></div>
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<span style="font-family: "times" , "times new roman" , serif;"><span style="color: blue;">http://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=1334059&partId=1&searchText=Goya%2c+1812-1820%2c+Plate+72&page=1</span><br /><b>AUTHENTIC LIFETIME GOYA ETCHING</b></span><br />
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<span style="font-family: "times" , "times new roman" , serif;">PLATES POSTHUMOUSLY ALTERED WITH AQUATINT</span><br />
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<span style="font-family: "times" , "times new roman" , serif;">This posthumous application of aquatint to Goya's etching plates is confirmed, aside from one's own eyes, by following two sources:</span></div>
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<span style="font-family: "times" , "times new roman" , serif;">1. In <i>The Disasters of War by Francisco Goya y Lucientes</i> catalogue published in 1967 by Dover Publications, on page 1 of the "Introduction to the Dover Edition," Harvard University Library Department of Graphic Arts' Philip Hofer wrote: "Then a year later, in 1863, the Academy issued the prints publicly, with a newly engraved title page, and printed preface, in eight paper-covered, numbered parts, with some retouching to the aquatint backgrounds and even to Goya’s etching itself!”<span style="color: blue; font-size: x-small;">[FN 18]</span></span></div>
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<span style="font-family: "times" , "times new roman" , serif;">2. This posthumous forging of Goya etching plates with aquatint is further confirmed by Janis A. Tomlinson in her 1992 Goya In the Twilight of Enlightenment catalogue published by Yale University Press. After Goya's "Disasters of War" etching plates were acquired by the Academy of Fine Art of San Fernando in 1862, the author writes: "To make the first edition of the series most of the plates were altered, completing the lines framing the scenes, adding scratches, and even brunienclo areas of aquatint (7) and tinkering with drypoint (1, 77), chisel (38) or etching (43, 57). Besides printing was performed following the style of the time by the effects of entrapado, a procedure which passes a muslin cloth over the plate and inked on the surface leaving a certain amount of ink that produces a very soft toned overall. The result was far from the force and clarity that can be seen in the many state tests are preserved."<span style="color: blue; font-size: x-small;">[FN 19]</span></span><br />
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<span style="font-family: "times" , "times new roman" , serif;"><span style="color: blue;">http://www.theusdvista.com/polopoly_fs/1.2773886!/image/144541971.jpg </span><br /><b>POSTHUMOUS FORGERY FROM A REWORKED AND ALTERED PLATE</b></span></div>
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<a href="http://3.bp.blogspot.com/-Dv2Z9B6QRQg/T0CP6LY50II/AAAAAAAACXg/qjoLpwhR1VU/s1600/GoyaBritishMuseumPlate39.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: "times" , "times new roman" , serif;"><img border="0" height="331" src="https://3.bp.blogspot.com/-Dv2Z9B6QRQg/T0CP6LY50II/AAAAAAAACXg/qjoLpwhR1VU/s400/GoyaBritishMuseumPlate39.jpg" width="400" /></span></a></div>
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<span style="font-family: "times" , "times new roman" , serif;"><i>Grande hazaña! Con muertos!</i> (An heroic feat! With dead men!), etching, lavis and drypoint, Print made by Francisco Goya, 1812-1820, Plate 39: three corpses bound to tree stump, all castrated; one with arms amputated and decapitated, the head impaled on a branch; from a bound album of working proofs, presented by the artist to Ceán Bermúdez. 1812-20, Signed and numbered on plate. Titled by the artist in pencil within platemark, below image, Height: 155 millimetre, Width: 204 millimetres</span><span style="background-color: white; font-family: "calibri" , sans-serif; font-size: 16px; line-height: 1.4em;"><span style="font-size: small;"><span style="font-family: "times new roman";"> </span></span></span><br />
<a class="" href="http://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=1333636&partId=1&searchText=goya+Plate+39&page=1" style="background-color: white; text-align: start;" target="_blank"><span style="color: #2672ec; font-family: "times" , "times new roman" , serif; font-size: small;"><i>http://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=1333636&partId=1&searchText=goya+Plate+39&page=1</i></span></a><span style="font-family: "times" , "times new roman" , serif;"><span style="color: blue;"> </span><br /><b>AUTHENTIC LIFETIME GOYA ETCHING</b></span></div>
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<b><span style="font-family: "times" , "times new roman" , serif;">PLATES POSTHUMOUSLY ALTERED WITH LINES</span></b></div>
<span style="font-family: "times" , "times new roman" , serif;">The posthumous altering of lines to Goya's etching plates, aside from one's own eyes, is confirmed by these two sources:</span><br />
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<span style="font-family: "times" , "times new roman" , serif;">1. Once again, in Janis A. Tomlinson's 1992 <i>Goya In the Twilight of Enlightenment </i>catalogue published by Yale University Press. After Goya's "Disasters of War" etching plates were acquired by the Academy of Fine Art of San Fernando in 1862, the author writes: "To make the first edition of the series most of the plates were altered, completing the lines framing the scenes, adding scratches, and even brunienclo areas of aquatint (7) and tinkering with drypoint (1, 77), chisel (38) or etching (43, 57). Besides printing was performed following the style of the time by the effects of entrapado, a procedure which passes a muslin cloth over the plate and inked on the surface leaving a certain amount of ink that produces a very soft toned overall. The result was far from the force and clarity that can be seen in the many state tests are preserved."<span style="font-size: x-small;"><span style="color: blue;">[FN 20]</span> </span></span></div>
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<span style="font-family: "times" , "times new roman" , serif;">2. 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."<span style="color: blue; font-size: x-small;">[FN 21]</span></span><br />
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<a href="http://4.bp.blogspot.com/-sk5kcvsRSAo/T0CQkhy0YJI/AAAAAAAACXo/DXUf31cDgSs/s1600/GoyaPlate39GravePlate39.jpg" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: "times" , "times new roman" , serif;"><img border="0" height="400" src="https://4.bp.blogspot.com/-sk5kcvsRSAo/T0CQkhy0YJI/AAAAAAAACXo/DXUf31cDgSs/s400/GoyaPlate39GravePlate39.jpg" width="360" /> </span></a></div>
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<span style="font-family: "times" , "times new roman" , serif;"><span style="color: blue;">http://www.theusdvista.com/polopoly_fs/1.2773889!/image/1918753395.jpg </span><br /><b>POSTHUMOUS FORGERY FROM A REWORKED AND ALTERED PLATE</b></span><br />
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<i><a href="http://1.bp.blogspot.com/-qsRf_1WFED8/T0CSv1KVScI/AAAAAAAACYA/hQSZnmPdx-I/s1600/GoyaBritishMuseumPlate37.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: "times" , "times new roman" , serif;"><img border="0" height="330" src="https://1.bp.blogspot.com/-qsRf_1WFED8/T0CSv1KVScI/AAAAAAAACYA/hQSZnmPdx-I/s400/GoyaBritishMuseumPlate37.jpg" width="400" /></span></a></i></div>
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<span style="font-family: "times" , "times new roman" , serif;"><i>Esto es peor </i>(This is worse) , etching, lavis and drypoint, Print made by Francisco Goya, 1812-1820, Plate 37: male corpse impaled on tree stump, soldiers dragging and hacking at corpses beyond; from a bound album of working proofs, presented by the artist to Ceán Bermúdez. 1812-20, Signed and numbered on plate. Titled by the artist in pencil within platemark, below image, Height: 155 millimetre, Width: 205 millimetres </span></div>
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<span style="font-family: "times" , "times new roman" , serif;"><span style="color: blue;">http://www.britishmuseum.org/research/search_the_collection_database/search_object_details.aspx?objectid=1333729&partid=1&searchText=plate+37+goya&fromADBC=ad&toADBC=ad&numpages=10&images=on&orig=%2fresearch%2fsearch_the_collection_database.aspx&currentPage=1</span></span><br />
<b style="background-color: transparent;"><span style="font-family: "times" , "times new roman" , serif;">AUTHENTIC LIFETIME GOYA ETCHING</span></b></div>
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<span style="font-family: "times" , "times new roman" , serif;">POSTHUMOUSLY FORGED WITH TITLES</span><br />
<span style="font-family: "times" , "times new roman" , serif;">In a <i>GOYA: CHRONICLER OF ALL WARS</i> catalogue by Juan Bordes, for a May 15-September 13, 2009 <b>The Disasters and War Photography</b> exhibition at the CAAM-Calcografia Nacional, the author wrote: "On the cover of one of the three complete copies of this series printed by Goya himself, reads the title "Fatales consecuencias de la sangrienta guerra en España con Bonaparte Y otros caprichos enfáticos en 85 estampas. Inventadas, dibujadas y grabadas por el pintor original D. Francisco de Goya y Lucientes" (Fatal Consequences of the Bloody War in Spain with Bonaparte and Other Emphatic Caprices in 85 prints. Invented, drawn and etched by the original painter Don Francisco de Goya y Lucientes). In Madrid, such is the title of this one and only first copy, which was set and bound for Agustín Ceán Bermúdez, who subsequently corrected the inscriptions and this cover."<span style="color: blue; font-size: x-small;">[FN 22]</span></span></div>
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<span style="font-family: "times" , "times new roman" , serif;">In other words, the very title that Francisco Goya y Lucientes gave for his own 80 original hand-printed etchings was reworked and altered to "Los Desastres de la Guerra" a.k.a. The Disasters of War, just like his original etching plates were reworked and altered by Real Academia de Bellas Artes de-San Fernando for the subsequent editions of forgeries after 1863.</span><br />
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<span style="font-family: "times" , "times new roman" , serif;">This posthumous skewing is additionally confirmed on page 1 of <i>The Disasters of War by Francisco Goya y Lucientes</i> catalogue published in 1967 by Dover Publications. In the "Introduction to the Dover Edition," Harvard University Library Department of Graphic Arts' Philip Hofer wrote: "Los Desastres de la guerra (The Disasters of War). First published in 1863, thirty-five years after the artist’s death, it normally consist of eighty aquatint plates, roughly six by eight inches oblong format, with short but vivid captions perhaps composed by Goya’s learned friend, Cean Bermudex from the artist’s notes. The actual execution of the captions is by still another hand.”<span style="color: blue; font-size: x-small;">[FN 23]</span></span><br />
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<span style="font-family: "times" , "times new roman" , serif;">80,000 OR MORE OF NEVER ENDING EDITIONS</span><br />
<span style="font-family: "times" , "times new roman" , serif;">In the "Medium for the Message: Printmaking and the Disasters of War" essay by Grinnell College's Roxanne Young and Annaliese Beaman, the authors wrote: "Large print editions can damage copper plates, especially plates with raised burrs from engraving processes. Sometimes these copper plates can be coated with a layer of steel alloy that makes them stronger and more resilient to multiple printings for large editions. This is called “steel-facing.” The Disasters of War plates were steel-faced after a large edition was printed in 1863. This steel- facing helped make it possible to publish later, smaller, editions of the Disasters of War without further damaging these valuable plates."<span style="color: blue; font-size: x-small;">[FN 24]</span></span><br />
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<span style="font-family: "times" , "times new roman" , serif;">Harris Shank Fine Prints notes on their website that "the First Edition of Los Desastres de la Guerra was published posthumously, in 1863, and seven editions were made in all."<span style="color: blue; font-size: x-small;">[FN 25]</span></span><br />
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<span style="font-family: "times" , "times new roman" , serif;">Five of those seven editions are chronicled on Wikipedia, where it is written: "The 1863 edition had 500 impressions, and editions followed in 1892 (100) before which the plates were probably steel-faced to prevent further wear, 1903 (100), 1906 (275), and 1937. Spaightwood Galleries accessed October 18, 2009."<span style="color: blue; font-size: x-small;">[FN 26]</span></span><br />
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<span style="font-family: "times" , "times new roman" , serif;">Unfortunately, the term "edition" is being used, as an euphemism for mass-produced non-disclosed forgeries from reworked and altered plates.</span><br />
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<span style="font-family: "times" , "times new roman" , serif;">This perspective seems to be supported on the <span style="color: blue;">www.almendron.com</span> website, where there are now ten editions of the "Disasters of War" </span><span style="font-family: "times" , "times new roman" , serif;">listed: </span></div>
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<li><span style="font-family: "times" , "times new roman" , serif;">"FIRST EDITION 1864 (Laurentian Potenciano strike the Royal Academy of Fine Arts of San Fernando),</span></li>
<li><span style="font-family: "times" , "times new roman" , serif;">SECOND EDITION October 1875*,</span></li>
<li><span style="font-family: "times" , "times new roman" , serif;">THIRD EDITION 1891*,</span></li>
<li><span style="font-family: "times" , "times new roman" , serif;">FOURTH EDITION 1902*,</span></li>
<li><span style="font-family: "times" , "times new roman" , serif;">FIFTH EDITION 1904*,</span></li>
<li><span style="font-family: "times" , "times new roman" , serif;">SIXTH EDITION 1916*,</span></li>
<li><span style="font-family: "times" , "times new roman" , serif;">SEVENTH EDITION 1923*,</span></li>
<li><span style="font-family: "times" , "times new roman" , serif;">EIGHTH EDITION 1930*,</span></li>
<li><span style="font-family: "times" , "times new roman" , serif;">NINTH EDITION 1937 (Rupérez in the National Engraving for the Ministry of Public Instruction Aries),</span></li>
<li><span style="font-family: "times" , "times new roman" , serif;">and TENTH EDITION 1970 (*Stamped on the Chalcography Real (or National) to the Royal Academy of Fine Arts of San Fernando.)."<span style="color: blue; font-size: x-small;">[FN 27]</span></span></li>
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<a href="http://1.bp.blogspot.com/-qkGGGKQ0Dmg/T0ER7wOsVcI/AAAAAAAACY4/xYsiSz3k5ZA/s1600/GoyaGravesBordeauxtoMadrid.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: "times" , "times new roman" , serif;"><img border="0" height="387" src="https://1.bp.blogspot.com/-qkGGGKQ0Dmg/T0ER7wOsVcI/AAAAAAAACY4/xYsiSz3k5ZA/s400/GoyaGravesBordeauxtoMadrid.jpg" width="400" /></span></a></div>
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<span style="font-family: "times" , "times new roman" , serif;">In 1828, Francisco de Goya y Lucientes suffered a stroke and died in Bordeaux, France and was interred at the cemetary of the Chartreuse of Bordeaux [photo above left]. In 1919, Francisco de Goya y Lucientes' remains were transferred some 344 miles south to the Royal Chapel of St. Anthony of La Florida in Madrid, Spain [photo on right].</span><br />
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<span style="font-family: "times" , "times new roman" , serif;">U.S. COPYRIGHT LAW</span><br />
<span style="font-family: "times" , "times new roman" , serif;">Under U.S. Copyright Law § 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, or, in the case of a sculpture, in multiple cast, carved, or fabricated sculptures of 200 or fewer that are consecutively numbered by the author and bear the signature or other identifying mark of the author."<span style="color: blue; font-size: x-small;">[FN 28]</span></span><br />
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<span style="font-family: "times" , "times new roman" , serif;">Aside, a dead Francisco de Goya y Lucientes was some 344 miles north in Bordeaux, France under a very heavy grave marker [above photo left], he could not have obviously created, much less signed and consecutively numbered any edition in Madrid, Spain. Therefore, under U.S. Copyright Law the subsequent non-disclosed posthumous reworked and altered forgeries would -not- be considered works of visual art, much less limited.</span><br />
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<span style="font-family: "times" , "times new roman" , serif;">The same argument can be made after 1919, when Francisco de Goya y Lucientes' remains were transferred to the Royal Chapel of St. Anthony of La Florida in Madrid, Spain and interred under another very heavy grave marker [above photo right]. Anyone who would argue otherwise, would be -gravely- undermining their credibility.</span><br />
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<span style="font-family: "times" , "times new roman" , serif;">To paraphase, the former Musee Rodin curator Monique Laurent, -editions- are "modern methods, linked with the notion of rarity and speculation in art"<span style="color: blue; font-size: x-small;">[FN 29]</span> or in this case non-disclosed posthumous forgeries from reworked and altered plates.</span><br />
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<span style="font-family: "times" , "times new roman" , serif;">The dead don't number.</span><br />
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<span style="font-family: "times" , "times new roman" , serif;">ETHICS THAT ARE PREACHED NOT PRACTICED</span><br />
<span style="font-family: "times" , "times new roman" , serif;">The University of San Diego’s -Mission- states as a Roman Catholic institution, it is: “committed to advancing academic excellence, expanding liberal and professional knowledge, creating a diverse and </span><span style="font-family: "times" , "times new roman" , serif;">inclusive community, and preparing leaders dedicated to ethical conduct and compassionate service.”</span><span style="color: blue; font-family: "times" , "times new roman" , serif; font-size: x-small;">[FN 30]</span><br />
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<span style="font-family: "times" , "times new roman" , serif;">Yet, </span><span style="font-family: "times" , "times new roman" , serif;">in response to this scholar's pronouncement that "the dead don't etch" in </span><span style="font-family: "times" , "times new roman" , serif;">the Union Tribune published on March 27, 2012, Goya Purist Takes on USD exhibit, 'The dead don't etch' he says" article by John Wilkens,</span><span style="font-family: "times" , "times new roman" , serif;"> the reporter wrote: "Victoria Sancho Lobis, curator of USD's print collection, said Arseneau is taking "an extreme position that goes against the collective wisdom and understanding" of art historians and museum scholars worldwide."</span><br />
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<span style="font-family: "times" , "times new roman" , serif;">Since when was it extreme to state the obvious?</span><br />
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<span style="font-family: "times" , "times new roman" , serif;">Additionally, the University of San Diego states it is: “an academic institution based upon a foundation of learning and intellectual honesty. The University is a community of scholars, predicated on the principles of scholastic integrity. Every member of our community is expected to abide by ethical standards, in personal conduct as well as all interactions with other members of the community. In keeping with this commitment, the University of San Diego Honor Code is based upon the five fundamental values established by the National Center for Academic Integrity (CAI): honesty, responsibility, trust, fairness, and respect.”<span style="color: blue; font-size: x-small;">[FN 31]</span></span><br />
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<span style="font-family: "times" , "times new roman" , serif;">Yet, in Alice in Wonderland response to this scholar's pronouncement that "the dead don't etch" in </span><span style="font-family: "times" , "times new roman" , serif;">the Union Tribune published on March 27, 2012, Goya Purist Takes on USD exhibit, 'The dead don't etch' he says" article by John Wilkens,</span><span style="font-family: "times" , "times new roman" , serif;"> the reporter quoted </span>Malcolm Warner, executive director at the Laguna Art Museum and the former curator of prints at the San Diego Museum of Art stating<span style="font-family: "times" , "times new roman" , serif;">: </span>“For the most part, the only prints available from this incredible achievement of his in printmaking are those that were made after his death.” <br />
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<span style="font-family: "times" , "times new roman" , serif;">Since when do the dead have "incredible achievements?" </span></div>
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<span style="font-family: "times" , "times new roman" , serif;">Also, the University of San-Diego states: “Honesty is the foundation of any successful learning community. Academic dishonesty will not be tolerated by faculty or student. Cheating, plagiarism, falsification, forgery, theft, and other dishonest acts constitute an offense to the integrity of scholarship at USD and represent a threat to the quality of learning. Honesty must be applied to all aspects of everyday life, whether in the classroom or out.”<span style="color: blue; font-size: x-small;">[FN 32]</span></span><br />
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<span style="font-family: "times" , "times new roman" , serif;">Yet, in a ridiculous to the sublime response to this scholar's pronouncement that "the dead don't etch" in the Union Tribune published on March 27, 2012, Goya Purist Takes on USD exhibit, 'The dead don't etch' he says" article by John Wilkens, the reporter wrote: "There is no direct mention in the USD gallery that the Goya prints were done posthumously, although a handout sheet about the exhibit does list the artist’s date of death and the date the prints were made. - 'It’s not a big issue,' Lobis said. 'It’s common knowledge that the prints were made after Goya died, and why. That’s part of what makes them special.'"</span><br />
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So, with no disclosure of being posthumous, much less being forgeries from posthumously reworked and altered plates, the USD curator Victoria Sancho Lobis states "it's not a big issue" because "that's part of what makes them special."</span><br />
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What are we to think of USD curator Victoria Sancho Lobis who thinks the living presence of the artist is not required to create the art, attributed to them, if in fact it is attributed to them, much less created by them?</span><br />
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<span style="font-family: "times" , "times new roman" , serif;">Therefore, since Francisco de Goya y Lucientes died in 1828 and his original lifetime etching plates were posthumously reworked and altered with some 80,000 non-disclosed forgeries cranked-out between 1863 to the late 20th-century and beyond, would the misrepresentation by University of San-Diego of such non-disclosed posthumous forgeries from reworked and altered plates as <b>Goya’s Disasters of War: A Legacy in Print </b>exhibition be considered -academic dishonesty-?</span><br />
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<span style="font-family: "times" , "times new roman" , serif;">URBAN LEGEND/MYTH DEFINED</span><br />
<span style="font-family: "times" , "times new roman" , serif;">An -Urban Legend/Myth-, referencing University of Utah professor emeritus of English Jan Harold Brunvand’s <i>Too Good to Be True: The Colossal Book of Urban Legends</i><span style="font-size: x-small;"><span style="color: blue;">[FN 33]</span> </span>book, is defined on Wikipedia's website as: “a form of modern folklore consisting of stories that may or may not have been believed by their tellers to be true. As with all folklore and mythology, the designation suggests nothing about the story's veracity, but merely that it is in circulation, exhibits variation over time, and carries some significance that motivates the community in preserving and propagating it.”<span style="color: blue; font-size: x-small;">[FN 34]</span></span><br />
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<a href="http://3.bp.blogspot.com/-p0iya5MzksE/T0CWrbgNItI/AAAAAAAACYY/lCNxf3U3_dk/s1600/GOYA.JPG"><span style="font-family: "times" , "times new roman" , serif;"><img border="0" height="295" src="https://3.bp.blogspot.com/-p0iya5MzksE/T0CWrbgNItI/AAAAAAAACYY/lCNxf3U3_dk/s400/GOYA.JPG" width="400" /></span></a></div>
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<span style="font-family: "times" , "times new roman" , serif;">Goya's "Con razon o sin ella"<br /><span style="color: blue;">http://laprensa-sandiego.org/archieve/december14/GOYA.HTM </span><br /><b>POSTHUMOUS FORGERY FROM A REWORKED AND ALTERED PLATE </b> </span><br />
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<a href="http://1.bp.blogspot.com/-iUYYYu_Wur0/T0CX_2TlPSI/AAAAAAAACYg/djuaeOJhz2U/s1600/GoyaBritishMuseumPlate2.jpg" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: "times" , "times new roman" , serif;"><img border="0" height="340" src="https://1.bp.blogspot.com/-iUYYYu_Wur0/T0CX_2TlPSI/AAAAAAAACYg/djuaeOJhz2U/s400/GoyaBritishMuseumPlate2.jpg" width="400" /></span></a></div>
<span style="font-family: "times" , "times new roman" , serif;"><i>Con raizon o sin ella </i>(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<br /><span style="background-color: white; color: #333333; line-height: 20.799999237060547px;"><span style="color: blue;">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</span></span><br /><b>AUTHENTIC LIFETIME GOYA ETCHING </b></span><br />
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<span style="font-family: "times" , "times new roman" , serif;">2001 RARE COLLECTION OF PRINTS GIVEN TO USD</span></div>
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<span style="font-family: "times" , "times new roman" , serif;">The -Urban Legend/Myth-, for these non-disclosed posthumous forgeries, from posthumously reworked and altered plates, donated in 2001 to the University of San-Diego, began in earnest when the La Prensa San Diego weekly and bilingual [English/Spanish] newspaper published a December 14, 2001 “Rare Collection of Goya Prints Given to USD” article [with no byline] that seemed to be more like a published press release. In part, it stated: </span><br />
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<li><span style="font-family: "times" , "times new roman" , serif;">“Carlsbad businessman Robert Hoehn and his wife, Karen, have given a set of rare prints by Francisco Goya to the University of San Diego. The collection goes on display Dec. 14 and 15 in the university's new Joan B. Kroc Institute for Peace and Justice. It includes 80 original prints comprising Goya's Disasters of War, a series of etchings and engravings composed by the renowned Spanish artist during the Napoleonic occupation of Spain in the early 19th century.”<span style="color: blue; font-size: x-small;">[FN 35]</span></span></li>
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<span style="font-family: "times" , "times new roman" , serif;">Then in a clear attempt to perpetuate this -Urban Legend/Myth- so it would seem these non-disclosed posthumous forgeries, from posthumously reworked and altered plates, “carries some significance that motivates the community in preserving and propagating it,”<span style="color: blue; font-size: x-small;">[FN 36]</span> this article/press release stated:</span><br />
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<li><span style="font-family: "times" , "times new roman" , serif;">“’We are deeply indebted to Robert and Karen Hoehn for the extraordinary generosity of their gift," said USD President Alice B. Hayes. "Their vision for the university's collection of prints is as carefully crafted as it is ambitious.’ The Hoehns are longtime patrons of the arts in San Diego and Mr. Hoehn, President of the Hoehn Co., is a member of the USD Board of Trustees. The couple already was thinking about assembling a collection of prints for USD when philanthropist Joan B. Kroc gave the university $25 million in 1998 for the Institute for Peace and Justice.”<span style="font-size: x-small;"><span style="color: blue;">[FN 37]</span> </span></span></li>
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<span style="font-family: "times" , "times new roman" , serif;">SERIES WAS NOT PUBLISHED UNTIL 1863</span><br />
<span style="font-family: "times" , "times new roman" , serif;">Now, eleven years later in 2012 this -carefully crafted- "vision of the university's collection of prints" continues to perpetuate the -Urban Legend/Myth- representation that “Between 1810 and 1820 Spanish artist Francisco de Goya y Lucientes (1746-1828) created the Disasters of War series, a set of 80 prints created through the etching and aquatint processes,”<span style="color: blue; font-size: x-small;">[FN 38]</span> despite the disclosure by University of San-Diego for their 2012 <b>Goya’s Disasters of War: A Legacy in Print</b> exhibition that "the series was not published until 1863, thirty-five years after the artist’s death.”<span style="color: blue; font-size: x-small;">[FN 39]</span></span><br />
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<span style="font-family: "times" , "times new roman" , serif;">Rhetorically, whether the University of San-Diego's left hand knows what the right hand is doing, it is clear it wasn't by a dead Goya's left or right hand.</span><br />
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<span style="font-family: "times" , "times new roman" , serif;">AAMD STATEMENT OF MISSION</span><br />
<span style="font-family: "times" , "times new roman" , serif;">The Association of Art Museum Directors’ “Statement of Mission,” as adopted in June 1996, in part, states: “The purpose of the Association of Art Museum Directors is to aid its members in establishing and maintaining the highest professional standards for themselves and the museums they represent.”<span style="color: blue; font-size: x-small;">[FN 40]</span></span><br />
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<span style="font-family: "times" , "times new roman" , serif;">PROFESSIONAL PRACTICES IN ART MUSEUMS</span><br />
<span style="font-family: "times" , "times new roman" , serif;">On page 31 of the 2001 Association of Art Museum Director’s <i>Professional Practices in Art Museums </i>booklet, it is written that the: “misleading marketing of reproductions, has created such widespread confusion as to require clarification in order to maintain professional standards. - When producing and/or selling reproductions, 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."<span style="font-size: x-small;"><span style="color: blue;">[FN 41]</span> </span>The AAMD requires of their members that:</span><br />
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<li><span style="font-family: "times" , "times new roman" , serif;">“When producing and/or selling reproductions - signatures, edition numbers, and/or foundry marks on sculpture must not appear on the reproduction.,</span></li>
<li><span style="font-family: "times" , "times new roman" , serif;">"...the fact that they are reproductions should be clearly indicated on the object, [and]</span></li>
<li><span style="font-family: "times" , "times new roman" , serif;">"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 reproductions, he or she is acquiring an original work of art.”<span style="color: blue; font-size: x-small;">[FN 42]</span></span></li>
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<span style="font-family: "times" , "times new roman" , serif;">If the museum industry has such high standards for full and honest disclosure of reproductions as reproductions, what would they recommend for forgeries?</span><br />
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<span style="font-family: "times" , "times new roman" , serif;">A recent prime example of a published response could be found at the Art Institute of Chicago, when a forgery in their collection was outted not by the museum but by Scotland Yard.</span><br />
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<span style="font-family: "times" , "times new roman" , serif;">THE FAUN, POSTHUMOUS FORGERY</span><br />
<span style="font-family: "times" , "times new roman" , serif;">On December 12, 2007, in a "Art Institute's Statement on Gauguin's 'Faun'" Press Release, the Art Institute of Chicago, in part, stated: “<i>The Faun</i>, a sculpture acquired by the museum in 1997 as a work by Paul Gauguin, is a creative, well-researched forgery... produced by the recently sentenced Greenhalgh family from Bolton England.”<span style="color: blue; font-size: x-small;">[FN 43]</span></span><br />
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<span style="font-family: "times" , "times new roman" , serif;"><i>The Faun</i> ceramic, initially attributed to Paul Gauguin [d 1903] by Sotheby's auction house and purchased for $125,000 or more by the Art Institute of Chicago in 1997, was discovered by Scotland Yard in their 2007 investigation of another forgery to be non-disclosed posthumous [1990’s] forgery by convicted British forger Shaun Greenhalgh and the Greenhalgh family.<span style="color: blue; font-size: x-small;">[FN 44]</span></span><br />
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<a href="http://1.bp.blogspot.com/_N4RNkM-EcrI/Sp9FRxTYxoI/AAAAAAAABF0/qf4-iCmgL9A/s1600-h/AICGauguinStatement.jpg" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: "times" , "times new roman" , serif;"><img alt="" border="0" height="400" id="BLOGGER_PHOTO_ID_5377092651698407042" src="https://1.bp.blogspot.com/_N4RNkM-EcrI/Sp9FRxTYxoI/AAAAAAAABF0/qf4-iCmgL9A/s400/AICGauguinStatement.jpg" style="float: left; margin: 0pt 10px 10px 0pt;" width="301" /></span></a></div>
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<span style="font-family: "times" , "times new roman" , serif;">After being informed by Scotland Yard, the Art Institute of Chicago posted on their website, a pdf press release, in part, stating: “The Art Institute of Chicago has recently concluded that <i>The Faun,</i> a sculpture acquired by the museum in 1997 as a work by Paul Gauguin, is a creative, well-researched forgery of a lost work by the artist produced by the recently sentenced Greenhalgh family from Bolton, England.”<span style="color: blue; font-size: x-small;">[FN 45]</span></span><br />
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<span style="font-family: "times" , "times new roman" , serif;">IT IS BOTH A GOOD SCULPTURE AND CRAFTY CONCEPT</span><br />
<span style="font-family: "times" , "times new roman" , serif;">Yet, in a New York Times published December 13, 2007 “Work Believed a Gauguin Turns Out to Be a Forgery” article by Carol Vogel, the reporter quoted the Art Institute of Chicago’s director James Cuno stating: “It is both a good sculpture and crafty concept.”<span style="color: blue; font-size: x-small;">[FN 46]</span></span><br />
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<span style="font-family: "times" , "times new roman" , serif;">Since sculpture is an original work of visual art created by the -living- sculptor, it is very troubling for the Art Institute of Chicago director James Cuno to refer to a forgery as an original work of visual art ie., sculpture, particular since as an Association of Art Museum Directors member, this director endorses the College Art Association’s ethics on sculptural reproductions which in part states “any transfer into new material unless specifically condoned by the artist, is to be considered inauthentic or counterfeit and should not be display or exhibited as a work of art.”<span style="color: blue; font-size: x-small;">[FN 47]</span></span><br />
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<span style="font-family: "times" , "times new roman" , serif;">IT LOOKED LIKE GAUGUIN, IT LOOKED LIKE THINGS HE MADE</span><br />
<span style="font-family: "times" , "times new roman" , serif;">In a Chicago WLS-TV ABC7 News broadcast December 12, 2007 story by Ravi Baichwal, posted on its’ website, it stated: “Shortly after the Greenhalgh conviction in November, AIC president James Cuno was horrified to learn from Scotland Yard and Sotheby's that something in his galleries wasn't as valuable as the sculptures of Gauguin's contemporaries-- like [Dalou] and Rodin, nor the Gauguin's paintings. "There's nothing about its appearance, nothing about its manufacture that raised any doubts about the work. It looked like Gauguin, it looked like things he made," said James Cuno, Art Institute of Chicago.”<span style="font-size: x-small;"><span style="color: blue;">[FN 48]</span> </span> [Correction mine: Dulau to Dalou]</span><br />
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<span style="font-family: "times" , "times new roman" , serif;">For someone to judge the authenticity of an object because “it looked like Gauguin, it looked like things he made,” sounds more like an ignorant lay person than someone who calls themselves a museum director.</span><br />
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<span style="font-family: "times" , "times new roman" , serif;">WHAT IS CONNOISSEURSHIP?</span><br />
<span style="font-family: "times" , "times new roman" , serif;">In Paul Duro and Michael Greenhalgh’s published <i>Essential Art History</i>, “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.”<span style="color: blue; font-size: x-small;">[FN 49]</span></span><br />
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<span style="font-family: "times" , "times new roman" , serif;">WE DON’T USUALLY ASK FOR THAT</span><br />
<span style="font-family: "times" , "times new roman" , serif;">In Chicago Tribune published December 21, 2006 “Taken it by a Complete Fake” article by Charles Storch and Alan G. Artner, the reporters quoted the former head of the Art Institute of Chicago’s department of European decorative arts, sculpture and ancient art Ian Wardropper stating: "It came with provenance completely believable, - Should we have checked with Scotland Yard whether the consignor was a descendant of O'Connor's? Maybe so, but we don't usually ask for that."<span style="color: blue; font-size: x-small;">[FN 50]</span></span><br />
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<span style="font-family: "times" , "times new roman" , serif;">MISSION</span><br />
<span style="font-family: "times" , "times new roman" , serif;">Yet, the Art Institute of Chicago’s -Mission- would have the public believe and act on that belief that it: “collects, preserves, and interprets works of art of the highest quality, representing the world's diverse artistic traditions, for the inspiration and education of the public and in accordance with our profession's highest ethical standards and practices.”<span style="color: blue; font-size: x-small;">[FN 51]</span></span><br />
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<span style="font-family: "times" , "times new roman" , serif;">So, if the Art Institute of Chicago, on occasion, has trouble determining, much less asking, whether something is an original or a reproduction, much less a forgery, what is the museum’s difficulty when the documentation makes it obvious?</span><br />
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<a href="http://4.bp.blogspot.com/-PXrTwjAgZk8/T0CcEA155BI/AAAAAAAACYw/xGE_rwoH-kg/s1600/82367_565642.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: "times" , "times new roman" , serif;"><img border="0" height="280" src="https://4.bp.blogspot.com/-PXrTwjAgZk8/T0CcEA155BI/AAAAAAAACYw/xGE_rwoH-kg/s400/82367_565642.jpg" width="400" /> </span></a></div>
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<span style="font-family: "times" , "times new roman" , serif;">Francisco Jose de Goya y Lucientes, Spanish, 1746-1828, <i>Rightly or wrongly,</i> plate two from The Disasters of War, c. 1812/15, published 1863, Etching, lavis, burin, drypoint, and burnishing on ivory wove paper with gilt edges, 139 x 196 mm (image); 152 x 206 mm (plate); 240 x 337 mm (sheet), Gift of J. C. Cebrian, 1920.1307, Harris 122 III/III (1st edition); Delteil 121 IV/IV; Gassier and Wilson III.995; Pérez Sánchez & Gállego 2<br /><span style="color: blue;">http://www.artic.edu/aic/collections/artwork/124841?search_id=11 </span><br /><b>POSTHUMOUS FORGERY FROM A REWORKED AND ALTERED PLATE</b></span></div>
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<span style="font-family: "times" , "times new roman" , serif;">As a member of the Association of Art Museum Directors, the Art Institute of Chicago endorses the College Art Association ethical guidelines on sculptural reproduction which, in part, states: “any transfer into new material unless specifically condoned by the artist is to be considered inauthentic or counterfeit.”<span style="font-size: x-small;"><span style="color: blue;">[FN 52]</span> </span></span></div>
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<span style="font-family: "times" , "times new roman" , serif;">Now, would the Art Institute of Chicago want to argue these ethical guidelines that apply to three-dimensional sculptural reproductions do not apply to two-dimensional posthumous forgeries from posthumously reworked and altered plates?</span></div>
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<span style="font-family: "times" , "times new roman" , serif;">So, does the Art Institute of Chicago, in practice like the University of San-Diego, have "a set of principles permitting greater opportunity or greater lenience for one class of people than for another"<span style="color: blue;"><span style="font-size: x-small;">[FN 53]</span> </span>which is one legal definition of -double standard-?</span><br />
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<span style="font-family: "times" , "times new roman" , serif;">VICTORIA SANCHO LOBIS NEW CURATOR AT ART INSTITUTE OF CHICAGO</span><br />
<span style="font-family: "times" , "times new roman" , serif;">Ironically, almost a year to the day the Union Tribune published on March 27, 2012, Goya Purist Takes on USD exhibit, 'The dead don't etch' he says" article by John Wilkens, the USD curator Victoria Sancho Lobis is about to become the new Prince Trust Associate Curator in the Department of Prints and Drawings at the Art Institute of Chicago, effective September 15, 2013. The Art Institute of Chicago's April 9, 2013 Press Release stated: "Lobis, a multilingual scholar, brings to the museum expertise in both Netherlandish Baroque and Latin American colonial art, adding new dimensions to an already strong department."<span style="font-size: x-small;"><span style="color: blue;">[FN 54]</span> </span></span><br />
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<span style="font-family: "times" , "times new roman" , serif;">ART INSTITUTE OF CHICAGO'S FLOOD OF POSTHUMOUS FORGERIES</span><br />
<span style="font-family: "times" , "times new roman" , serif;">Since, the Art Institute of Chicago is awash with a flood of non-disclosed posthumous forgeries falsely attributed to: Auguste Rodin, Edgar Degas, Jules Dalou, Raymond Duchamp-Villon, Antione Louis Barye, Henri Chapu, Antonio Canova, Honore Daumier, Paul Gauguin, and not to mention dozens upon dozens non-disclosed posthumous forgeries falsely attributed to a dead Francisco de Goya y Lucientes, the new curator Victoria Sancho Lobis, who will "oversee the collections of Northern European prints and drawings of the 16th through 18th centuries," should feel right at home. </span><br />
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<span style="font-family: "times" , "times new roman" , serif;">To learn more about the flood of posthumous forgeries in the collection of the Art Institute of Chicago, click on this link: </span><br />
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<li><a href="http://garyarseneau.blogspot.com/2008/01/thirteen-fakes-in-art-institute-of.html" style="background-color: white; line-height: 1.5em; text-align: left; text-decoration: none; text-indent: -15px;"><span style="color: blue; font-family: "times" , "times new roman" , serif;"><i>The Flood of Posthumous Forgeries and Double Stand...</i></span></a></li>
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<span style="font-family: "times" , "times new roman" , serif;">LAW, ETHICS AND THE VISUAL ARTS</span><br />
<span style="font-family: "times" , "times new roman" , serif;">On page 816-817 of Kluwer Law International’s published 1998 <i>Law, Ethics and the Visual Arts, Third Edition </i>by John Henry Merryman and Albert E. Elsen wrote about “Counterfeit Art.”<span style="color: blue; font-size: x-small;">[FN 55] </span></span><span style="font-family: "times" , "times new roman" , serif;">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.”</span><span style="color: blue; font-family: "times" , "times new roman" , serif; font-size: x-small;">[FN 56]</span><br />
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<span style="font-family: "times" , "times new roman" , serif;">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.”<span style="color: blue; font-size: x-small;">[FN 57]</span></span><br />
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<span style="font-family: "times" , "times new roman" , serif;">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...”<span style="color: blue; font-size: x-small;">[FN 58]</span></span><br />
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<b><span style="font-family: "times" , "times new roman" , serif;">CONCLUSION</span></b><br />
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<span style="font-family: "times" , "times new roman" , serif;">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 University of California, Santa Barbara and its' Art, Design & Architecture Museum, in their July 13, 2013 - September 22, 2013 <b>Goya: Disasters of War </b>exhibition, and not to forget the University of San Diego who is loaning these non-disclosed posthumous forgeries, will give full and honest disclosure to these eighty non-disclosed posthumous [1906] -forgeries- printed from posthumously [1863 or later] reworked and altered plates, falsely attributed as original works of visual art ie., etchings to a Francisco de Goya y Lucientes, it would allow consumers the potential to give informed consent on whether to attend an exhibition of non-disclosed posthumous forgeries, much less including but not limited to voluntarily supporting the museum who solicits them to become a paid member and/or make a gift.<span style="color: blue; font-size: x-small;">[FN 59]</span></span></div>
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<span style="font-family: "times" , "times new roman" , serif;"><br />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.</span></div>
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<span style="font-family: "times" , "times new roman" , serif;">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.<br /><br />To quote Francisco de Goya y Lucientes' title concerning the truth: "Si resucitará?" (Will she rise again)? </span></div>
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<span style="font-family: "times" , "times new roman" , serif;"><br />Caveat Emptor!</span></div>
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<span class="s1"><span style="color: blue; font-family: "times" , "times new roman" , serif;"><i>http://www.museum.ucsb.edu/people</i></span></span></div>
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<span class="s2"><a href="http://www.museum.ucsb.edu/people/staff/todd-anderson"><span style="font-family: "times" , "times new roman" , serif;">Todd Anderson</span></a></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif;">Assistant Exhibition Designer</span></span></div>
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<span class="s2"><a href="mailto:tanderson@museum.ucsb.edu"><span style="font-family: "times" , "times new roman" , serif;">tanderson@museum.ucsb.edu</span></a></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif;">Office: Arts Bldg, Room 1632</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif;">(805) 893-3507</span></span></div>
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<span class="s2"><a href="http://www.museum.ucsb.edu/people/staff/christina-chiang"><span style="font-family: "times" , "times new roman" , serif;">Christina Chiang</span></a></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif;">Assistant Curator</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif;">Architecture and Design Collection</span></span></div>
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<span class="s2"><a href="mailto:cchiang@museum.ucsb.edu"><span style="font-family: "times" , "times new roman" , serif;">cchiang@museum.ucsb.edu</span></a></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif;">Office: Arts Bldg, Room 1434</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif;">(805) 893-2724</span></span></div>
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<span class="s2"><a href="http://www.museum.ucsb.edu/people/staff/mehmet-do%C4%9Fu"><span style="font-family: "times" , "times new roman" , serif;">Mehmet Doğu</span></a></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif;">Exhibition Designer</span></span></div>
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<span class="s2"><a href="mailto:mdogu@museum.ucsb.edu"><span style="font-family: "times" , "times new roman" , serif;">mdogu@museum.ucsb.edu</span></a></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif;">Office: Arts Bldg, Room 1632</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif;">(805) 893-3507</span></span></div>
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<span class="s2"><a href="http://www.museum.ucsb.edu/people/staff/jocelyn-gibbs"><span style="font-family: "times" , "times new roman" , serif;">Jocelyn Gibbs</span></a></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif;">Curator</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif;">Architecture and Design Collection</span></span></div>
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<span class="s2"><a href="mailto:jgibbs@museum.ucsb.edu"><span style="font-family: "times" , "times new roman" , serif;">jgibbs@museum.ucsb.edu</span></a></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif;">Office: Arts Bldg, Room 1434</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif;">(805) 893-5354</span></span></div>
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<span class="s2"><a href="http://www.museum.ucsb.edu/people/staff/elyse-gonzales"><span style="font-family: "times" , "times new roman" , serif;">Elyse A. Gonzales</span></a></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif;">Curator of Exhibitions</span></span></div>
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<span class="s2"><a href="mailto:egonzales@museum.ucsb.edu"><span style="font-family: "times" , "times new roman" , serif;">egonzales@museum.ucsb.edu</span></a></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif;">Office: Arts Bldg, Room 1626</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif;">(805) 893-5299</span></span></div>
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<span class="s2"><a href="http://www.museum.ucsb.edu/people/staff/susan-lucke"><span style="font-family: "times" , "times new roman" , serif;">Susan Lucke</span></a></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif;">Registrar</span></span></div>
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<span class="s2"><a href="mailto:slucke@museum.ucsb.edu"><span style="font-family: "times" , "times new roman" , serif;">slucke@museum.ucsb.edu</span></a></span></div>
<div class="p3">
<span class="s1"><span style="font-family: "times" , "times new roman" , serif;">Office: Arts Bldg, Room 1626</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif;">(805) 893-4598</span></span></div>
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<span style="font-family: "times" , "times new roman" , serif;"><span class="s1"></span><br /></span></div>
<div class="p2">
<span class="s2"><a href="http://www.museum.ucsb.edu/people/staff/chris-marino"><span style="font-family: "times" , "times new roman" , serif;">Chris Marino</span></a></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif;">Project Archivist</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif;">Architecture and Design Collection</span></span></div>
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<span class="s2"><a href="mailto:cmarino@museum.ucsb.edu"><span style="font-family: "times" , "times new roman" , serif;">cmarino@museum.ucsb.edu</span></a></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif;">Office: Arts Bldg, Room 1434</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif;">(805) 893-4608</span></span></div>
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<span style="font-family: "times" , "times new roman" , serif;"><span class="s1"></span><br /></span></div>
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<span class="s2"><a href="http://www.museum.ucsb.edu/people/staff/bruce-robertson"><span style="font-family: "times" , "times new roman" , serif;">Bruce Robertson</span></a></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif;">Director</span></span></div>
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<span class="s2"><a href="mailto:brobertson@arthistory.ucsb.edu"><span style="font-family: "times" , "times new roman" , serif;">brobertson@arthistory.ucsb.edu</span></a></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif;">Office: Arts Bldg, Room 1626</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif;">(805) 893-4564</span></span></div>
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<span style="font-family: "times" , "times new roman" , serif;"><span class="s1"></span><br /></span></div>
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<span class="s2"><a href="http://www.museum.ucsb.edu/people/staff/thuy-tran"><span style="font-family: "times" , "times new roman" , serif;">Thuy Tran</span></a></span></div>
<div class="p3">
<span class="s1"><span style="font-family: "times" , "times new roman" , serif;">Curatorial Fellow</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif;">Education Inquiries</span></span></div>
<div class="p2">
<span class="s2"><a href="mailto:thuy@museum.ucsb.edu"><span style="font-family: "times" , "times new roman" , serif;">thuy@museum.ucsb.edu</span></a></span></div>
<div class="p3">
<span class="s1"><span style="font-family: "times" , "times new roman" , serif;">Office: Arts Bldg, Room 1626</span></span></div>
<div class="p3">
<span class="s1"><span style="font-family: "times" , "times new roman" , serif;">(805) 893-2951</span></span></div>
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<span style="font-family: "times" , "times new roman" , serif;"><span class="s1"></span><br /></span></div>
<div class="p2">
<span class="s2"><a href="http://www.museum.ucsb.edu/people/staff/marie-vierra"><span style="font-family: "times" , "times new roman" , serif;">Marie Vierra</span></a></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif;">Assistant to the Director</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif;">Media Inquiries</span></span></div>
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<span class="s2"><a href="mailto:vierra@hfa.ucsb.edu"><span style="font-family: "times" , "times new roman" , serif;">vierra@hfa.ucsb.edu</span></a></span></div>
<div class="p3">
<span class="s1"><span style="font-family: "times" , "times new roman" , serif;">Office: Arts Bldg, Room 1626</span></span></div>
<div class="p1">
<span class="s1"><span style="font-family: "times" , "times new roman" , serif;"></span></span></div>
<div class="p3">
<span class="s1"><span style="font-family: "times" , "times new roman" , serif;">(805) 893-2951 / Fax (805) 893-3013</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif;"><br /></span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif;"><br /></span></span></div>
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<span style="color: blue; font-family: "times" , "times new roman" , serif;"><span class="s1"></span><br /></span></div>
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<span class="s2"><span style="color: blue; font-family: "times" , "times new roman" , serif;"><a href="http://artsite.arts.ucsb.edu/people/faculty/faculty.html"><i>http://artsite.arts.ucsb.edu/people/faculty/faculty.html</i></a></span></span></div>
<div class="p2">
<span class="s2"><span style="font-family: "times" , "times new roman" , serif;"><br /></span></span></div>
<div class="p3">
<span style="font-family: "times" , "times new roman" , serif;"><span class="s3"><a href="http://artsite.arts.ucsb.edu/people/faculty/beckman.html"><b>Laurel Beckman</b></a></span><span class="s1"><br />Professor (2D Digital Media)<br />M.F.A., California Institute of the Arts<br />Email: beckman@earthlink.net</span></span></div>
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<span style="font-family: "times" , "times new roman" , serif;"><br /></span></div>
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<span style="font-family: "times" , "times new roman" , serif;"><span class="s3"><a href="http://artsite.arts.ucsb.edu/people/faculty/callister.html"><b>Jane Callister</b></a></span><span class="s1">Professor (Painting, Drawing)<br />M.F.A., University of Nevada, Las Vegas<br />Email: jane@arts.ucsb.edu</span></span></div>
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<span style="font-family: "times" , "times new roman" , serif;"><br /></span></div>
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<span style="font-family: "times" , "times new roman" , serif;"><span class="s3"><a href="http://artsite.arts.ucsb.edu/people/faculty/fulbeck.html"><b>Kip Fulbeck</b></a></span><span class="s1"><br />Professor (Photography, Performance, Video)<br />M.F.A., University of California, San Diego</span></span></div>
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<span style="font-family: "times" , "times new roman" , serif;"><br /></span></div>
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<span style="font-family: "times" , "times new roman" , serif;"><span class="s3"><a href="http://artsite.arts.ucsb.edu/people/faculty/gardner.html"><b>Colin Gardner</b></a></span><span class="s1"><br />Professor (Critical Theory & Integrative Studies)<br />Ph.D. University of California, Los Angeles<br />Email: colinrgardner@cox.net</span></span></div>
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<span style="font-family: "times" , "times new roman" , serif;"><br /></span></div>
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<span style="font-family: "times" , "times new roman" , serif;"><span class="s3"><a href="http://artsite.arts.ucsb.edu/people/faculty/hebdige.html"><b>Dick Hebdige</b></a></span><span class="s1"><br />Professor (Theory and Criticism)<br />Professor, Department of Film Studies<br />M.A., Center for Contemporary Cultural Studies, England.<br />Email: hebdige@ihc.ucsb.edu</span></span></div>
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<span style="font-family: "times" , "times new roman" , serif;"><br /></span></div>
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<span style="font-family: "times" , "times new roman" , serif;"><span class="s3"><a href="http://artsite.arts.ucsb.edu/people/faculty/jevbratt.html"><b>Lisa Jevbratt</b></a></span><span class="s1"><br />Professor (Net Art/New Media)<br />M.F.A., San Jose State University<br />Email: jevbratt@arts.ucsb.edu</span></span></div>
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<span style="font-family: "times" , "times new roman" , serif;"><br /></span></div>
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<span style="font-family: "times" , "times new roman" , serif;"><span class="s3"><a href="http://artsite.arts.ucsb.edu/people/faculty/legrady.html"><b>George Legrady</b></a></span><span class="s1"><br />Professor (Interactive Media)<br />M.F.A., San Francisco Art Institute<br />Email: legrady@arts.ucsb.edu</span></span></div>
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<span style="font-family: "times" , "times new roman" , serif;"><br /></span></div>
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<span style="font-family: "times" , "times new roman" , serif;"><span class="s3"><a href="http://artsite.arts.ucsb.edu/people/faculty/mulfinger.html"><b>Jane Mulfinger</b></a></span><span class="s1"><br />Professor (Sculpture) & Department Chair<br />M.A., Royal College of Art, London<br />Email: mulfinger@arts.ucsb.edu</span></span></div>
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<span style="font-family: "times" , "times new roman" , serif;"><br /></span></div>
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<span style="font-family: "times" , "times new roman" , serif;"><span class="s3"><a href="http://artsite.arts.ucsb.edu/people/faculty/novak.html"><b>Marcos Novak</b></a></span><span class="s1"><br />Professor (Interactive Media)<br />Professor, Media Arts and Technology Program<br />Master of Architecture, Ohio State University<br />Email: marcos@mat.ucsb.edu</span></span></div>
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<span style="font-family: "times" , "times new roman" , serif;"><br /></span></div>
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<span style="font-family: "times" , "times new roman" , serif;"><span class="s3"><a href="http://artsite.arts.ucsb.edu/people/faculty/peljhan.html"><b>Marko Peljhan</b></a></span><span class="s1"><br />Associate Professor (Interactive Media)<br />Diploma, University of Ljubljana, Slovenia<br />Email: peljhan@arts.ucsb.edu</span></span></div>
<div class="p3">
<span style="font-family: "times" , "times new roman" , serif;"><span class="s3"><a href="http://artsite.arts.ucsb.edu/people/faculty/reese.html"><b>Harry Reese</b></a></span><span class="s1"><br />Professor (Print, Book Arts)<br />M.A., Brown University<br />Email: reese@arts.ucsb.edu</span></span></div>
<div class="p3">
<span style="font-family: "times" , "times new roman" , serif;"><br /></span></div>
<div class="p3">
<span style="font-family: "times" , "times new roman" , serif;"><span class="s3"><a href="http://artsite.arts.ucsb.edu/people/faculty/ross.html"><b>Richard Ross</b></a></span><span class="s1"><br />Professor (Photography)<br />M.F.A., University of Florida, Gainesville<br />Email: rross@arts.ucsb.edu</span></span></div>
<div class="p3">
<span style="font-family: "times" , "times new roman" , serif;"><br /></span></div>
<div class="p3">
<span style="font-family: "times" , "times new roman" , serif;"><span class="s3"><a href="http://artsite.arts.ucsb.edu/people/faculty/yasuda.html"><b>Kim Yasuda</b></a></span><span class="s1"><br />Professor (Sculpture/New Forms)<br />M.F.A., University of Southern California<br />Email: yasuda@arts.ucsb.edu</span></span></div>
<div class="p3">
<span style="font-family: "times" , "times new roman" , serif;"><br /></span></div>
<div class="p3">
<span class="s1"><span style="font-family: "times" , "times new roman" , serif;"></span></span></div>
<div class="p4">
<span style="font-family: "times" , "times new roman" , serif;"><span class="s3"><a href="http://artsite.arts.ucsb.edu/people/faculty/brown.html"><b>Gary H. Brown</b></a></span><span class="s4"><br /></span><span class="s1">Professor </span><span class="s4">Emeritus </span><span class="s1">(Painting, Drawing)<br />M.F.A., University of Wisconsin<br />Email: gbrown@arts.ucsb.edu</span></span></div>
<div class="p3">
<span class="s1"><span style="font-family: "times" , "times new roman" , serif;"><br /></span></span></div>
<div class="p1">
<span style="font-family: "times" , "times new roman" , serif;"><span class="s1"></span><br /></span></div>
<div class="p2">
<span class="s2"><span style="color: blue; font-family: "times" , "times new roman" , serif;"><a href="http://www.sandiego.edu/cas/art/faculty/"><i>http://www.sandiego.edu/cas/art/faculty/</i></a></span></span></div>
<div class="p2">
<span class="s2"><span style="font-family: "times" , "times new roman" , serif;"><br /></span></span></div>
<div class="p3">
<span class="s2"><a href="http://www.sandiego.edu/cas/art/faculty/biography.php?ID=17"><span style="font-family: "times" , "times new roman" , serif;"><i>Can Bilsel, PhD</i><span class="s3"><i></i></span></span></a></span></div>
<div class="p4">
<span class="s1"><span style="font-family: "times" , "times new roman" , serif;">Associate Professor and Department Chair, Art<br />Director, Architecture<br /><a href="mailto:cbilsel@sandiego.edu"><span class="s4">cbilsel@sandiego.edu</span></a><br />(619) 260-7987</span></span></div>
<div class="p4">
<span class="s1"><span style="font-family: "times" , "times new roman" , serif;"><br /></span></span></div>
<div class="p3">
<span class="s2"><a href="http://www.sandiego.edu/cas/art/faculty/biography.php?ID=541"><span style="font-family: "times" , "times new roman" , serif;"><i>Derrick R. Cartwright, PhD</i><span class="s3"><i></i></span></span></a></span></div>
<div class="p4">
<span class="s1"><span style="font-family: "times" , "times new roman" , serif;">Director of University Galleries<br />Professor of Practice, Art History<br /><a href="mailto:dcartwright@sandiego.edu"><span class="s4">dcartwright@sandiego.edu</span></a><br />619-260-7632</span></span></div>
<div class="p4">
<span class="s1"><span style="font-family: "times" , "times new roman" , serif;"><br /></span></span></div>
<div class="p3">
<span class="s2"><a href="http://www.sandiego.edu/cas/art/faculty/biography.php?ID=300"><span style="font-family: "times" , "times new roman" , serif;"><i>Andrew Cross, MFA</i><span class="s3"><i></i></span></span></a></span></div>
<div class="p5">
<span class="s5"><span style="font-family: "times" , "times new roman" , serif;">Lecturer, Visual Arts<br /><a href="mailto:andrew.cross@sandiego.edu"><span class="s2">andrew.cross@sandiego.edu</span></a></span></span></div>
<div class="p1">
<span style="font-family: "times" , "times new roman" , serif;"><span class="s1"></span><br /></span></div>
<div class="p3">
<span class="s2"><a href="http://www.sandiego.edu/cas/art/faculty/biography.php?ID=1021"><span style="font-family: "times" , "times new roman" , serif;"><i>Victoria Fu, MFA</i><span class="s3"><i></i></span></span></a></span></div>
<div class="p4">
<span class="s1"><span style="font-family: "times" , "times new roman" , serif;">Assistant Professor, New Media<br /><a href="mailto:vfu@sandiego.edu"><span class="s4">vfu@sandiego.edu</span></a><br />619-260-2706</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif;"><br /></span></span></div>
<div class="p3">
<span class="s2"><a href="http://www.sandiego.edu/cas/art/faculty/biography.php?ID=11"><span style="font-family: "times" , "times new roman" , serif;"><i>John Halaka, MFA</i><span class="s3"><i></i></span></span></a></span></div>
<div class="p4">
<span class="s1"><span style="font-family: "times" , "times new roman" , serif;">Professor, Visual Arts<br /><a href="mailto:jhalaka@sandiego.edu"><span class="s4">jhalaka@sandiego.edu</span></a><br />(619) 260-4107</span></span></div>
<div class="p4">
<span class="s1"><span style="font-family: "times" , "times new roman" , serif;"><br /></span></span></div>
<div class="p3">
<span class="s2"><a href="http://www.sandiego.edu/cas/art/faculty/biography.php?ID=303"><span style="font-family: "times" , "times new roman" , serif;"><i>Bill Kelly, MFA</i><span class="s3"><i></i></span></span></a></span></div>
<div class="p4">
<span class="s1"><span style="font-family: "times" , "times new roman" , serif;">Distinguished Lecturer, Visual Arts<br /><a href="mailto:wkelly@sandiego.edu"><span class="s4">wkelly@sandiego.edu</span></a></span></span></div>
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<span style="font-family: "times" , "times new roman" , serif;"><span class="s1"></span><br /></span></div>
<div class="p3">
<span class="s2"><a href="http://www.sandiego.edu/cas/art/faculty/biography.php?ID=625"><span style="font-family: "times" , "times new roman" , serif;"><i>Daniel Lopez-Perez</i><span class="s3"><i></i></span></span></a></span></div>
<div class="p4">
<span class="s1"><span style="font-family: "times" , "times new roman" , serif;">Assistant Professor, Architecture<br /><a href="mailto:dlp@sandiego.edu"><span class="s4">dlp@sandiego.edu</span></a><br />(619) 260-7415</span></span></div>
<div class="p3">
<span class="s2"><a href="http://www.sandiego.edu/cas/art/faculty/biography.php?ID=12"><span style="font-family: "times" , "times new roman" , serif;"><i>Juliana Maxim, PhD</i><span class="s3"><i></i></span></span></a></span></div>
<div class="p4">
<span class="s1"><span style="font-family: "times" , "times new roman" , serif;">Associate Professor, Art History and Architecture<br /><a href="mailto:jmaxim@sandiego.edu"><span class="s4">jmaxim@sandiego.edu</span></a><br />(619) 260-7636</span></span></div>
<div class="p1">
<span style="font-family: "times" , "times new roman" , serif;"><span class="s1"></span><br /></span></div>
<div class="p3">
<span class="s2"><a href="http://www.sandiego.edu/cas/art/faculty/biography.php?ID=9"><span style="font-family: "times" , "times new roman" , serif;"><i>Duncan McCosker, MFA</i><span class="s3"><i></i></span></span></a></span></div>
<div class="p4">
<span class="s1"><span style="font-family: "times" , "times new roman" , serif;">Professor, Visual Arts<br /><a href="mailto:mccosker@sandiego.edu"><span class="s4">mccosker@sandiego.edu</span></a><br />(619) 260-4108</span></span></div>
<div class="p4">
<span class="s1"><span style="font-family: "times" , "times new roman" , serif;"><br /></span></span></div>
<div class="p3">
<span class="s2"><a href="http://www.sandiego.edu/cas/art/faculty/biography.php?ID=10"><span style="font-family: "times" , "times new roman" , serif;"><i>Saba Oskoui, MFA</i><span class="s3"><i></i></span></span></a></span></div>
<div class="p4">
<span class="s1"><span style="font-family: "times" , "times new roman" , serif;">Associate Professor, Visual Arts<br /><a href="mailto:soskoui@sandiego.edu"><span class="s4">soskoui@sandiego.edu</span></a><br />(619) 260-4103</span></span></div>
<div class="p4">
<span class="s1"><span style="font-family: "times" , "times new roman" , serif;"><br /></span></span></div>
<div class="p3">
<span class="s2"><a href="http://www.sandiego.edu/cas/art/faculty/biography.php?ID=824"><span style="font-family: "times" , "times new roman" , serif;"><i>Jessica Patterson, PhD</i><span class="s3"><i></i></span></span></a></span></div>
<div class="p4">
<span class="s1"><span style="font-family: "times" , "times new roman" , serif;">Assistant Professor, Art History<br /><a href="mailto:jlp@sandiego.edu"><span class="s4">jlp@sandiego.edu</span></a><br />(619) 260-2307</span></span></div>
<div class="p4">
<span class="s1"><span style="font-family: "times" , "times new roman" , serif;"><br /></span></span></div>
<div class="p3">
<span class="s2"><a href="http://www.sandiego.edu/cas/art/faculty/biography.php?ID=8"><span style="font-family: "times" , "times new roman" , serif;"><i>Sally Yard, PhD</i><span class="s3"><i></i></span></span></a></span></div>
<div class="p4">
<span class="s1"><span style="font-family: "times" , "times new roman" , serif;">Professor, Art History<br /><a href="mailto:syard@sandiego.edu"><span class="s4">syard@sandiego.edu</span></a><br />(619) 260-4512</span></span></div>
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<span class="s1"><b><span style="font-family: "times" , "times new roman" , serif;">FOOTNOTES:</span></b></span></div>
<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">1. Copyright © 1999, By West Group, ISBN 0-314-22864-0</span></div>
<div style="text-align: justify;">
<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><br /></span></div>
<div style="text-align: justify;">
<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">2. Ibid</span></div>
<div style="text-align: justify;">
<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><br /></span></div>
<div style="text-align: justify;">
<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">3. Ibid</span></div>
<div style="text-align: justify;">
<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><br /></span></div>
<div style="text-align: justify;">
<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">4. © 1965 by Print Council of America, Library of Congress, Catalog Card Number: 65-24325, Seventh Printing, March, 1971</span><br />
<div class="p3">
<span class="s2"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><br /></span></span></div>
<div class="p3">
<span class="s2"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">5. <a href="http://www.cbp.gov/xp/cgov/trade/legal/informed_compliance_pubs/"><span class="s3">http://www.cbp.gov/xp/cgov/trade/legal/informed_compliance_pubs/</span></a></span></span></div>
<div class="p2">
<span style="font-size: x-small;"><span style="font-family: "times" , "times new roman" , serif;"><br /></span>
<span style="font-family: "times" , "times new roman" , serif;">6. Copyright © 1999, By West Group, ISBN 0-314-22864-0</span><span style="font-family: "times" , "times new roman" , serif;"><span class="s1"></span></span></span></div>
<div class="p3">
<span style="font-size: x-small;"><span class="s2"><span style="font-family: "times" , "times new roman" , serif;"><br /></span></span>
<span class="s2"><span style="font-family: "times" , "times new roman" , serif;">7. <a href="http://www.museum.ucsb.edu/exhibitions/upcoming#goya"><span class="s3">http://www.museum.ucsb.edu/exhibitions/upcoming#goya</span></a></span></span></span></div>
<div class="p2">
<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p3">
<span class="s2"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">8.<a href="http://bigcitybuzz.com/p_buzz.php?b=5613&zipid=1069307&ptnid=531"><span class="s3">http://bigcitybuzz.com/p_buzz.php?b=5613&zipid=1069307&ptnid=531</span></a></span></span></div>
<div class="p2">
<span style="font-size: x-small;"><br /></span></div>
<div class="p3">
<span class="s2"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">9. <a href="http://www.uam.ucsb.edu/"><span class="s3">www.uam.ucsb.edu</span></a></span></span></div>
<div class="p2">
<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p3">
<span class="s2"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">10. <a href="http://www.sandiego.edu/printroom/current_exhibitions.php"><span class="s3">http://www.sandiego.edu/printroom/current_exhibitions.php</span></a></span></span></div>
<div class="p2">
<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p1">
<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">11. Copyright © 1999, By West Group, ISBN 0-314-22864-0</span></span></div>
<div class="p2">
<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p3">
<span class="s2"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">12. <a href="http://www.sandiego.edu/printroom/current_exhibitions.php"><span class="s3">http://www.sandiego.edu/printroom/current_exhibitions.php</span></a></span></span></div>
<div class="p2">
<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><span class="s1"></span><br /></span></div>
<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">13. Copyright © 1999, By West Group, ISBN 0-314-22864-0</span></div>
<div style="text-align: justify;">
<span style="font-size: x-small;"><span style="font-family: "times" , "times new roman" , serif;"><br /></span>
</span><br />
<div class="p1">
<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">14. Ibid</span></span></div>
<div class="p2">
<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p3">
<span class="s2"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">15. <a href="http://www.sandiego.edu/printroom/current_exhibitions.php"><span class="s3">http://www.sandiego.edu/printroom/current_exhibitions.php</span></a></span></span></div>
<div class="p2">
<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p1">
<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">16. Ibid</span></span></div>
<div class="p2">
<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p4">
<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><span class="s4">17. <a href="http://www.utsandiego.com/news/2012/Mar/27/goya-exhibit-draws-criticism/"><span class="s5">www.utsandiego.com/news/2012/Mar/27/goya-exhibit-draws-criticism/</span></a></span><span class="s6"></span></span></div>
<div class="p5">
<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p1">
<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">18. Copyright © 1967 by Dover Publications, Inc., ISBN: 0-486-21872-4)</span></span></div>
<div class="p2">
<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p1">
<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">19. New Haven: Yale University Press, 1992, ISBN 0-3000-5462-9</span></span></div>
<div class="p2">
<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p1">
<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">20. Ibid</span></span></div>
<div class="p2">
<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p3">
<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><span class="s2">21.</span><span class="s7"> <a href="http://www.worldprintmakers.com/masters/goya.htm"><span class="s8">www.worldprintmakers.com/masters/goya.htm</span></a></span></span></div>
<div class="p2">
<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p3">
<span class="s2"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">22. <a href="http://www.caam.net/en/exposiciones/b11/2009/goya.htm"><span class="s3">www.caam.net/en/exposiciones/b11/2009/goya.htm</span></a></span></span></div>
<div class="p2">
<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p1">
<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">23. Copyright © 1967 by Dover Publications, Inc.</span></span></div>
<div class="p2">
<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p3">
<span class="s2"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">24. <a href="http://web.grinnell.edu/faulconergallery/goya/essays/medium.htm"><span class="s3">http://web.grinnell.edu/faulconergallery/goya/essays/medium.htm</span></a></span></span></div>
<div class="p2">
<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p6">
<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><span class="s2">25.</span><span class="s1">http://harrisschrank.com/bien-te-se-esta-%e2%80%93-it-serves-you-right.htm</span></span></div>
<div class="p2">
<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p3">
<span class="s2"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">26. <a href="http://en.wikipedia.org/wiki/The_Disasters_of_War"><span class="s3">http://en.wikipedia.org/wiki/The_Disasters_of_War</span></a></span></span></div>
<div class="p2">
<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p3">
<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><span class="s2">27.</span><span class="s7">http://<a href="http://www.almendron.com/arte/pintura/goya/estampas/anexos/anexos.htm"><span class="s8">www.almendron.com/arte/pintura/goya/estampas/anexos/anexos.htm</span></a></span></span></div>
<div class="p2">
<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p3">
<span class="s2"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">28. <a href="http://www.copyright.gov/title17/92chap1.html#101"><span class="s3">www.copyright.gov/title17/92chap1.html#101</span></a></span></span></div>
<div class="p2">
<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p1">
<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">29. p 22, Translation Copyright© 1989 by Emily Read</span></span></div>
<div class="p2">
<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p3">
<span class="s2"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">30. <a href="http://www.sandiego.edu/about/mission_and_vision.php"><span class="s3">http://www.sandiego.edu/about/mission_and_vision.php</span></a></span></span></div>
<div class="p2">
<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p3">
<span class="s2"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">31. <a href="http://www.sandiego.edu/honorcouncil/codeofhonor.php"><span class="s3">http://www.sandiego.edu/honorcouncil/codeofhonor.php</span></a></span></span></div>
<div class="p2">
<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p1">
<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">32. Ibid</span></span></div>
<div class="p2">
<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p1">
<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">33.W. W. Norton & Company (October 2001), ISBN-10: 039332088X, ISBN-13: 978-0393320886</span></span></div>
<div class="p2">
<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p3">
<span class="s2"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">34. <a href="http://en.wikipedia.org/wiki/Urban_legend"><span class="s3">http://en.wikipedia.org/wiki/Urban_legend</span></a></span></span></div>
<div class="p2">
<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p3">
<span class="s2"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">35. <a href="http://laprensa-sandiego.org/archieve/december14/GOYA.HTM"><span class="s3">http://laprensa-sandiego.org/archieve/december14/GOYA.HTM</span></a></span></span></div>
<div class="p2">
<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p3">
<span class="s2"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">36. <a href="http://en.wikipedia.org/wiki/Urban_legend"><span class="s3">http://en.wikipedia.org/wiki/Urban_legend</span></a></span></span></div>
<div class="p2">
<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p3">
<span class="s2"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">37. <a href="http://laprensa-sandiego.org/archieve/december14/GOYA.HTM"><span class="s3">http://laprensa-sandiego.org/archieve/december14/GOYA.HTM</span></a></span></span></div>
<div class="p2">
<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p3">
<span class="s2"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">38. <a href="http://www.sandiego.edu/printroom/current_exhibitions.php"><span class="s3">http://www.sandiego.edu/printroom/current_exhibitions.php</span></a></span></span></div>
<div class="p2">
<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p1">
<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">39. Ibid</span></span></div>
<div class="p2">
<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p3">
<span class="s2"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">40. <a href="http://www.aamd.org/AAMDmission.shtml"><span class="s3">www.aamd.org/AAMDmission.shtml</span></a></span></span></div>
<div class="p2">
<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p1">
<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">41. Published in 2001 by the Association of Art Museum Directors, 41 East 65th Street, New York 10021 ISBN 1-880974-02-9</span></span></div>
<div class="p2">
<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p1">
<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">42. Ibid</span></span></div>
<div class="p2">
<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p3">
<span class="s2"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">43. <a href="http://www.artic.edu/aic/aboutus/press/Gauguin_Statement.pdf"><span class="s3">www.artic.edu/aic/aboutus/press/Gauguin_Statement.pdf</span></a></span></span></div>
<div class="p2">
<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p3">
<span class="s2"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">44. <a href="http://en.wikipedia.org/wiki/The_Faun"><span class="s3">http://en.wikipedia.org/wiki/The_Faun</span></a></span></span></div>
<div class="p2">
<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p3">
<span class="s2"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">45. <a href="http://www.artic.edu/aic/aboutus/press/Gauguin_Statement.pdf"><span class="s3">www.artic.edu/aic/aboutus/press/Gauguin_Statement.pdf</span></a></span></span></div>
<div class="p2">
<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p3">
<span class="s2"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">46. <a href="http://www.nytimes.com/2007/12/13/arts/13gauguin.html"><span class="s3">http://www.nytimes.com/2007/12/13/arts/13gauguin.html</span></a></span></span></div>
<div class="p2">
<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p3">
<span class="s2"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">47. <a href="http://www.collegeart.org/guidelines/sculpture"><span class="s3">www.collegeart.org/guidelines/sculpture</span></a></span></span></div>
<div class="p2">
<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p3">
<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><span class="s2">48. </span><span class="s7"> <a href="http://abclocal.go.com/wls/story?section=news/local&id=5829654"><span class="s8">http://abclocal.go.com/wls/story?section=news/local&id=5829654</span></a> </span></span></div>
<div class="p2">
<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p1">
<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">49.<b> </b>Publisher: Bloomsbury Pub Ltd (July 1995), ISBN-10: 0747515859, ISBN-13: 978-0747515852</span></span></div>
<div class="p1">
<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">Publication Date: <b>July 1995</b></span></span></div>
<div class="p1">
<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">This guide to the history of Western art combines a comprehensive essay, outlining the development of the discipline and its major movements, with more than 300 detailed entries, organized alphabetically from Abstract Expressionism to Zeitgeist, on the movements, terminology, writers, bibliography and philosophy significant to the development of art history. Extensive bibliographical information and cross-references are included.</span></span></div>
<div class="p3">
<span class="s3"><a href="http://www.amazon.com/Essential-Art-History-Paul-Duro/dp/0747515859/ref=sr_1_fkmr0_1?s=books&ie=UTF8&qid=1329636465&sr=1-1-fkmr0"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">http://www.amazon.com/Essential-Art-History-Paul-Duro/dp/0747515859/ref=sr_1_fkmr0_1?s=books&ie=UTF8&qid=1329636465&sr=1-1-fkmr0</span></a></span></div>
<div class="p2">
<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p6">
<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><span class="s2">50.</span><span class="s1">http://articles.chicagotribune.com/2007-12-16/news/0712140412_1_george-greenhalgh-paul-gauguin-claude-emile-schuffenecker</span></span></div>
<div class="p2">
<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p3">
<span class="s2"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">51. <a href="http://www.artic.edu/aic/aboutus/wip/index.html"><span class="s3">http://www.artic.edu/aic/aboutus/wip/index.html</span></a></span></span></div>
<div class="p2">
<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p3">
<span class="s2"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">52. <a href="http://www.collegeart.org/caa/ethics/sculpture.html"><span class="s3">www.collegeart.org/caa/ethics/sculpture.html</span></a></span></span></div>
<div class="p2">
<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p1">
<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">53. p 506, <i>Seventh Edition of Black's Law Dictionary</i>, Copyright © 1999, By West Group, ISBN 0-314-22864-0</span></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">54. http://www.artic.edu/sites/default/files/press/Lobis%20PR%20FINAL.pdf</span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">FOR IMMEDIATE RELEASE</span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">April 9, 2013</span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">MEDIA CONTACTS: </span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">Erin Hogan Carl Krause</span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">(312) 443-3664 (312) 443-3363</span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">ehogan@artic.edu ckrause@artic.edu</span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">THE ART INSTITUTE OF CHICAGO NAMES VICTORIA SANCHO LOBIS AS NEW </span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">PRINCE TRUST ASSOCIATE CURATOR</span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">The Art Institute of Chicago is very pleased to announce the appointment of Victoria Sancho Lobis as the new Prince Trust Associate Curator in the Department of Prints and Drawings, effective September 15, 2013. Lobis, a multilingual scholar, brings to the museum expertise in both Netherlandish Baroque and Latin American colonial art, adding new </span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">dimensions to an already strong department. </span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">“We are thrilled to welcome Victoria to the Art Institute,” said Suzanne Folds McCullagh, the Anne Vogt Fuller and Marion Titus Searle Chair and Curator of the Department of Prints and Drawings. “Her knowledge and experience will help us shape our holdings, research, and exhibitions in two pivotal areas for the museum. We are particularly excited by her interest in Latin American colonial art and by her success in building a program at the University of San Diego. She has energy, imagination, and the ability to think organizationally, all of which will make her a welcome addition to the Art Institute.”</span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">Since 2009, Lobis has served as the inaugural curator of the Print Collection and Fine Art Galleries at the University of San Diego. In this capacity, she established the university’s print study room and worked closely with donors to develop an impressive collection, and she continues to make the collection accessible through its integration into the university curriculum and creative exhibitions. She also supervises design, publication, and installation teams as well as registrars and interns. In addition to her role within the Fine Art Galleries, she is an affiliated ember of the art history faculty and teaches undergraduate courses. She has also developed strong relationships outside of the university by taking an active role as a liaison for the art museums in southern California and beyond.</span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">Lobis received her B.A. from Yale University, M.A. from the Williams College Graduate Program in the History of Art, and her M.Phil. and Ph.D. from Columbia University, with a dissertation treating the subject of artistic training and print culture in the time of Rubens. Prior to her appointment at the University of San Diego, she was an Exhibition Coordinator at the Americas Society and an intern at the J. Paul Getty Museum in the Drawings Department. A recipient of many prestigious fellowships, including an Andrew W. Mellon Fellowship in Humanistic Studies, she has also taught at Columbia University, Claremont McKenna College, and New York University, and is the author of several publications on topics ranging from contemporary artists John Baldessari and Dawoud Bey to Rubens and male anatomy in northern Europe. Lobis has also lectured at the Museum of Modern Art, the Boston Museum of Fine Arts, the Cleveland Museum of Art, and the Massachusetts Museum of Contemporary Art. Currently she is cocurating an exhibition on the sixteenth-century printmaker Hendrick Goltzius, which will be seen this fall at the Crocker Art Museum in Sacramento, California, and the following year at the University of San Diego.</span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">At the Art Institute, Lobis will oversee the collections of Northern European prints and drawings of the 16th through 18th centuries and bring her wide-ranging interests and experience to bear on other areas of the collection, including American 19th-century holdings. She will also take over the leadership of the museum’s Print and Drawing Club when she takes up full-time residence at the museum in September. </span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">The Prince Charitable Trusts were established in 1947 from the bequests of Frederick Henry Prince (1859–1953) and his wife, Abbie Norman Prince (1860–1949). The three trusts operate as a family foundation with giving programs in the city of Chicago, the Washington D.C. metropolitan area, and the state of Rhode Island. F.H. Prince was a Boston entrepreneur who owned a brokerage and investment banking firm. He later became a financier and an early investor in railroads. He was owner of the legendary Union Stockyards in Chicago and is credited with developing the first planned urban industrial real estate park in that city and in the world. F. H. Prince and his wife also were residents of Newport, Rhode Island.</span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">55. © Kluwer Law International 1998, ISBN 90-411-0697-9</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">56. Ibid</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">57. Ibid</span></span></div>
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<span class="s1"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">58. Ibid</span></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><span class="s1">59. </span><span style="color: blue;">http://www.museum.ucsb.edu/giving?quicktabs_3=1#quicktabs-3</span></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">Director’s Circle ($1,000-$2,500)</span></h4>
<div style="background-color: white; line-height: 18px; margin-bottom: 1.5em; margin-left: 1em; padding: 0px; text-align: start;">
<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">Director’s Circle contributors enjoy membership in the<br style="margin: 0px; padding: 0px;" />UC Santa Barbara Chancellor’s Council<br style="margin: 0px; padding: 0px;" />which includes a special campus parking permit.</span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">Patron ($500-$999)</span></h4>
<div style="background-color: white; line-height: 18px; margin-bottom: 1.5em; margin-left: 1em; padding: 0px; text-align: start;">
<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">Receive four one-day parking passes in addition to<br style="margin: 0px; padding: 0px;" />full membership benefits.</span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">Contributor ($100-$499)</span></h4>
<div style="background-color: white; line-height: 18px; margin-bottom: 1.5em; margin-left: 1em; padding: 0px; text-align: start;">
<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">Enjoy full membership benefits plus<br style="margin: 0px; padding: 0px;" />two one-day parking passes.</span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">Household ($50-$99)</span></h4>
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<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">Members receive all mailings and discounts.</span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">Gaucho ($25)</span></h4>
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<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">For current UC Santa Barbara students, staff and faculty.</span></div>
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<span class="s1"><span style="color: blue; font-family: "times" , "times new roman" , serif; font-size: x-small;">https://secure.my-websites.org/supporter/donatenow.do?n=Fs@5Cs&dfdbid=1107162</span></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">Make a Gift to the Art, Design & Architecture Museum</span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">The Art, Design & Architecture Museum appreciates gifts in all amounts from alumni, parents, and friends who provide essential support for our programs. A wide range of giving opportunities is available for those who wish to be a vital part of the museum's future.<br /><br />For more information about supporting the Art, Design & Architecture Museum, please contact Leslie Gray, Director of Development, Humanities and Fine Arts (805) 893-4193 or <a href="mailto:leslie.gray@ia.ucsb.edu" style="color: black; outline: none;">leslie.gray@ia.ucsb.edu</a>.<br /><br /><strong>Your generosity is greatly appreciated.</strong> </span></div>
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<tr bgcolor="#21297C"><td class="donationsectiontitle" style="color: #ffcc33; font-weight: bold; height: 18px; padding: 0px 8px;"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">Please select a donation amount ($25 minimum, $10,000 maximum):</span></td></tr>
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<tr name="tr_amounts_USD"><td><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><input checked="" id="rad_amount_USD_1" name="amount" style="color: black;" type="radio" value="10,000" /></span></td><td><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">$</span></td><td id="td_amount_USD_1" name="td_amounts_USD"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">10,000</span></td><td><span style="font-family: "times" , "times new roman" , serif;"><span class="donationamountlabel" id="spn_amount_label_USD_1" style="font-size: x-small; margin-left: 16px;"></span></span></td></tr>
<tr name="tr_amounts_USD"><td><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><input id="rad_amount_USD_2" name="amount" style="color: black;" type="radio" value="5,000" /></span></td><td><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">$</span></td><td id="td_amount_USD_2" name="td_amounts_USD"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">5,000</span></td><td><span style="font-family: "times" , "times new roman" , serif;"><span class="donationamountlabel" id="spn_amount_label_USD_2" style="font-size: x-small; margin-left: 16px;"></span></span></td></tr>
<tr name="tr_amounts_USD"><td><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><input id="rad_amount_USD_3" name="amount" style="color: black;" type="radio" value="2,500" /></span></td><td><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">$</span></td><td id="td_amount_USD_3" name="td_amounts_USD"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">2,500</span></td><td><span style="font-family: "times" , "times new roman" , serif;"><span class="donationamountlabel" id="spn_amount_label_USD_3" style="font-size: x-small; margin-left: 16px;"></span></span></td></tr>
<tr name="tr_amounts_USD"><td><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><input id="rad_amount_USD_4" name="amount" style="color: black;" type="radio" value="1,000" /></span></td><td><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">$</span></td><td id="td_amount_USD_4" name="td_amounts_USD"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">1,000</span></td><td><span class="donationamountlabel" id="spn_amount_label_USD_4" style="margin-left: 16px;"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">Chancellor's Council ($1,000 and over)</span></span></td></tr>
<tr name="tr_amounts_USD"><td><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><input id="rad_amount_USD_5" name="amount" style="color: black;" type="radio" value="500" /></span></td><td><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">$</span></td><td id="td_amount_USD_5" name="td_amounts_USD"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">500</span></td><td><span style="font-family: "times" , "times new roman" , serif;"><span class="donationamountlabel" id="spn_amount_label_USD_5" style="font-size: x-small; margin-left: 16px;"></span></span></td></tr>
<tr name="tr_amounts_USD"><td><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><input id="rad_amount_USD_6" name="amount" style="color: black;" type="radio" value="100" /></span></td><td><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">$</span></td><td id="td_amount_USD_6" name="td_amounts_USD"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">100</span></td><td><span style="font-family: "times" , "times new roman" , serif;"><span class="donationamountlabel" id="spn_amount_label_USD_6" style="font-size: x-small; margin-left: 16px;"></span></span></td></tr>
<tr name="tr_amounts_USD"><td><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><input id="rad_amount_USD_7" name="amount" style="color: black;" type="radio" value="50" /></span></td><td><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">$</span></td><td id="td_amount_USD_7" name="td_amounts_USD"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">50</span></td><td><span style="font-family: "times" , "times new roman" , serif;"><span class="donationamountlabel" id="spn_amount_label_USD_7" style="font-size: x-small; margin-left: 16px;"></span></span></td></tr>
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<b><span style="font-family: "times" , "times new roman" , serif;">ADDENDUM</span></b><br />
<span style="font-family: "times" , "times new roman" , serif;">For reference, the University of California Santa Barbara's Art, Design & Architecture Museum <b>Goya: Disasters of War</b> exhibition checklist, </span><span style="font-family: "times" , "times new roman" , serif;">with the numerical designation: PC1999.1.1 to PC1999.1.82,</span><span style="font-family: "times" , "times new roman" , serif;"> in comparison to the <span style="color: #666666;">National Gallery of Canada's <i>Disasters of War</i> collection checklist.</span></span><br />
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<span style="font-family: "times" , "times new roman" , serif;">Both collections are consists of non-disclosed forgeries, from posthumously reworked and altered plates, falsely attributed as original works of visual art ie., etchings to dead Francisco de Goya y Lucientes. With some 80,000 or more non-disclosed forgeries </span><span style="font-family: "times" , "times new roman" , serif;">from reworked and altered plates,</span><span style="font-family: "times" , "times new roman" , serif;"> falsely attributed as <i>Disasters of War </i>etchings and attributed to a dead Francisco de Goya y Lucientes, there are some 1,000 so-called editions of 80 that have been acquired, in part or whole by museums, cultural institutions and collectors around the world.</span><br />
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It's a seemingly growing -cottage industry-.</span><br />
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<span style="font-family: "times" , "times new roman" , serif;">The plate numbers used, for the NGC collection, were acquired from: <span style="color: blue;">http://web.grinnell.edu/faulconergallery/goya/plates/platesA.htm</span> </span></div>
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<span style="font-family: "times" , "times new roman" , serif;">PC1999.1.1</span><br />
<span style="font-weight: 700;"><span style="font-family: "times" , "times new roman" , serif;">Goya, Francisco (de y Lucientes)</span></span><br />
<span style="font-family: "times" , "times new roman" , serif;">Sad presentiments of what must come to pass, 1863<br />etching with lavis, drypoint burning, 9.75” x 13.25" Romanticism</span></div>
</div>
</div>
</div>
<span style="background-color: white;"><span style="font-family: "times" , "times new roman" , serif;">Gift of Robert and Karen Hoehn</span></span><br />
<span style="background-color: white; line-height: 17px; text-align: start; white-space: nowrap;"><span style="font-family: "times" , "times new roman" , serif;">usdgoya.docx</span></span><br />
<span style="font-family: "times" , "times new roman" , serif;"><br /></span>
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<span style="color: #666666; font-family: "times" , "times new roman" , serif;">Plate 1</span><br />
<span style="color: #666666; font-family: "times" , "times new roman" , serif;">Francisco Goya y Lucientes</span><br />
<span style="color: #666666; font-family: "times" , "times new roman" , serif;">Sad Forebodings of What Is Going to Happen c. 1820-1823</span><br />
<span style="color: #666666; font-family: "times" , "times new roman" , serif;">etching, burin, drypoint, and burnishing on heavy wove paper</span><br />
<span style="color: #666666; font-family: "times" , "times new roman" , serif;">Printed by Laurenciano Potenciano</span><br />
<span style="color: #666666; font-family: "times" , "times new roman" , serif;">24.5 x 33.8 cm; plate: 17.5 x 21.9 cm</span><br />
<span style="color: #666666; font-family: "times" , "times new roman" , serif;">Purchased 1933</span><br />
<span style="color: #666666; font-family: "times" , "times new roman" , serif;">National Gallery of Canada (no. 4124)</span><br />
<span style="font-family: "times" , "times new roman" , serif;"><span style="color: #666666;"><br /></span>
<span style="color: #666666;">This frontispiece to "The Disasters of War" was added between 1820 and 1823 with a group of caprichos "enfáticos", or "emphatic caprichos", which have imaginary and allegorical subject matter.</span></span><br />
<span style="color: #666666; font-family: "times" , "times new roman" , serif;">Goya¿s distinctive, sombre later style is evident in the darker tones and looser handling of line. The identity of the figure remains a mystery. His kneeling position and open arms recall the pose of some martyred saint. In the absence of a written preface, this print effectively achieves a mood of foreboding, fear and anxiety for the scenes of violent conflict and famine that follow.</span><br />
<span style="color: #666666; font-family: "times" , "times new roman" , serif;">http://cybermuse.gallery.ca/cybermuse/search/artwork_e.jsp?mkey=9655</span><br />
<span style="font-family: "times" , "times new roman" , serif;"><span style="color: #666666;"><br /></span>
<br />
</span><br />
<div class="p1">
<span style="font-family: "times" , "times new roman" , serif;"><br /></span>
<span style="font-family: "times" , "times new roman" , serif;">PC1999.1.2</span></div>
<div class="p1">
<b><span style="font-family: "times" , "times new roman" , serif;">Goya, Francisco (de y Lucientes)</span></b></div>
<div class="p1">
<span style="font-family: "times" , "times new roman" , serif;">With or without reason, 1863 etching with lavis, drypoint burning, 9.75" x 13.25" Romanticism</span></div>
<div class="p1">
<span style="font-family: "times" , "times new roman" , serif;">Gift of Robert and Karen Hoehn</span></div>
<div class="p1">
<span style="background-color: white; font-family: "times" , "times new roman" , serif; line-height: 17px; white-space: nowrap;">usdgoya.docx</span></div>
<span style="font-family: "times" , "times new roman" , serif;"><br />
<span style="color: #666666;">Plate 2</span></span><br />
<span style="color: #666666; font-family: "times" , "times new roman" , serif;">Francisco Goya y Lucientes</span><br />
<span style="color: #666666; font-family: "times" , "times new roman" , serif;">With or without Reason c. 1810-1813</span><br />
<span style="color: #666666; font-family: "times" , "times new roman" , serif;">etching, lavis, drypoint, burin, and burnishing on heavy wove paper</span><br />
<span style="color: #666666; font-family: "times" , "times new roman" , serif;">Printed by Laurenciano Potenciano</span><br />
<span style="color: #666666; font-family: "times" , "times new roman" , serif;">24.5 x 33.9 cm; plate: 15.3 x 20.6 cm</span><br />
<span style="color: #666666; font-family: "times" , "times new roman" , serif;">Purchased 1933</span><br />
<span style="color: #666666; font-family: "times" , "times new roman" , serif;">National Gallery of Canada (no. 4125)</span><br />
<span style="color: #666666; font-family: "times" , "times new roman" , serif;">This print and the next ("The Same Thing", plate 3) record the improvised fighting methods of the Spanish resistance. Armed only with sharpened poles and knives, a group of insurgents bravely face the muskets of the French invaders. Their plain clothing and crude weapons identify them as working class people who have spontaneously risen up in rebellion and are not part of any organized army. Goya¿s title suggests the wild determination with which they continue to fight against a more advanced enemy.</span><br />
<span style="color: #666666; font-family: "times" , "times new roman" , serif;">http://cybermuse.gallery.ca/cybermuse/search/artwork_e.jsp?mkey=9654</span><br />
<span style="font-family: "times" , "times new roman" , serif;"><br />
</span><br />
<div class="p1">
<span style="font-family: "times" , "times new roman" , serif;"><br /></span>
<span style="font-family: "times" , "times new roman" , serif;">PC1999.1.3</span></div>
<div class="p1">
<b><span style="font-family: "times" , "times new roman" , serif;">Goya, Francisco (de y Lucientes)</span></b></div>
<div class="p1">
<span style="font-family: "times" , "times new roman" , serif;">The same thing, 1863</span></div>
<div class="p1">
<span style="font-family: "times" , "times new roman" , serif;">etching with lavis, drypoint burning, 9.75" x 13.25" Romanticism</span></div>
<div class="p1">
<span style="font-family: "times" , "times new roman" , serif;">Gift of Robert and Karen Hoehn</span></div>
<div class="p1">
<span style="background-color: white; font-family: "times" , "times new roman" , serif; line-height: 17px; white-space: nowrap;">usdgoya.docx</span></div>
<span style="font-family: "times" , "times new roman" , serif;"><span style="color: #666666;"><br /></span>
<span style="color: #666666;">Plate 3</span></span><br />
<span style="color: #666666; font-family: "times" , "times new roman" , serif;">Francisco Goya y Lucientes</span><br />
<span style="color: #666666; font-family: "times" , "times new roman" , serif;">The Same Thing c. 1810-1813</span><br />
<span style="color: #666666; font-family: "times" , "times new roman" , serif;">etching, lavis, drypoint, burin, and burnishing on heavy wove paper</span><br />
<span style="color: #666666; font-family: "times" , "times new roman" , serif;">Printed by Laurenciano Potenciano</span><br />
<span style="color: #666666; font-family: "times" , "times new roman" , serif;">24.5 x 33.8 cm; plate: 16 x 22 cm</span><br />
<span style="color: #666666; font-family: "times" , "times new roman" , serif;">Purchased 1933</span><br />
<span style="color: #666666; font-family: "times" , "times new roman" , serif;">National Gallery of Canada (no. 4126)</span><br />
<span style="color: #666666; font-family: "times" , "times new roman" , serif;">http://cybermuse.gallery.ca/cybermuse/search/artwork_e.jsp?mkey=9653</span><br />
<span style="font-family: "times" , "times new roman" , serif;"><br />
</span><br />
<div class="p1">
<span style="font-family: "times" , "times new roman" , serif;"><br /></span>
<span style="font-family: "times" , "times new roman" , serif;">PC1999.1.4</span></div>
<div class="p1">
<b><span style="font-family: "times" , "times new roman" , serif;">Goya, Francisco (de y Lucientes)</span></b></div>
<div class="p1">
<span style="font-family: "times" , "times new roman" , serif;">The women give courage, 1863 etching with lavis, drypoint burning, 9.75" x 13.25" Romanticism</span></div>
<div class="p1">
<span style="font-family: "times" , "times new roman" , serif;">Gift of Robert and Karen Hoehn</span></div>
<div class="p1">
<span style="background-color: white; font-family: "times" , "times new roman" , serif; line-height: 17px; white-space: nowrap;">usdgoya.docx</span></div>
<span style="font-family: "times" , "times new roman" , serif;"><span style="color: #666666;"><br /></span>
<span style="color: #666666;">Plate 4</span></span><br />
<span style="color: #666666; font-family: "times" , "times new roman" , serif;">Francisco Goya y Lucientes</span><br />
<span style="color: #666666; font-family: "times" , "times new roman" , serif;">The Women Give Courage c. 1810-1813</span><br />
<span style="color: #666666; font-family: "times" , "times new roman" , serif;">etching, aquatint, lavis, drypoint, and burnishing on heavy wove paper</span><br />
<span style="color: #666666; font-family: "times" , "times new roman" , serif;">Printed by Laurenciano Potenciano</span><br />
<span style="color: #666666; font-family: "times" , "times new roman" , serif;">24.6 x 33.5 cm; plate: 15.3 x 20.5 cm</span><br />
<span style="color: #666666; font-family: "times" , "times new roman" , serif;">Purchased 1933</span><br />
<span style="color: #666666; font-family: "times" , "times new roman" , serif;">National Gallery of Canada (no. 4127)</span><br />
<span style="color: #666666; font-family: "times" , "times new roman" , serif;">http://cybermuse.gallery.ca/cybermuse/search/artwork_e.jsp?mkey=9652</span><br />
<span style="font-family: "times" , "times new roman" , serif;"><br />
</span><br />
<div class="p1">
<span style="font-family: "times" , "times new roman" , serif;"><br /></span>
<span style="font-family: "times" , "times new roman" , serif;">PC1999.1.5</span></div>
<div class="p1">
<b><span style="font-family: "times" , "times new roman" , serif;">Goya, Francisco (de y Lucientes)</span></b></div>
<div class="p1">
<span style="font-family: "times" , "times new roman" , serif;">And are like wild beasts, 1863 etching with lavis, drypoint burning, 9.75” x 13.25" Romanticism</span></div>
<div class="p1">
<span style="font-family: "times" , "times new roman" , serif;">Gift of Robert and Karen Hoehn</span></div>
<div class="p1">
<span style="background-color: white; font-family: "times" , "times new roman" , serif; line-height: 17px; white-space: nowrap;">usdgoya.docx</span></div>
<span style="font-family: "times" , "times new roman" , serif;"><br />
<span style="color: #666666;">Plate 5</span></span><br />
<span style="color: #666666; font-family: "times" , "times new roman" , serif;">Francisco Goya y Lucientes</span><br />
<span style="color: #666666; font-family: "times" , "times new roman" , serif;">And They Are Like Wild Beasts c. 1810-1813</span><br />
<span style="color: #666666; font-family: "times" , "times new roman" , serif;">etching, aquatint, drypoint, and burnishing on heavy wove paper</span><br />
<span style="color: #666666; font-family: "times" , "times new roman" , serif;">Printed by Laurenciano Potenciano</span><br />
<span style="color: #666666; font-family: "times" , "times new roman" , serif;">24.5 x 33.8 cm; plate: 15.5 x 20.8 cm</span><br />
<span style="color: #666666; font-family: "times" , "times new roman" , serif;">Purchased 1933</span><br />
<span style="color: #666666; font-family: "times" , "times new roman" , serif;">National Gallery of Canada (no. 4128)</span><br />
<span style="color: #666666; font-family: "times" , "times new roman" , serif;">http://cybermuse.gallery.ca/cybermuse/search/artwork_e.jsp?mkey=9651</span><br />
<span style="font-family: "times" , "times new roman" , serif;"><span style="color: #666666;"><br /></span>
<span style="color: #666666;">In October 1808 the Spanish General Palafox invited Goya to Saragossa</span></span><br />
<span style="color: #666666; font-family: "times" , "times new roman" , serif;">to record the glorious deeds of the local citizenry who had successfully</span><br />
<span style="color: #666666; font-family: "times" , "times new roman" , serif;">defended the city against a French siege from June until August 1808</span><br />
<span style="color: #666666; font-family: "times" , "times new roman" , serif;">during the opening months of the Peninsular War. Saragossa, the</span><br />
<span style="color: #666666; font-family: "times" , "times new roman" , serif;">capital of the historical region of Aragon, is located on the border of</span><br />
<span style="color: #666666; font-family: "times" , "times new roman" , serif;">France, west of the Pyrenees and was vulnerable to Napoleon¿s troops.</span><br />
<span style="color: #666666; font-family: "times" , "times new roman" , serif;">Among reports that Goya heard on his arrival were those of the</span><br />
<span style="color: #666666; font-family: "times" , "times new roman" , serif;">heroism of women who defended themselves ferociously with knives,</span><br />
<span style="color: #666666; font-family: "times" , "times new roman" , serif;">rocks or whatever was at hand. In this print one woman holding an</span><br />
<span style="color: #666666; font-family: "times" , "times new roman" , serif;">infant with her left arm drives a spear through her attacker with her</span><br />
<span style="color: #666666; font-family: "times" , "times new roman" , serif;">right.</span><br />
<span style="font-family: "times" , "times new roman" , serif;"><br />
</span><br />
<div class="p1">
<span style="font-family: "times" , "times new roman" , serif;"><br /></span>
<span style="font-family: "times" , "times new roman" , serif;">PC1999.1.6</span></div>
<div class="p1">
<b><span style="font-family: "times" , "times new roman" , serif;">Goya, Francisco (de y Lucientes)</span></b></div>
<div class="p1">
<span style="font-family: "times" , "times new roman" , serif;">It serves you rignt, 1863 etching with lavis, drypoint burning, 9.75” x 13.25" Romanticism</span></div>
<span style="font-family: "times" , "times new roman" , serif;"><br /></span>
<br />
<div class="p1">
<span style="font-family: "times" , "times new roman" , serif;">Gift of Robert and Karen Hoehn</span></div>
<div class="p1">
<span style="background-color: white; font-family: "times" , "times new roman" , serif; line-height: 17px; white-space: nowrap;">usdgoya.docx</span></div>
<span style="font-family: "times" , "times new roman" , serif;"><br />
<span style="color: #666666;">Plate 6</span></span><br />
<span style="color: #666666; font-family: "times" , "times new roman" , serif;">Francisco Goya y Lucientes</span><br />
<span style="color: #666666; font-family: "times" , "times new roman" , serif;">It Serves You Right c. 1810-1813</span><br />
<span style="color: #666666; font-family: "times" , "times new roman" , serif;">etching, lavis, and burin on heavy wove paper</span><br />
<span style="color: #666666; font-family: "times" , "times new roman" , serif;">Printed by Laurenciano Potenciano</span><br />
<span style="color: #666666; font-family: "times" , "times new roman" , serif;">24.5 x 33.8 cm; plate: 14.1 x 20.8 cm</span><br />
<span style="color: #666666; font-family: "times" , "times new roman" , serif;">Purchased 1933</span><br />
<span style="color: #666666; font-family: "times" , "times new roman" , serif;">National Gallery of Canada (no. 4129)</span><br />
<span style="color: #666666; font-family: "times" , "times new roman" , serif;">http://cybermuse.gallery.ca/cybermuse/search/artwork_e.jsp?mkey=9650</span><br />
<span style="font-family: "times" , "times new roman" , serif;"><br />
</span><br />
<div class="p1">
<span style="font-family: "times" , "times new roman" , serif;"><br /></span>
<span style="font-family: "times" , "times new roman" , serif;">PC1999.1.7</span></div>
<div class="p1">
<b><span style="font-family: "times" , "times new roman" , serif;">Goya, Francisco (de y Lucientes)</span></b></div>
<div class="p1">
<span style="font-family: "times" , "times new roman" , serif;">What courage, 1863</span></div>
<div class="p1">
<span style="font-family: "times" , "times new roman" , serif;">etching with lavis, drypoint burning, 9.75” x 13.25" Romanticism</span></div>
<div class="p1">
<span style="font-family: "times" , "times new roman" , serif;">Gift of Robert and Karen Hoehn</span></div>
<div class="p1">
<span style="background-color: white; font-family: "times" , "times new roman" , serif; line-height: 17px; white-space: nowrap;">usdgoya.docx</span></div>
<span style="font-family: "times" , "times new roman" , serif;"><br />
<span style="color: #666666;">Plate 7</span></span><br />
<span style="color: #666666; font-family: "times" , "times new roman" , serif;">Francisco Goya y Lucientes</span><br />
<span style="color: #666666; font-family: "times" , "times new roman" , serif;">What Courage! c. 1810-1813</span><br />
<span style="color: #666666; font-family: "times" , "times new roman" , serif;">etching, aquatint, drypoint, burin, and burnishing on heavy wove paper</span><br />
<span style="color: #666666; font-family: "times" , "times new roman" , serif;">Printed by Laurenciano Potenciano</span><br />
<span style="color: #666666; font-family: "times" , "times new roman" , serif;">24.5 x 33.8 cm; plate: 15.5 x 21 cm</span><br />
<span style="color: #666666; font-family: "times" , "times new roman" , serif;">Purchased 1933</span><br />
<span style="color: #666666; font-family: "times" , "times new roman" , serif;">National Gallery of Canada (no. 4130)</span><br />
<span style="font-family: "times" , "times new roman" , serif;"><span style="color: #666666;"><br /></span>
<span style="color: #666666;">A popular heroine of the battle of Saragossa was Agustina de Aragón,</span></span><br />
<span style="color: #666666; font-family: "times" , "times new roman" , serif;">who ran supplies for the front line soldiers and is said to have rushed</span><br />
<span style="color: #666666; font-family: "times" , "times new roman" , serif;">forward over her fallen male comrades, plucked the lit match from the</span><br />
<span style="color: #666666; font-family: "times" , "times new roman" , serif;">hand of a wounded artilleryman and fired the cannon in his place. Her</span><br />
<span style="color: #666666; font-family: "times" , "times new roman" , serif;">example rallied the defenders to carry on the struggle. Goya here</span><br />
<span style="color: #666666; font-family: "times" , "times new roman" , serif;">transforms the figure of Agustina into a symbol of decisive bravery.</span><br />
<span style="color: #666666; font-family: "times" , "times new roman" , serif;">Saragossa was finally taken by the French in February 1809 after 42</span><br />
<span style="color: #666666; font-family: "times" , "times new roman" , serif;">days of continuous attack.</span><br />
<span style="color: #666666; font-family: "times" , "times new roman" , serif;">http://cybermuse.gallery.ca/cybermuse/search/artwork_e.jsp?mkey=9649</span><br />
<span style="font-family: "times" , "times new roman" , serif;"><br />
</span><br />
<div class="p1">
<span style="font-family: "times" , "times new roman" , serif;"><br /></span>
<span style="font-family: "times" , "times new roman" , serif;">PC1999.1.8</span></div>
<div class="p1">
<b><span style="font-family: "times" , "times new roman" , serif;">Goya, Francisco (de y Lucientes)</span></b></div>
<div class="p1">
<span style="font-family: "times" , "times new roman" , serif;">This always happens, 1863 etching with lavis, drypoint burning, 9.75” x 13.25" Romanticism</span></div>
<div class="p1">
<span style="font-family: "times" , "times new roman" , serif;">Gift of Robert and Karen Hoehn</span></div>
<div class="p1">
<span style="background-color: white; font-family: "times" , "times new roman" , serif; line-height: 17px; white-space: nowrap;">usdgoya.docx</span></div>
<span style="font-family: "times" , "times new roman" , serif;"><br />
<span style="color: #666666;">Plate 8</span></span><br />
<span style="color: #666666; font-family: "times" , "times new roman" , serif;">Francisco Goya y Lucientes</span><br />
<span style="color: #666666; font-family: "times" , "times new roman" , serif;">This Always Happens c. 1820-1823</span><br />
<span style="color: #666666; font-family: "times" , "times new roman" , serif;">etching and drypoint on heavy wove paper</span><br />
<span style="color: #666666; font-family: "times" , "times new roman" , serif;">Printed by Laurenciano Potenciano</span><br />
<span style="color: #666666; font-family: "times" , "times new roman" , serif;">24.5 x 33.8 cm; plate: 17.4 x 21.8 cm</span><br />
<span style="color: #666666; font-family: "times" , "times new roman" , serif;">Purchased 1933</span><br />
<span style="color: #666666; font-family: "times" , "times new roman" , serif;">National Gallery of Canada (no. 4131)</span><br />
<span style="color: #666666; font-family: "times" , "times new roman" , serif;">http://cybermuse.gallery.ca/cybermuse/search/artwork_e.jsp?mkey=9648</span><br />
<span style="font-family: "times" , "times new roman" , serif;"><br />
</span><br />
<div class="p1">
<span style="font-family: "times" , "times new roman" , serif;"><br /></span>
<span style="font-family: "times" , "times new roman" , serif;">PC1999.1.9</span></div>
<div class="p1">
<b><span style="font-family: "times" , "times new roman" , serif;">Goya, Francisco (de y Lucientes)</span></b></div>
<div class="p1">
<span style="font-family: "times" , "times new roman" , serif;">They do not want to, 1863 etching with lavis, drypoint burning, 9.75” x 13.25" Romanticism</span></div>
<div class="p1">
<span style="font-family: "times" , "times new roman" , serif;">Gift of Robert and Karen Hoehn</span></div>
<div class="p1">
<span style="background-color: white; font-family: "times" , "times new roman" , serif; line-height: 17px; white-space: nowrap;">usdgoya.docx</span></div>
<span style="font-family: "times" , "times new roman" , serif;"><span style="color: #666666;"><br /></span>
<span style="color: #666666;">Plate 9</span></span><br />
<span style="color: #666666; font-family: "times" , "times new roman" , serif;">Francisco Goya y Lucientes</span><br />
<span style="color: #666666; font-family: "times" , "times new roman" , serif;">They Don't Want To c. 1810-1813</span><br />
<span style="color: #666666; font-family: "times" , "times new roman" , serif;">etching, aquatint, drypoint, burin, and burnishing on heavy wove paper</span><br />
<span style="color: #666666; font-family: "times" , "times new roman" , serif;">Printed by Laurenciano Potenciano</span><br />
<span style="color: #666666; font-family: "times" , "times new roman" , serif;">24.5 x 33.8 cm; plate: 15.3 x 20.8 cm</span><br />
<span style="color: #666666; font-family: "times" , "times new roman" , serif;">Purchased 1933</span><br />
<span style="color: #666666; font-family: "times" , "times new roman" , serif;">National Gallery of Canada (no. 4132)</span><br />
<span style="font-family: "times" , "times new roman" , serif;"><span style="color: #666666;"><br /></span>
<span style="color: #666666;">During the Peninsular War, the Spanish civilian population suffered</span></span><br />
<span style="color: #666666; font-family: "times" , "times new roman" , serif;">unspeakable atrocities at the hands of the invaders. This print depicts the bravery of an old woman who fights against such acts despite her</span><br />
<span style="color: #666666; font-family: "times" , "times new roman" , serif;">physical disadvantage. A muted atmosphere of seclusion is created by a</span><br />
<span style="color: #666666; font-family: "times" , "times new roman" , serif;">layer of aquatint covering the whole plate with the exception of parts of</span><br />
<span style="color: #666666; font-family: "times" , "times new roman" , serif;">the figures and the water wheel.</span><br />
<span style="color: #666666; font-family: "times" , "times new roman" , serif;">http://cybermuse.gallery.ca/cybermuse/search/artwork_e.jsp?mkey=9647</span><br />
<span style="font-family: "times" , "times new roman" , serif;"><br />
</span><br />
<div class="p1">
<span style="font-family: "times" , "times new roman" , serif;"><br /></span>
<span style="font-family: "times" , "times new roman" , serif;">PC1999.1.10</span></div>
<div class="p1">
<b><span style="font-family: "times" , "times new roman" , serif;">Goya, Francisco (de y Lucientes)</span></b></div>
<div class="p1">
<span style="font-family: "times" , "times new roman" , serif;">Nor do these, 1863</span></div>
<div class="p1">
<span style="font-family: "times" , "times new roman" , serif;">etching with lavis, drypoint burning, 9.75" x 13.25" Romanticism</span></div>
<div class="p1">
<span style="font-family: "times" , "times new roman" , serif;">Gift of Robert and Karen Hoehn</span></div>
<div class="p1">
<span style="background-color: white; font-family: "times" , "times new roman" , serif; line-height: 17px; white-space: nowrap;">usdgoya.docx</span></div>
<span style="font-family: "times" , "times new roman" , serif;"><br />
<span style="color: #666666;">Plate 10</span></span><br />
<span style="color: #666666; font-family: "times" , "times new roman" , serif;">Francisco Goya y Lucientes</span><br />
<span style="color: #666666; font-family: "times" , "times new roman" , serif;">Nor Do These Either c. 1810-1813</span><br />
<span style="color: #666666; font-family: "times" , "times new roman" , serif;">etching and burin on heavy wove paper</span><br />
<span style="color: #666666; font-family: "times" , "times new roman" , serif;">Printed by Laurenciano Potenciano</span><br />
<span style="color: #666666; font-family: "times" , "times new roman" , serif;">24.5 x 33.7 cm; plate: 14.8 x 21.6 cm</span><br />
<span style="color: #666666; font-family: "times" , "times new roman" , serif;">Purchased 1933</span><br />
<span style="color: #666666; font-family: "times" , "times new roman" , serif;">National Gallery of Canada (no. 4133)</span><br />
<span style="color: #666666; font-family: "times" , "times new roman" , serif;">http://cybermuse.gallery.ca/cybermuse/search/artwork_e.jsp?mkey=9646</span><br />
<span style="font-family: "times" , "times new roman" , serif;"><br />
</span><br />
<div class="p1">
<span style="font-family: "times" , "times new roman" , serif;"><br /></span>
<span style="font-family: "times" , "times new roman" , serif;">PC1999.1.11</span></div>
<div class="p1">
<b><span style="font-family: "times" , "times new roman" , serif;">Goya, Francisco (de y Lucientes)</span></b></div>
<div class="p1">
<span style="font-family: "times" , "times new roman" , serif;">Or these, 1863</span></div>
<div class="p1">
<span style="font-family: "times" , "times new roman" , serif;">etching with lavis, drypoint burning, 9.75" x 13.25" Romanticism</span></div>
<div class="p1">
<span style="font-family: "times" , "times new roman" , serif;">Gift of Robert and Karen Hoehn</span></div>
<div class="p1">
<span style="background-color: white; font-family: "times" , "times new roman" , serif; line-height: 17px; white-space: nowrap;">usdgoya.docx</span></div>
<span style="font-family: "times" , "times new roman" , serif;"><br />
<span style="color: #666666;">Plate 11</span></span><br />
<span style="color: #666666; font-family: "times" , "times new roman" , serif;">Francisco Goya y Lucientes</span><br />
<span style="color: #666666; font-family: "times" , "times new roman" , serif;">Neither Do These c. 1810-1813</span><br />
<span style="color: #666666; font-family: "times" , "times new roman" , serif;">etching, lavis, drypoint, and burin on heavy wove paper</span><br />
<span style="color: #666666; font-family: "times" , "times new roman" , serif;">Printed by Laurenciano Potenciano</span><br />
<span style="color: #666666; font-family: "times" , "times new roman" , serif;">24.5 x 33.8 cm; plate: 16.1 x 21.1 cm</span><br />
<span style="color: #666666; font-family: "times" , "times new roman" , serif;">Purchased 1933</span><br />
<span style="color: #666666; font-family: "times" , "times new roman" , serif;">National Gallery of Canada (no. 4134)</span><br />
<span style="color: #666666; font-family: "times" , "times new roman" , serif;">http://cybermuse.gallery.ca/cybermuse/search/artwork_e.jsp?mkey=9645</span><br />
<span style="font-family: "times" , "times new roman" , serif;"><br />
</span><br />
<div class="p1">
<span style="font-family: "times" , "times new roman" , serif;"><br /></span>
<span style="font-family: "times" , "times new roman" , serif;">PC1999.1.12</span></div>
<div class="p1">
<b><span style="font-family: "times" , "times new roman" , serif;">Goya, Francisco (de y Lucientes)</span></b></div>
<div class="p1">
<span style="font-family: "times" , "times new roman" , serif;">This is what you were born for, 1863</span></div>
<div class="p1">
<span style="font-family: "times" , "times new roman" , serif;">etching with lavis, drypoint burning, 9.75" x 13.25" Romanticism</span></div>
<div class="p1">
<span style="font-family: "times" , "times new roman" , serif;">Gift of Robert and Karen Hoehn</span></div>
<div class="p1">
<span style="background-color: white; font-family: "times" , "times new roman" , serif; line-height: 17px; white-space: nowrap;">usdgoya.docx</span></div>
<span style="font-family: "times" , "times new roman" , serif;"><br />
<span style="color: #666666;">Plate 12</span></span><br />
<span style="color: #666666; font-family: "times" , "times new roman" , serif;">Francisco Goya y Lucientes</span><br />
<span style="color: #666666; font-family: "times" , "times new roman" , serif;">This Is What You Were Born For c. 1810-1813</span><br />
<span style="color: #666666; font-family: "times" , "times new roman" , serif;">etching, lavis, drypoint, and burin on heavy wove paper</span><br />
<span style="color: #666666; font-family: "times" , "times new roman" , serif;">Printed by Laurenciano Potenciano</span><br />
<span style="color: #666666; font-family: "times" , "times new roman" , serif;">24.5 x 33.8 cm; plate: 15.8 x 23.4 cm</span><br />
<span style="color: #666666; font-family: "times" , "times new roman" , serif;">Purchased 1933</span><br />
<span style="color: #666666; font-family: "times" , "times new roman" , serif;">National Gallery of Canada (no. 4135)</span><br />
<span style="color: #666666; font-family: "times" , "times new roman" , serif;">http://cybermuse.gallery.ca/cybermuse/search/artwork_e.jsp?mkey=9644</span><br />
<span style="font-family: "times" , "times new roman" , serif;"><br />
</span><br />
<div class="p1">
<span style="font-family: "times" , "times new roman" , serif;"><br /></span>
<span style="font-family: "times" , "times new roman" , serif;">PC1999.1.13</span></div>
<div class="p1">
<b><span style="font-family: "times" , "times new roman" , serif;">Goya, Francisco (de y Lucientes)</span></b></div>
<div class="p1">
<span style="font-family: "times" , "times new roman" , serif;">Bitter Presence, 1863</span></div>
<div class="p1">
<span style="font-family: "times" , "times new roman" , serif;">etching with lavis, drypoint burning, 9.68" x 13.18" Romanticism</span></div>
<div class="p1">
<span style="font-family: "times" , "times new roman" , serif;">Gift of Robert and Karen Hoehn</span></div>
<div class="p1">
<span style="background-color: white; font-family: "times" , "times new roman" , serif; line-height: 17px; white-space: nowrap;">usdgoya.docx</span></div>
<span style="font-family: "times" , "times new roman" , serif;"><br />
<span style="color: #666666;">Plate 13</span></span><br />
<span style="color: #666666; font-family: "times" , "times new roman" , serif;">Francisco Goya y Lucientes</span><br />
<span style="color: #666666; font-family: "times" , "times new roman" , serif;">Bitter to Be Present c. 1810-1813</span><br />
<span style="color: #666666; font-family: "times" , "times new roman" , serif;">etching, lavis, drypoint, burin, and burnishing on heavy wove paper</span><br />
<span style="color: #666666; font-family: "times" , "times new roman" , serif;">Printed by Laurenciano Potenciano</span><br />
<span style="color: #666666; font-family: "times" , "times new roman" , serif;">24.5 x 33.8 cm; plate: 14.1 x 17 cm</span><br />
<span style="color: #666666; font-family: "times" , "times new roman" , serif;">Purchased 1933</span><br />
<span style="color: #666666; font-family: "times" , "times new roman" , serif;">National Gallery of Canada (no. 4136)</span><br />
<span style="color: #666666; font-family: "times" , "times new roman" , serif;">http://cybermuse.gallery.ca/cybermuse/search/artwork_e.jsp?mkey=9643</span><br />
<span style="font-family: "times" , "times new roman" , serif;"><br />
</span><br />
<div class="p1">
<span style="font-family: "times" , "times new roman" , serif;"><br /></span>
<span style="font-family: "times" , "times new roman" , serif;">PC1999.1.14</span></div>
<div class="p1">
<b><span style="font-family: "times" , "times new roman" , serif;">Goya, Francisco (de y Lucientes)</span></b></div>
<div class="p1">
<span style="font-family: "times" , "times new roman" , serif;">The way is hard, 1863</span></div>
<div class="p1">
<span style="font-family: "times" , "times new roman" , serif;">etching with lavis, drypoint burning, 9.75" x 13.25" Romanticism</span></div>
<div class="p1">
<span style="font-family: "times" , "times new roman" , serif;">Gift of Robert and Karen Hoehn</span></div>
<span style="font-family: "times" , "times new roman" , serif;"><br />
<span style="color: #666666;">Plate 14</span></span><br />
<span style="color: #666666; font-family: "times" , "times new roman" , serif;">Francisco Goya y Lucientes</span><br />
<span style="color: #666666; font-family: "times" , "times new roman" , serif;">It's a Hard Step! c. 1810-1813</span><br />
<span style="color: #666666; font-family: "times" , "times new roman" , serif;">etching, lavis, drypoint, burin, and burnishing on heavy wove paper</span><br />
<span style="color: #666666; font-family: "times" , "times new roman" , serif;">Printed by Laurenciano Potenciano</span><br />
<span style="color: #666666; font-family: "times" , "times new roman" , serif;">24.5 x 33.8 cm; plate: 14.1 x 16.7 cm</span><br />
<span style="color: #666666; font-family: "times" , "times new roman" , serif;">Purchased 1933</span><br />
<span style="color: #666666; font-family: "times" , "times new roman" , serif;">National Gallery of Canada (no. 4137)</span><br />
<span style="color: #666666; font-family: "times" , "times new roman" , serif;">http://cybermuse.gallery.ca/cybermuse/search/artwork_e.jsp?mkey=9642</span><br />
<span style="font-family: "times" , "times new roman" , serif;"><br />
</span><br />
<div class="p1">
<span style="font-family: "times" , "times new roman" , serif;"><br /></span>
<span style="font-family: "times" , "times new roman" , serif;">PC1999.1.15</span></div>
<div class="p1">
<b><span style="font-family: "times" , "times new roman" , serif;">Goya, Francisco (de y Lucientes)</span></b></div>
<div class="p1">
<span style="font-family: "times" , "times new roman" , serif;">And it can't be helped, 1863 etching with lavis, drypoint burning, 9.68" x 13.18" Romanticism</span></div>
<div class="p1">
<span style="font-family: "times" , "times new roman" , serif;">Gift of Robert and Karen Hoehn</span></div>
<div class="p1">
<span style="background-color: white; font-family: "times" , "times new roman" , serif; line-height: 17px; white-space: nowrap;">usdgoya.docx</span></div>
<span style="font-family: "times" , "times new roman" , serif;"><br />
<span style="color: #666666;">Plate 15</span></span><br />
<span style="color: #666666; font-family: "times" , "times new roman" , serif;">Francisco Goya y Lucientes</span><br />
<span style="color: #666666; font-family: "times" , "times new roman" , serif;">And There Is No Help for It c. 1810-1813</span><br />
<span style="color: #666666; font-family: "times" , "times new roman" , serif;">etching, drypoint, burin, and burnishing on heavy wove paper</span><br />
<span style="color: #666666; font-family: "times" , "times new roman" , serif;">Printed by Laurenciano Potenciano</span><br />
<span style="color: #666666; font-family: "times" , "times new roman" , serif;">24.5 x 33.8 cm; plate: 14 x 16.8 cm</span><br />
<span style="color: #666666; font-family: "times" , "times new roman" , serif;">Purchased 1933</span><br />
<span style="color: #666666; font-family: "times" , "times new roman" , serif;">National Gallery of Canada (no. 4138)</span><br />
<span style="color: #666666; font-family: "times" , "times new roman" , serif;">http://cybermuse.gallery.ca/cybermuse/search/artwork_e.jsp?mkey=9641</span><br />
<span style="font-family: "times" , "times new roman" , serif;"><br />
</span><br />
<span style="font-family: "times" , "times new roman" , serif;"><br /></span>
<br />
<div class="p1">
<span style="font-family: "times" , "times new roman" , serif;">PC1999.1.16</span></div>
<div class="p1">
<b><span style="font-family: "times" , "times new roman" , serif;">Goya, Francisco (de y Lucientes)</span></b></div>
<div class="p1">
<span style="font-family: "times" , "times new roman" , serif;">They avail themselves, 1863 etching with lavis, drypoint burning, 9.62" x 13.25 Romanticism</span></div>
<div class="p1">
<span style="font-family: "times" , "times new roman" , serif;">Gift of Robert and Karen Hoehn</span></div>
<div class="p1">
<span style="background-color: white; font-family: "times" , "times new roman" , serif; line-height: 17px; white-space: nowrap;">usdgoya.docx</span></div>
<span style="font-family: "times" , "times new roman" , serif;"><br />
<span style="color: #666666;">Plate 16</span></span><br />
<span style="color: #666666; font-family: "times" , "times new roman" , serif;">Francisco Goya y Lucientes</span><br />
<span style="color: #666666; font-family: "times" , "times new roman" , serif;">They Avail Themselves c. 1810-1813</span><br />
<span style="color: #666666; font-family: "times" , "times new roman" , serif;">etching, lavis, drypoint, burin, and burnishing on heavy wove paper</span><br />
<span style="color: #666666; font-family: "times" , "times new roman" , serif;">Printed by Laurenciano Potenciano</span><br />
<span style="color: #666666; font-family: "times" , "times new roman" , serif;">24.5 x 33.8 cm; plate: 15.9 x 23.5 cm</span><br />
<span style="color: #666666; font-family: "times" , "times new roman" , serif;">Purchased 1933</span><br />
<span style="color: #666666; font-family: "times" , "times new roman" , serif;">National Gallery of Canada (no. 4139)</span><br />
<span style="color: #666666; font-family: "times" , "times new roman" , serif;">http://cybermuse.gallery.ca/cybermuse/search/artwork_e.jsp?mkey=9640</span><br />
<span style="font-family: "times" , "times new roman" , serif;"><br />
</span><br />
<span style="font-family: "times" , "times new roman" , serif;"><br /></span>
<br />
<div class="p1">
<span style="font-family: "times" , "times new roman" , serif;">PC1999.1.17</span></div>
<div class="p1">
<b><span style="font-family: "times" , "times new roman" , serif;">Goya, Francisco (de y Lucientes)</span></b></div>
<div class="p1">
<span style="font-family: "times" , "times new roman" , serif;">They do not agree, 1863 etching with lavis, drypoint burning, 9.68" x 13.25" Romanticism</span></div>
<div class="p1">
<span style="font-family: "times" , "times new roman" , serif;">Gift of Robert and Karen Hoehn</span></div>
<div class="p1">
<span style="background-color: white; font-family: "times" , "times new roman" , serif; line-height: 17px; white-space: nowrap;">usdgoya.docx</span></div>
<span style="font-family: "times" , "times new roman" , serif;"><span style="color: #666666;"><br /></span>
<span style="color: #666666;">Plate 17<br />Francisco Goya y Lucientes<br />They Do Not Agree c. 1810-1813<br />etching, drypoint, lavis, burin, and burnishing on heavy wove paper<br />Printed by Laurenciano Potenciano<br />24.6 x 33.8 cm; plate: 14.3 x 21.7 cm<br />Purchased 1933<br />National Gallery of Canada (no. 4140)<br />http://cybermuse.gallery.ca/cybermuse/search/artwork_e.jsp?mkey=9639</span></span><br />
<div class="p1">
<span style="font-family: "times" , "times new roman" , serif;"><br /></span>
<span style="font-family: "times" , "times new roman" , serif;"><br /></span>
<span style="font-family: "times" , "times new roman" , serif;">PC1999.1.18</span></div>
<div class="p1">
<b><span style="font-family: "times" , "times new roman" , serif;">Goya, Francisco (de y Lucientes)</span></b></div>
<div class="p1">
<span style="font-family: "times" , "times new roman" , serif;">Bury them and keep quiet, 1863 etching with lavis, drypoint burning, 9.75" x 13.25" Romanticism</span></div>
<div class="p1">
<span style="font-family: "times" , "times new roman" , serif;">Gift of Robert and Karen Hoehn</span></div>
<div class="p1">
<span style="background-color: white; font-family: "times" , "times new roman" , serif; line-height: 17px; white-space: nowrap;">usdgoya.docx</span></div>
<span style="font-family: "times" , "times new roman" , serif;"><span style="color: #666666;"><br />Plate 18<br />Francisco Goya y Lucientes<br />Bury Them and Keep Quiet c. 1810-1813<br />etching, lavis, drypoint, burin, and burnishing on heavy wove paper<br />Printed by Laurenciano Potenciano<br />24.5 x 33.8 cm; plate: 16.1 x 23.5 cm<br />Purchased 1933<br />National Gallery of Canada (no. 4141)<br />http://cybermuse.gallery.ca/cybermuse/search/artwork_e.jsp?mkey=9638<br /><br />Bodies of fallen soldiers lie stripped of their clothing and ready for a quick and anonymous burial. As textiles were in short supply during wartime, the clothing of the dead became a valuable commodity. The task of this cowering couple is to inter the corpses to avoid the spread of disease. Cloud formations in the sky were created by the lavis technique of applying acid directly to the plate.</span></span><br />
<div class="p1">
<span style="font-family: "times" , "times new roman" , serif;"><br /></span>
<span style="font-family: "times" , "times new roman" , serif;"><br /></span>
<span style="font-family: "times" , "times new roman" , serif;">PC1999.1.19</span></div>
<div class="p1">
<b><span style="font-family: "times" , "times new roman" , serif;">Goya, Francisco (de y Lucientes)</span></b></div>
<div class="p1">
<span style="font-family: "times" , "times new roman" , serif;">There is not more time, 1863 etching with lavis, drypoint burning, 9.68" x 13.18" Romanticism</span></div>
<div class="p1">
<span style="font-family: "times" , "times new roman" , serif;">Gift of Robert and Karen Hoehn</span></div>
<div class="p1">
<span style="background-color: white; font-family: "times" , "times new roman" , serif; line-height: 17px; white-space: nowrap;">usdgoya.docx</span></div>
<span style="font-family: "times" , "times new roman" , serif;"><br /><span style="color: #666666;">Plate 19<br />Francisco Goya y Lucientes<br />There Isn't Time Now c. 1810-1813<br />etching, lavis, drypoint, burin, and burnishing on heavy wove paper<br />Printed by Laurenciano Potenciano<br />24.5 x 33.8 cm; plate: 16.5 x 23.9 cm<br />Purchased 1933<br />National Gallery of Canada (no. 4142)<br />http://cybermuse.gallery.ca/cybermuse/search/artwork_e.jsp?mkey=9637</span></span><br />
<div class="p1">
<span style="font-family: "times" , "times new roman" , serif;"><br /></span>
<span style="font-family: "times" , "times new roman" , serif;"><br /></span>
<span style="font-family: "times" , "times new roman" , serif;">PC1999.1.20</span></div>
<div class="p1">
<b><span style="font-family: "times" , "times new roman" , serif;">Goya, Francisco (de y Lucientes)</span></b></div>
<div class="p1">
<span style="font-family: "times" , "times new roman" , serif;">Treat them then on to other matters, 1863</span></div>
<div class="p1">
<span style="font-family: "times" , "times new roman" , serif;">etching with lavis, drypoint burning, 9.68" x 13.25" Romanticism</span></div>
<div class="p1">
<span style="font-family: "times" , "times new roman" , serif;">Gift of Robert and Karen Hoehn</span></div>
<div class="p1">
<span style="background-color: white; font-family: "times" , "times new roman" , serif; line-height: 17px; white-space: nowrap;">usdgoya.docx</span></div>
<span style="font-family: "times" , "times new roman" , serif;"><br /><span style="color: #666666;">Plate 20<br />Francisco Goya y Lucientes<br />Get Them Well, and On to the Next 1810<br />etching, lavis, drypoint, burin, and burnishing on heavy wove paper<br />Printed by Laurenciano Potenciano<br />24.5 x 33.8 cm; plate: 16 x 23.5 cm<br />Purchased 1933<br />National Gallery of Canada (no. 4143)<br />http://cybermuse.gallery.ca/cybermuse/search/artwork_e.jsp?mkey=9636</span></span><br />
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<span style="font-family: "times" , "times new roman" , serif;"><br /></span>
<span style="font-family: "times" , "times new roman" , serif;"><br /></span>
<span style="font-family: "times" , "times new roman" , serif;">PC1999.1.21</span></div>
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<b><span style="font-family: "times" , "times new roman" , serif;">Goya, Francisco (de y Lucientes)</span></b></div>
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<span style="font-family: "times" , "times new roman" , serif;">It will be the same, 1863 etching with lavis, drypoint burning, 9.68" x 13.18" Romanticism</span></div>
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<span style="font-family: "times" , "times new roman" , serif;">Gift of Robert and Karen Hoehn</span></div>
<div class="p1">
<span style="background-color: white; font-family: "times" , "times new roman" , serif; line-height: 17px; white-space: nowrap;">usdgoya.docx</span></div>
<span style="font-family: "times" , "times new roman" , serif;"><br /><span style="color: #666666;">Plate 21<br />Francisco Goya y Lucientes<br />It Will Be the Same c. 1810-1813<br />etching, lavis, and burnishing on heavy wove paper<br />Printed by Laurenciano Potenciano<br />24.5 x 33.8 cm; plate: 14.6 x 21.8 cm<br />Purchased 1933<br />National Gallery of Canada (no. 4144)<br />http://cybermuse.gallery.ca/cybermuse/search/artwork_e.jsp?mkey=9635</span></span><br />
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<span style="font-family: "times" , "times new roman" , serif;"><br /></span>
<span style="font-family: "times" , "times new roman" , serif;"><br /></span>
<span style="font-family: "times" , "times new roman" , serif;">PC1999.1.22</span></div>
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<b><span style="font-family: "times" , "times new roman" , serif;">Goya, Francisco (de y Lucientes)</span></b></div>
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<span style="font-family: "times" , "times new roman" , serif;">All this and more, 1863 etching with lavis, drypoint burning, 9.68" x 13.25" Romanticism</span></div>
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<span style="font-family: "times" , "times new roman" , serif;">Gift of Robert and Karen Hoehn</span></div>
<div class="p1">
<span style="background-color: white; font-family: "times" , "times new roman" , serif; line-height: 17px; white-space: nowrap;">usdgoya.docx</span></div>
<span style="font-family: "times" , "times new roman" , serif;"><br /><span style="color: #666666;">Plate 22<br />Francisco Goya y Lucientes<br />Even Worse 1810<br />etching, lavis, and burin on heavy wove paper<br />Printed by Laurenciano Potenciano<br />24.5 x 33.8 cm; plate: 15.9 x 25 cm<br />Purchased 1933<br />National Gallery of Canada (no. 4145)<br />http://cybermuse.gallery.ca/cybermuse/search/artwork_e.jsp?mkey=9634</span></span><br />
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<span style="font-family: "times" , "times new roman" , serif;"><br /></span>
<span style="font-family: "times" , "times new roman" , serif;"><br /></span>
<span style="font-family: "times" , "times new roman" , serif;">PC1999.1.23</span></div>
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<b><span style="font-family: "times" , "times new roman" , serif;">Goya, Francisco (de y Lucientes)</span></b></div>
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<span style="font-family: "times" , "times new roman" , serif;">The same elsewhere, 1863 etching with lavis, drypoint burning, 9.68" x 13.25" Romanticism</span></div>
<div class="p1">
<span style="font-family: "times" , "times new roman" , serif;">Gift of Robert and Karen Hoehn</span></div>
<div class="p1">
<span style="background-color: white; font-family: "times" , "times new roman" , serif; line-height: 17px; white-space: nowrap;">usdgoya.docx</span></div>
<span style="font-family: "times" , "times new roman" , serif;"><br /><span style="color: #666666;">Plate 23<br />Francisco Goya y Lucientes<br />The Same Elsewhere c. 1810-1813<br />etching, lavis, drypoint, and burin on heavy wove paper<br />Printed by Laurenciano Potenciano<br />24.5 x 33.8 cm; plate: 15.9 x 24 cm<br />Purchased 1933<br />National Gallery of Canada (no. 4146)<br />http://cybermuse.gallery.ca/cybermuse/search/artwork_e.jsp?mkey=9633</span></span><br />
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<span style="font-family: "times" , "times new roman" , serif;"><br /></span>
<span style="font-family: "times" , "times new roman" , serif;"><br /></span>
<span style="font-family: "times" , "times new roman" , serif;">PC1999.1.24</span></div>
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<b><span style="font-family: "times" , "times new roman" , serif;">Goya, Francisco (de y Lucientes)</span></b></div>
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<span style="font-family: "times" , "times new roman" , serif;">They'll still be useful, 1863 etching with lavis, drypoint burning, 9.62" x 13.25 Romanticism</span></div>
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<span style="font-family: "times" , "times new roman" , serif;">Gift of Robert and Karen Hoehn</span></div>
<div class="p1">
<span style="background-color: white; font-family: "times" , "times new roman" , serif; line-height: 17px; white-space: nowrap;">usdgoya.docx</span></div>
<span style="font-family: "times" , "times new roman" , serif;"><br /><span style="color: #666666;">Plate 24<br />Francisco Goya y Lucientes<br />They Can Still Be of Use c. 1810-1813<br />etching and burnishing on heavy wove paper<br />Printed by Laurenciano Potenciano<br />24.5 x 33.8 cm; plate: 16 x 25.5 cm<br />Purchased 1933<br />National Gallery of Canada (no. 4147)<br /><br />Here the Spanish militia collects their wounded from a battle field before the silhouette of buildings in the background, possibly those of the medieval town of Saragossa. The title may refer to the fact that after they were treated the wounded were still needed to continue the fight against Napoleon¿s army.<br />http://cybermuse.gallery.ca/cybermuse/search/artwork_e.jsp?mkey=9632</span></span><br />
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<span style="font-family: "times" , "times new roman" , serif;"><br /></span>
<span style="font-family: "times" , "times new roman" , serif;"><br /></span>
<span style="font-family: "times" , "times new roman" , serif;">PC1999.1.25</span></div>
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<b><span style="font-family: "times" , "times new roman" , serif;">Goya, Francisco (de y Lucientes)</span></b></div>
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<span style="font-family: "times" , "times new roman" , serif;">So will these, 1863</span></div>
<div class="p1">
<span style="font-family: "times" , "times new roman" , serif;">etching with lavis, drypoint burning, 9.68" x 13.25" Romanticism</span></div>
<div class="p1">
<span style="font-family: "times" , "times new roman" , serif;">Gift of Robert and Karen Hoehn</span></div>
<div class="p1">
<span style="background-color: white; font-family: "times" , "times new roman" , serif; line-height: 17px; white-space: nowrap;">usdgoya.docx</span></div>
<span style="font-family: "times" , "times new roman" , serif;"><br /><span style="color: #666666;">Plate 25<br />Francisco Goya y Lucientes<br />These Too c. 1810-1813<br />etching, drypoint, and burin on wove paper<br />Printed by Laurenciano Potenciano<br />24.5 x 33.8 cm; plate: 16.3 x 23.3 cm<br />Purchased 1933<br />National Gallery of Canada (no. 4148)<br />http://cybermuse.gallery.ca/cybermuse/search/artwork_e.jsp?mkey=9631</span></span><br />
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<span style="font-family: "times" , "times new roman" , serif;"><br /></span>
<span style="font-family: "times" , "times new roman" , serif;"><br /></span>
<span style="font-family: "times" , "times new roman" , serif;">PC1999.1.26</span></div>
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<b><span style="font-family: "times" , "times new roman" , serif;">Goya, Francisco (de y Lucientes)</span></b></div>
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<span style="font-family: "times" , "times new roman" , serif;">One cannot look at this, 1863 etching with lavis, drypoint burning, 9.68" x 13.25" Romanticism</span></div>
<div class="p1">
<span style="font-family: "times" , "times new roman" , serif;">Gift of Robert and Karen Hoehn</span></div>
<div class="p1">
<span style="background-color: white; font-family: "times" , "times new roman" , serif; line-height: 17px; white-space: nowrap;">usdgoya.docx</span></div>
<span style="font-family: "times" , "times new roman" , serif;"><br /><span style="color: #666666;">Plate 26<br />Francisco Goya y Lucientes<br />One Can't Look c. 1810-1813<br />etching, lavis, drypoint, burin, and burnishing on heavy wove paper<br />Printed by Laurenciano Potenciano<br />24.5 x 33.8 cm; plate: 14.3 x 20.8 cm<br />Purchased 1933<br />National Gallery of Canada (no. 4149)<br /><br />The title of this print suggests the terror of being an eye witness to atrocity, in this case the execution of Spanish civilians, including women and children. The savage realism with which Goya records events was calculated to maximize the moral outrage at what takes place.<br />http://cybermuse.gallery.ca/cybermuse/search/artwork_e.jsp?mkey=9630</span></span><br />
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<span style="font-family: "times" , "times new roman" , serif;"><br /></span>
<span style="font-family: "times" , "times new roman" , serif;"><br /></span>
<span style="font-family: "times" , "times new roman" , serif;">PC1999.1.27</span></div>
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<b><span style="font-family: "times" , "times new roman" , serif;">Goya, Francisco (de y Lucientes)</span></b></div>
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<span style="font-family: "times" , "times new roman" , serif;">Charity, 1863</span></div>
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<span style="font-family: "times" , "times new roman" , serif;">etching with lavis, drypoint burning, 16 x 23.3 cm Romanticism</span></div>
<div class="p1">
<span style="font-family: "times" , "times new roman" , serif;">Gift of Robert and Karen Hoehn</span></div>
<div class="p1">
<span style="background-color: white; font-family: "times" , "times new roman" , serif; line-height: 17px; white-space: nowrap;">usdgoya.docx</span></div>
<span style="font-family: "times" , "times new roman" , serif;"><br /><span style="color: #666666;">Plate 27<br />Francisco Goya y Lucientes<br />Charity 1810<br />etching, lavis, drypoint, burin, and burnishing on wove paper<br />Printed by Laurenciano Potenciano<br />24.5 x 33.8 cm; plate: 15.8 x 23.5 cm<br />Purchased 1933<br />National Gallery of Canada (no. 4150)<br /><br />This is one of three prints in "The Disasters of War" that is signed and dated ¿Goya 1810,¿ indicating it was among the first in the series. Preparatory drawings for the plates survive and the one for this print in the Prado Museum bears a plate mark, signifying that it was run through a press, transferring the image to the ground of acid-resistant resin, which the artist was then able to follow with his etching needle. The subject refers to reports of thousands of bodies piled in the streets of Saragossa by the end of the intense French assault in February 1809.<br />http://cybermuse.gallery.ca/cybermuse/search/artwork_e.jsp?mkey=9629</span></span><br />
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<span style="font-family: "times" , "times new roman" , serif;"><br /></span>
<span style="font-family: "times" , "times new roman" , serif;"><br /></span>
<span style="font-family: "times" , "times new roman" , serif;">PC1999.1.28</span></div>
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<b><span style="font-family: "times" , "times new roman" , serif;">Goya, Francisco (de y Lucientes)</span></b></div>
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<span style="font-family: "times" , "times new roman" , serif;">Rabble, 1863</span></div>
<div class="p1">
<span style="font-family: "times" , "times new roman" , serif;">etching with lavis, drypoint burning, 9.75" x 13.25" Romanticism</span></div>
<div class="p1">
<span style="font-family: "times" , "times new roman" , serif;">Gift of Robert and Karen Hoehn</span></div>
<div class="p1">
<span style="background-color: white; font-family: "times" , "times new roman" , serif; line-height: 17px; white-space: nowrap;">usdgoya.docx</span></div>
<span style="font-family: "times" , "times new roman" , serif;"><span style="color: #666666; font-size: small;"><br />Plate 28<br />Francisco Goya y Lucientes<br />Rabble c. 1810-1813<br />etching, lavis, drypoint, burin, and burnishing on heavy wove paper<br />Printed by Laurenciano Potenciano<br />24.5 x 33.8 cm; plate: 17.4 x 21.5 cm<br />Purchased 1933<br />National Gallery of Canada (no. 4151)<br />http://cybermuse.gallery.ca/cybermuse/search/artwork_e.jsp?mkey=9628</span></span><br />
<span style="font-family: "times" , "times new roman" , serif;"><br />
</span><br />
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<span style="font-family: "times" , "times new roman" , serif;"><br /></span>
<span style="font-family: "times" , "times new roman" , serif;">PC1999.1.29</span></div>
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<b><span style="font-family: "times" , "times new roman" , serif;">Goya, Francisco (de y Lucientes)</span></b></div>
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<span style="font-family: "times" , "times new roman" , serif;">He deserved it, 1863</span></div>
<div class="p1">
<span style="font-family: "times" , "times new roman" , serif;">etching with lavis, drypoint burning, 9.75" x 13.25" Romanticism</span></div>
<div class="p1">
<span style="font-family: "times" , "times new roman" , serif;">Gift of Robert and Karen Hoehn</span></div>
<div class="p1">
<span style="background-color: white; font-family: "times" , "times new roman" , serif; line-height: 17px; white-space: nowrap;">usdgoya.docx</span></div>
<span style="font-family: "times" , "times new roman" , serif;"><br /><span style="color: #666666;">Plate 29 -<br />Francisco Goya y Lucientes<br />He Deserved It c. 1820-1823<br />etching, drypoint, burin, and burnishing on heavy wove paper<br />Printed by Laurenciano Potenciano<br />24.5 x 33.8 cm; plate: 17.5 x 21.7 cm<br />Purchased 1933<br />National Gallery of Canada (no. 4152)<br /><br />Atrocities were committed during the Peninsular War by both the French and Spanish. In many Spanish cities, prominent citizens suspected of collaborating with the enemy were tortured and mutilated by frenzied mobs. With its looser handling of line, spare detailing of the figures, but expressive study of character, this print is given a later date coincident with the "Caprichos enfáticos" series added by Goya in 1820-23.<br />http://cybermuse.gallery.ca/cybermuse/search/artwork_e.jsp?mkey=9627 </span><span style="color: #666666;"></span></span><br />
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<span style="font-family: "times" , "times new roman" , serif;"><br /></span></div>
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<span style="font-family: "times" , "times new roman" , serif;"><br /></span>
<span style="font-family: "times" , "times new roman" , serif;">PC1999.1.30</span></div>
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<b><span style="font-family: "times" , "times new roman" , serif;">Goya, Francisco (de y Lucientes)</span></b></div>
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<span style="font-family: "times" , "times new roman" , serif;">Ravages of War, 1863</span></div>
<div class="p1">
<span style="font-family: "times" , "times new roman" , serif;">etching with lavis, drypoint burning, 9.75" x 13.25" Romanticism</span></div>
<div class="p1">
<span style="font-family: "times" , "times new roman" , serif;">Gift of Robert and Karen Hoehn</span></div>
<div class="p1">
<span style="background-color: white; font-family: "times" , "times new roman" , serif; line-height: 17px; white-space: nowrap;">usdgoya.docx</span></div>
<span style="font-family: "times" , "times new roman" , serif;"><br />
<span style="color: #666666;">Plate 30<br />Francisco Goya y Lucientes<br />Ravages of War c. 1810-1813<br />etching, drypoint, burin, and burnishing on heavy wove paper<br />Printed by Laurenciano Potenciano<br />24.5 x 33.8 cm; plate: 14.1 x 16.7 cm<br />Purchased 1933<br />National Gallery of Canada (no. 4153)<br /><br />The second siege of Saragossa (20 December 1808 ¿ 20 February 1809) wiped out entire families in their homes. The spatial disorientation created by close cropping of the image and the chaotic position of the bodies suggest this print depicts a moment just after the cannon fire has struck. In 1924 the German printmaker Otto Dix published a portfolio of aquatints on the First World War, titled "Der Krieg", with scenes of equally tragic pandemonium.<br />http://cybermuse.gallery.ca/cybermuse/search/artwork_e.jsp?mkey=9626</span></span><br />
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<span style="font-family: "times" , "times new roman" , serif;"><br /></span>
<span style="font-family: "times" , "times new roman" , serif;"><br /></span>
<span style="font-family: "times" , "times new roman" , serif;">PC1999.1.31</span></div>
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<b><span style="font-family: "times" , "times new roman" , serif;">Goya, Francisco (de y Lucientes)</span></b></div>
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<span style="font-family: "times" , "times new roman" , serif;">This is too much, 1863 etching with lavis, drypoint burning, 9.68" x 13.18" Romanticism</span></div>
<div class="p1">
<span style="font-family: "times" , "times new roman" , serif;">Gift of Robert and Karen Hoehn</span></div>
<div class="p1">
<span style="background-color: white; font-family: "times" , "times new roman" , serif; line-height: 17px; white-space: nowrap;">usdgoya.docx</span></div>
<span style="font-family: "times" , "times new roman" , serif;"><span style="font-size: small;"><br /><span style="color: #666666;">Plate 31<br />Francisco Goya y Lucientes<br />That's Tough! c. 1810-1813<br />etching, aquatint, drypoint, and burnishing on heavy wove paper<br />Printed by Laurenciano Potenciano<br />24.5 x 33.8 cm; plate: 15.4 x 20.6 cm<br />Purchased 1933<br />National Gallery of Canada (no. 4154)</span></span><span style="color: #666666; font-size: small;">http://cybermuse.gallery.ca/cybermuse/search/artwork_e.jsp?mkey=9625</span></span><br />
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</span><br />
<span style="font-family: "times" , "times new roman" , serif;"><br /></span>
<br />
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<span style="font-family: "times" , "times new roman" , serif;">PC1999.1.32</span></div>
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<b><span style="font-family: "times" , "times new roman" , serif;">Goya, Francisco (de y Lucientes)</span></b></div>
<div class="p1">
<span style="font-family: "times" , "times new roman" , serif;">Why, 1863</span></div>
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<span style="font-family: "times" , "times new roman" , serif;">etching with lavis, drypoint burning, 9.75" x 13.25" Romanticism</span></div>
<span style="font-family: "times" , "times new roman" , serif;"><br /></span>
<br />
<div class="p1">
<span style="font-family: "times" , "times new roman" , serif;">Gift of Robert and Karen Hoehn</span></div>
<div class="p1">
<span style="background-color: white; font-family: "times" , "times new roman" , serif; line-height: 17px; white-space: nowrap;">usdgoya.docx</span></div>
<span style="font-family: "times" , "times new roman" , serif;"><br />
<span style="font-size: small;"><span style="color: #666666;">Plate 32<br />Francisco Goya y Lucientes<br />Why? c. 1810-1813<br />etching, lavis, drypoint, burin, and burnishing on heavy wove paper<br />Printed by Laurenciano Potenciano<br />24.5 x 33.8 cm; plate: 15.2 x 20.7 cm<br />Purchased 1933<br />National Gallery of Canada (no. 4155)<br />http://cybermuse.gallery.ca/cybermuse/search/artwork_e.jsp?mkey=9624</span></span></span><br />
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<span style="font-family: "times" , "times new roman" , serif;"><br /></span>
<span style="font-family: "times" , "times new roman" , serif;"><br /></span>
<span style="font-family: "times" , "times new roman" , serif;">PC1999.1.33</span></div>
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<b><span style="font-family: "times" , "times new roman" , serif;">Goya, Francisco (de y Lucientes)</span></b></div>
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<span style="font-family: "times" , "times new roman" , serif;">What more can one do?, 1863 etching with lavis, drypoint burning, 9.68" x 13.25" Romanticism</span></div>
<div class="p1">
<span style="font-family: "times" , "times new roman" , serif;">Gift of Robert and Karen Hoehn</span></div>
<div class="p1">
<span style="background-color: white; font-family: "times" , "times new roman" , serif; line-height: 17px; white-space: nowrap;">usdgoya.docx</span></div>
<span style="font-family: "times" , "times new roman" , serif; font-size: small;"><br /><span style="color: #666666;">Plate 33<br />Francisco Goya y Lucientes<br />What More Can Be Done? c. 1810-1813<br />etching, lavis, drypoint, burin, and burnishing on heavy wove paper<br />Printed by Laurenciano Potenciano<br />24.6 x 33.8 cm; plate: 15.4 x 20.6 cm<br />Purchased 1933<br />National Gallery of Canada (no. 4156)<br /><br />In this print Goya shows Napoleon¿s troops to have had an avid taste for violence in carrying out retaliation on the resistance fighters. Such mutilations were strategically intended to strike mortal fear into the hearts of the local populace and to discourage further uprisings.<br />http://cybermuse.gallery.ca/cybermuse/search/artwork_e.jsp?mkey=9623</span></span><br />
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<span style="font-family: "times" , "times new roman" , serif;"><br /></span>
<span style="font-family: "times" , "times new roman" , serif;"><br /></span>
<span style="font-family: "times" , "times new roman" , serif;">PC1999.1.34</span></div>
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<b><span style="font-family: "times" , "times new roman" , serif;">Goya, Francisco (de y Lucientes)</span></b></div>
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<span style="font-family: "times" , "times new roman" , serif;">On account of a knife, 1863 etching with lavis, drypoint burning, 9.62" x 13.25” Romanticism</span></div>
<div class="p1">
<span style="font-family: "times" , "times new roman" , serif;">Gift of Robert and Karen Hoehn</span></div>
<div class="p1">
<span style="background-color: white; font-family: "times" , "times new roman" , serif; line-height: 17px; white-space: nowrap;">usdgoya.docx</span></div>
<span style="font-family: "times" , "times new roman" , serif; font-size: small;"><br /><span style="color: #666666;">Plate 34<br />Francisco Goya y Lucientes<br />On Account of a Knife c. 1810-1813<br />etching, drypoint, burin, and burnishing on heavy wove paper<br />Printed by Laurenciano Potenciano<br />24.5 x 33.8 cm; plate: 15.5 x 20.5 cm<br />Purchased 1933<br />National Gallery of Canada (no. 4157)<br />http://cybermuse.gallery.ca/cybermuse/search/artwork_e.jsp?mkey=9622</span></span><br />
<div class="p1">
<span style="font-family: "times" , "times new roman" , serif;"><br /></span>
<span style="font-family: "times" , "times new roman" , serif;"><br /></span>
<span style="font-family: "times" , "times new roman" , serif;">PC1999.1.35</span></div>
<div class="p1">
<b><span style="font-family: "times" , "times new roman" , serif;">Goya, Francisco (de y Lucientes)</span></b></div>
<div class="p1">
<span style="font-family: "times" , "times new roman" , serif;">Nobody knows why, 1863 etching with lavis, drypoint burning, 9.75" x 13.25" Romanticism</span></div>
<div class="p1">
<span style="font-family: "times" , "times new roman" , serif;">Gift of Robert and Karen Hoehn</span></div>
<div class="p1">
<span style="background-color: white; font-family: "times" , "times new roman" , serif; line-height: 17px; white-space: nowrap;">usdgoya.docx</span></div>
<span style="font-family: "times" , "times new roman" , serif; font-size: small;"><br /><span style="color: #666666;">Plate 35<br />Francisco Goya y Lucientes<br />One Can't Tell Why c. 1810-1813<br />etching, lavis, drypoint, burin, and burnishing on heavy wove paper<br />Printed by Laurenciano Potenciano<br />24.5 x 33.8 cm; plate: 15.5 x 20.5 cm<br />Purchased 1933<br />National Gallery of Canada (no. 4158)<br /><br />During the French occupation of Spain, legal executions were often abused as a way to discourage violent resistance. The weapons slung around the necks of these garrotted men relate to a decree of December 1808 making it a capital offence in Madrid to attack a member of the French army, bear a weapon in the street, or conceal one in the home. Garrotting was the favoured method of public execution in Spain and the condemned often requested it over hanging.<br />http://cybermuse.gallery.ca/cybermuse/search/artwork_e.jsp?mkey=9621</span></span><br />
<div class="p1">
<span style="font-family: "times" , "times new roman" , serif;"><br /></span>
<span style="font-family: "times" , "times new roman" , serif;"><br /></span>
<span style="font-family: "times" , "times new roman" , serif;">PC1999.1.36</span></div>
<div class="p1">
<b><span style="font-family: "times" , "times new roman" , serif;">Goya, Francisco (de y Lucientes)</span></b></div>
<div class="p1">
<span style="font-family: "times" , "times new roman" , serif;">Not, 1863</span></div>
<div class="p1">
<span style="font-family: "times" , "times new roman" , serif;">etching with lavis, drypoint burning, 9.75" x 13.25" Romanticism</span></div>
<div class="p1">
<span style="font-family: "times" , "times new roman" , serif;">Gift of Robert and Karen Hoehn</span></div>
<div class="p1">
<span style="background-color: white; font-family: "times" , "times new roman" , serif; line-height: 17px; white-space: nowrap;">usdgoya.docx</span></div>
<span style="font-family: "times" , "times new roman" , serif; font-size: small;"><br /><span style="color: #666666;">Plate 36<br />Francisco Goya y Lucientes<br />Not in this Case Either c. 1810-1813<br />etching, aquatint, drypoint, burin, and burnishing on heavy wove paper<br />Printed by Laurenciano Potenciano<br />24.5 x 33.8 cm; plate: 15.5 x 20.7 cm<br />Purchased 1933<br />National Gallery of Canada (no. 4159)<br /><br />As the French suppressed Spanish resistance during the Peninsular War, they were swift to administer harsh justice to their prisoners. Some were shot outright (see "And There Is No Help for It", plate 15), others were hanged en masse on improvised gallows made of tree trunks and then left to rot as an example to others. The French generals ordered executions as a way to gain strategic war advantage. The officer who observes the tragic scene in this print appears to share his commander¿s indifference to death.<br />http://cybermuse.gallery.ca/cybermuse/search/artwork_e.jsp?mkey=9620</span></span><br />
<div class="p1">
<span style="font-family: "times" , "times new roman" , serif;"><br /></span>
<span style="font-family: "times" , "times new roman" , serif;"><br /></span>
<span style="font-family: "times" , "times new roman" , serif;">PC1999.1.37</span></div>
<div class="p1">
<b><span style="font-family: "times" , "times new roman" , serif;">Goya, Francisco (de y Lucientes)</span></b></div>
<div class="p1">
<span style="font-family: "times" , "times new roman" , serif;">This is worse, 1863</span></div>
<div class="p1">
<span style="font-family: "times" , "times new roman" , serif;">etching with lavis, drypoint burning, 9.62" x 13.25” Romanticism</span></div>
<div class="p1">
<span style="font-family: "times" , "times new roman" , serif;">Gift of Robert and Karen Hoehn</span></div>
<div class="p1">
<span style="background-color: white; font-family: "times" , "times new roman" , serif; line-height: 17px; white-space: nowrap;">usdgoya.docx</span></div>
<span style="font-family: "times" , "times new roman" , serif; font-size: small;"><br /><span style="color: #666666;">Plate 37<br />Francisco Goya y Lucientes<br />This Is Worse c. 1810-1813<br />etching, lavis, and drypoint on heavy wove paper<br />Printed by Laurenciano Potenciano<br />24.5 x 33.8 cm; plate: 15.5 x 20.5 cm<br />Purchased 1933<br />National Gallery of Canada (no. 4160)<br /><br />This is one of the few subjects to be identified by Goya. He inscribed on a working proof of this print the words ¿El de Chinchón (The one at Chinchon)¿ in reference to the massacre of the male inhabitants of the town in December 1808. It is unlikely that Goya witnessed this scene himself, but relied on second-hand accounts and reports of the atrocity.<br />http://cybermuse.gallery.ca/cybermuse/search/artwork_e.jsp?mkey=9619</span></span><br />
<div class="p1">
<span style="font-family: "times" , "times new roman" , serif;"><br /></span>
<span style="font-family: "times" , "times new roman" , serif;"><br /></span>
<span style="font-family: "times" , "times new roman" , serif;">PC1999.1.38</span></div>
<div class="p1">
<b><span style="font-family: "times" , "times new roman" , serif;">Goya, Francisco (de y Lucientes)</span></b></div>
<div class="p1">
<span style="font-family: "times" , "times new roman" , serif;">Barbarians, 1863</span></div>
<div class="p1">
<span style="font-family: "times" , "times new roman" , serif;">etching with lavis, drypoint burning, 9.62" x 13.25” Romanticism</span></div>
<div class="p1">
<span style="font-family: "times" , "times new roman" , serif;">Gift of Robert and Karen Hoehn</span></div>
<div class="p1">
<span style="background-color: white; font-family: "times" , "times new roman" , serif; line-height: 17px; white-space: nowrap;">usdgoya.docx</span></div>
<span style="font-family: "times" , "times new roman" , serif; font-size: small;"><br /><span style="color: #666666;">Plate 38<br />Francisco Goya y Lucientes<br />Barbarians! c. 1810-1813<br />etching, aquatint, burin, and burnishing on heavy wove paper<br />Printed by Laurenciano Potenciano<br />24.5 x 33.8 cm; plate: 15.2 x 20.7 cm<br />Purchased 1933<br />National Gallery of Canada (no. 4161)<br />http://cybermuse.gallery.ca/cybermuse/search/artwork_e.jsp?mkey=9618</span></span><br />
<div class="p1">
<span style="font-family: "times" , "times new roman" , serif;"><br /></span>
<span style="font-family: "times" , "times new roman" , serif;"><br /></span>
<span style="font-family: "times" , "times new roman" , serif;">PC1999.1.39</span></div>
<div class="p1">
<b><span style="font-family: "times" , "times new roman" , serif;">Goya, Francisco (de y Lucientes)</span></b></div>
<div class="p1">
<span style="font-family: "times" , "times new roman" , serif;">Great deeds-against the dead, 1863</span></div>
<div class="p1">
<span style="font-family: "times" , "times new roman" , serif;">etching with lavis, drypoint burning, 9.62" x 13.25” Romanticism</span></div>
<div class="p1">
<span style="font-family: "times" , "times new roman" , serif;">Gift of Robert and Karen Hoehn</span></div>
<div class="p1">
<span style="background-color: white; font-family: "times" , "times new roman" , serif; line-height: 17px; white-space: nowrap;">usdgoya.docx</span></div>
<span style="font-family: "times" , "times new roman" , serif;"><span style="font-size: small;"><br /><span style="color: #666666;">Plate 39<br />Francisco Goya y Lucientes<br />An Heroic Feat! With Dead Men! c. 1810-1813<br />etching, lavis, and drypoint on heavy wove paper<br />Printed by Laurenciano Potenciano<br />24.5 x 33.8 cm; plate: 15.4 x 20.5 cm<br />Purchased 1933<br />National Gallery of Canada (no. 4162)<br />http://cybermuse.gallery.ca/cybermuse/search/artwork_e.jsp?mkey=9617 </span></span><span style="color: #666666;"></span></span><br />
<div class="p1">
<span style="font-family: "times" , "times new roman" , serif;"><br /></span></div>
<div class="p1">
<span style="font-family: "times" , "times new roman" , serif;"><br /></span>
<span style="font-family: "times" , "times new roman" , serif;">PC1999.1.40</span></div>
<div class="p1">
<b><span style="font-family: "times" , "times new roman" , serif;">Goya, Francisco (de y Lucientes)</span></b></div>
<div class="p1">
<span style="font-family: "times" , "times new roman" , serif;">There is something to be gained, 1863</span></div>
<div class="p1">
<span style="font-family: "times" , "times new roman" , serif;">etching with lavis, drypoint burning, 9.75" x 13.25" Romanticism</span></div>
<div class="p1">
<span style="font-family: "times" , "times new roman" , serif;">Gift of Robert and Karen Hoehn</span></div>
<div class="p1">
<span style="background-color: white; font-family: "times" , "times new roman" , serif; line-height: 17px; white-space: nowrap;">usdgoya.docx</span></div>
<span style="font-family: "times" , "times new roman" , serif;"><span style="font-size: small;"><br /></span>
<span style="font-size: small;"><span style="color: #666666;">Plate 40<br />Francisco Goya y Lucientes<br />He Gets Something Out of It c. 1810-1813<br />etching, drypoint, and burin on heavy wove paper<br />Printed by Laurenciano Potenciano<br />24.5 x 33.8 cm; plate: 17.5 x 22 cm<br />Purchased 1933<br />National Gallery of Canada (no. 4163)<br />http://cybermuse.gallery.ca/cybermuse/search/artwork_e.jsp?mkey=9616</span></span></span><br />
<div class="p1">
<span style="font-family: "times" , "times new roman" , serif;"><br /></span>
<span style="font-family: "times" , "times new roman" , serif;"><br /></span>
<span style="font-family: "times" , "times new roman" , serif;">PC1999.1.41</span></div>
<div class="p1">
<b><span style="font-family: "times" , "times new roman" , serif;">Goya, Francisco (de y Lucientes)</span></b></div>
<div class="p1">
<span style="font-family: "times" , "times new roman" , serif;">They escape through the flames, 1863</span></div>
<div class="p1">
<span style="font-family: "times" , "times new roman" , serif;">etching with lavis, drypoint burning, 9.75" x 13.25" Romanticism</span></div>
<div class="p1">
<span style="font-family: "times" , "times new roman" , serif;">Gift of Robert and Karen Hoehn</span></div>
<div class="p1">
<span style="background-color: white; font-family: "times" , "times new roman" , serif; line-height: 17px; white-space: nowrap;">usdgoya.docx</span></div>
<span style="font-family: "times" , "times new roman" , serif; font-size: small;"><br /><span style="color: #666666;">Plate 41<br />Francisco Goya y Lucientes<br />They Escape through the Flames c. 1810-1813<br />etching and burin on heavy wove paper<br />Printed by Laurenciano Potenciano<br />24.5 x 33.8 cm; plate: 16.1 x 23.4 cm<br />Purchased 1933<br />National Gallery of Canada (no. 4164)<br />http://cybermuse.gallery.ca/cybermuse/search/artwork_e.jsp?mkey=9615</span></span><br />
<div class="p1">
<span style="font-family: "times" , "times new roman" , serif;"><br /></span>
<span style="font-family: "times" , "times new roman" , serif;"><br /></span>
<span style="font-family: "times" , "times new roman" , serif;">PC1999.1.42</span></div>
<div class="p1">
<b><span style="font-family: "times" , "times new roman" , serif;">Goya, Francisco (de y Lucientes)</span></b></div>
<div class="p1">
<span style="font-family: "times" , "times new roman" , serif;">Everything is topsy turvy, 1863 etching with lavis, drypoint burning, 9.75" x 13.25" Romanticism</span></div>
<div class="p1">
<span style="font-family: "times" , "times new roman" , serif;">Gift of Robert and Karen Hoehn</span></div>
<div class="p1">
<span style="background-color: white; font-family: "times" , "times new roman" , serif; line-height: 17px; white-space: nowrap;">usdgoya.docx</span></div>
<span style="font-family: "times" , "times new roman" , serif; font-size: small;"><br /><span style="color: #666666;">Plate 42<br />Francisco Goya y Lucientes<br />Everything Is Topsy-turvy c. 1820-1823<br />etching and burin on heavy wove paper<br />Printed by Laurenciano Potenciano<br />24.5 x 33.8 cm; plate: 17.6 x 22 cm<br />Purchased 1933<br />National Gallery of Canada (no. 4165)<br />http://cybermuse.gallery.ca/cybermuse/search/artwork_e.jsp?mkey=9614</span></span><br />
<div class="p1">
<span style="font-family: "times" , "times new roman" , serif;"><br /></span>
<span style="font-family: "times" , "times new roman" , serif;"><br /></span>
<span style="font-family: "times" , "times new roman" , serif;">PC1999.1.43</span></div>
<div class="p1">
<b><span style="font-family: "times" , "times new roman" , serif;">Goya, Francisco (de y Lucientes)</span></b></div>
<div class="p1">
<span style="font-family: "times" , "times new roman" , serif;">So is this, 1863</span></div>
<div class="p1">
<span style="font-family: "times" , "times new roman" , serif;">etching with lavis, drypoint burning, 9.68" x 13.18" Romanticism</span></div>
<div class="p1">
<span style="font-family: "times" , "times new roman" , serif;">Gift of Robert and Karen Hoehn</span></div>
<div class="p1">
<span style="background-color: white; font-family: "times" , "times new roman" , serif; line-height: 17px; white-space: nowrap;">usdgoya.docx</span></div>
<span style="font-family: "times" , "times new roman" , serif; font-size: small;"><span style="color: #666666;"><br />Plate 43<br />Francisco Goya y Lucientes<br />This Too c. 1810-1813<br />etching, aquatint, and burnishing on heavy wove paper<br />Printed by Laurenciano Potenciano<br />24.5 x 33.8 cm; plate: 15.5 x 20.6 cm<br />Purchased 1933<br />National Gallery of Canada (no. 4166)<br />http://cybermuse.gallery.ca/cybermuse/search/artwork_e.jsp?mkey=9613</span></span><br />
<div class="p1">
<span style="font-family: "times" , "times new roman" , serif;"><br /></span>
<span style="font-family: "times" , "times new roman" , serif;"><br /></span>
<span style="font-family: "times" , "times new roman" , serif;">PC1999.1.44</span></div>
<div class="p1">
<b><span style="font-family: "times" , "times new roman" , serif;">Goya, Francisco (de y Lucientes)</span></b></div>
<div class="p1">
<span style="font-family: "times" , "times new roman" , serif;">I saw it, 1863</span></div>
<div class="p1">
<span style="font-family: "times" , "times new roman" , serif;">etching with lavis, drypoint burning, 9.75" x 13.25" Romanticism</span></div>
<div class="p1">
<span style="font-family: "times" , "times new roman" , serif;">Gift of Robert and Karen Hoehn</span></div>
<div class="p1">
<span style="background-color: white; font-family: "times" , "times new roman" , serif; line-height: 17px; white-space: nowrap;">usdgoya.docx</span></div>
<span style="font-family: "times" , "times new roman" , serif; font-size: small;"><br /><span style="color: #666666;">Plate 44<br />Francisco Goya y Lucientes<br />I Saw It c. 1810-1813<br />etching, drypoint, and burin on heavy wove paper<br />Printed by Laurenciano Potenciano<br />24.5 x 33.8 cm; plate: 15.8 x 23.5 cm<br />Purchased 1933<br />National Gallery of Canada (no. 4167)<br />http://cybermuse.gallery.ca/cybermuse/search/artwork_e.jsp?mkey=9612</span></span><br />
<div class="p1">
<span style="font-family: "times" , "times new roman" , serif;"><br /></span>
<span style="font-family: "times" , "times new roman" , serif;"><br /></span>
<span style="font-family: "times" , "times new roman" , serif;">PC1999.1.45</span></div>
<div class="p1">
<b><span style="font-family: "times" , "times new roman" , serif;">Goya, Francisco (de y Lucientes)</span></b></div>
<div class="p1">
<span style="font-family: "times" , "times new roman" , serif;">And this too, 1863</span></div>
<div class="p1">
<span style="font-family: "times" , "times new roman" , serif;">etching with lavis, drypoint burning, 9.62" x 13.25” Romanticism</span></div>
<div class="p1">
<span style="font-family: "times" , "times new roman" , serif;">Gift of Robert and Karen Hoehn</span></div>
<div class="p1">
<span style="background-color: white; font-family: "times" , "times new roman" , serif; line-height: 17px; white-space: nowrap;">usdgoya.docx</span></div>
<span style="font-family: "times" , "times new roman" , serif; font-size: small;"><br /><span style="color: #666666;">Plate 45<br />Francisco Goya y Lucientes<br />And This Too c. 1810-1813<br />etching, aquatint, drypoint, and burin on heavy wove paper<br />Printed by Laurenciano Potenciano<br />24.5 x 33.8 cm; plate: 16.5 x 22 cm<br />Purchased 1933<br />National Gallery of Canada (no. 4168)<br />http://cybermuse.gallery.ca/cybermuse/search/artwork_e.jsp?mkey=9611</span></span><br />
<div class="p1">
<span style="font-family: "times" , "times new roman" , serif;"><br /></span>
<span style="font-family: "times" , "times new roman" , serif;"><br /></span>
<span style="font-family: "times" , "times new roman" , serif;">PC1999.1.46</span></div>
<div class="p1">
<b><span style="font-family: "times" , "times new roman" , serif;">Goya, Francisco (de y Lucientes)</span></b></div>
<div class="p1">
<span style="font-family: "times" , "times new roman" , serif;">This is bad, 1863</span></div>
<div class="p1">
<span style="font-family: "times" , "times new roman" , serif;">etching with lavis, drypoint burning, 9.75" x 13.25" Romanticism</span></div>
<div class="p1">
<span style="font-family: "times" , "times new roman" , serif;">Gift of Robert and Karen Hoehn</span></div>
<div class="p1">
<span style="background-color: white; font-family: "times" , "times new roman" , serif; line-height: 17px; white-space: nowrap;">usdgoya.docx</span></div>
<span style="font-family: "times" , "times new roman" , serif; font-size: small;"><br /><span style="color: #666666;">Plate 46<br />Francisco Goya y Lucientes<br />This Is Bad c. 1810-1813<br />etching, aquatint, lavis, drypoint, burin, and burnishing on heavy wove paper<br />Printed by Laurenciano Potenciano<br />24.5 x 33.8 cm; plate: 15.3 x 20.5 cm<br />Purchased 1933<br />National Gallery of Canada (no. 4169)<br />http://cybermuse.gallery.ca/cybermuse/search/artwork_e.jsp?mkey=9610</span></span><br />
<span style="font-family: "times" , "times new roman" , serif;"><span style="font-size: small;"><br /></span>
</span><br />
<div class="p1">
<span style="font-family: "times" , "times new roman" , serif;"><br /></span>
<span style="font-family: "times" , "times new roman" , serif;">PC1999.1.47</span></div>
<div class="p1">
<b><span style="font-family: "times" , "times new roman" , serif;">Goya, Francisco (de y Lucientes)</span></b></div>
<div class="p1">
<span style="font-family: "times" , "times new roman" , serif;">This is how it happened, 1863 etching with lavis, drypoint burning, 9.75" x 13.25" Romanticism</span></div>
<div class="p1">
<span style="font-family: "times" , "times new roman" , serif;">Gift of Robert and Karen Hoehn</span></div>
<div class="p1">
<span style="background-color: white; font-family: "times" , "times new roman" , serif; line-height: 17px; white-space: nowrap;">usdgoya.docx</span></div>
<span style="font-family: "times" , "times new roman" , serif; font-size: small;"><br /><span style="color: #666666;">Plate 47<br />Francisco Goya y Lucientes<br />This Is How It Happened c. 1810-1813<br />etching, aquatint, lavis, drypoint, burin, and burnishing on heavy wove paper<br />Printed by Laurenciano Potenciano<br />24.5 x 33.8 cm; plate: 15.5 x 20.6 cm<br />Purchased 1933<br />National Gallery of Canada (no. 4170)<br /><br />French soldiers looted the church silver of those communities that put up resistance during the Peninsular War as way to further punish the local inhabitants. Pillaging of Spanish culture was also carried out on a larger, more organized scale. Between 1808 and 1813, the French assembled more than 1,200 paintings in Seville from suppressed religious orders, a number of which entered the private collections of their generals.<br />http://cybermuse.gallery.ca/cybermuse/search/artwork_e.jsp?mkey=9609</span></span><br />
<div class="p1">
<span style="font-family: "times" , "times new roman" , serif;"><br /></span>
<span style="font-family: "times" , "times new roman" , serif;"><br /></span>
<span style="font-family: "times" , "times new roman" , serif;">PC1999.1.48</span></div>
<div class="p1">
<b><span style="font-family: "times" , "times new roman" , serif;">Goya, Francisco (de y Lucientes)</span></b></div>
<div class="p1">
<span style="font-family: "times" , "times new roman" , serif;">A cruel shame, 1863</span></div>
<div class="p1">
<span style="font-family: "times" , "times new roman" , serif;">etching with lavis, drypoint burning, 9.75" x 13.25" Romanticism</span></div>
<div class="p1">
<span style="font-family: "times" , "times new roman" , serif;">Gift of Robert and Karen Hoehn</span></div>
<div class="p1">
<span style="background-color: white; font-family: "times" , "times new roman" , serif; line-height: 17px; white-space: nowrap;">usdgoya.docx</span></div>
<span style="font-family: "times" , "times new roman" , serif; font-size: small;"><br /><span style="color: #666666;">Plate 48<br />Francisco Goya y Lucientes<br />Cruel Tale of Woe! c. 1811-1812<br />etching, lavis, burin, and burnishing on heavy wove paper<br />Printed by Laurenciano Potenciano<br />24.5 x 33.8 cm; plate: 15.4 x 20.7 cm<br />Purchased 1933<br />National Gallery of Canada (no. 4171)<br />http://cybermuse.gallery.ca/cybermuse/search/artwork_e.jsp?mkey=9608</span></span><br />
<div class="p1">
<span style="font-family: "times" , "times new roman" , serif;"><br /></span>
<span style="font-family: "times" , "times new roman" , serif;"><br /></span>
<span style="font-family: "times" , "times new roman" , serif;">PC1999.1.49</span></div>
<div class="p1">
<b><span style="font-family: "times" , "times new roman" , serif;">Goya, Francisco (de y Lucientes)</span></b></div>
<div class="p1">
<span style="font-family: "times" , "times new roman" , serif;">A woman's charity, 1863 etching with lavis, drypoint burning, 9.68” x 13.18" Romanticism</span></div>
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<span style="font-family: "times" , "times new roman" , serif;">Gift of Robert and Karen Hoehn</span></div>
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<span style="background-color: white; font-family: "times" , "times new roman" , serif; line-height: 17px; white-space: nowrap;">usdgoya.docx</span></div>
<span style="font-family: "times" , "times new roman" , serif; font-size: small;"><br /><span style="color: #666666;">Plate 49<br />Francisco Goya y Lucientes<br />A Woman's Charity c. 1810-1813<br />etching, lavis, burin, and burnishing on heavy wove paper<br />Printed by Laurenciano Potenciano<br />24.5 x 33.8 cm; plate: 15.5 x 20.6 cm<br />Purchased 1933<br />National Gallery of Canada (no. 4172)<br />http://cybermuse.gallery.ca/cybermuse/search/artwork_e.jsp?mkey=9607</span></span><br />
<div class="p1">
<span style="font-family: "times" , "times new roman" , serif;"><br /></span>
<span style="font-family: "times" , "times new roman" , serif;"><br /></span>
<span style="font-family: "times" , "times new roman" , serif;">PC1999.1.50</span></div>
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<b><span style="font-family: "times" , "times new roman" , serif;">Goya, Francisco (de y Lucientes)</span></b></div>
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<span style="font-family: "times" , "times new roman" , serif;">Unhappy Mother, 1863</span></div>
<div class="p1">
<span style="font-family: "times" , "times new roman" , serif;">etching with lavis, drypoint burning, 9.68” x 13.18" Romanticism</span></div>
<div class="p1">
<span style="font-family: "times" , "times new roman" , serif;">Gift of Robert and Karen Hoehn</span></div>
<div class="p1">
<span style="background-color: white; font-family: "times" , "times new roman" , serif; line-height: 17px; white-space: nowrap;">usdgoya.docx</span></div>
<span style="font-family: "times" , "times new roman" , serif; font-size: small;"><span style="color: #666666;"><br />Plate 50 -<br />Francisco Goya y Lucientes<br />Unhappy Mother! c. 1811-1812<br />etching, aquating, drypoint, and burnishing on heavy wove paper<br />Printed by Laurenciano Potenciano<br />24.5 x 33.8 cm; plate: 15.3 x 20.6 cm<br />Purchased 1933<br />National Gallery of Canada (no. 4173)<br />http://cybermuse.gallery.ca/cybermuse/search/artwork_e.jsp?mkey=9606</span></span><br />
<div class="p1">
<span style="font-family: "times" , "times new roman" , serif;"><br /></span>
<span style="font-family: "times" , "times new roman" , serif;"><br /></span>
<span style="font-family: "times" , "times new roman" , serif;">PC1999.1.51</span></div>
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<b><span style="font-family: "times" , "times new roman" , serif;">Goya, Francisco (de y Lucientes)</span></b></div>
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<span style="font-family: "times" , "times new roman" , serif;">Thanks to the millet, 1863 etching with lavis, drypoint burning, 9.75” x 13.25" Romanticism</span></div>
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<span style="font-family: "times" , "times new roman" , serif;">Gift of Robert and Karen Hoehn</span></div>
<div class="p1">
<span style="background-color: white; font-family: "times" , "times new roman" , serif; line-height: 17px; white-space: nowrap;">usdgoya.docx</span></div>
<span style="font-family: "times" , "times new roman" , serif; font-size: small;"><br /><span style="color: #666666;">Plate 51<br />Francisco Goya y Lucientes<br />Thanks to the Millet c. 1811-1812<br />etching, aquatint, and burnishing on heavy wove paper<br />Printed by Laurenciano Potenciano<br />24.5 x 33.8 cm; plate: 15.5 x 20.5 cm<br />Purchased 1933<br />National Gallery of Canada (no. 4174)<br /><br />A number of "The Disasters of War" series take as their subject the severe famine that struck Spain between September 1811 and August 1812 (plates 48-64) and devastated Madrid. Millet porridge was one of the few nutrients available to the local population. With his masterful application of atmospheric aquatint and etched line for the figures and background, Goya creates a most haunting image of human deprivation and despair. Famine devastated Madrid.<br />http://cybermuse.gallery.ca/cybermuse/search/artwork_e.jsp?mkey=9605</span></span><br />
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<span style="font-family: "times" , "times new roman" , serif;"><br /></span>
<span style="font-family: "times" , "times new roman" , serif;"><br /></span>
<span style="font-family: "times" , "times new roman" , serif;">PC1999.1.52</span></div>
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<b><span style="font-family: "times" , "times new roman" , serif;">Goya, Francisco (de y Lucientes)</span></b></div>
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<span style="font-family: "times" , "times new roman" , serif;">They do not arrive in time, 1863 etching with lavis, drypoint burning, 9.75” x 13.25" Romanticism</span></div>
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<span style="font-family: "times" , "times new roman" , serif;">Gift of Robert and Karen Hoehn</span></div>
<div class="p1">
<span style="background-color: white; font-family: "times" , "times new roman" , serif; line-height: 17px; white-space: nowrap;">usdgoya.docx</span></div>
<span style="font-family: "times" , "times new roman" , serif; font-size: small;"><span style="color: #666666;"><br />Plate 52<br />Francisco Goya y Lucientes<br />They Do Not Arrive in Time c. 1811-1812<br />etching, lavis, drypoint, and burin on heavy wove paper<br />Printed by Laurenciano Potenciano<br />24.5 x 33.8 cm; plate: 15.3 x 20.5 cm<br />Purchased 1933<br />National Gallery of Canada (no. 4175)<br />http://cybermuse.gallery.ca/cybermuse/search/artwork_e.jsp?mkey=9604</span></span><br />
<div class="p1">
<span style="font-family: "times" , "times new roman" , serif;"><br /></span>
<span style="font-family: "times" , "times new roman" , serif;"><br /></span>
<span style="font-family: "times" , "times new roman" , serif;">PC1999.1.53</span></div>
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<b><span style="font-family: "times" , "times new roman" , serif;">Goya, Francisco (de y Lucientes)</span></b></div>
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<span style="font-family: "times" , "times new roman" , serif;">There was nothing to be done and he died, 1863</span></div>
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<span style="font-family: "times" , "times new roman" , serif;">etching with lavis, drypoint burning, 9.68” x 13.18" Romanticism</span></div>
<div class="p1">
<span style="font-family: "times" , "times new roman" , serif;">Gift of Robert and Karen Hoehn</span></div>
<div class="p1">
<span style="background-color: white; font-family: "times" , "times new roman" , serif; line-height: 17px; white-space: nowrap;">usdgoya.docx</span></div>
<span style="font-family: "times" , "times new roman" , serif; font-size: small;"><br /><span style="color: #666666;">Plate 53<br />Francisco Goya y Lucientes<br />There Was Nothing to Be Done and He Died c. 1810-1813<br />etching, aquatint, lavis, burin, and burnishing on heavy wove paper<br />Printed by Laurenciano Potenciano<br />24.5 x 33.8 cm; plate: 15.5 x 20.7 cm<br />Purchased 1933<br />National Gallery of Canada (no. 4176)<br />http://cybermuse.gallery.ca/cybermuse/search/artwork_e.jsp?mkey=9603</span></span><br />
<div class="p1">
<span style="font-family: "times" , "times new roman" , serif;"><br /></span>
<span style="font-family: "times" , "times new roman" , serif;"><br /></span>
<span style="font-family: "times" , "times new roman" , serif;">PC1999.1.54</span></div>
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<b><span style="font-family: "times" , "times new roman" , serif;">Goya, Francisco (de y Lucientes)</span></b></div>
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<span style="font-family: "times" , "times new roman" , serif;">Vain Laments, 1863</span></div>
<div class="p1">
<span style="font-family: "times" , "times new roman" , serif;">etching with lavis, drypoint burning, 9.75” x 13.25" Romanticism</span></div>
<div class="p1">
<span style="font-family: "times" , "times new roman" , serif;">Gift of Robert and Karen Hoehn</span></div>
<div class="p1">
<span style="background-color: white; font-family: "times" , "times new roman" , serif; line-height: 17px; white-space: nowrap;">usdgoya.docx</span></div>
<span style="font-family: "times" , "times new roman" , serif; font-size: small;"><br /><span style="color: #666666;">Plate 54<br />Francisco Goya y Lucientes<br />Appeals Are in Vain c. 1810-1813<br />etching, lavis, burin, and burnishing on heavy wove paper<br />Printed by Laurenciano Potenciano<br />24.5 x 33.8 cm; plate: 15.3 x 20.7 cm<br />Purchased 1933<br />National Gallery of Canada (no. 4177)<br />http://cybermuse.gallery.ca/cybermuse/search/artwork_e.jsp?mkey=9602</span></span><br />
<div class="p1">
<span style="font-family: "times" , "times new roman" , serif;"><br /></span>
<span style="font-family: "times" , "times new roman" , serif;"><br /></span>
<span style="font-family: "times" , "times new roman" , serif;">PC1999.1.55</span></div>
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<b><span style="font-family: "times" , "times new roman" , serif;">Goya, Francisco (de y Lucientes)</span></b></div>
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<span style="font-family: "times" , "times new roman" , serif;">The worst is to beg, 1863 etching with lavis, drypoint burning, 9.62” x 13.25 Romanticism</span></div>
<div class="p1">
<span style="font-family: "times" , "times new roman" , serif;">Gift of Robert and Karen Hoehn</span></div>
<div class="p1">
<span style="background-color: white; font-family: "times" , "times new roman" , serif; line-height: 17px; white-space: nowrap;">usdgoya.docx</span></div>
<span style="font-family: "times" , "times new roman" , serif; font-size: small;"><span style="color: #666666;"><br />Plate 55<br />Francisco Goya y Lucientes<br />The Worst Is to Beg c. 1811-1812<br />etching, lavis, and burnishing on heavy wove paper<br />Printed by Laurenciano Potenciano<br />24.5 x 33.8 cm; plate: 15.6 x 20.6 cm<br />Purchased 1933<br />National Gallery of Canada (no. 4178)<br />http://cybermuse.gallery.ca/cybermuse/search/artwork_e.jsp?mkey=9601</span></span><br />
<div class="p1">
<span style="font-family: "times" , "times new roman" , serif;"><br /></span>
<span style="font-family: "times" , "times new roman" , serif;"><br /></span>
<span style="font-family: "times" , "times new roman" , serif;">PC1999.1.56</span></div>
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<b><span style="font-family: "times" , "times new roman" , serif;">Goya, Francisco (de y Lucientes)</span></b></div>
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<span style="font-family: "times" , "times new roman" , serif;">To the cemetary, 1863</span></div>
<div class="p1">
<span style="font-family: "times" , "times new roman" , serif;">etching with lavis, drypoint burning, 9.62” x 13.25 Romanticism</span></div>
<div class="p1">
<span style="font-family: "times" , "times new roman" , serif;">Gift of Robert and Karen Hoehn</span></div>
<div class="p1">
<span style="background-color: white; font-family: "times" , "times new roman" , serif; line-height: 17px; white-space: nowrap;">usdgoya.docx</span></div>
<span style="font-family: "times" , "times new roman" , serif; font-size: small;"><br /><span style="color: #666666;">Plate 56<br />Francisco Goya y Lucientes<br />To the Cemetery c. 1810-1813<br />etching, lavis, and drypoint on heavy wove paper<br />Printed by Laurenciano Potenciano<br />24.5 x 33.8 cm; plate: 15.3 x 20.7 cm<br />Purchased 1933<br />National Gallery of Canada (no. 4179)<br />http://cybermuse.gallery.ca/cybermuse/search/artwork_e.jsp?mkey=9600</span></span><br />
<div class="p1">
<span style="font-family: "times" , "times new roman" , serif;"><br /></span>
<span style="font-family: "times" , "times new roman" , serif;"><br /></span>
<span style="font-family: "times" , "times new roman" , serif;">PC1999.1.57</span></div>
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<b><span style="font-family: "times" , "times new roman" , serif;">Goya, Francisco (de y Lucientes)</span></b></div>
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<span style="font-family: "times" , "times new roman" , serif;">The sound and the sick, 1863 etching with lavis, drypoint burning, 9.87” x 13.37" Romanticism</span></div>
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<span style="font-family: "times" , "times new roman" , serif;">Gift of Robert and Karen Hoehn</span></div>
<div class="p1">
<span style="background-color: white; font-family: "times" , "times new roman" , serif; line-height: 17px; white-space: nowrap;">usdgoya.docx</span></div>
<span style="font-family: "times" , "times new roman" , serif; font-size: small;"><br /><span style="color: #666666;">Plate 57<br />Francisco Goya y Lucientes<br />The Healthy and the Sick c. 1810-1813<br />etching, aquatint, burin, and burnishing on heavy wove paper<br />Printed by Laurenciano Potenciano<br />24.5 x 33.8 cm; plate: 15.6 x 20.7 cm<br />Purchased 1933<br />National Gallery of Canada (no. 4180)<br />http://cybermuse.gallery.ca/cybermuse/search/artwork_e.jsp?mkey=9599</span></span><br />
<div class="p1">
<span style="font-family: "times" , "times new roman" , serif;"><br /></span>
<span style="font-family: "times" , "times new roman" , serif;"><br /></span>
<span style="font-family: "times" , "times new roman" , serif;">PC1999.1.58</span></div>
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<b><span style="font-family: "times" , "times new roman" , serif;">Goya, Francisco (de y Lucientes)</span></b></div>
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<span style="font-family: "times" , "times new roman" , serif;">It is no use shouting, 1863 etching with lavis, drypoint burning, 9.62” x 13.25 Romanticism</span></div>
<div class="p1">
<span style="font-family: "times" , "times new roman" , serif;">Gift of Robert and Karen Hoehn</span></div>
<div class="p1">
<span style="background-color: white; font-family: "times" , "times new roman" , serif; line-height: 17px; white-space: nowrap;">usdgoya.docx</span></div>
<span style="font-family: "times" , "times new roman" , serif; font-size: small;"><br /><span style="color: #666666;">Plate 58<br />Francisco Goya y Lucientes<br />It's No Use Crying Out c. 1810-1813<br />etching, aquatint, burin, and burnishing on heavy wove paper<br />Printed by Laurenciano Potenciano<br />24.5 x 33.8 cm; plate: 15.5 x 20.8 cm<br />Purchased 1933<br />National Gallery of Canada (no. 4181)<br />http://cybermuse.gallery.ca/cybermuse/search/artwork_e.jsp?mkey=9598</span></span><br />
<div class="p1">
<span style="font-family: "times" , "times new roman" , serif;"><br /></span>
<span style="font-family: "times" , "times new roman" , serif;"><br /></span>
<span style="font-family: "times" , "times new roman" , serif;">PC1999.1.59</span></div>
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<b><span style="font-family: "times" , "times new roman" , serif;">Goya, Francisco (de y Lucientes)</span></b></div>
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<span style="font-family: "times" , "times new roman" , serif;">What good is a single cup, 1863 etching with lavis, drypoint burning, 9.75” x 13.25" Romanticism</span></div>
<div class="p1">
<span style="font-family: "times" , "times new roman" , serif;">Gift of Robert and Karen Hoehn</span></div>
<div class="p1">
<span style="background-color: white; font-family: "times" , "times new roman" , serif; line-height: 17px; white-space: nowrap;">usdgoya.docx</span></div>
<span style="font-family: "times" , "times new roman" , serif;"><span style="font-size: small;"><br /><span style="color: #666666;">Plate 59<br />Francisco Goya y Lucientes<br />What Is the Use of a Cup? c. 1810-1813<br />etching, aquatint, lavis, and burnishing on heavy wove paper<br />Printed by Laurenciano Potenciano<br />24.5 x 33.8 cm; plate: 15.3 x 20.6 cm<br />Purchased 1933<br />National Gallery of Canada (no. 4182)<br />http://cybermuse.gallery.ca/cybermuse/search/artwork_e.jsp?mkey=9597 </span></span><span style="color: #666666;"></span></span><br />
<div class="p1">
<span style="font-family: "times" , "times new roman" , serif;"><br /></span></div>
<div class="p1">
<span style="font-family: "times" , "times new roman" , serif;"><br /></span>
<span style="font-family: "times" , "times new roman" , serif;">PC1999.1.60</span></div>
<div class="p1">
<b><span style="font-family: "times" , "times new roman" , serif;">Goya, Francisco (de y Lucientes)</span></b></div>
<div class="p1">
<span style="font-family: "times" , "times new roman" , serif;">There is no one to help them, 1863</span></div>
<div class="p1">
<span style="font-family: "times" , "times new roman" , serif;">etching with lavis, drypoint burning, 9.75” x 13.25" Romanticism</span></div>
<span style="font-family: "times" , "times new roman" , serif;"><br /></span>
<br />
<div class="p1">
<span style="font-family: "times" , "times new roman" , serif;">Gift of Robert and Karen Hoehn</span></div>
<div class="p1">
<span style="background-color: white; font-family: "times" , "times new roman" , serif; line-height: 17px; white-space: nowrap;">usdgoya.docx</span></div>
<span style="font-family: "times" , "times new roman" , serif;"><span style="font-size: small;"><br /></span>
<span style="font-size: small;"><span style="color: #666666;">Plate 60<br />Francisco Goya y Lucientes<br />There Is No One to Help Them c. 1811-1813<br />etching, aquatint, burin, and burnishing on heavy wove paper<br />Printed by Laurenciano Potenciano<br />24.5 x 33.8 cm; plate: 15 x 20.7 cm<br />Purchased 1933<br />National Gallery of Canada (no. 4183)<br />http://cybermuse.gallery.ca/cybermuse/search/artwork_e.jsp?mkey=9596</span></span></span><br />
<div class="p1">
<span style="font-family: "times" , "times new roman" , serif;"><br /></span>
<span style="font-family: "times" , "times new roman" , serif;"><br /></span>
<span style="font-family: "times" , "times new roman" , serif;">PC1999.1.61</span></div>
<div class="p1">
<b><span style="font-family: "times" , "times new roman" , serif;">Goya, Francisco (de y Lucientes)</span></b></div>
<div class="p1">
<span style="font-family: "times" , "times new roman" , serif;">Perhaps they are of another breed, 1863</span></div>
<div class="p1">
<span style="font-family: "times" , "times new roman" , serif;">etching with lavis, drypoint burning, 9.62” x 13.25 Romanticism</span></div>
<div class="p1">
<span style="font-family: "times" , "times new roman" , serif;">Gift of Robert and Karen Hoehn</span></div>
<div class="p1">
<span style="background-color: white; font-family: "times" , "times new roman" , serif; line-height: 17px; white-space: nowrap;">usdgoya.docx</span></div>
<span style="font-family: "times" , "times new roman" , serif; font-size: small;"><br /><span style="color: #666666;">Plate 61<br />Francisco Goya y Lucientes<br />Perhaps They Are of Another Breed c. 1810-1813<br />etching, lavis, drypoint, burin, and burnishing on heavy wove paper<br />Printed by Laurenciano Potenciano<br />24.5 x 33.8 cm; plate: 15.1 x 20.7 cm<br />Purchased 1933<br />National Gallery of Canada (no. 4184)<br />http://cybermuse.gallery.ca/cybermuse/search/artwork_e.jsp?mkey=9595</span></span><br />
<div class="p1">
<span style="font-family: "times" , "times new roman" , serif;"><br /></span>
<span style="font-family: "times" , "times new roman" , serif;"><br /></span>
<span style="font-family: "times" , "times new roman" , serif;">PC1999.1.62</span></div>
<div class="p1">
<b><span style="font-family: "times" , "times new roman" , serif;">Goya, Francisco (de y Lucientes)</span></b></div>
<div class="p1">
<span style="font-family: "times" , "times new roman" , serif;">The Deathbeds, 1863</span></div>
<div class="p1">
<span style="font-family: "times" , "times new roman" , serif;">etching with lavis, drypoint burning, 9.68” x 13.18" Romanticism</span></div>
<div class="p1">
<span style="font-family: "times" , "times new roman" , serif;">Gift of Robert and Karen Hoehn</span></div>
<div class="p1">
<span style="background-color: white; font-family: "times" , "times new roman" , serif; line-height: 17px; white-space: nowrap;">usdgoya.docx</span></div>
<span style="font-family: "times" , "times new roman" , serif; font-size: small;"><br /><span style="color: #666666;">Plate 62<br />Francisco Goya y Lucientes<br />The Beds of Death c. 1811-1812<br />etching, lavis, drypoint, burin, and burnishing on heavy wove paper<br />Printed by Laurenciano Potenciano<br />24.5 x 33.8 cm; plate: 17.5 x 21.7 cm<br />Purchased 1933<br />National Gallery of Canada (no. 4185)<br />http://cybermuse.gallery.ca/cybermuse/search/artwork_e.jsp?mkey=9594</span></span><br />
<div class="p1">
<span style="font-family: "times" , "times new roman" , serif;"><br /></span>
<span style="font-family: "times" , "times new roman" , serif;"><br /></span>
<span style="font-family: "times" , "times new roman" , serif;">PC1999.1.63</span></div>
<div class="p1">
<b><span style="font-family: "times" , "times new roman" , serif;">Goya, Francisco (de y Lucientes)</span></b></div>
<div class="p1">
<span style="font-family: "times" , "times new roman" , serif;">A collection of dead men, 1863 etching with lavis, drypoint burning, 9.68” x 13.25" Romanticism</span></div>
<div class="p1">
<span style="font-family: "times" , "times new roman" , serif;">Gift of Robert and Karen Hoehn</span></div>
<div class="p1">
<span style="background-color: white; font-family: "times" , "times new roman" , serif; line-height: 17px; white-space: nowrap;">usdgoya.docx</span></div>
<span style="font-family: "times" , "times new roman" , serif; font-size: small;"><br /><span style="color: #666666;">Plate 63<br />Francisco Goya y Lucientes<br />Harvest of the Dead c. 1811-1812<br />etching, aquatint, and burnishing on heavy wove paper<br />Printed by Laurenciano Potenciano<br />24.5 x 33.8 cm; plate: 15.3 x 20.7 cm<br />Purchased 1933<br />National Gallery of Canada (no. 4186)<br />http://cybermuse.gallery.ca/cybermuse/search/artwork_e.jsp?mkey=9593</span></span><br />
<div class="p1">
<span style="font-family: "times" , "times new roman" , serif;"><br /></span>
<span style="font-family: "times" , "times new roman" , serif;"><br /></span>
<span style="font-family: "times" , "times new roman" , serif;">PC1999.1.64</span></div>
<div class="p1">
<b><span style="font-family: "times" , "times new roman" , serif;">Goya, Francisco (de y Lucientes)</span></b></div>
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<span style="font-family: "times" , "times new roman" , serif;">Cartloads for the cemetary, 1863 etching with lavis, drypoint burning, 9.68” x 13.25" Romanticism</span></div>
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<span style="font-family: "times" , "times new roman" , serif;">Gift of Robert and Karen Hoehn</span></div>
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<span style="background-color: white; font-family: "times" , "times new roman" , serif; line-height: 17px; white-space: nowrap;">usdgoya.docx</span></div>
<span style="font-family: "times" , "times new roman" , serif; font-size: small;"><br /><span style="color: #666666;">Plate 64<br />Francisco Goya y Lucientes<br />Cartloads to the Cemetery c. 1811-1812<br />etching, aquatint, drypoint, burin, and burnishing on heavy wove paper<br />Printed by Laurenciano Potenciano<br />24.5 x 33.8 cm; plate: 15.4 x 20.7 cm<br />Purchased 1933<br />National Gallery of Canada (no. 4187)<br />http://cybermuse.gallery.ca/cybermuse/search/artwork_e.jsp?mkey=9592</span></span><br />
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<span style="font-family: "times" , "times new roman" , serif;">PC1999.1.65</span></div>
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<b><span style="font-family: "times" , "times new roman" , serif;">Goya, Francisco (de y Lucientes)</span></b></div>
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<span style="font-family: "times" , "times new roman" , serif;">What is this hubbub?, 1863 etching with lavis, drypoint burning, 9.75” x 13.25" Romanticism</span></div>
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<span style="font-family: "times" , "times new roman" , serif;">Gift of Robert and Karen Hoehn</span></div>
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<span style="background-color: white; font-family: "times" , "times new roman" , serif; line-height: 17px; white-space: nowrap;">usdgoya.docx</span></div>
<span style="font-family: "times" , "times new roman" , serif; font-size: small;"><br /><span style="color: #666666;">Plate 65<br />Francisco Goya y Lucientes<br />What Is this Hubbub? c. 1820-1823<br />etching, aquatint (or lavis ?), burin, and burnishing on heavy wove paper<br />Printed by Laurenciano Potenciano<br />24.5 x 33.8 cm; plate: 17.3 x 21.7 cm<br />Purchased 1933<br />National Gallery of Canada (no. 4188)<br /><br />This print begins the "caprichos enfáticos" series that Goya added in 1820-23. Here he focuses on the trials of defeat and occupation. Two anguished women flee from a French officer after hearing devastating news, either about loved ones who have perished or the loss of possessions requisitioned for the war effort.<br />http://cybermuse.gallery.ca/cybermuse/search/artwork_e.jsp?mkey=9591</span></span><br />
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<span style="font-family: "times" , "times new roman" , serif;">PC1999.1.66</span></div>
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<b><span style="font-family: "times" , "times new roman" , serif;">Goya, Francisco (de y Lucientes)</span></b></div>
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<span style="font-family: "times" , "times new roman" , serif;">Strange Devotion, 1863 etching with lavis, drypoint burning, 9.62” x 13.25 Romanticism</span></div>
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<span style="font-family: "times" , "times new roman" , serif;">Gift of Robert and Karen Hoehn</span></div>
<span style="background-color: white; font-family: "times" , "times new roman" , serif; line-height: 17px; white-space: nowrap;">usdgoya.docx</span><br />
<span style="font-family: "times" , "times new roman" , serif; font-size: small;"><br /><span style="color: #666666;">Plate 66<br />Francisco Goya y Lucientes<br />Strange Devotion! c. 1820-1823<br />etching, aquatint (or lavis ?), and burnishing on heavy wove paper<br />Printed by Laurenciano Potenciano<br />24.5 x 33.8 cm; plate: 17.3 x 22 cm<br />Purchased 1933<br />National Gallery of Canada (no. 4189)<br /><br />In this print from the late group of "caprichos enfáticos", Goya returns to the anti-clerical themes of "Los Caprichos". Here he depicts the veneration of a preserved corpse in the tradition of the saintly reliquary. Is this a local religious figure? The answer is not clear, however it seems in this print and the one that follows in the series ("This Is Not Less So", plate 67), Goya is directing criticism at superstition and the belief in false miracles.<br />http://cybermuse.gallery.ca/cybermuse/search/artwork_e.jsp?mkey=9590</span></span><br />
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<span style="font-family: "times" , "times new roman" , serif;">PC1999.1.67</span></div>
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<b><span style="font-family: "times" , "times new roman" , serif;">Goya, Francisco (de y Lucientes)</span></b></div>
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<span style="font-family: "times" , "times new roman" , serif;">This is no less curious, 1863 etching with lavis, drypoint burning, 9.68” x 13.18" Romanticism</span></div>
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<span style="font-family: "times" , "times new roman" , serif;">Gift of Robert and Karen Hoehn</span></div>
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<span style="background-color: white; font-family: "times" , "times new roman" , serif; line-height: 17px; white-space: nowrap;">usdgoya.docx</span></div>
<span style="font-family: "times" , "times new roman" , serif; font-size: small;"><br /><span style="color: #666666;">Plate 67<br />Francisco Goya y Lucientes<br />This Is Not Less So c. 1820-1823<br />etching, aquatint, drypoint, burin, and burnishing on heavy wove paper<br />Printed by Laurenciano Potenciano<br />24.5 x 33.8 cm; plate: 17.3 x 21.6 cm<br />Purchased 1933<br />National Gallery of Canada (no. 4190)<br />http://cybermuse.gallery.ca/cybermuse/search/artwork_e.jsp?mkey=9589</span></span><br />
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<span style="font-family: "times" , "times new roman" , serif;">PC1999.1.68</span></div>
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<b><span style="font-family: "times" , "times new roman" , serif;">Goya, Francisco (de y Lucientes)</span></b></div>
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<span style="font-family: "times" , "times new roman" , serif;">What madness!, 1863</span></div>
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<span style="font-family: "times" , "times new roman" , serif;">etching with lavis, drypoint burning, 9.68” x 13.25" Romanticism</span></div>
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<span style="font-family: "times" , "times new roman" , serif;">Gift of Robert and Karen Hoehn</span></div>
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<span style="background-color: white; font-family: "times" , "times new roman" , serif; line-height: 17px; white-space: nowrap;">usdgoya.docx</span></div>
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<span style="font-size: small;"><span style="color: #666666;">Plate 68<br />Francisco Goya y Lucientes<br />What Madness! c. 1820-1823<br />etching, lavis, and burin on heavy wove paper<br />Printed by Laurenciano Potenciano<br />24.5 x 33.8 cm; plate: 16 x 22.1 cm<br />Purchased 1933<br />National Gallery of Canada (no. 4191)<br /><br />Goya's low opinion of the clergy is abundantly clear in this view of a monk relieving himself among masks, costumes, placards and dolls, possibly used in religious theatre or festival processions. The hooded monks passing by in the background suggest that the setting is a monastery where the clergy have hypocritically concealed their chamber pots among the stage props with which they enchant the faithful.<br />http://cybermuse.gallery.ca/cybermuse/search/artwork_e.jsp?mkey=9588</span></span></span><br />
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<span style="font-family: "times" , "times new roman" , serif;">PC1999.1.69</span></div>
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<b><span style="font-family: "times" , "times new roman" , serif;">Goya, Francisco (de y Lucientes)</span></b></div>
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<span style="font-family: "times" , "times new roman" , serif;">Nothing. We shall see., 1863 etching with lavis, drypoint burning, 9.75” x 13.25" Romanticism</span></div>
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<span style="font-family: "times" , "times new roman" , serif;">Gift of Robert and Karen Hoehn</span></div>
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<span style="background-color: white; font-family: "times" , "times new roman" , serif; line-height: 17px; white-space: nowrap;">usdgoya.docx</span></div>
<span style="font-family: "times" , "times new roman" , serif; font-size: small;"><br /><span style="color: #666666;">Plate 69<br />Francisco Goya y Lucientes<br />Nothing. The Event Will Tell c. 1820-1823<br />etching, aquatint, lavis, drypoint, burin, and burnishing on heavy wove paper<br />Printed by Laurenciano Potenciano<br />24.5 x 33.8 cm; plate: 15.4 x 20.1 cm<br />Purchased 1933<br />National Gallery of Canada (no. 4192)<br /><br />Goya¿s stark image of a corpse having inscribed "Nada" (¿nothing¿) on a sheet of paper is a sobering epilogue for a series of prints on the theme of devastation and loss suffered over the course of the Peninsular War. In the left section of an early proof of this print, the artist depicted an allegorical figure of Justice with her scales, all but obliterated in the published edition of 1863. The print seems to address Goya¿s disappointment with how little was achieved by way of reform during this violent period of upheaval.<br />http://cybermuse.gallery.ca/cybermuse/search/artwork_e.jsp?mkey=9587</span></span><br />
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<span style="font-family: "times" , "times new roman" , serif;">PC1999.1.70</span></div>
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<b><span style="font-family: "times" , "times new roman" , serif;">Goya, Francisco (de y Lucientes)</span></b></div>
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<span style="font-family: "times" , "times new roman" , serif;">They don't know the way, 1863 etching with lavis, drypoint burning, 9.75” x 13.25" Romanticism</span></div>
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<span style="font-family: "times" , "times new roman" , serif;">Gift of Robert and Karen Hoehn</span></div>
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<span style="background-color: white; font-family: "times" , "times new roman" , serif; line-height: 17px; white-space: nowrap;">usdgoya.docx</span></div>
<span style="font-family: "times" , "times new roman" , serif; font-size: small;"><br /><span style="color: #666666;">Plate 70<br />Francisco Goya y Lucientes<br />They Do Not Know the Way c. 1820-1823<br />etching, drypoint, burin, and burnishing on heavy wove paper<br />Printed by Laurenciano Potenciano<br />24.5 x 33.8 cm; plate: 17.7 x 21.8 cm<br />Purchased 1933<br />National Gallery of Canada (no. 4193)<br /><br />This print depicts a variation on the traditional morality tale of ¿the blind leading the blind.¿ A cross-section of Spanish society is strung together with rope. While they are not necessarily blind, they are leaderless and left to wander aimlessly because they have not embraced the liberal values cherished by the artist. The return of Ferdinand VII in 1814 following the end of the Peninsular War ushered in a period of political and religious repression and reinstated the Inquisition, which summoned Goya in 1815 to answer obscenity charges relating to his painting of the "Naked Maja", 1800 (Museo del Prado, Madrid).<br />http://cybermuse.gallery.ca/cybermuse/search/artwork_e.jsp?mkey=9586</span></span><br />
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<span style="font-family: "times" , "times new roman" , serif;">PC1999.1.71</span></div>
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<b><span style="font-family: "times" , "times new roman" , serif;">Goya, Francisco (de y Lucientes)</span></b></div>
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<span style="font-family: "times" , "times new roman" , serif;">Against the common good, 1863 etching with lavis, drypoint burning, 9.75” x 13.25" Romanticism</span></div>
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<span style="font-family: "times" , "times new roman" , serif;">Gift of Robert and Karen Hoehn</span></div>
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<span style="background-color: white; font-family: "times" , "times new roman" , serif; line-height: 17px; white-space: nowrap;">usdgoya.docx</span></div>
<span style="font-family: "times" , "times new roman" , serif; font-size: small;"><br /><span style="color: #666666;">Plate 71<br />Francisco Goya y Lucientes<br />Against the Common Good c. 1820-1823<br />etching and burnishing on heavy wove paper<br />Printed by Laurenciano Potenciano<br />24.5 x 33.8 cm; plate: 17.5 x 21.8 cm<br />Purchased 1933<br />National Gallery of Canada (no. 4194)<br /><br />The long batwing ears and clawed hands and feet of this sanctimonious creature recall the warlocks of "Los Caprichos". His monk¿s robes identify him as a member of the clergy. That he records a repressive rule of law is suggested by the crowd who prostrate themselves in the lower right. This politically motivated print may relate to the Constitutional crisis of 1820 when Ferdinand VII was forced to swear allegiance to the more liberal Constitution of 1812, only to overthrow it three years later and re-establish himself as an absolute monarch with the sanction of European members of the Holy Alliance signed after the final defeat of Napoleon.<br />http://cybermuse.gallery.ca/cybermuse/search/artwork_e.jsp?mkey=9585</span></span><br />
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<span style="font-family: "times" , "times new roman" , serif;"><br /></span>
<span style="font-family: "times" , "times new roman" , serif;">PC1999.1.72</span></div>
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<b><span style="font-family: "times" , "times new roman" , serif;">Goya, Francisco (de y Lucientes)</span></b></div>
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<span style="font-family: "times" , "times new roman" , serif;">The consequences, 1863 etching with lavis, drypoint burning, 9.75” x 13.25" Romanticism</span></div>
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<span style="font-family: "times" , "times new roman" , serif;">Gift of Robert and Karen Hoehn</span></div>
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<span style="background-color: white; font-family: "times" , "times new roman" , serif; line-height: 17px; white-space: nowrap;">usdgoya.docx</span></div>
<span style="font-family: "times" , "times new roman" , serif; font-size: small;"><br /><span style="color: #666666;">Plate 72<br />Francisco Goya y Lucientes<br />The Consequences c. 1820-1823<br />etching on heavy wove paper<br />Printed by Laurenciano Potenciano<br />24.5 x 33.8 cm; plate: 17.4 x 21.7 cm<br />Purchased 1933<br />National Gallery of Canada (no. 4195)<br /><br />The fantastic night creatures in this scene recall "The Sleep of Reason Produces Monsters" from the "Los Caprichos" series, but here convey the tragedy of conflict. Descending upon the fallen, they can be interpreted to represent the plundering of the Nation, the futility of sacrifice, and Nature¿s brute indifference before the failed ideals of humanity.<br />http://cybermuse.gallery.ca/cybermuse/search/artwork_e.jsp?mkey=9584</span></span><br />
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<span style="font-family: "times" , "times new roman" , serif;">PC1999.1.73</span></div>
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<b><span style="font-family: "times" , "times new roman" , serif;">Goya, Francisco (de y Lucientes)</span></b></div>
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<span style="font-family: "times" , "times new roman" , serif;">Feline Pantomime, 1863 etching with lavis, drypoint burning, 9.68” x 13.18" Romanticism</span></div>
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<span style="font-family: "times" , "times new roman" , serif;">Gift of Robert and Karen Hoehn</span></div>
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<span style="background-color: white; font-family: "times" , "times new roman" , serif; line-height: 17px; white-space: nowrap;">usdgoya.docx</span></div>
<span style="font-family: "times" , "times new roman" , serif; font-size: small;"><br /><span style="color: #666666;">Plate 73<br />Francisco Goya y Lucientes<br />Feline Pantomime c. 1820-1823<br />etching, burin, and burnishing on heavy wove paper<br />Printed by Laurenciano Potenciano<br />24.5 x 33.8 cm; plate: 17.6 x 21.8 cm<br />Purchased 1933<br />National Gallery of Canada (no. 4196)<br />http://cybermuse.gallery.ca/cybermuse/search/artwork_e.jsp?mkey=9583</span></span><br />
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<span style="font-family: "times" , "times new roman" , serif;">PC1999.1.74</span></div>
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<b><span style="font-family: "times" , "times new roman" , serif;">Goya, Francisco (de y Lucientes)</span></b></div>
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<span style="font-family: "times" , "times new roman" , serif;">This is the worst, 1863</span></div>
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<span style="font-family: "times" , "times new roman" , serif;">etching with lavis, drypoint burning, 9.75” x 13.25" Romanticism</span></div>
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<span style="font-family: "times" , "times new roman" , serif;">Gift of Robert and Karen Hoehn</span></div>
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<span style="background-color: white; font-family: "times" , "times new roman" , serif; line-height: 17px; white-space: nowrap;">usdgoya.docx</span></div>
<span style="font-family: "times" , "times new roman" , serif; font-size: small;"><br /><span style="color: #666666;">Plate 74<br />Francisco Goya y Lucientes<br />That Is the Worst of It! c. 1820-1823<br />etching and burnishing on heavy wove paper<br />Printed by Laurenciano Potenciano<br />24.5 x 33.8 cm; plate: 17.7 x 21.8 cm<br />Purchased 1933<br />National Gallery of Canada (no. 4197)<br />http://cybermuse.gallery.ca/cybermuse/search/artwork_e.jsp?mkey=9582</span></span><br />
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<span style="font-family: "times" , "times new roman" , serif;">PC1999.1.75</span></div>
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<b><span style="font-family: "times" , "times new roman" , serif;">Goya, Francisco (de y Lucientes)</span></b></div>
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<span style="font-family: "times" , "times new roman" , serif;">Troupe of charlatans, 1863 etching with lavis, drypoint burning, 9.68” x 13.18" Romanticism</span></div>
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<span style="font-family: "times" , "times new roman" , serif;">Gift of Robert and Karen Hoehn</span></div>
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<span style="background-color: white; font-family: "times" , "times new roman" , serif; line-height: 17px; white-space: nowrap;">usdgoya.docx</span></div>
<span style="font-family: "times" , "times new roman" , serif;"><span style="font-size: small;"><br /><span style="color: #666666;">Plate 75<br />Francisco Goya y Lucientes<br />Charlatans' Show c. 1820-1823<br />etching, aquatint (or lavis ?), drypoint, and burin on heavy wove paper<br />Printed by Laurenciano Potenciano<br />24.5 x 33.8 cm; plate: 17.3 x 22.2 cm<br />Purchased 1933<br />National Gallery of Canada (no. 4198)<br />http://cybermuse.gallery.ca/cybermuse/search/artwork_e.jsp?mkey=9581 </span></span><span style="color: #666666;"></span></span><br />
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<span style="font-family: "times" , "times new roman" , serif;"><br /></span>
<span style="font-family: "times" , "times new roman" , serif;">PC1999.1.76</span></div>
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<b><span style="font-family: "times" , "times new roman" , serif;">Goya, Francisco (de y Lucientes)</span></b></div>
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<span style="font-family: "times" , "times new roman" , serif;">The carnivorous vulture, 1863 etching with lavis, drypoint burning, 9.68” x 13.18" Romanticism</span></div>
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<span style="font-family: "times" , "times new roman" , serif;">Gift of Robert and Karen Hoehn</span></div>
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<span style="background-color: white; font-family: "times" , "times new roman" , serif; line-height: 17px; white-space: nowrap;">usdgoya.docx</span></div>
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<span style="font-size: small;"><span style="color: #666666;">Plate 76<br />Francisco Goya y Lucientes<br />The Carnivorous Vulture c. 1820-1823<br />etching, drypoint ?, burin, and burnishing on heavy wove paper<br />Printed by Laurenciano Potenciano<br />24.5 x 33.8 cm; plate: 17.2 x 21.9 cm<br />Purchased 1933<br />National Gallery of Canada (no. 4199)<br />http://cybermuse.gallery.ca/cybermuse/search/artwork_e.jsp?mkey=9579</span></span></span><br />
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<span style="font-family: "times" , "times new roman" , serif;">PC1999.1.77</span></div>
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<b><span style="font-family: "times" , "times new roman" , serif;">Goya, Francisco (de y Lucientes)</span></b></div>
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<span style="font-family: "times" , "times new roman" , serif;">Look the rope is breaking!, 1863 etching with lavis, drypoint burning, 9.75” x 13.25" Romanticism</span></div>
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<span style="font-family: "times" , "times new roman" , serif;">Gift of Robert and Karen Hoehn</span></div>
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<span style="background-color: white; font-family: "times" , "times new roman" , serif; line-height: 17px; white-space: nowrap;">usdgoya.docx</span></div>
<span style="font-family: "times" , "times new roman" , serif; font-size: small;"><br /><span style="color: #666666;">Plate 77<br />Francisco Goya y Lucientes<br />May the Cord Break c. 1820-1823<br />etching, aquatint (or lavis ?), drypoint, and burnishing on heavy wove paper<br />Printed by Laurenciano Potenciano<br />24.5 x 33.8 cm; plate: 17.6 x 21.8 cm<br />Purchased 1933<br />National Gallery of Canada (no. 4200)<br /><br />One of Goya¿s most overtly anti-clerical images from "The Disasters of War" series, this print shows a grim faced prelate - actually Pope Pius VII minus his papal tiara - navigating a stretched and frayed tightrope suspended above a crowd of hecklers. No-one is fooled by the clergy¿s new-found powers after Ferdinand VII was restored to the throne in 1814; inevitably liberal reform will prevail.<br />http://cybermuse.gallery.ca/cybermuse/search/artwork_e.jsp?mkey=9578</span></span><br />
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<b><span style="font-family: "times" , "times new roman" , serif;">Goya, Francisco (de y Lucientes)</span></b></div>
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<span style="font-family: "times" , "times new roman" , serif;">He defends himself well, 1863 etching with lavis, drypoint burning, 9.68” x 13.25" Romanticism</span></div>
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<span style="font-family: "times" , "times new roman" , serif;">Gift of Robert and Karen Hoehn</span></div>
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<span style="background-color: white; font-family: "times" , "times new roman" , serif; line-height: 17px; white-space: nowrap;">usdgoya.docx</span></div>
<span style="font-family: "times" , "times new roman" , serif; font-size: small;"><br /><span style="color: #666666;">Plate 78<br />Francisco Goya y Lucientes<br />He Defends Himself Well c. 1820-1823<br />etching, drypoint, burin, and burnishing on heavy wove paper<br />Printed by Laurenciano Potenciano<br />24.5 x 33.8 cm; plate: 17.3 x 21.7 cm<br />Purchased 1933<br />National Gallery of Canada (no. 4201)<br /><br />One of the few prints by Goya devoted exclusively to animals, those depicted here are in fact personifications of human folly. A pack of wolves viciously attack a horse, while collared dogs look on with calm indifference. It is a sad commentary on those who turn a blind eye to injustice.<br />http://cybermuse.gallery.ca/cybermuse/search/artwork_e.jsp?mkey=9577</span></span><br />
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<span style="font-family: "times" , "times new roman" , serif;">PC1999.1.79</span></div>
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<b><span style="font-family: "times" , "times new roman" , serif;">Goya, Francisco (de y Lucientes)</span></b></div>
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<span style="font-family: "times" , "times new roman" , serif;">Truth has died, 1863</span></div>
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<span style="font-family: "times" , "times new roman" , serif;">etching with lavis, drypoint burning, 9.68” x 13.12" Romanticism</span></div>
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<span style="font-family: "times" , "times new roman" , serif;">Gift of Robert and Karen Hoehn</span></div>
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<span style="background-color: white; font-family: "times" , "times new roman" , serif; line-height: 17px; white-space: nowrap;">usdgoya.docx</span></div>
<span style="font-family: "times" , "times new roman" , serif; font-size: small;"><br /><span style="color: #666666;">Plate 79<br />Francisco Goya y Lucientes<br />Truth Has Died c. 1820-1823<br />etching and burnishing on heavy wove paper<br />Printed by Laurenciano Potenciano<br />24.5 x 33.8 cm; plate: 17.5 x 21.9 cm<br />Purchased 1933<br />National Gallery of Canada (no. 4202)<br /><br />The "Disasters of War" series ends with two prints created as Goya¿s last desperate plea for the survival of liberal values in Spain represented by the Constitution of 1812, which was revoked by Ferdinand VII when he returned to power in 1814 and again in 1823. The Constitution is here personified by a bare-breasted woman in a white dress, laid to rest by a bishop and his clerical followers. However, the light of Truth continues to radiate from her inert body.<br />http://cybermuse.gallery.ca/cybermuse/search/artwork_e.jsp?mkey=9576</span></span><br />
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<span style="font-family: "times" , "times new roman" , serif;">PC1999.1.80</span></div>
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<b><span style="font-family: "times" , "times new roman" , serif;">Goya, Francisco (de y Lucientes)</span></b></div>
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<span style="font-family: "times" , "times new roman" , serif;">Will she live again, 1863 etching with lavis, drypoint burning, 9.68” x 13.18" Romanticism</span></div>
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<span style="font-family: "times" , "times new roman" , serif;">Gift of Robert and Karen Hoehn</span></div>
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<span style="background-color: white; font-family: "times" , "times new roman" , serif; line-height: 17px; white-space: nowrap;">usdgoya.docx</span></div>
<span style="color: #666666; font-family: "times" , "times new roman" , serif; font-size: small;"><br />Plate 80<br />Francisco Goya y Lucientes<br />Will She Rise Again? c. 1820-1823<br />etching with burnishing on heavy wove paper<br />Printed by Laurenciano Potenciano<br />24.5 x 33.8 cm; plate: 17.4 x 21.9 cm<br />Purchased 1933<br />National Gallery of Canada (no. 4203)<br /><br />This plate, the final print in the series, suggests the spiritual resurrection of a buried ideal, a development that finds mixed reaction among many of the bystanders. One figure with clasped hands who kneels behind her head seems to welcome the event, while others, including cloaked figures brandishing clubs and an animal-faced creature about to hurl down a book (undoubtedly, the existing laws of repression under the Inquisition), remain hostile.<br />http://cybermuse.gallery.ca/cybermuse/search/artwork_e.jsp?mkey=9575</span><br />
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<span style="font-family: "times" , "times new roman" , serif;">PC1999.1.81</span></div>
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<b><span style="font-family: "times" , "times new roman" , serif;">Goya, Francisco (de y Lucientes)</span></b></div>
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<span style="font-family: "times" , "times new roman" , serif;">Title Page, 1863</span></div>
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<span style="font-family: "times" , "times new roman" , serif;">etching with lavis, drypoint burning, 9.75” x 13.25" Romanticism</span></div>
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<span style="font-family: "times" , "times new roman" , serif;">Gift of Robert and Karen Hoehn</span></div>
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<span style="background-color: white; font-family: "times" , "times new roman" , serif; line-height: 17px; white-space: nowrap;">usdgoya.docx</span></div>
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<span style="font-family: "times" , "times new roman" , serif;">PC1999.1.82</span></div>
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<b><span style="font-family: "times" , "times new roman" , serif;">Goya, Francisco (de y Lucientes)</span></b></div>
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<span style="font-family: "times" , "times new roman" , serif;">Preface to page, 1863</span></div>
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<span style="font-family: "times" , "times new roman" , serif;">etching with lavis, drypoint burning, 9.75” x 13.12" Romanticism</span></div>
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<span style="font-family: "times" , "times new roman" , serif;">Gift of Robert and Karen Hoehn</span></div>
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<span style="background-color: white; font-family: "times" , "times new roman" , serif; line-height: 17px; white-space: nowrap;">usdgoya.docx</span></div>
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Gary Arseneauhttp://www.blogger.com/profile/10379667479866306615noreply@blogger.comtag:blogger.com,1999:blog-34909527.post-61922046023069308712013-03-28T02:25:00.000-04:002013-04-20T11:15:15.843-04:00Degas Forgeries, The Bait and Switch at the Foothills Art Center<div class="separator" style="clear: both; text-align: center;">
<a href="http://4.bp.blogspot.com/-aOP_iDLh9-U/UVKAe_UsKxI/AAAAAAAACvk/FREnNnkbhxo/s1600/Edgar-Degas-and-William-Thornley-La-Chanteuse-1888-89.jpg" imageanchor="1"><span style="font-family: Times, Times New Roman, serif; font-size: x-small;"><img border="0" height="400" src="http://4.bp.blogspot.com/-aOP_iDLh9-U/UVKAe_UsKxI/AAAAAAAACvk/FREnNnkbhxo/s400/Edgar-Degas-and-William-Thornley-La-Chanteuse-1888-89.jpg" width="307" /></span></a></div>
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<span class="s1"><span style="background-color: white; color: #743399; font-family: Times, Times New Roman, serif; font-size: xx-small; line-height: 22px; text-align: start;"><a href="http://foothillsartcenter.org/fac/wp-content/uploads/2013/03/Edgar-Degas-and-William-Thornley-La-Chanteuse-1888-89.jpg" style="background-color: white; color: #743399; line-height: 22px; text-align: start;" target="_blank">Edgar Degas and William Thornley, La Chanteuse, 1888-89</a></span></span><br />
<span style="font-family: Times, 'Times New Roman', serif; font-size: x-small;">http://foothillsartcenter.org/fac/press/</span><br />
<b><span style="font-family: Times, Times New Roman, serif; font-size: x-small;">ONE OF FOUR NON-DISCLOSED CHROMIST-MADE REPRODUCTIONS </span></b><br />
<b><span style="font-family: Times, Times New Roman, serif; font-size: x-small;">MISREPRESENTED AS LITHOGRAPHS</span></b></div>
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<span class="s1"><b>NOTE:</b> Footnotes are enclosed as </span><span class="s2" style="color: blue; font-size: x-small;">[FN ]</span><span class="s1">.</span></div>
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<span class="s3"><b><span style="font-size: x-large;">T</span></b></span><span class="s1">he Foothills Art Center's April 6, 2013 to June 30, 2013 <b>Edgar Degas, The Private Impressionist Works on Paper by the Artist and his Circle from the Collection of Robert Flynn Johnson</b> exhibition, organized by Landau Traveling Exhibitions, Los Angeles, CA in association with Denenberg Fine Arts, West Hollywood, CA., contains:</span></div>
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<ul>
<li class="li1"><span class="s1">one non-disclosed posthumous [after 1919] 3rd-generation-removed brass [not bronze] sculptural forgery, with a counterfeit Degas <i>signature</i>, falsely attributed as an original work of visual art ie., "sculpture" with a misleading date that predate Degas' death, </span></li>
<li class="li1"><span class="s1">seventeen non-disclosed posthumous [after 1919] impressions from cancelled plates, falsely attributed as original works of visual art ie., "etchings" with misleading dates that predate Degas' death, </span></li>
<li class="li1"><span class="s1">six non-disclosed posthumous [1934-1935] chromist-made reproductions misleadingly represented as: "photogravure etchings and aquatint," and</span></li>
<li class="li1"><span class="s1">four non-disclosed lifetime chromist-made reproductions by chromists William Thornley and Auguste Clot misrepresented as an original works of visual art ie., lithographs.</span></li>
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<span class="s1"><span class="s1">On page 660 of the <i>Seventh Edition of Black's Law Dictionary</i>, -forgery- is defined as: "The act of fraudulently making a false document or altering a real one to be used as if genuine."</span><span class="s2" style="color: blue; font-size: x-small;">[FN 1]</span></span></div>
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Edgar Degas died in 1917. </span></div>
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<span class="s1">Aside chromist-made lifetime reproductions can never be lithographs, the dead don't sculpt or etch.</span></div>
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<span class="s1">Yet, the Foothills Art Center would have the public and others believe and act on that belief, for the monetary considerations including but not limited to: $10 price of admission, city-state-federal grants and corporate sponsorship, that they are "thrilled to bring an extraordinary and rarely viewed exhibition to Colorado, from April 6 through June 30, 2013! Edgar Degas: The Private Impressionist presents a unique selection of drawings, prints and photographs by the illustrious French artist, Edgar Degas (1834-1917)."</span><span class="s2" style="color: blue; font-size: x-small;">[FN 2]</span></div>
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<span class="s1">Ironically, as noted above, at least twenty-four of the non-disclosed forgeries, falsely attributed to Edgar Degas in this "rarely viewed exhibition," haven't even been viewed by the dead Edgar Degas himself. </span></div>
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<span class="s1">On page 137 of the <i>Seventh Edition of Black's Law Dictionary,</i> -bait and switch- is defined as: "Most states prohibit the bait and switch when the original product is not actually available as advertised."</span><span class="s2" style="color: blue; font-size: x-small;">[FN 3]</span></div>
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<span class="s1">This monograph will document that in the case of at least twenty-eight, the "original product is not actually available as advertised" in the <b>Edgar Degas, The Private Impressionist Works on Paper by the Artist and his Circle from the Collection of Robert Flynn Johnson </b>exhibition being held at the Foothills Art Center from April 6, 2013 to June 30, 2013.</span></div>
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<a href="http://1.bp.blogspot.com/-98nY3hfJRKI/UVKEDXlublI/AAAAAAAACvw/X76YN08qtbk/s1600/39Head+Study+of+Pof+the+Portrait+of+Mademoiselle+S+2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: Times, Times New Roman, serif; font-size: x-small;"><img border="0" height="400" src="http://1.bp.blogspot.com/-98nY3hfJRKI/UVKEDXlublI/AAAAAAAACvw/X76YN08qtbk/s400/39Head+Study+of+Pof+the+Portrait+of+Mademoiselle+S+2.jpg" width="280" /></span></a></div>
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<span class="s1"><span style="font-family: Times, Times New Roman, serif; font-size: x-small;">"Edgar Degas [French, 1834-1917], <i>Head, Study of the Portrait of Mademoiselle's</i>, </span></span></div>
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<span class="s1"><span style="font-family: Times, Times New Roman, serif; font-size: x-small;">c. 1892-95, bronze sculpture, Image size in: 7 x 5 x 4", </span></span></div>
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<span class="s1"><span style="font-family: Times, Times New Roman, serif; font-size: x-small;">Frame size in: Entire Case Size with base: 18 x 9 x 9 [inches]"</span></span></div>
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<span style="font-family: Times, Times New Roman, serif; font-size: x-small;"><span class="s5">Degaslistfinal.pdf </span><span class="s4">and</span><span class="s5"> <span class="s6"><a href="http://www.a-r-t.com/degas/images/">http://www.a-r-t.com/degas/images/</a></span></span></span></div>
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<b><span style="font-family: Times, Times New Roman, serif; font-size: x-small;">ONE NON-DISCLOSED 3RD-GENERATION-REMOVED </span></b><b><span style="font-family: Times, Times New Roman, serif; font-size: x-small;">POSTHUMOUS BRASS FORGERY </span></b></div>
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<b><span style="font-family: Times, Times New Roman, serif; font-size: x-small;">FALSELY ATTRIBUTED AS A LIFETIME BRONZE SCULPTURE</span></b></div>
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<span class="s1"><b><span style="font-size: large;">THE BAIT</span></b></span></div>
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<span class="s1">On their website, in their <b>Edgar Degas, The Private Impressionist Works on Paper by the Artist and His Circle </b>exhibition checklist, the Landau Traveling Exhibitions gives the following description: </span></div>
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<li><b>1 OF 28 NON-DISCLOSED FORGERIES: </b>"Edgar Degas [French, 1834-1917], <i>Head, Study of the Portrait of Mademoiselle's</i>, c. 1892-95, bronze sculpture, Image size in: 7 x 5 x 4", Frame size in: Entire Case Size with base: 18 x 9 x 9 [inches]"</li>
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<b><span style="font-size: large;">THE SWITCH</span></b></span></div>
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<span class="s1">Edgar Degas [1834-1917] never cast his sculptures in bronze, much less in brass.</span></div>
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<span class="s1">Here are just five references that confirm this and other devastating facts surrounding the hundred upon hundreds of non-disclosed posthumous 2nd to 3rd-generation-removed brass [not bronze] forgeries with counterfeit <i>Degas</i> signatures in museum and personal collections around the world:</span></div>
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<span class="s1">DEGAS' TRUE INTENT</span></div>
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<span class="s1">On page 95 of the College Art Association’s published spring 1995 art journal, in a "Degas Bronzes?" article by Roger J. Crum, the author wrote: “In Wilken’s essay we read that in 1921 Francois Thiebault-Sisson recalled that Degas had once said: I modeled animals and people in wax for my own satisfaction, not to take to rest from painting or drawing, but to give more expression, more spirit, and more life to my paintings and drawings. They are exercises to get me started. My sculptures will never give that impression of completion that is the ultimate goal of the statue-maker’s trade and since, after all, no one will ever see these efforts, no one should think of speaking about them, not even you. After my death all that will fall apart by itself, and that will be better for my reputation. (p. 23).”</span><span class="s2" style="color: blue; font-size: x-small;">[FN 4]</span></div>
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<span class="s1">DEGAS NEVER CAST HIS SCULPTURE</span></div>
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<span class="s1">On page 180 in the National Gallery of Art’s published 1998 <i>Degas at the Races</i> catalogue, in Daphne S. Barbour’s and Shelly G. Sturman’s “The Horse in Wax and Bronze” essay, these authors wrote: “Degas never cast his sculpture in bronze, claiming that it was a “tremendous responsibility to leave anything behind in bronze -- the medium is for eternity.”</span><span class="s2" style="color: blue; font-size: x-small;">[FN 5]</span></div>
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<span class="s1">2ND TO 3RD GENERATION REMOVED</span></div>
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<span class="s1">On page 78 of the “Degas; The Sculptures” essay by Hirshhorn Curator of Sculpture Valerie J. Fletcher, published in Ann Dumas and David A. Brenneman’s 2001 <i>Degas and America The Early Collectors</i> catalogue, the author wrote: “In 1919-20 Hebrard’s founder Albino Palazzolo, made a first set of {Degas} bronzes. -- Those 'masters' served to make molds for casting edition of twenty-two bronzes. Technically, all bronzes except the master set are surmoulages.”'</span><span class="s2" style="color: blue; font-size: x-small;">[FN 6]</span></div>
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<span class="s1">COUNTERFEIT DEGAS SIGNATURES</span></div>
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<span class="s1">On page 32-33 in Charles W. Milliard’s 1976 <i>The Sculpture of Edgar Degas</i>, the author wrote: “Each cast is stamped with the legend 'cire perdue A.A. Hebrard' in relief, and incised with the signature ‘Degas.’” Later on page 34, the author wrote: “At least some of the casts were set on wooden bases into which the signature “Degas” was burned.”</span><span class="s2" style="color: blue; font-size: x-small;">[FN 7]</span></div>
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<span class="s1">BRASS NOT BRONZE</span></div>
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<span class="s1">This metallurgical discovery is confirmed on page 26 of the National Gallery of Art’s published 2010 <i>Edgar Degas Sculptures</i> catalogue, in the “Degas’ Bronzes Analyzed” essay by Shelly G. Sturman and Daphne S. Barbour. In part, the authors wrote: “Analysis of the elemental surface composition of the National Gallery sculptures was performed using X R F, a noninvasive technique. An alloy of copper and zinc with low to medium tin and traces of lead was used to cast all the sculptures. Results were also compared to X R F analysis undertaken at the Norton Simon Museum on the bronze modeles and at the Metropolitan Museum of Art on some of the serial A set as well. - Bronze is a misnomer for these sculptures, because they are all cast from brass (copper and zinc with tin).”</span><span class="s2" style="color: blue; font-size: x-small;">[FN 8]</span></div>
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<span class="s1">The Foothills Art Center, Landau Traveling Exhibitions and the collector Robert Flynn Johnson are perpetuating, for admission fees, corporate sponsorships and other monetary considerations, an Urban Legend/Myth that Edgar Degas cast in bronze, much less brass or that anything cast, much less posthumously, is a sculpture.</span></div>
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<span class="s1">What is an Urban Legend/Myth?</span></div>
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<span class="s1">An -Urban Legend/Myth-, referencing University of Utah professor emeritus of English Jan Harold Brunvand’s <i>Too Good to Be True: The Colossal Book of Urban Legends</i></span><span class="s2" style="color: blue; font-size: x-small;">[FN 9]</span><span class="s1"> book, is defined on Wikipedia's website as: “a form of modern folklore consisting of stories that may or may not have been believed by their tellers to be true. As with all folklore and mythology, the designation suggests nothing about the story's veracity, but merely that it is in circulation, exhibits variation over time, and carries some significance that motivates the community in preserving and propagating it.”</span><span class="s2" style="color: blue; font-size: x-small;">[FN 10]</span></div>
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<span class="s1">Foothills Art Center continues to propagate the Urban Myth of so-called Edgar Degas bronze sculptures in their website promotion of their subsequently cancelled and removed "A Degas Debate: The Question of Posthumous Castings and Cancelled Plates" symposium where they stated: ''Museum curators and scholars generally accept that estate castings of wax sculptures are legitimate and should be treated as original works of art."</span></div>
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<span class="s1">Here are independent and documented references that undermine that Urban Myth and the Foothills Art Center's non-sensical perspective:</span></div>
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<span class="s1"></span><br /></div>
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<div style="text-align: justify;">
<span class="s1">On page 609 of the 610 page National Gallery of Canada, Metropolitan Museum of Art and Reunion des Musees Nationaux, Paris' published 1988 <i>Degas</i> exhibition catalogue edited by Jean Sutherland Boggs, after perpetuating repeatedly throughout the catalogue the Urban Myth of lifetime dates for bronzes attributed to Edgar Degas in the exhibition, one of the catalogue contributors Metropolitan Museum of Art curators Gary Tinterow wrote a "A Note on Degas's Bronzes" essay. In the very first line of that essay, the curator wrote: "The bronzes included in this exhibition, like those widely distributed throughout the world, are posthumous, second-generation casts of the original wax sculptures by Degas."</span><span class="s2" style="color: blue; font-size: x-small;">[FN 11]</span></div>
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<span class="s1"></span><br /></div>
<div class="p3">
<div style="text-align: justify;">
<span class="s1">Later in this same essay, the Metropolitan Museum of Art curator Gary Tinterow contradicts his assertion of "wax sculpture by Degas," when he wrote they were made of: "fragile plasteline, wax and cork amalgams supported by amateurish armatures."</span><span style="color: blue; font-size: x-small;"><span class="s2">[FN 12]</span><span class="s1"> </span></span></div>
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<span class="s1"></span><br /></div>
<div class="p3">
<div style="text-align: justify;">
<span class="s1">That makes Edgar Degas' original lifetime sculptures in mixed media which as a result could -never- be cast directly into bronze, much less brass, without either cracking the mold destroying the model or exploding the mold destroying the model because the inevitable gases that would form from the burning of various material, such as cork, cloth, paper, paint brushes, wire and plasteline along with wax used by Edgar Degas in his models. </span></div>
</div>
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<span class="s1"></span><br /></div>
<div class="p3">
<div style="text-align: justify;">
<span class="s1">As a result, posthumous wax reproductions were made, by the hands and fingers of the foundry workers with their fingerprints in them, from the posthumous reconstructed and altered Edgar Degas mixed-media models, for lost-wax casting the subsequent second-generation-removed brass[s] which were used as masters to cast the 3rd-generation-removed brass suromoulages.</span></div>
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<span class="s1"></span><br /></div>
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<div style="text-align: justify;">
<span class="s1">In other words, a posthumous brass copy of a posthumous brass copy of a posthumous wax copy. </span></div>
</div>
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<span class="s1"></span><br /></div>
<div class="p3">
<span class="s1">So, what was the real posthumous motivation behind the posthumous castings? </span></div>
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<span class="s1"></span><br /></div>
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<div style="text-align: justify;">
<span class="s1">This is addressed on page 610 of the Metropolitan Museum of Art curator Gary Tinterow's essay, where he wrote: "In an unpublished letter to Louisine Havemeyer, Cassatt wrote that she had received a letter "from Mlle Fevre, Degas's niece, with the account of how their [the family's] hands were forced by the press [to have them cast], under the instigation of a sculptor friend of Degas [Bartholome] who needs to wrap himself in Degas's genius, not having any of his own."</span><span style="color: blue; font-size: x-small;"><span class="s2">[FN 13]</span><span class="s1"> </span></span></div>
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<span class="s1"></span><br /></div>
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<div style="text-align: justify;">
<span class="s1">J. Paul Getty Museum, under their Getty Research, defines -counterfeit- as: "forgeries (derivative objects)" with a note stating: "Reproductions of whole objects when the intention is to deceive; includes sculptures cast without the artist's permission."</span><span class="s2" style="color: blue; font-size: x-small;">[FN 14]</span></div>
</div>
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<span class="s1"></span><br /></div>
<div class="p3">
<div style="text-align: justify;">
<span class="s1">So. despite Landau Traveling Exhibitions' advertising on their website the <i>Head, Study of the Portrait of Mademoiselle's</i> as a "bronze sculpture" by Edgar Degas with an "c. 1892-95" date, the non-disclosed posthumous casting of brass surmoulages, much less in bronze, from posthumously cast bronze/brass[s] from posthumously reproduced waxes by the hands and fingers of the foundry workers with their fingerprints from posthumously reconstructed and altered Edgar Degas mixed-models did not begin till 1919, some two years his death in 1917.</span></div>
</div>
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<span class="s1"></span><br /></div>
<div class="p1">
<span class="s1">The dead don't give permission.</span></div>
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<span class="s1"></span><br /></div>
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<div style="text-align: justify;">
<span class="s1">Remember, on page 660 of the <i>Seventh Edition of Black's Law Dictionary</i>, -forgery- is defined as: "The act of fraudulently making a false document or altering a real one to be used as if genuine."</span><span class="s2" style="color: blue; font-size: x-small;">[FN 15]</span></div>
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<span class="s1"></span><br /></div>
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<div style="text-align: justify;">
<span class="s1">Therefore, rhetorically, is the Foothills Art Center, in their April 6, 2013 to June 30, 2013 <b>Edgar Degas, The Private Impressionist Works on Paper by the Artist and his Circle from the Collection of Robert Flynn Johnson</b> exhibition, offering for the $10 price of admission and other monetary considerations an "original product [that] is not actually available as advertised?"</span></div>
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<a href="http://2.bp.blogspot.com/-hifbVFL6-wA/UVKGPxrQcTI/AAAAAAAACwM/0ebLYzLr__g/s1600/Edgar-Degas-Mary-Cassat-at-the-Louvre-The-Paintings-Gallery-c.-1879-80.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: Times, Times New Roman, serif; font-size: x-small;"><img border="0" height="400" src="http://2.bp.blogspot.com/-hifbVFL6-wA/UVKGPxrQcTI/AAAAAAAACwM/0ebLYzLr__g/s400/Edgar-Degas-Mary-Cassat-at-the-Louvre-The-Paintings-Gallery-c.-1879-80.jpg" width="181" /></span></a></div>
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<span style="font-family: Times, Times New Roman, serif; font-size: x-small;"><span class="s1"></span></span></div>
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<span class="s1"><span style="font-family: Times, Times New Roman, serif; font-size: x-small;">"Edgar Degas (French, 1834-1917), <i>Mary Cassatt at the Louvre the Etruscan Gallery</i>, 1879-80, </span></span></div>
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<span class="s1"><span style="font-family: Times, Times New Roman, serif; font-size: x-small;">Softground etching, drypoint, aquatint, and etching, from the canceled plate, </span></span></div>
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<span class="s1"><span style="font-family: Times, Times New Roman, serif; font-size: x-small;">Image size in: 12 x 9 7/8" Frame size in: 21 x 16 x 1 [inches]" </span></span></div>
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<span style="font-family: Times, Times New Roman, serif; font-size: x-small;">Degaslistfinal.pdf </span></div>
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<span class="s5"><a href="http://foothillsartcenter.org/fac/wp-content/uploads/2013/03/Edgar-Degas-Mary-Cassat-at-the-Louvre-The-Paintings-Gallery-c.-1879-80.jpg" style="background-color: white; color: #743399; line-height: 22px; text-align: start;" target="_blank"><span style="font-family: Times, Times New Roman, serif; font-size: x-small;">Edgar Degas, Mary Cassat at the Louvre – The Paintings Gallery, c. 1879-80</span></a></span></div>
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<span style="font-family: Times, Times New Roman, serif; font-size: x-small;">http://foothillsartcenter.org/fac/press/</span></div>
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<span style="font-family: Times, Times New Roman, serif; font-size: x-small;"><b>ONE OF SEVENTEEN NON-DISCLOSED </b><b>POSTHUMOUS FORGERIES </b></span></div>
<div class="p9" style="text-align: center;">
<b><span style="font-family: Times, Times New Roman, serif; font-size: x-small;">FALSELY ATTRIBUTED AS LIFETIME ETCHINGS</span></b></div>
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<span class="s1"><b><span style="font-size: large;">THE BAIT</span></b></span></div>
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<div style="text-align: justify;">
<span class="s1">On their website, in their <b>Edgar Degas, The Private Impressionist Works on Paper by the Artist and His Circle </b>exhibition checklist</span><span class="s2" style="color: blue; font-size: x-small;">[FN 16]</span><span class="s1">, Landau Traveling Exhibitions misrepresents seventeen non-disclosed posthumous forgeries, posthumously impressed from cancelled plates between 1919 and 1981 or later, as original works of visual art ie., etchings by Edgar Degas with dates ranging from 1857 to 1880 that pre-date his death in 1917:</span></div>
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<ul>
<li><b>2 OF 28 NON-DISCLOSED FORGERIES: </b>"Edgar Degas [French, 1834-1917], <i>Edgar Degas: Self-Portrait</i>, 1857, etching and drypoint, from the canceled plate, Image size in: 10 1/2 x 7", Frame size in: 21 x 16 x 3/4 [inches]"</li>
</ul>
</div>
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<ul>
<li><b>3 OF 28 NON-DISCLOSED FORGERIES: </b>"Edgar Degas (French, 1834-1917), <i>The Engraver, Joseph Tourny</i>, 1857, Etching, from the canceled plate, Image size in: 9 1/2 x 6 1/4" Frame size in: 21 x 16 x 3/4 [inches]"</li>
</ul>
</div>
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<ul>
<li><b>4 OF 28 NON-DISCLOSED FORGERIES: </b>"Edgar Degas (French, 1834-1917), <i>Mlle, Nathalie Wolkonska</i>, ca. 1860-61, Etching, from the canceled plate, Image size in: 5 1/2 x 4 5/8" Frame size in: 21 x 16 x 3/4 [inches]"</li>
</ul>
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<ul>
<li><b>5 OF 28 NON-DISCLOSED FORGERIES: </b>"Edgar Degas (French, 1834-1917), <i>Marguerite Degas, The Artist's Sister</i>, ca. 1860-62, Etching, from the canceled plate, Image size in: 13 7/8 x 11" Frame size in: 21 x 16 x 1 [inches]"</li>
</ul>
</div>
<div class="p8">
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<ul>
<li><b>6 OF 28 NON-DISCLOSED FORGERIES: </b>"Edgar Degas (French, 1834-1917), <i>Manet Seated, Turned to the Left</i>, ca. 1854-65, Etching, from the canceled plate, Image size in: 7 1/2 x 5 1/2" Frame size in: 20 7/8 x 15 7/8 x 3/4 [inches]" </li>
</ul>
</div>
<div class="p8">
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<ul>
<li><b>7 OF 28 NON-DISCLOSED FORGERIES: </b>"Edgar Degas (French, 1834-1917), <i>Manet Seated, Turned to the Right</i>, ca. 1864-65, Etching and drypoint, from the canceled plate, Image size in: 16 7/8 x 12 1/8" Frame size in: 21 x 16 x 1 [inches]" </li>
</ul>
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<ul>
<li><b>8 OF 28 NON-DISCLOSED FORGERIES: </b>"Edgar Degas (French, 1834-1917), <i>Edouard Manet, Bust-Length Portrait</i>, ca. 1864-65, Etching, drypoint, and aquatint, from the canceled plate, Image size in: 6 x 5" Frame size in: 21 x 16 x 4 3/4 [inches]" </li>
</ul>
</div>
<div class="p8">
<br />
<ul>
<li><b>9 OF 28 NON-DISCLOSED FORGERIES: </b>"Edgar Degas (French, 1834-1917), <i>Alphonse Hirsch</i>, 1875, Drypoint and aquatint, Restrike edition, Image size in: 7 5/8 x 5 3/4" Frame size in: 21 x 16 x 1 [inches]"</li>
</ul>
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<ul>
<li><b>10 OF 28 NON-DISCLOSED FORGERIES: </b>"Edgar Degas (French, 1834-1917), <i>On Stage III</i>, ca. 1876-77, Softground etching, drypoint, and roulette, from the canceled plate, Image size in: 9 7/8 x 12 5/8" Frame size in: 21 x 16 x 1 [inches]"</li>
</ul>
</div>
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<ul>
<li><b>11 OF 28 NON-DISCLOSED FORGERIES: </b>"Edgar Degas (French, 1834-1917), <i>Two Dancers in a Rehearsal Room</i>, Aquatint, drypoint and scraping, from the canceled plate, Image size in: 12 5/8 x 9 7/8" Frame size in: 21 x 16 x 1 [inches]"</li>
</ul>
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<ul>
<li><b>12 OF 28 NON-DISCLOSED FORGERIES: </b>"Edgar Degas (French, 1834-1917), <i>Leaving the Bath</i>, ca. 1879-80, Drypoint and aquatint, from the canceled plate, Image size in: 13 3/4 x 10 7/8" Frame size in: 21 x 16 x 1 [inches]" </li>
</ul>
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<br />
<ul>
<li><b>13 OF 28 NON-DISCLOSED FORGERIES: </b>"Edgar Degas (French, 1834-1917), <i>Head and Shoulders of a Young Woman in Profile</i>, ca 1879, Soft ground etching, from the canceled plate, Image size in:13 x 9 3/4" Frame size in: 21 x 16 x 1 [inches]" </li>
</ul>
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<ul>
<li><b>14 OF 28 NON-DISCLOSED FORGERIES: </b>"Edgar Degas (French, 1834-1917), <i>Seated Woman in a Bonnet and Shawl</i>, ca 1879, Aquatint, drypoint and scraping, from the canceled plate, Image size in: 13 x 10" Frame size in: 21 x 16 x 1 [inches]"</li>
</ul>
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<ul>
<li><b>15 OF 28 NON-DISCLOSED FORGERIES: </b>"Edgar Degas (French, 1834-1917), <i>At the Cafe Des Ambassadeurs</i>, ca. 1879-80, Drypoint, aquatint and softground etching, from the canceled plate, Image size in: 9 7/8 x 12 7/8" Frame size in: 21 x 16 x 1 [inches]"</li>
</ul>
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<ul>
<li><b>16 OF 28 NON-DISCLOSED FORGERIES: </b>"Edgar Degas (French, 1834-1917), <i>Actresses in the Dressing Room,</i> ca. 1879-80, Etching and aquatint, from the canceled plate, Image size in: 9 3/4 x 12 5/8" Frame size in: 21 x 16 x 1 [inches]"</li>
</ul>
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<ul>
<li><b>17 OF 28 NON-DISCLOSED FORGERIES: </b>"Edgar Degas (French, 1834-1917), <i>Mary Cassatt at the Louvre the Etruscan Gallery</i>, 1879-80, Softground etching, drypoint, aquatint, and etching, from the canceled plate, Image size in: 12 x 9 7/8" Frame size in: 21 x 16 x 1 [inches]" </li>
</ul>
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<ul>
<li><b>18 OF 28 NON-DISCLOSED FORGERIES: </b>"Edgar Degas (French, 1834-1917), <i>Mary Cassatt at the Louvre the Etruscan Gallery</i>, 1879-80, Softground etching, drypoint, aquatint, and etching, from the canceled plate, Image size in: 12 x 9 7/8" Frame size in: 21 x 16 x 1 [inches]" </li>
</ul>
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<b><span style="font-size: large;">THE SWITCH</span></b></span></div>
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<div style="text-align: justify;">
<span class="s1">The Landau Traveling Exhibition's -representation- of lifetime "etchings," attributed to Edgar Degas, with dates ranging from 1857 to 1880, is contradicted by the following -disclosure- of the so-called "printed editions" posthumously impressed "after his death" in "1919-20" or later, by these three sources:</span></div>
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<span class="s1"></span><br /></div>
<ol class="ol1">
<li class="li3"><span class="s1">On the Spaightwood Galleries' website, it states: "Degas was a dedicated print collector (at his death he owned 1700 Daumier lithographs and 1900 prints by Gavarni). He made etchings, for the most part, from live subjects, sketching with an etching needle on a copperplate, and printed to please himself. Most of his prints are known only because after his death, his dealer, Ambroise Vollard, printed editions of 150 from the cancelled plates found in his studio."</span><span class="s2" style="color: blue; font-size: x-small;">[FN 17]</span></li>
<li class="li3"><span class="s1">On the Pasquale Iannetti Art Gallery's website, it states: "An edition of 150 impressions was printed for Ambroise Vollard circa 1919-20 from 21 copper plates which had been etched by Degas between 1855 and 1884, but which had since been canceled."</span><span class="s2" style="color: blue; font-size: x-small;">[FN 18]</span></li>
<li class="li3"><span class="s1">On JD Smith Fine Art's website, it states: "The original copper plate [for The Laundresses] was executed in 1879-80. This is a fine impression of Reed and Shapiro's fourth state after cancellation of the plate. It was printed as part of Ambroise Vollard's 1919 edition of ~150 impressions from Degas' cancelled plates. Catalog raisonne reference: Reed and Shapiro, Edgar Degas: The Painter as Printmaker, 48. Adhemar and Cachin, Degas: The Complete Etchings, Lithographs and Monotypes, 32."</span><span class="s2" style="color: blue; font-size: x-small;">[FN 19]</span></li>
</ol>
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<span class="s1">THE FINISHED PRINT IS APPROVED BY THE ARTIST</span></div>
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<div style="text-align: justify;">
<span class="s1">Forty-seven years ago in <i>A GUIDE TO THE COLLECTING AND CARE OF ORIGINAL PRINTS </i>sponsored by the The Print Council of America and authored by Carl Zigrosser and Christa M. Gaehde, 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."</span><span style="color: blue; font-size: x-small;"><span class="s2">[FN 20]</span><span class="s1"> </span></span></div>
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<span class="s1">The dead don't etch, much less approve.</span></div>
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<span class="s1">LATER IMPRESSIONS ARE USUALLY NOT THE DESIRE OF THE ARTIST </span></div>
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<div style="text-align: justify;">
<span class="s1">As for printing impressions from an artist's canceled plates, JD Smith Fine Art, on their website, states: "When an artist finishes printing the number of impressions they want of a work (the total edition size), they usually “cancel” the plate. To cancel the plate, they typically scribe noticeable crosshatch or “X” lines across the plate. These lines cross the image and will show up on any later impressions made from the plate. The lines indicate that any later impressions were not part of the original edition. Cancelling a plate is the best way an artist has to protect the value of the impressions in the official edition. - Usually impressions from cancelled plates are done by a dealer or printer to make additional money from a popular artist’s work. These later impressions are usually not the desire of the artist."</span><span class="s2" style="color: blue; font-size: x-small;">[FN 21]</span></div>
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<span class="s1">The dead don't etch, much less desire.</span></div>
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<div style="text-align: justify;">
<span class="s1">Then to go from bad to worse, the posthumous impressions from these Edgar Degas' canceled plates and the misrepresentation of those posthumous impressions as original works of visual art ie., etchings falsely attributed to Edgar Degas was continued, by Frank Perls Gallery [1939-1981]</span><span class="s2" style="color: blue; font-size: x-small;">[FN 22]</span><span class="s1">, after Ambroise Vollard's death on July 21, 1939. </span></div>
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<span class="s1"></span><br /></div>
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<span class="s1">FRANK PERLS GALLERY</span></div>
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<div style="text-align: justify;">
<span class="s1">The <i>A & R Gallery</i>, located in Birmingham, UK, who is offering for sale on their website a titled <i>The Laundress</i> impression attributed to Edgar Degas as an "Original Etching and aquatint, Fourth state, 1879/80," makes the following astonishing admission on their website: "Our piece was made by Frank Perls Gallery of 350 N Camden Drive, Beverley Hills, California and was one of 26 etchings made in a limited edition at that time. These were printed by Lacouriere in Paris on Vieux Japan paper. The pieces from the small edition (quantity unstipulated) were made with the printers blindstamp but a number of additional printers proofs were made, of which ours is an example, without this blindstamp. The piece must be a rarity since it is hardly ever seen."</span><span class="s2" style="color: blue; font-size: x-small;">[FN 23]</span></div>
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<div style="text-align: justify;">
<span class="s1">In <i>The Fifth Edition of the Artist`s Handbook of Materials and Techniques </i>by Ralph Mayer, 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."</span><span class="s2" style="color: blue; font-size: x-small;">[FN 24]</span></div>
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<span class="s1">The dead don't etch, much less participate.</span></div>
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<div style="text-align: justify;">
<span class="s1">So. despite Landau Traveling Exhibitions' advertising on their website the <i>Edgar Degas: Self-Portrait </i>as an "etching and drypoint, from a canceled plate" by Edgar Degas with a "1857" date, this posthumous impression was actually printed between 1919 to 1981 or later, some 2 to 64 years or more after Edgar Degas' death in 1917.</span></div>
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<span class="s1"></span><br /></div>
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<span class="s1">IMPRESSIONS WHOLLY EXECUTED BY HAND BY THE ARTIST</span></div>
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<div style="text-align: justify;">
<span class="s1">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: <i>"</i>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."</span><span class="s2" style="color: blue; font-size: x-small;">[FN 25]</span></div>
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<span class="s1">The dead don't etch, much less wholly execute.</span></div>
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<span class="s1">COMITE NATIONAL DE GRAVEURS OF FRANCE</span></div>
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<div style="text-align: justify;">
<span class="s1">Interestingly, in 1964, the Comite National de Graveurs of France rigidly set a similar definition of an original print as: "Impressions produced in color or black and white from one or more matrices conceived and executed by the artist himself whatever the technique employed and excluding all mechanical and photomechanical processes."</span><span class="s2" style="color: blue; font-size: x-small;">[FN 26]</span></div>
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<span class="s1">Remember, on page 660 of the <i>Seventh Edition of Black's Law Dictionary</i>, -forgery- is defined as: "The act of fraudulently making a false document or altering a real one to be used as if genuine."</span><span class="s2" style="color: blue; font-size: x-small;">[FN 27]</span></div>
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<span class="s1">Therefore, rhetorically, is the Foothills Art Center, in their April 6, 2013 to June 30, 2013 <b>Edgar Degas, The Private Impressionist Works on Paper by the Artist and his Circle from the Collection of Robert Flynn Johnson</b> exhibition, offering for the $10 price of admission and other monetary considerations an "original product [that] is not actually available as advertised?"</span></div>
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<span class="s1"><span style="font-family: Times, Times New Roman, serif; font-size: x-small;"><i>"Self Portrait</i>, Edgar Degas (French, 1834-1917), 1857, etching and drypoint, Sheet: h:31.50 w:22.60 cm (h:12 3/8 w:8 7/8 inches) Platemark - h:23.00 w:14.50 cm (h:9 w:5 11/16 inches), John L. Severance Fund, Accession No.: 2004.87, Inscription: Lower left margin, in litho crayon: á Bartholomé / Degas [Cleveland Museum of Art's collection]"</span></span></div>
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<span style="font-family: Times, Times New Roman, serif; font-size: x-small;"><b>AUTHENTIC LIFETIME ETCHING BY DEGAS</b></span></div>
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<span class="s1">The above is an authentic lifetime etching created and printed by Edgar Degas.</span></div>
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<span class="s1">On the Cleveland Museum of Art’s website, it gives the following description for the above authentic lifetime Edgar Degas created <i>Self-Portrait</i> etching in their collection: “At the beginning of his career, Edgar Degas frequently used himself as a model for portrait drawings and oil paintings, though this is his only self-portrait in a print medium. Degas almost certainly executed this study of himself holding a pencil and sheet of paper in 1857 in Rome, where he had gone to study art. Since he had made only a few etchings previously, he had difficulty biting the copper printing plate in acid. Although some accidental biting is visible, the artist also experimented with bitten tone to achieve darker areas within the figure and a rich, shadowy background. Degas studied Rembrandt’s prints, and like the master, he wiped the printing ink off the surface of the plate carefully, yet differently, for each impression, thereby modeling the figure in light and shade, enhancing the atmospheric quality of the background, and allowing the eyes, clearly drawn, to look directly at the viewer. The result is an intensely powerful, psychological portrait of the artist at age 23. This impression of this very rare print (there are only about ten known impressions) is inscribed to the artist’s friend, the sculptor Paul-Albert Bartholomé.”</span><span class="s2" style="color: blue; font-size: x-small;">[FN 28]</span></div>
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<b>On left: </b><i style="text-align: center;">"Self Portrait</i><span style="text-align: center;">, Edgar Degas (French, 1834-1917), 1857, etching and drypoint, Sheet: h: 31.50 w: 22.60 cm (h: 12 3/8 w: 8 7/8 inches) Platemark - h: 23.00 w: 14.50 cm (h: 9 w: 11/16 inches), John L. Severance Fund, Accession No.: 2004.87, Inscription: Lower left margin, in litho crayon: á Bartholomé / Degas [Cleveland Museum of Art's collection]"</span></div>
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<span class="s7" style="text-align: center;"><a href="http://www.clevelandart.org/collections/collection%20online.aspx?type=refresh&searchoption=1&csearch=Artist%20/%20Maker:Edgar%20Degas%20(French,%201834-1917">http://www.clevelandart.org/collections/collection%20online.aspx?type=refresh&searchoption=1&csearch=Artist%20/%20Maker:Edgar%20Degas%20(French,%201834-1917</a></span><span class="s5" style="text-align: center;">)</span></div>
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<b>On right:</b> "Edgar Degas [French, 1834-1917], <i>Edgar Degas: Self-Portrait</i>, 1857, etching and drypoint, from the canceled plate, Image size in: 10 1/2 x 7", Frame size in: 21 x 16 x 3/4 [inches], " Listing & Photo: <span style="text-align: center;">Degaslistfinal.pdf, </span><span class="s6" style="text-align: center;"><a href="http://www.a-r-t.com/degas/images/" style="text-align: center;">http://www.a-r-t.com/degas/images/</a></span></div>
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Edgar Degas cancelled his plates for a reason. Edgar Degas never printed cancellation proofs from his cancelled plates for a reason. Edgar Degas sold his cancelled plates to the art dealer Ambroise Vollard for a reason. Ambroise Vollard had thousands of posthumous impressions impressed from those cancelled plates for a reason. Gallery owner Frank Perls acquired those cancellation plates and had thousands of posthumous impressions impressed for a reason. Now 21st-century museum professionals and collectors are exhibiting these thousands upon thousands of posthumous impressions as authentic Edgar Degas etchings with dates that predate his death in 1917 and doing so for a reason.</div>
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Rhetorically, does it all sound reasonable except for Edgar Degas's true legacy, legitimate living artists and those of the past who actually created and printed their etchings, not to mention those who sell fully disclosed reproductions as reproductions?</div>
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<a href="http://1.bp.blogspot.com/-YZU2_InbHw0/UVKNZ7hX_0I/AAAAAAAACwo/tKGoQ4AhooE/s1600/62+Tellie+2r.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="http://1.bp.blogspot.com/-YZU2_InbHw0/UVKNZ7hX_0I/AAAAAAAACwo/tKGoQ4AhooE/s400/62+Tellie+2r.jpg" width="316" /></a></div>
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<span class="s1"><span style="font-family: Times, Times New Roman, serif; font-size: x-small;">"Maurice Potin, (French, active early 20th Centry), after Edgar Degas, <i>Waiting for the Client</i>, 1935 (original ca. 1879), photogravue etching and aquatint after the original monotype, </span></span></div>
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<span class="s1"><span style="font-family: Times, Times New Roman, serif; font-size: x-small;">Image size in: 8 1/8 x 6 5/8" Frame size In: 21 x 16 x 3/4 [inches]"</span></span></div>
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<span class="s5"><span style="font-family: Times, Times New Roman, serif; font-size: x-small;"><a href="http://www.a-r-t.com/degas/images/"><span class="s6">http://www.a-r-t.com/degas/images/</span></a></span></span></div>
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<b><span style="font-family: Times, Times New Roman, serif; font-size: x-small;">ONE OF SIX NON-DISCLOSED CHROMIST-MADE FORGERIES</span></b></div>
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<b><span style="font-family: Times, Times New Roman, serif; font-size: x-small;">MISREPRESENTED AS ETCHINGS</span></b></div>
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<span class="s1">On their website, in their <b>Edgar Degas, The Private Impressionist Works on Paper by the Artist and His Circle </b>exhibition checklist</span><span class="s2" style="color: blue; font-size: x-small;">[FN 29]</span><span class="s1">, Landau Traveling Exhibitions lists six non-disclosed posthumous [1934-1935] chromist-made forgeries [two of which have counterfeit <i>Degas</i> signatures] by Maurice Potin, from Edgar Degas's monotypes, as original works of visual art ie., etchings:</span></div>
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<li><b>19 OF 28 NON-DISCLOSED FORGERIES: </b>"Maurice Potin, (French, active early 20th Centry), after Edgar Degas, <i>Waiting for the Client</i>, 1935 (original ca. 1879), photogravue etching and aquatint after the original monotype, Image size in: 8 1/8 x 6 5/8" Frame size In: 21 x 16 x 3/4 [inches]" [counterfeit <i>Degas</i> signature bottom right]</li>
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<li><b>20 OF 28 NON-DISCLOSED FORGERIES: </b>"Maurice Potin, (French, active early 20th Century), after Edgar Degas, <i>Le Client Serieux</i>, 1934 (original ca. 1879), photogravue etching and aquatint after the original monotype, Image size in: 10 1/4 x 7 7/8" Frame size In: 21 x 16 x 3/4 [inches]"</li>
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<li><b>21 OF 28 NON-DISCLOSED FORGERIES: </b>"Maurice Potin, (French, active early 20th Century), after Edgar Degas, <i>Trois Filles Assises de Face,</i> 1934 (original ca. 1879), photogravue etching and aquatint after the original monotype, Image size in: 8 1/2 x 10" Frame size In: 16 x 21 x 3/4 [inches]"</li>
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<li><b>22 OF 28 NON-DISCLOSED FORGERIES: </b>"Maurice Potin, (French, active early 20th Century), after Edgar Degas, <i>Le Fete de la patronne (Grand)</i>, 1934 (original ca. 1878-79), photogravue etching and aquatint after the original monotype, Image size in: 9 x 9 3/4" Frame size In: 16 x 21 x 3/4 [inches]"</li>
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<li><b>23 OF 28 NON-DISCLOSED FORGERIES: </b>"Maurice Potin, (French, active early 20th Century), after Edgar Degas, <i>Femmes Nues</i>, 1935 (original ca. 1879), photogravue etching and aquatint after the original monotype, Image size in: 9 7/8 x 12 5/8" Frame size In: 21 x 16 x 1 [inches]" [counterfeit Degas signature bottom right outside image]</li>
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<li><b>24 OF 28 NON-DISCLOSED FORGERIES: </b>"Maurice Potin, (French, active early 20th Century), after Edgar Degas, <i>Femme DeBout Dans une Baignoire</i>, 1935 (original ca. 1878), photogravue etching and aquatint after the original monotype, Image size in: 12 3/4 x 9 7/8" Frame size In: 21 x 16 x 1 [inches]"</li>
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<span class="s1">In a prior March 10, 2011 DEGAS: THE PRIVATE IMPRESSIONIST Exhibition checklist, the Landau Traveling Exhibition listed sixteen "1934 Color engraving and aquatint after monotype by Edgar Degas by Maurice Potin (French 1874-?) commissioned by Vollard."</span><span class="s5" style="color: blue; font-size: x-small;">[FN 30]</span></div>
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<span class="s1">The Landau Traveling Exhibition's -representation- of "photogravue etchings and aquatint after the original monotype," with the attribution of "after Edgar Degas," fails to clearly give full and honest disclosure to what is nothing more, at best, than chromist-made -reproductions- by Maurice Potin<b>.</b></span></div>
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<span class="s1">On page 8 of HarperCollins' published 1991 <i>Dictionary of Art Terms & Techniques </i>by Ralph Mayer, -after- is defined as a: "word used in an artist's inscription to indicate that his or her picture or sculpture was modeled on the work of another artist. It generally signifies a faithful copy of the original."</span><span class="s2" style="color: blue; font-size: x-small;">[FN 31]</span></div>
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<span class="s1">On page 350 of HarperCollins' published 1991 <i>Dictionary of Art Terms & Techniques </i>by Ralph Mayer, -reproduction- is defined as: "a general term for any copy, likeness, or counterpart of an original work of art or of a photograph, done in the same medium as the original or in another, and done by someone other than the creator of the original."</span><span class="s2" style="color: blue; font-size: x-small;">[FN 32]</span></div>
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<span class="s1">Under U. S. Copyright Law<b> 106A. Rights of certain authors to attribution and integrity</b>, the "(a) Rights of Attribution and Integrity. — Subject to section 107 and independent of the exclusive rights provided in section 106, the author of a work of visual art — (1) shall have the right — (A) to claim authorship of that work, and (3) The rights described in paragraphs (1) and (2) of subsection (a) shall not apply to any reproduction."</span><span class="s2" style="color: blue; font-size: x-small;">[FN 33]</span></div>
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<span class="s1">Additionally, under the Association of of Art Museum Director's endorsed 2001 <i>Professional Practices</i>, these six non-disclosed posthumous chromist-made reproductions could not even be displayed or sold in a museum gift shop because of the inclusion of what could be inferred as a <i>Degas</i> signature in the bottom right corner of the above posthumous chromist-made reproduction by Maurice Potin titled: <i>Waiting for the Client </i>and<i> Femme Nues</i>.</span></div>
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<span class="s1">AAMD'S 2001 PROFESSIONAL PRACTICES</span></div>
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<span class="s1">This factual perspective is confirmed on page 31 in the Association of Art Museum Directors' published 2001 <i>Professional Practices in Art Museum</i> publication, it states: "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, editions numbers, and/or foundry marks on sculpture must not appear on the reproduction. - The touting of exaggerated investment value of reproductions must be avoided because the object or work being offered for purchase is not original and the resale value is highly in doubt. - 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."</span><span class="s2" style="color: blue; font-size: x-small;">[FN 34]</span></div>
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Non-disclosed chromist-made posthumous [1935] reproductions by the Maurice Potin falsely attributed on the cover as "ILLUSTRATIONS D'EDGAR DEGAS" in bogus editions of 305 with 20 marked A-T, SOURCE: <span style="color: blue;">http://www.artnet.com/auctions/artists/edgar-degas/mimes-des-courtisanes-de-lucien-group-of-9-engravings-3</span></div>
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<span class="s1">Remember, on page 660 of the <i>Seventh Edition of Black's Law Dictionary</i>, -forgery- is defined as: "The act of fraudulently making a false document or altering a real one to be used as if genuine."</span><span class="s2" style="color: blue; font-size: x-small;">[FN 35]</span></div>
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<span class="s1">Therefore, rhetorically, is the Foothills Art Center, in their April 6, 2013 to June 30, 2013 <b>Edgar Degas, The Private Impressionist Works on Paper by the Artist and his Circle from the Collection of Robert Flynn Johnson</b> exhibition, offering for the $10 price of admission and other monetary considerations an "original product [that] is not actually available as advertised?"</span></div>
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<span class="s1"><span style="font-family: Times, Times New Roman, serif; font-size: x-small;">"Edgar Degas (French, 1834-1917) and George W. Thornley (French, 1840-1926) <i>Danseuse Pres de la Poele</i>, ca. 1888-89, lithograph with Chine applique on thin wove pater applied to greenish-blue paper, Image size in: 12 7/8 x 9 3/4" Frame size in: 12 7/8 x 9 3/4 [inches]"</span></span></div>
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<span style="font-family: Times, Times New Roman, serif; font-size: x-small;"><span class="s1">Listing: Degaslistfinal.pdf </span><span class="s4">and Photo:</span></span></div>
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<span class="s5"><span class="s6"><a href="http://www.williamweston.co.uk/pages/catalogues/single/299/11/1.html"><span style="font-family: Times, Times New Roman, serif; font-size: x-small;">http://www.williamweston.co.uk/pages/catalogues/single/299/11/1.html</span></a></span></span></div>
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<b><span style="font-family: Times, Times New Roman, serif; font-size: x-small;">ONE OF FOUR NON-DISCLOSED REPRODUCTIONS </span></b></div>
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<span class="s1">On their website, in their <b>Edgar Degas, The Private Impressionist Works on Paper by the Artist and His Circle </b>exhibition checklist</span><span class="s2" style="color: blue; font-size: x-small;">[FN 36]</span><span class="s1">, Landau Traveling Exhibitions misrepresents non-disclosed lifetime chromist-made reproductions by George W. Thornley as: </span></div>
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<li><b>25 OF 28 NON-DISCLOSED FORGERIES: </b>"Edgar Degas (French, 1834-1917) and George W. Thornley (French, 1840-1926) <i>Danseuse Pres de la Poele</i>, ca. 1888-89, lithograph with Chine applique on thin wove pater applied to greenish-blue paper, Image size in: 12 7/8 x 9 3/4" Frame size in: 12 7/8 x 9 3/4 [inches]"</li>
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<a href="http://3.bp.blogspot.com/-lO5azMGrS2s/UVMBqzCmunI/AAAAAAAACx4/8rPR0bftXg0/s1600/Dancer-Resting.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="200" src="http://3.bp.blogspot.com/-lO5azMGrS2s/UVMBqzCmunI/AAAAAAAACx4/8rPR0bftXg0/s200/Dancer-Resting.jpg" width="145" /></a> <a href="http://4.bp.blogspot.com/-7xQU1bztINM/UVKQufozQlI/AAAAAAAACw8/S77pBmCRon4/s1600/299.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="200" src="http://4.bp.blogspot.com/-7xQU1bztINM/UVKQufozQlI/AAAAAAAACw8/S77pBmCRon4/s200/299.jpg" width="150" /></a></div>
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<b>On left:</b> <i>Dancer Resting</i>, c. 1879-80, Pastel and black chalk on off-white wove paper, laid down, 30 1/2 x 21 7/8 (76.5 x 55.5 cm), Inscribed and signed bottom right: a mon ami Duranty/Degas, Private collection, Lemoisne 573, page 331, 1988 <i>Degas</i>, edited by Jean Sutherland Boggs</div>
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<b>On right: </b><span style="text-align: center;">"Edgar Degas (French, 1834-1917) and George W. Thornley (French, 1840-1926) </span><i style="text-align: center;">Danseuse Pres de la Poele</i><span style="text-align: center;">, ca. 1888-89, lithograph with Chine applique on thin wove pater applied to greenish-blue paper, Image size in: 12 7/8 x 9 3/4" Frame size in: 12 7/8 x 9 3/4 [inches]," </span><span class="s1">Listing: Degaslistfinal.pdf </span><span class="s4">and Photo: </span><a href="http://www.williamweston.co.uk/pages/catalogues/single/299/11/1.html" style="text-align: center;">http://www.williamweston.co.uk/pages/catalogues/single/299/11/1.html</a></div>
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Comparing Degas' original pastel versus George W. Thornley's chromist-made reproduction, these are just a few of the many flaws by George W. Thornley: 1) lack of foreshortening in the lines for the base of the stove, 2) the stove is thinner and lacks proper round shape and detail at the top 3) the jar with the handle lacks the proper perspective and definition and 4) ballet dress lacks straight lines with proper highlights along with the transparent definition of the dancer's legs. In other words, to the layperson, it might look pretty good, but when compared side by side with Edgar Degas's original pastel, it is a sloppy imitation.</div>
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<li><b>26 OF 28 NON-DISCLOSED FORGERIES: </b>"Edgar Degas (French, 1834-1917) and George W. Thornley (French, 1840-1926) <i>La Chanteuse</i>, ca. 1888-89, lithograph with Chine applique, Image size in: 9 1/2 x 8" Frame size In: 21 x 16 x 1 [inches]"</li>
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<a href="http://4.bp.blogspot.com/-aOP_iDLh9-U/UVKAe_UsKxI/AAAAAAAACvk/FREnNnkbhxo/s1600/Edgar-Degas-and-William-Thornley-La-Chanteuse-1888-89.jpg" imageanchor="1"><br class="Apple-interchange-newline" /><img border="0" height="200" src="http://4.bp.blogspot.com/-aOP_iDLh9-U/UVKAe_UsKxI/AAAAAAAACvk/FREnNnkbhxo/s320/Edgar-Degas-and-William-Thornley-La-Chanteuse-1888-89.jpg" width="153" /></a> <a href="http://3.bp.blogspot.com/-xZ0r-ecC-a8/UVM-X_PNOXI/AAAAAAAACyI/8mGJs8q0sgE/s1600/In+concert+Cafe+-+The+Songs+of+the+dog+by+Degas.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="200" src="http://3.bp.blogspot.com/-xZ0r-ecC-a8/UVM-X_PNOXI/AAAAAAAACyI/8mGJs8q0sgE/s200/In+concert+Cafe+-+The+Songs+of+the+dog+by+Degas.jpg" width="160" /></a></div>
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<b>On left: </b>"Edgar Degas (French, 1834-1917) and George W. Thornley (French, 1840-1926) <i>La Chanteuse</i>, ca. 1888-89, lithograph with Chine applique, Image size in: 9 1/2 x 8" Frame size In: 21 x 16 x 1 [inches], "Listing & Photo: <span style="text-align: center;">Degaslistfinal.pdf, </span><span class="s6" style="text-align: center;"><a href="http://www.a-r-t.com/degas/images/">http://www.a-r-t.com/degas/images/</a></span></div>
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<b>On right:</b> "175. Edgar Degas, <i>The Song of the Dog</i>, C. 1876-77, Gouache and pastel over monotype on three pieces of paper joined, Image: 22 5/8 x 17 1/8 in. (57.5 x 45.4 cm), Sheet: 24 3/4 x 20 1/8 in. (62.7 x 51.2 cm), Signed lower right Degas, Private collection, Lemoisne 380," [page 290-291, 1988 <i>Degas</i>, edited by Jean Sutherland Boggs]</div>
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Additionally, on page 291 of the 1988 <i>Degas</i> catalogue, in the Chapter II, 1873-1881, Michael Pantazzi wrote: "in 1888 George William Thornley reproduced the gouache in a lithograph that follows it closely."<br />
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What is not close, and the 1988 <i>Degas</i> catalogue contributor Michael Pantazzi seems, at best, not to understand, is that original works of visual art such as lithographs would never be trivialized as a reproduction of a preexisting work of visual art, much less a gouache even if that gouache was created by Edgar Degas. </div>
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<a href="http://4.bp.blogspot.com/-_D9o4tbsoCA/UVNKQm0dioI/AAAAAAAACys/Uk7j2hYUlsY/s1600/Edgar-Degas-and-William-Thornley-La-Chanteuse-1888-89.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="200" src="http://4.bp.blogspot.com/-_D9o4tbsoCA/UVNKQm0dioI/AAAAAAAACys/Uk7j2hYUlsY/s200/Edgar-Degas-and-William-Thornley-La-Chanteuse-1888-89.jpg" width="154" /></a><a href="http://4.bp.blogspot.com/-Lywz08hmMd8/UVPlIspfylI/AAAAAAAACz4/BqPqaqqc3J4/s1600/image.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="200" src="http://4.bp.blogspot.com/-Lywz08hmMd8/UVPlIspfylI/AAAAAAAACz4/BqPqaqqc3J4/s200/image.jpeg" width="164" /></a></div>
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<b>On left:</b> "Edgar Degas (French, 1834-1917) and George W. Thornley (French, 1840-1926) <i>La Chanteuse</i>, ca. 1888-89, lithograph with Chine applique, Image size in: 9 1/2 x 8" Frame size In: 21 x 16 x 1 [inches], "Links for listing & photo: <span style="text-align: center;">Degaslistfinal.pdf, </span><span class="s6" style="text-align: center;"><a href="http://www.a-r-t.com/degas/images/">http://www.a-r-t.com/degas/images/</a></span></div>
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<b>On right: </b><span style="text-align: center;">"43. After Edgar Degas, La Chanteuse from Quinze Lithographies, Lithograph, C. 1888-89, by George William Thornley, printed in black, on cream chine applique mounted on a greenish blue backing sheet, from the edition of 100 (plus 25 proofs), with Thornley's lithographed signature, printed by Atelier Becquet, Paris, published by Boussod-Valadon, Paris, 236 x 198 mm (9 1/4 x 7 3/4 in.), Sold for </span><span style="text-align: center;">720 [pounds] inc. premium. [22 Sept 2010 130:00 BST London, Knightsbridge Prints including Three British Artists: Piper, Sutherland & Moore and a private collection of British Etchings], Link: <span style="color: blue;"> </span></span><span style="color: blue;">http://www.bonhams.com/auctions/18606/lot/43/</span></div>
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The so-called [George William] Thornley's "lithographed signature" is an euphemism for a reproduction. In other words, George William Thornley did not sign, much less apply his signature to the backing sheet on which these chromist-made reproductions were attached. Additionally, there appears to be no edition numbers applied documenting its' limitation to an "edition of 100." So, to refer to these non-disclosed chromist-reproductions attached to paper with reproduced printed type and signature as an original works of visual art ie., lithographs is not only morally troublesome but fraught with potential serious questions of law for those who attempt to profit from them without giving full and honest disclosure.</div>
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After Degas Edgar, (Hilaire-Germain-Edgar deGas), 1834-1917 (France), <i>The Song of the Dog</i>, Ca. 1888, Lithograph printed in black, by Degas and Thornley, a rare impression from the edition of 25, on chine applique supported on green toned stiff wove paper." Sotheby's L04146, Old Master, Modern and Contemporary Prints, Including Andy Warhol and the Pop Generation, London, Thursday, July 1, 2004, Estimate: 3000 GBP - 4,000 GBP [Link: <span style="color: blue;">http://www.artvalue.com/auctionresult--after-degas-edgar-hilaire-germ-the-song-of-the-dog-1829913.htm</span> ]<br />
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The above non-disclosed reproduction titled <i>The Song of the Dog</i> a.k.a. <i>La Chanteuse</i> is -not- a lithograph whether or not the signatures are by "Degas" and "G.W. Thornley. This confirmed by Sotheby's use of the term "after Degas" as an euphemism for reproduction. Sotheby's, in their "Glossary of terms" used in their catalogues ["issue consulted: London, December 11, 2003, Old Master Paintings, p. 306"], defines -after- as: "a copy by an unknown artist of a known work of art. Additionally, in Christies New York auction house's glossary published in May 2005 catalog, -after- is defined as: "In Christie's qualified opinion a copy of the work of the artist." </div>
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SOURCES:<span style="color: blue; font-family: Times, Times New Roman, serif;"> </span><span style="background-color: white; color: blue; font-family: Times, 'Times New Roman', serif; line-height: 16px; text-align: left;">www.arlisna.org/organization/sec/</span><b style="background-color: white; color: blue; font-family: Times, 'Times New Roman', serif; line-height: 16px; text-align: left;">catalog</b><span style="background-color: white; color: blue; font-family: Times, 'Times New Roman', serif; line-height: 16px; text-align: left;">ing/attribution_qualifiers.pdf</span><span style="color: blue; font-family: Times, 'Times New Roman', serif;"> </span></div>
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<span style="color: blue; font-family: Times, Times New Roman, serif;"><a href="http://www.pli.edu/product_files/EN00000000023166/89181.pdf"><span style="color: blue;">http://www.pli.edu/product_files/EN00000000023166/89181.pdf</span></a></span></div>
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Second, all of the above non-disclosed reproductions titled <i>The Song of the Dog</i> a.k.a. <i>La Chanteuse</i> are -not- numbered and therefore are not limited, particularly since reproductions by their very nature are not limited. </div>
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Third, above non-disclosed reproduction titled <i>The Song of the Dog</i> a.k.a. <i>La Chanteuse</i> is -not- an "artist proof," much less limited to 25, since -artist proof- is defined as: "one of the proofs in a limited edition of original prints. An artist's proof must bear the artist's signature or mark and, since the early 20th century, is usually numbered." [page 23, HarperCollins published 1991 <i>Dictionary of Art Terms and Techniques</i> by Ralph Mayer]</div>
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Fourth, <span style="text-align: center;"> in the </span>Bonham auction house's<span style="text-align: center;"> listing for the titled <i>La Chanteuse</i></span> disclosed as "<span style="text-align: center;">After Edgar Degas,"</span> <span style="text-align: center;">the so-called "Thornley's lithographed signature"</span><span style="text-align: center;"> is actually being used as an euphemism for a reproduced <i>"G.W. Thornley"</i> signature printed on the "</span>green toned stiff wove paper" that is used as backing for the non-disclosed chromist-made reproductions<span style="text-align: center;">. In addition, these non-disclosed reproductions have the publisher's name "Chex M<span style="font-size: xx-small;">PI</span> BOUSSOD & VALADON 19. B<span style="font-size: x-small;">d</span>Montmartre" and printer "Imp. Becquet freres a Paris" also reproduced on the "green toned stiff wove paper" used as backing for the non-disclosed chromist-made reproductions. </span></div>
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<span style="text-align: center;">In other words, whether titled <i>The Song of the Dog</i> or <i>La Chanteuse</i>, these non-disclosed chromist-made reproductions are -not- lithographs, -not- numbered, -not- artist proofs and -not- signed by G.W. Thornley with the possible exception of twenty-five non-disclosed reproductions, misrepresented as "artist proofs" that were possibly signed by both Edgar Degas and George William Thornley. </span></div>
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<li><b>27 OF 28 NON-DISCLOSED FORGERIES: </b>"Edgar Degas (French, 1834-1917) and George W. Thornley (French, 1840-1926) <i>Sur la Plage</i>, ca. 1888-89, lithograph with Chine applique, Image size in: 7 x 13 1/2" Mount: 8 7/8 x 14, Frame size In: 19 x 23 x 1 [inches]"</li>
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<b>THE SWITCH</b></span></span></div>
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<span class="s1">George W. Thornley was a hired chromist, who copied the artwork of artists, such as Edgar Degas, resulting in reproductions. </span></div>
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<span class="s1">This assertion that George W. Thornley was a hired chromist, who copied Edgar Degas' work as reproductions, is confirmed on page 331 of "Chapter II, 1873-1881" by Michael Pantazzi, in the Metropolitan Museum of Art and the National Gallery of Canada's published 1988 <i>Edgar Degas</i> catalogue edited by Jean Sutherland Boggs, in the description given for the <i>Dancer Resting</i>, c. 1879-80, pastel and black chalk on off-white wove paper, laid down, the author wrote: "As Charles Millard noted in his [1974 <i>The Impressionist and the Salon</i>] catalogue entry on the work, the pastel may have been posed for by Marie van Goethem and should be dated late 1879 or early 1880, shortly before Duranty's death. The work subsequently belonged to another of Degas's friends, Henri Rouart, and while it was in Rouart collection it was reproduced as a lithograph, by George William Thornley, in 1888."</span><span class="s2" style="color: blue; font-size: x-small;">[FN 37]</span></div>
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<span class="s1">Therefore, when this <b>Edgar Degas, The Private Impressionist Works on Paper by the Artist and His Circle </b>exhibition has three "lithographs" listed as attributed to both the artist Edgar Degas and the chromist George W. Thornley, the Foothills Art Center is actually offering one thing, for the $10 price of admission that, "is not actually available as advertised."</span></div>
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<span class="s1">Unfortunately, the use of the term lithographs as an euphemism for reproductions seems to be pervasive throughout the museum and academic industry as witness on page 387 of the same published 1988 <i>Degas</i> catalogue by Jean Sutherland Boggs, where under the subtitle: "Chronology III" and date: "April 1888," the Metropolitan Museum of Art's curator Gary Tinterow wrote: "Four lithographs by the engraver George William Thornley after works by Degas, three "danseuses" and one "femme a la toilette" (all unidentified), are shown at Galerie Boussod et Valadon. Freneon writes an appreciative review in the May issue of La Revue Independante. (Thornley executed fifteen lithographs in colored ink after Degas. The full portfolio was published in April 1889.) "</span><span class="s2" style="color: blue; font-size: x-small;">[FN 38]</span></div>
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<span class="s1">The term -after- is by definition a: "word used in an artist's inscription to indicated that his or her picture or sculpture was modeled on the work of another artist"</span><span class="s2" style="color: blue; font-size: x-small;">[FN 39]</span><span class="s1"> and is being used by the curator Gary Tinterow in the phrase "after works by Degas" and "after Degas" as an euphemism to mask what is nothing more than a reproduction. </span></div>
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<span class="s1">As noted earlier, in 2001 the Association of Art Museum Directors published their 2001 <i>Professional Practices in Art Museum</i> publication, that stated: "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, editions numbers, and/or foundry marks on sculpture must not appear on the reproduction."</span><span class="s2" style="color: blue; font-size: x-small;">[FN 40]</span></div>
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<span class="s1">So, are we to believe or suspend disbelief that the professionals in the museum and academic industry did not understand the moral, if not legal, requirement to disclose reproductions as reproductions till 2001, much less in 2013?</span></div>
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<span class="s1">Remember, on page 660 of the <i>Seventh Edition of Black's Law Dictionary</i>, -forgery- is defined as: "The act of fraudulently making a false document or altering a real one to be used as if genuine."</span><span class="s2" style="color: blue; font-size: x-small;">[FN 41]</span></div>
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<span class="s1">Therefore, rhetorically, is the Foothills Art Center, in their April 6, 2013 to June 30, 2013 <b>Edgar Degas, The Private Impressionist Works on Paper by the Artist and his Circle from the Collection of Robert Flynn Johnson</b> exhibition, offering, for the $10 price of admission and other monetary considerations, an "original product [that] is not actually available as advertised?"</span></div>
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<span class="s1"><span style="font-family: Times, Times New Roman, serif; font-size: x-small;">"Edgar Degas and August[e] Clot (French, active 19th Century), </span></span></div>
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<span class="s1"><span style="font-family: Times, Times New Roman, serif; font-size: x-small;"><i>Before the Race</i>, ca. 1895, color lithograph, I</span></span></div>
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<span class="s1"><span style="font-family: Times, Times New Roman, serif; font-size: x-small;">mage size in: 19 3/4 x 22 1/2", Frame size in: 30 x 33 x 1 [inches]"</span></span></div>
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<span class="s1"><b><span style="font-family: Times, Times New Roman, serif; font-size: x-small;">ONE OF FOUR NON-DISCLOSED FORGERIES</span></b></span></div>
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<span class="s1"><b><span style="font-family: Times, Times New Roman, serif; font-size: x-small;">FALSELY ATTRIBUTED AS LITHOGRAPHS</span></b></span></div>
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<span class="s1">On their website, in their <b>Edgar Degas, The Private Impressionist Works on Paper by the Artist and His Circle </b>exhibition checklist</span><span class="s2" style="color: blue; font-size: x-small;">[FN 42]</span><span class="s1">, Landau Traveling Exhibitions misrepresents a non-disclosed lifetime chromist-made reproduction as: </span></div>
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<li><b>28 OF 28 NON-DISCLOSED FORGERIES: </b>"Edgar Degas and August[e] Clot (French, active 19th Century), <i>Before the Race</i>, ca. 1895, color lithograph, Image size in: 19 3/4 x 22 1/2", Frame size in: 30 x 33 x 1[inches]."</li>
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<span class="s1"><b><span style="font-size: large;">THE SWITCH</span></b></span></div>
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<span class="s1">Auguste Clot is a chromist. A chromist is someone who reproduces by their hands and fingers another artist's work. Auguste Clot, by his own hands and fingers, reproduced in color Edgar Degas' original <i>Before the Race</i> pastel, using one or more lithographic stones and subsequently printing each color to complete the finished reproductions. </span></div>
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<span class="s1">This factual perspective is confirmed in 1898, when the L'Estampe et l'affiche publisher Andre Mellerio wrote the <i>La Lithographic originale en couleurs </i>catalogue. In referencing this catalogue, the Museum of Modern Art, on their website, stated: "the remarkable Lemercier chromiste, Auguste Clot (1858–1936), who opened his own workshop c. 1895. As printer to Vollard and Pellet, Clot worked with the most famous artists of the lithography revival. He reproduced Degas’s pastel for Germinal in 1899 and printed final states for three of the artist’s <i>After the bath</i> prints, begun c. 1891."</span><span class="s2" style="color: blue; font-size: x-small;">[FN 43]</span></div>
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<span class="s1">Additionally, referencing this 1898 published <i>La Lithographic originale en couleurs </i>catalogue, the Museum of Modern Art, on their website, stated: "While praising Clot’s intelligence, Mellerio, a purist concerned to distinguish ‘original prints’ from chromolithographs, took him to task for helping artists too much. Dûchatel’s treatise made clear, however, that colour washes often needed professional retouching; even for an artist of Toulouse-Lautrec’s distinction, colours were drawn or corrected by his printers. Letters prove that many colour prints were partly (even entirely) drawn by Clot. He added colour to Paul Cézanne’s black keystone for the Large Bathers. Auguste Renoir’s Child with Biscuit, Bather, Children Playing Ball and Pinned Hat were evolved by Clot from pastels, as were Alfred Sisley’s By the River (Geese) and Redon’s Béatrice. Even in André Marty’s L’Estampe originale—a series greatly approved by Mellerio—Signac’s print was from a watercolour copied at Ancourt’s workshop, while Le Jeu by Puvis de Chavannes was a photolithographed drawing."</span><span class="s2" style="color: blue; font-size: x-small;">[FN 44]</span></div>
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<span class="s1">So, in other words, the chromist Auguste Clot reproduced, by his own hands and fingers, many artists' work, including Edgar Degas' and those subsequent chromist-made reproductions have ended up being misrepresented, with or without intent by some collectors, industry professionals and museums, as authentic works of visual art ie., lithographs.</span></div>
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<span class="s1">AAMD'S 2001 PROFESSIONAL PRACTICES</span></div>
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<span class="s1">Once again, as noted earlier, on page 31 in the Association of Art Museum Directors' published 2001 <i>Professional Practices in Art Museum</i> publication, it states: "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, editions numbers, and/or foundry marks on sculpture must not appear on the reproduction."</span><span class="s2" style="color: blue; font-size: x-small;">[FN 45]</span></div>
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<span class="s1">Remember, on page 660 of the <i>Seventh Edition of Black's Law Dictionary</i>, -forgery- is defined as: "The act of fraudulently making a false document or altering a real one to be used as if genuine."</span><span class="s2" style="color: blue; font-size: x-small;">[FN 46]</span></div>
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<span class="s1">Therefore, rhetorically, is the Foothills Art Center, in their April 6, 2013 to June 30, 2013 <b>Edgar Degas, The Private Impressionist Works on Paper by the Artist and his Circle from the Collection of Robert Flynn Johnson</b> exhibition, offering for the $10 price of admission and other monetary considerations an "original product [that] is not actually available as advertised?"</span></div>
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<span class="s1"><span style="font-family: Times, Times New Roman, serif; font-size: x-small;"><i>Before the Race</i>, Edgar Degas (French, 1834-1917), </span></span></div>
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<span class="s1"><span style="font-family: Times, Times New Roman, serif; font-size: x-small;">c. 1887-1889, pastel on tracing paper mounted to cardboard,</span></span></div>
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<span class="s1"><span style="font-family: Times, Times New Roman, serif; font-size: x-small;">Sheet - h:57.50 w:65.40 cm (h:22 5/8 w:25 11/16 inches), </span></span></div>
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<span class="s1"><span style="font-family: Times, Times New Roman, serif; font-size: x-small;">Bequest of Leonard C. Hanna, Jr., Accession No.: 1958.27</span></span></div>
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<span style="font-family: Times, Times New Roman, serif; font-size: x-small;"><span class="s7"><a href="http://www.clevelandart.org/collections/collection%20online.aspx?type=refresh&searchoption=1&csearch=Artist%20/%20Maker:Edgar%20Degas%20%28French,%201834-1917%29">http://www.clevelandart.org/collections/collection%20online.aspx?type=refresh&searchoption=1&csearch=Artist%20/%20Maker:Edgar%20Degas%20%28French,%201834-1917%29</a></span><span class="s4"> <b> </b></span></span></div>
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<span class="s1"><b><span style="font-family: Times, Times New Roman, serif; font-size: x-small;">AUTHENTIC LIFETIME PASTEL BY DEGAS</span></b></span></div>
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<span class="s1">On the Cleveland Museum of Art’s website, it gives the following description for the above authentic lifetime Edgar Degas created <i>Before the Race</i> pastel in their collection: "Two of Degas's most preferred subjects were ballet dancers and horse races. Both enabled the artist to investigate the phenomenon of movement. In this work, he placed four racehorses and their jockeys in a bold formation that creates a strong sense of depth."</span><span class="s2" style="color: blue; font-size: x-small;">[FN 47]</span></div>
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<b>Above:</b> <i style="text-align: center;">Before the Race</i><span style="text-align: center;">, Edgar Degas (French, 1834-1917), </span><span style="text-align: center;">c. 1887-1889, pastel on tracing paper mounted to cardboard, </span><span style="text-align: center;">Sheet - h:57.50 w:65.40 cm (h:22 5/8 w:25 11/16 inches), </span><span style="text-align: center;">Bequest of Leonard C. Hanna, Jr., Accession No.: 1958.27 </span><span class="s7" style="text-align: center;"><a href="http://www.clevelandart.org/collections/collection%20online.aspx?type=refresh&searchoption=1&csearch=Artist%20/%20Maker:Edgar%20Degas%20%28French,%201834-1917%29">http://www.clevelandart.org/collections/collection%20online.aspx?type=refresh&searchoption=1&csearch=Artist%20/%20Maker:Edgar%20Degas%20%28French,%201834-1917%29</a></span><span class="s4" style="text-align: center;"> <b> </b></span></div>
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<b>Below: </b><span style="text-align: center;">"Edgar Degas and August[e] Clot (French, active 19th Century), </span><i style="text-align: center;">Before the Race</i><span style="text-align: center;">, ca. 1895, color lithograph, I</span><span style="text-align: center;">mage size in: 19 3/4 x 22 1/2", Frame size in: 30 x 33 x 1 [inches]," Listing & Photo: </span><span style="text-align: center;">Degaslistfinal.pdf, </span><a href="http://www.a-r-t.com/degas/images/" style="text-align: center;"><span class="s6">http://www.a-r-t.com/degas/images/</span></a></div>
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<span class="s1">Any drawn image on stone, printed directly to paper, will print in reverse. Auguste Clot did not copy in reverse Degas' <i>Before the Races</i> onto the lithographic stones. Therefore the subsequent printing of this chromist-drawn images on lithographic stones printed as -mirror- chromist-made color reproductions of Edgar Degas' original <i>Before the Races</i> pastel.</span></div>
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<span class="s1"><b>CURATED BY LOUISE SIDDONS, PH.D</b></span></div>
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<span class="s1">The Foothills Art Center's April 6, 2013 to June 30, 2013 <b>Edgar Degas, The Private Impressionist Works on Paper by the Artist and his Circle from the Collection of Robert Flynn Johnson</b> exhibition, organized by Landau Traveling Exhibitions, Los Angeles, CA in association with Denenberg Fine Arts, West Hollywood, CA.," is curated by Louise Siddons, Ph.D., Assistant Professor of Art History and Curator at Oklahoma State University, Stillwater, OK, who will provide the exhibition essay and detailed labels for the works. Ms. Siddons was previously Visiting Assistant Professor and Adjunct Curator at Michigan State University (2007-2009); and earlier, Assistant Curator at the Achenbach Foundation for Graphic Arts, Fine Arts Museums of San Francisco."</span><span class="s2" style="color: blue; font-size: x-small;">[FN 48]</span></div>
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<span class="s1">On the Oklahoma State University's Faculty website, Louise Siddons is described, in part, as: an art historian specializing in American art and the visual culture of modernity [whose] research interests focus on the history of printmaking and photography, particularly in relation to representations of race, racialization, sexuality and the family."</span><span class="s2" style="color: blue; font-size: x-small;">[FN 49]</span></div>
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<span class="s1">So, of all individuals involved with this exhibition, Louise Siddons should have known that Edgar Degas was -history- ie., dead when the work, in question, was posthumous impressed. In other words, Louise Siddons' research should have informed her, in case she was in doubt, that in the history of printmaking, no dead artist has ever created any new work.</span></div>
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<span class="s1">The dead don't etch.</span></div>
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<span class="s1">Yet, the Achenbach Foundation for Graphic Arts at the Fine Arts Museums of San Francisco, where she worked as an assistant curator, is riddled with dozens upon dozens of non-disclosed posthumous [after 1863] reworked and altered forgeries falsely attributed as original works of visual art ie., etchings to dead Francisco Jose de Goya Lucientes [d 1828] with the titles "The Disasters of War," and "Los Proverbios." </span></div>
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<span class="s1">The dead are history.</span></div>
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<span class="s1"><b>COLLECTOR ROBERT FLYNN JOHNSON</b></span></div>
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<span class="s1">Additionally, the owner/collector for the vast majority of work, in the Foothills Art Center's April 6, 2013 to June 30, 2013 <b>Edgar Degas, The Private Impressionist Works on Paper by the Artist and his Circle from the Collection of Robert Flynn Johnson</b> exhibition, organized by Landau Traveling Exhibitions, Los Angeles, CA in association with Denenberg Fine Arts, West Hollywood, CA., is Robert Flynn Johnson, "Curator Emeritus, Achenbach Foundation for Graphic Arts, Fine Arts Museums of San Francisco."</span><span class="s2" style="color: blue; font-size: x-small;">[FN 50]</span></div>
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<span class="s1">In the Landau Traveling Exhibition's published "Encounters with Monsieur Degas" essay by Robert Flynn Johnson, the author wrote: "In its purest form, however, collecting is a way of attempting to understand the work of art in question, the artist who fashioned it, and, in turn, oneself as the collector ponders what qualities the work possesses that make one want to own it."</span><span class="s2" style="color: blue; font-size: x-small;">[FN 51]</span></div>
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<span class="s1">Since Edgar Degas never fashioned during his lifetime anything in bronze, much less brass, never posthumously fashioned any etchings from his canceled plates and never fashioned his approval of posthumous chromist-made reproductions from his monotypes, would one have to ponder, at best, the connoisseurship of someone who would want to misrepresent them as original works of visual art?</span></div>
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The dead don't fashion.</span></div>
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<span class="s1"><b>THE ROYAL ACADEMY CURATOR ANN DUMAS</b></span></div>
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<span class="s1">Furthermore, Ann Dumas, Curator of The Royal Academy, London, "a respected scholar of Impressionism, has curated numerous exhibitions, including the forthcoming exhibition, <b>Degas Dancers: Eye and Camera</b>, presenting Degas’ dancers in the context of contemporary photography and film,"</span><span class="s2" style="color: blue; font-size: x-small;">[FN 52]</span><span class="s1"> has provided a <i>preface </i>to the Foothills Art Center's April 6, 2013 to June 30, 2013 <b>Edgar Degas, The Private Impressionist Works on Paper by the Artist and his Circle from the Collection of Robert Flynn Johnson</b> exhibition, organized by Landau Traveling Exhibitions, Los Angeles, CA in association with Denenberg Fine Arts, West Hollywood, CA.,.</span></div>
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<span class="s1">In that <i>preface</i> titled "A Very Private Collection" by Ann Dumas, the author's first sentence is: "Robert Flynn Johnson is a true connoisseur."</span><span class="s2" style="color: blue; font-size: x-small;">[FN 53]</span></div>
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<span class="s1">Ann Dumas further wrote: "After his first acquisition, Johnson pursued his interest in Degas the printmaker, purchasing a substantial number of notable etchings and monotypes. The collection includes fine impressions of several of Degas’ most famous prints, such as his friends’ portraits, <i>Édouard Manet </i>and <i>Mary Cassatt at the Louvre: The Paintings Gallery</i>, and the important etching <i>At the Café des Ambassadeurs.</i>"</span><span class="s2" style="color: blue; font-size: x-small;">[FN 54]</span></div>
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<span class="s1">In Paul Duro and Michael Greenhalgh’s published <i>Essential Art History</i>, -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.”</span><span style="color: blue; font-size: x-small;"><span class="s2">[FN 55]</span><span class="s1"> </span></span></div>
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<span class="s1">What are we to make of the connoisseuship of a so-called "respected scholar" Ann Dumas who would promote non-disclosed posthumous impressions from cancelled plates as original works of visual art ie., etchings by a dead Edgar Degas?</span></div>
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<span class="s1">The dead don't make impressions, much less etchings.</span></div>
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<span class="s1"><b>U.S. COPYRIGHT LAW</b></span></div>
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<span class="s1">U.S. Copyright law § 101. Definitions, states: "A “work of visual art” is — (1) 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, or, in the case of a sculpture, in multiple cast, carved, or fabricated sculptures of 200 or fewer that are consecutively numbered by the author and bear the signature or other identifying mark of the author."</span><span class="s2" style="color: blue; font-size: x-small;">[FN 56]</span></div>
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<span class="s1">The dead don't create "works of visual art," such as etchings, lithographs and sculpture, much less "sign and consecutively number" and /or apply their "signature."</span></div>
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<span class="s1">Additionally, under U.S. Copyright Law under<b> § 101. Definitions</b>, states: "A work of visual art does not include — (A)(i) any poster, map, globe, chart, technical drawing, diagram, model, applied art, motion picture or other audiovisual work, book, magazine, newspaper, periodical, data base, electronic information service, electronic publication, or similar publication."</span><span class="s2" style="color: blue; font-size: x-small;">[FN 56]</span></div>
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<span class="s1">Yet, self-servingly some collectors, museum professionals and others, in an attempt to legitimize their non-disclosed reproductions and posthumous forgeries, have made the argument that a published book from an author's manuscript is still their work, recorded music by an artist copied to CDs and the like is still their music and therefore a reproduction, whether posthumously reproduced or not, of an artist's art is still their work.</span></div>
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<span class="s1">Nothing could be further from the truth.</span></div>
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<span class="s1">Under U.S. Copyright Law, a “derivative work” is defined as: "a work based upon one or more preexisting works, such as a translation, musical arrangement, dramatization, fictionalization, motion picture version, sound recording, art reproduction, abridgment, condensation, or any other form in which a work may be recast, transformed, or adapted. A work consisting of editorial revisions, annotations, elaborations, or other modifications, which, as a whole, represent an original work of authorship, is a 'derivative work'."</span><span class="s2" style="color: blue; font-size: x-small;">[FN 57]</span></div>
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<span class="s1">Some have defended a collection of non-disclosed reproductions and forgeries with the argument that they are no different that an audio recordings of music.</span></div>
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<span class="s1">Under U.S. Copyright Law a Phonorecord is defined as: "a material object in which sounds are fixed and from which the sounds can be perceived, reproduced, or otherwise communicated, either directly or with the aid of a machine or device. A phonorecord may include a cassette tape, an LP vinyl disk, a compact disk, or other means of fixing sounds. A phonorecord does not include those sounds accompanying a motion picture or other audiovisual work."</span><span class="s2" style="color: blue; font-size: x-small;">[FN 58]</span></div>
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<span class="s1">In other words, sounds reproduced to a material object, such as a CD would result in a derivative work a.k.a. reproduction.</span></div>
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<span class="s1">Some have defended a collection of non-disclosed reproductions and forgeries with the argument that they are no different that the publication of a book.</span></div>
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<span class="s1">Under U.S. Copyright Law, -publication is defined as: "Publication has a technical meaning in copyright law. According to the statute, “Publication is the distribution of copies or phonorecords of a work to the public by sale or other transfer of ownership, or by rental, lease, or lending."</span><span class="s2" style="color: blue; font-size: x-small;">[FN 59]</span></div>
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<span class="s1">In other words, a manuscript published as books, the resulting copies would be considered derivative works a.k.a. reproductions.</span></div>
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<span class="s1">Some have defended a collection of non-disclosed reproductions and forgeries with the argument that they are reproduced from the artist's work and therefore still his work.</span></div>
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<div style="text-align: justify;">
<span class="s1"><span class="s1">Under U.S. Copyright Law, § 106A. -Rights of certain authors to attribution and integrity - states: "(a) Rights of Attribution and Integrity. — Subject to section 107 and independent of the exclusive rights provided in section 106, the author of a work of visual art — (1) shall have the right — (A) to claim authorship of that work, and (3) The rights described in paragraphs (1) and (2) of subsection (a) shall not apply to any reproduction."</span><span class="s2" style="color: blue; font-size: x-small;">[FN 60]</span></span></div>
</div>
<div class="p4">
<span class="s1"></span><br /></div>
<div class="p3">
<span class="s1">The rights of attribution shall not apply to any reproduction.</span></div>
<div class="p4">
<span class="s1"></span><br /></div>
<div class="p3">
<span class="s1">CRITERIA FOR DEACCESSIONING AND DISPOSAL</span></div>
<div class="p3">
<div style="text-align: justify;">
<span class="s1">On page 22 of the Association of Art Museum Directos' published 2001 <i>Professional Practices in Art Museum</i> publication, under the subtitle -Criteria for Deaccessioning and Disposal-, it states: “The authenticity or attribution of the object lacks sufficient aesthetic merit or art historical importance to warrant retention. In disposing of or retaining a presumed forgery, the museum shall consider all ethical issues including the consequences of returning the object to the market.”</span><span class="s2" style="color: blue; font-size: x-small;">[FN 61]</span></div>
</div>
<div class="p4">
<span class="s1"></span><br /></div>
<div class="p3">
<div style="text-align: justify;">
<span class="s1">The Foothills Art Center's -mission- states it: "is to engage the mind and inspire the spirit – offering the world of art through exhibition and education. "</span><span class="s2" style="color: blue; font-size: x-small;">[FN 62]</span></div>
</div>
<div class="p4">
<span class="s1"></span><br /></div>
<div class="p3">
<div style="text-align: justify;">
<span class="s1">Remember, on page 660 of the <i>Seventh Edition of Black's Law Dictionary</i>, -forgery- is defined as: "The act of fraudulently making a false document or altering a real one to be used as if genuine."</span><span class="s2" style="color: blue; font-size: x-small;">[FN 63]</span></div>
</div>
<div class="p4">
<span class="s1"></span><br /></div>
<div class="p3">
<div style="text-align: justify;">
<span class="s1">Rhetorically, since reproductions, much less forgeries have no authenticity and cannot be attributed to a living artist much less a dead one, how can the Foothills Art Center fulfill its' mission when it fails to fully disclose the twenty-eight non-disclosed forgeries, falsely attributed to Edgar Degas, in their April 6, 2013 to June 30, 2013 <b>Edgar Degas, The Private Impressionist Works on Paper by the Artist and his Circle from the Collection of Robert Flynn Johnson</b> traveling exhibition?</span></div>
</div>
<div class="p4">
<span class="s1"></span><br /></div>
<div class="p3">
<span class="s1"><b>LAW, ETHICS AND THE VISUAL ARTS</b></span></div>
<div class="p3">
<div style="text-align: justify;">
<span class="s1">On page 816-817 of Kluwer Law International’s published 1998 <i>Law, Ethics and the Visual Arts, Third Edition </i>by John Henry Merryman and Albert E. Elsen wrote about “Counterfeit Art.”</span><span class="s2" style="color: blue; font-size: x-small;">[FN 64]</span></div>
</div>
<div class="p4">
<span class="s1"></span><br /></div>
<div class="p3">
<div style="text-align: justify;">
<span class="s1">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.”</span><span class="s2" style="color: blue; font-size: x-small;">[FN 65]</span></div>
</div>
<div class="p4">
<span class="s1"></span><br /></div>
<div class="p3">
<div style="text-align: justify;">
<span class="s1">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.”</span><span class="s2" style="color: blue; font-size: x-small;">[FN 66]</span></div>
</div>
<div class="p4">
<span class="s1"></span><br /></div>
<div class="p3">
<div style="text-align: justify;">
<span class="s1">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...”</span><span class="s2" style="color: blue; font-size: x-small;">[FN 67]</span></div>
</div>
<div class="p4">
<span class="s1"></span><br /></div>
<div class="p3">
<span class="s1"><b>CONCLUSION</b></span></div>
<div class="p3">
<div style="text-align: justify;">
<span class="s1">What needs to be accomplished is the full and honest disclosure by all museums, auction houses, academia, galleries and art dealers. If the Foothills Art Center's April 6, 2013 to June 30, 2013 <b>Edgar Degas, The Private Impressionist Works on Paper by the Artist and his Circle from the Collection of Robert Flynn Johnson</b> exhibition, organized by Landau Traveling Exhibitions, Los Angeles, CA in association with Denenberg Fine Arts, West Hollywood, CA., will give full and honest disclosure to all lifetime reproductions as reproductions and posthumous impressions as posthumous impressions rather than misleadingly as original works of visual art ie., etchings and lithographs that can only be created by hand by the artist and posthumous sculptural forgeries as forgeries, it would allow consumer the potential to give informed consent on whether to attend the exhibition, much less pay the $10 price of admission, to view reproductions, posthumous impressions and posthumous forgeries, along with the original works of visual art.</span></div>
</div>
<div class="p4">
<span class="s1"></span><br /></div>
<div class="p3">
<div style="text-align: justify;">
<span class="s1">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.</span></div>
</div>
<div class="p4">
<span class="s1"></span><br />
<br /></div>
<div class="p3">
<span class="s1">Caveat Emptor! </span></div>
<div class="p4">
<span class="s1"></span><br /></div>
<div class="p4">
<span class="s1"></span><br />
<br />
<br /></div>
<div class="p6">
<span class="s8"><b>FOOTNOTES:</b><br />
</span><span class="s1"><span style="font-size: x-small;">1. Copyright © 1999, By West Group, ISBN 0-314-22864-0</span></span></div>
<div class="p4">
<span style="font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p7">
<span class="s4"><span style="font-size: x-small;">2.<a href="http://foothillsartcenter.org/fac/wp-content/uploads/2013/03/FoothillsArtCenter_Degas_PressRelease_FINAL_010813.pdf"><span class="s7">http://foothillsartcenter.org/fac/wp-content/uploads/2013/03/FoothillsArtCenter_Degas_PressRelease_FINAL_010813.pdf</span></a></span></span></div>
<div class="p4">
<span style="font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p6">
<span class="s1"><span style="font-size: x-small;">3. Copyright © 1999, By West Group, ISBN 0-314-22864-0</span></span></div>
<div class="p4">
<span style="font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p6">
<span class="s1"><span style="font-size: x-small;">4.Art Journal © 1995 College Art Association, <a href="http://www.jstor.org/pss/777513"><span class="s9">http://www.jstor.org/pss/777513</span></a></span></span></div>
<div class="p4">
<span style="font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p6">
<span class="s1"><span style="font-size: x-small;">5. © 1998 National Gallery of Art ISBN 0-300-07517-0<br />
<br />
6. Copyright © 2000 by High Museum of Art, ISBN 0-8478-2340-7<br />
<br />
7. <a href="http://www.nga.gov/education/degas-11.htm"><span class="s9">www.nga.gov/education/degas-11.htm</span></a><br />
<br />
8. © 2010 ISBN 978-0-691-14897-7, National Gallery of Art, Washington, <a href="http://www.nga.gov/"><span class="s9">www.nga.gov</span></a><br />
<br />
9.W. W. Norton & Company (October 2001), ISBN-10: 039332088X, ISBN-13: 978-0393320886<br />
<br />
10. <a href="http://en.wikipedia.org/wiki/Urban_legend"><span class="s9">http://en.wikipedia.org/wiki/Urban_legend</span></a><br />
<br />
11. Jean Sutherland Boggs, Degas, © Editions de la Reunion des Musees Naitonaux, Paris, 1988, © National Gallery of Canada for the Corporation of the National Museums of Canada, 1988, © The Metropolitan Museum of Art, New York, 1988 ISBN 0-87099-519-7</span></span></div>
<div class="p4">
<span style="font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p6">
<span class="s1"><span style="font-size: x-small;">12. Ibid</span></span></div>
<div class="p4">
<span style="font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p6">
<span class="s1"><span style="font-size: x-small;">13. Ibid</span></span></div>
<div class="p4">
<span style="font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p7">
<span class="s4"><span style="font-size: x-small;">14.<a href="http://www.getty.edu/vow/AATFullDisplay?find=counterfeit&logic=AND&note=&english=N&prev_page=1&subjectid=300121305"><span class="s7">http://www.getty.edu/vow/AATFullDisplay?find=counterfeit&logic=AND&note=&english=N&prev_page=1&subjectid=300121305</span></a></span></span></div>
<div class="p4">
<span style="font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p6">
<span class="s1"><span style="font-size: x-small;">15. Copyright © 1999, By West Group, ISBN 0-314-22864-0 </span></span></div>
<div class="p4">
<span style="font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p6">
<span class="s1"><span style="font-size: x-small;">16. Degaslistfinal.pdf</span></span></div>
<div class="p7">
<span class="s4"><span style="font-size: x-small;"><br />
11 Copyright © 1980 by Random House, Inc., ISBN 0=394-43600-8 thumb-indexed ed.<br />
<br />
17. <a href="http://www.spaightwoodgalleries.com/Pages/Degas.html"><span class="s7">http://www.spaightwoodgalleries.com/Pages/Degas.html</span></a><br />
<br />
18. <a href="http://www.pasqualeart.com/degas/index.html"><span class="s7">http://www.pasqualeart.com/degas/index.html</span></a><br />
<br />
19. <a href="http://www.jdsmithfineart.com/degas_laundress_main.html"><span class="s7">http://www.jdsmithfineart.com/degas_laundress_main.html</span></a><br />
J D Smith Fine Art, Happy Valley, OR, USA, 97086</span></span></div>
<div class="p4">
<span style="font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p6">
<span class="s1"><span style="font-size: x-small;">20. © 1965 by Print Council of America, Library of Congress, Catalog Card Number: 65-24325, Seventh Printing, March, 1971</span></span></div>
<div class="p7">
<span class="s4"><span style="font-size: x-small;"><br />
21. <a href="http://www.jdsmithfineart.com/question_cancelled_plate.html"><span class="s7">http://www.jdsmithfineart.com/question_cancelled_plate.html</span></a></span></span></div>
<ul>
<li class="li6"><span class="s1"><span style="font-size: x-small;">What is a cancelled plate? Why do dealers sometimes sell etchings and lithographs printed from cancelled plates?</span></span></li>
<li class="li6"><span class="s1"><span style="font-size: x-small;">When an artist finishes printing the number of impressions they want of a work (the total edition size), they usually “cancel” the plate. To cancel the plate, they typically scribe noticeable crosshatch or “X” lines across the plate. These lines cross the image and will show up on any later impressions made from the plate. The lines indicate that any later impressions were not part of the original edition. Cancelling a plate is the best way an artist has to protect the value of the impressions in the official edition.</span></span></li>
<li class="li6"><span class="s1"><span style="font-size: x-small;"> </span></span></li>
<li class="li6"><span class="s1"><span style="font-size: x-small;">So then ... impressions from cancelled plates are bad, right?</span></span></li>
<li class="li6"><span class="s1"><span style="font-size: x-small;">The answer varies. Usually impressions from cancelled plates are done by a dealer or printer to make additional money from a popular artist’s work. These later impressions are usually not the desire of the artist. They are valued less than impressions from the official edition.</span></span></li>
<li class="li6"><span class="s1"><span style="font-size: x-small;">But they are not always “bad” or without value. Artists like Degas often produced very few impressions of a work before cancelling the plate. Later in life he gave about 20 cancelled plates to his dealer Ambroise Vollard for Vollard to publish an extended edition. Thus, the Vollard edition of Degas’ etchings from cancelled plates were the artist’s intent ... hence they are good. Since impressions of Degas’ prints from the pre-cancelled state of the plate are more rare, and therefore much more expensive, collectors often purchase impressions from the cancelled plates. For many of these Degas etchings, the cancellation marks are not very obtrusive.</span></span></li>
</ul>
<div class="p4">
<span style="font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p6">
<span class="s1"><span style="font-size: x-small;">22. Records in the Smithsonian Institution Research Information System documents the Frank Perls Gallery dates "from its opening in 1939 until its closure in 1981," Smithsonian Institution Research Information System</span></span></div>
<div class="p7">
<span style="font-size: x-small;"><span class="s7"><a href="http://siris-archives.si.edu/ipac20/ipac.jsp?uri=full=3100001~!211805!0">http://siris-archives.si.edu/ipac20/ipac.jsp?uri=full=3100001~!211805!0</a></span><span class="s4"><br />
<br />
23. <a href="http://www.art-art.co.uk/Degas.htm"><span class="s7">http://www.art-art.co.uk/Degas.htm</span></a></span></span></div>
<ul>
<li class="li6"><span class="s1"><span style="font-size: x-small;">Title: The Laundresses</span></span></li>
<li class="li6"><span class="s1"><span style="font-size: x-small;">Medium: Original Etching and aquatint , Fourth state,1879/80</span></span></li>
<li class="li6"><span class="s1"><span style="font-size: x-small;">Size: Plate size : 118 x 160 mms. Paper size 420 x 280 mms</span></span></li>
<li class="li6"><span class="s1"><span style="font-size: x-small;">Reference: Reed & Shapeiro Edgar (Degas, the Painter as printmaker) No 48, page 149, Delteil 37 ; Adhemar 32</span></span></li>
<li class="li6"><span class="s1"><span style="font-size: x-small;">Condition: In good condition with some creasing on the outer right hand side margins not affecting the image. Framed</span></span></li>
<li class="li6"><span class="s1"><span style="font-size: x-small;">1) A later striking from the cancelled plate showing cancellation marks 2)The subject matter, although unique in the artists oeuvre, does relate to other etchings from this period in the examination of space. The etching was made on a daguerreotype plate. The fourth state exhibits considerable scraping of the image, especially on the seated laundress, the chair, cat, stovepipe and wall to the left of the doorway. Only 8 impressions are known of this state. 3)Our piece as mentioned before comes from a cancelled plate. There were later impressions from cancelled plates made of some of this artists prints by the famous art publisher Ambroise Vollard but our piece is not one of those series. Vollard did include this print in the oeuvre in his edition of 120 on Japan Paper made in 1919/20 measuring 323 x 250 mms. His impressions are noted for being rather pale. For a discussion on those pieces see "Una Johnson 'Ambroise Vollard; Prints, books, bronzes' The Museum of Modern Art, New York, page 131, no 28. Our piece was made by Frank Perls Gallery of 350 N Camden Drive, Beverley Hills, California and was one of 26 etchings made in a limited edition at that time. These were printed by Lacouriere in Paris on Vieux Japan paper. The pieces from the small edition (quantity unstipulated) were made with the printers blindstamp but a number of additional printers proofs were made, of which ours is an example, without this blindstamp. The piece must be a rarity since it is hardly ever seen. Details of the edition were published in a scarce leaflet of which we have a copy entitled "Twenty six original copperplates engraved by Degas" . A copy of this work, if required, will be sold with the etching. In the forward Frank Perls states that the copper plates "are exhibited here for the first time. They were acquired by me recently from a friend of the Degas-Fevre family". Marguerite De Gas Fevre was the artists younger sister who he etched in 1860/62 (Delteil 17, Reed & Shapeiro 14 - included in the group).</span></span></li>
<li class="li6"><span class="s1"><span style="font-size: x-small;">Price £: 900</span></span></li>
</ul>
<div class="p6">
<span class="s1"><span style="font-size: x-small;">24. Copyright © 1991 by Bena Mayer, ISBN 0-06-461012-8 (pbk.)</span></span></div>
<div class="p4">
<span style="font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p7">
<span class="s4"><span style="font-size: x-small;">25. <a href="http://www.cbp.gov/xp/cgov/trade/legal/informed_compliance_pubs/"><span class="s7">http://www.cbp.gov/xp/cgov/trade/legal/informed_compliance_pubs/</span></a></span></span></div>
<div class="p4">
<span style="font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p6">
<span class="s1"><span style="font-size: x-small;">26. page 7, Jack Harold Upton Brown, A Guide to Collecting Fine Prints</span></span></div>
<div class="p4">
<span style="font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p7">
<span class="s4"><span style="font-size: x-small;">27.<a href="http://www.clevelandart.org/collections/collection%20online.aspx?type=refresh&searchoption=1&csearch=Artist%20/%20Maker:Edgar%20Degas%20(French,%201834-1917"><span class="s7">http://www.clevelandart.org/collections/collection%20online.aspx?type=refresh&searchoption=1&csearch=Artist%20/%20Maker:Edgar%20Degas%20(French,%201834-1917</span></a>)</span></span></div>
<div class="p4">
<span style="font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p7">
<span class="s4"><span style="font-size: x-small;">28.http://<a href="http://www.clevelandart.org/collections/collection%20online.aspx?type=refresh&searchoption=1&csearch=Artist%20/%20Maker:Edgar%20Degas%20%28French,%201834-1917%29"><span class="s7">www.clevelandart.org/collections/collection%20online.aspx?type=refresh&searchoption=1&csearch=Artist%20/%20Maker:Edgar%20Degas%20%28French,%201834-1917%29</span></a></span></span></div>
<div class="p4">
<span style="font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p7">
<span class="s4"><span style="font-size: x-small;">29. Degaslistfinal.pdf<br />
<br />
30. <a href="http://www.a-r-t.com/degas/images/"><span class="s7">http://www.a-r-t.com/degas/images/</span></a></span></span></div>
<ul>
<li class="li6"><span class="s1"><span style="font-size: x-small;">49 Edgar Degas 1934 Color engraving and aquatint after monotype by Edgar Degas by Maurice Potin (French 1874-?) commissioned by Vollard</span></span></li>
<li class="li6"><span class="s1"><span style="font-size: x-small;">50 Edgar Degas 1934 Color engraving and aquatint after monotype by Edgar Degas by Maurice Potin (French 1874-?) commissioned by Vollard</span></span></li>
<li class="li6"><span class="s1"><span style="font-size: x-small;">51 Edgar Degas 1934 Color engraving and aquatint after monotype by Edgar Degas by Maurice Potin (French 1874-?) commissioned by Vollard</span></span></li>
<li class="li6"><span class="s1"><span style="font-size: x-small;">52 Edgar Degas 1934 Color engraving and aquatint after monotype by Edgar Degas by Maurice Potin (French 1874-?) commissioned by Vollard</span></span></li>
<li class="li6"><span class="s1"><span style="font-size: x-small;">53 Edgar Degas 1934 Color engraving and aquatint after monotype by Edgar Degas by Maurice Potin (French 1874-?) commissioned by Vollard</span></span></li>
<li class="li6"><span class="s1"><span style="font-size: x-small;">54 Edgar Degas 1934 Color engraving and aquatint after monotype by Edgar Degas by Maurice Potin (French 1874-?) commissioned by Vollard</span></span></li>
<li class="li6"><span class="s1"><span style="font-size: x-small;">55 Edgar Degas 1934 Color engraving and aquatint after monotype by Edgar Degas by Maurice Potin (French 1874-?) commissioned by Vollard</span></span></li>
<li class="li6"><span class="s1"><span style="font-size: x-small;">56 Edgar Degas 1934 Color engraving and aquatint after monotype by Edgar Degas by Maurice Potin (French 1874-?) commissioned by Vollard</span></span></li>
<li class="li6"><span class="s1"><span style="font-size: x-small;">57 Edgar Degas 1935 Color engraving and aquatint after monotype by Edgar Degas by Maurice Potin (French 1874-?) commissioned by Vollard</span></span></li>
<li class="li6"><span class="s1"><span style="font-size: x-small;">58 Edgar Degas 1935 Color engraving and aquatint after monotype by Edgar Degas by Maurice Potin (French 1874-?) commissioned by Vollard</span></span></li>
<li class="li6"><span class="s1"><span style="font-size: x-small;">59 Edgar Degas 1935 Color engraving and aquatint after monotype by Edgar Degas by Maurice Potin (French 1874-?) commissioned by Vollard</span></span></li>
<li class="li6"><span class="s1"><span style="font-size: x-small;">60 Edgar Degas 1935 Color engraving and aquatint after monotype by Edgar Degas by Maurice Potin (French 1874-?) commissioned by Vollard</span></span></li>
<li class="li6"><span class="s1"><span style="font-size: x-small;">61 Edgar Degas 1935 Color engraving and aquatint after monotype by Edgar Degas by Maurice Potin (French 1874-?) commissioned by Vollard</span></span></li>
<li class="li6"><span class="s1"><span style="font-size: x-small;">62 Edgar Degas 1935 Color engraving and aquatint after monotype by Edgar Degas by Maurice Potin (French 1874-?) commissioned by Vollard</span></span></li>
<li class="li6"><span class="s1"><span style="font-size: x-small;">63 Edgar Degas 1935 Color engraving and aquatint after monotype by Edgar Degas by Maurice Potin (French 1874-?) commissioned by Vollard</span></span></li>
<li class="li6"><span class="s1"><span style="font-size: x-small;">64 Edgar Degas 1935 Color engraving and aquatint after monotype by Edgar Degas by Maurice Potin (French 1874-?) commissioned by Vollard</span></span></li>
</ul>
<div class="p6">
<span class="s1"><span style="font-size: x-small;"><br />
31. Bena Mayer, HarperCollins Dictionary of Art Terms and Techniques (Second Edition) Copyright © 1969, 1991, ISBN 0-06-461012-8 (pbk.)</span></span></div>
<div class="p4">
<span style="font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p6">
<span class="s1"><span style="font-size: x-small;">32. Ibid</span></span></div>
<div class="p4">
<span style="font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p7">
<span class="s4"><span style="font-size: x-small;">33. <a href="http://www.copyright.gov/title17/92chap1.html#106a"><span class="s7"><i>www.copyright.gov/title17/92chap1.html#106a</i></span></a></span></span></div>
<div class="p4">
<span style="font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p6">
<span class="s1"><span style="font-size: x-small;">34. Published in 2001 by the Association of Art Museum Directors, 41 East 65th Street, New York, New York 10021, ISBN 1-880974-02-9</span></span></div>
<div class="p4">
<span style="font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p6">
<span class="s1"><span style="font-size: x-small;">35. Copyright © 1999, By West Group, ISBN 0-314-22864-0</span></span></div>
<div class="p4">
<span style="font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p6">
<span class="s1"><span style="font-size: x-small;">36. Degaslistfinal.pdf</span></span></div>
<div class="p4">
<span style="font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p6">
<span class="s1"><span style="font-size: x-small;">37. Jean Sutherland Boggs, <i>Degas</i>, © Editions de la Reunion des Musees Naitonaux, Paris, 1988, © National Gallery of Canada for the Corporation of the National Museums of Canada, 1988, © The Metropolitan Museum of Art, New York, 1988 ISBN 0-87099-519-7</span></span></div>
<div class="p4">
<span style="font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p6">
<span class="s1"><span style="font-size: x-small;">38. Ibid</span></span></div>
<div class="p4">
<span style="font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p6">
<span class="s1"><span style="font-size: x-small;">39. Copyright © 1991 by Bena Mayer, ISBN 0-06-461012-8 (pbk.)</span></span></div>
<div class="p4">
<span style="font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p6">
<span class="s1"><span style="font-size: x-small;">40. Published in 2001 by the Association of Art Museum Directors, 41 East 65th Street, New York, New York 10021, ISBN 1-880974-02-9</span></span></div>
<div class="p4">
<span style="font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p6">
<span class="s1"><span style="font-size: x-small;">41. Copyright © 1999, By West Group, ISBN 0-314-22864-0</span></span></div>
<div class="p4">
<span style="font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p6">
<span class="s1"><span style="font-size: x-small;">42. Degaslistfinal.pdf</span></span></div>
<div class="p4">
<span style="font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p7">
<span class="s4"><span style="font-size: x-small;">43. http://<a href="http://www.moma.org/m/explore/collection/art_terms/10110/0/2.iphone_ajax?klass=term"><span class="s7">www.moma.org/m/explore/collection/art_terms/10110/0/2.iphone_ajax?klass=term</span></a></span></span></div>
<div class="p4">
<span style="font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p6">
<span class="s1"><span style="font-size: x-small;">44. Ibid</span></span></div>
<div class="p4">
<span style="font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p6">
<span class="s1"><span style="font-size: x-small;">45. Published in 2001 by the Association of Art Museum Directors, 41 East 65th Street, New York, New York 10021, ISBN 1-880974-02-9</span></span></div>
<div class="p4">
<span style="font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p6">
<span class="s1"><span style="font-size: x-small;">46. Copyright © 1999, By West Group, ISBN 0-314-22864-0</span></span></div>
<div class="p4">
<span style="font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p7">
<span class="s4"><span style="font-size: x-small;">47. <a href="http://www.clevelandart.org/art/1958.27"><span class="s7">http://www.clevelandart.org/art/1958.27</span></a></span></span></div>
<div class="p4">
<span style="font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p6">
<span class="s1"><span style="font-size: x-small;">48. <a href="http://www.a-r-t.com/degas/"><span class="s9">http://www.a-r-t.com/degas/</span></a><br />
<br />
49. <a href="http://art.okstate.edu/faculty/siddons.php"><span class="s9">http://art.okstate.edu/faculty/siddons.php</span></a><br />
<br />
50. <a href="http://www.a-r-t.com/degas/"><span class="s9">http://www.a-r-t.com/degas/</span></a><br />
<br />
51. Landau Traveling Exhibition’s degas.pdf<br />
<br />
52. <a href="http://www.a-r-t.com/degas/"><span class="s9">http://www.a-r-t.com/degas/</span></a><br />
<br />
53. Landau Traveling Exhibition’s degas.pdf<br />
<br />
54. Ibid<br />
<br />
55. Publisher: Bloomsbury Pub Ltd (July 1995), ISBN-10: 0747515859, ISBN-13: 978-0747515852<br />
Publication Date: July 1995<br />
This guide to the history of Western art combines a comprehensive essay, outlining the development of the discipline and its major movements, with more than 300 detailed entries, organized alphabetically from Abstract Expressionism to Zeitgeist, on the movements, terminology, writers, bibliography and philosophy significant to the development of art history. Extensive bibliographical information and cross-references are included.<br />
<a href="http://www.amazon.com/Essential-Art-History-Paul-Duro/dp/0747515859/ref=sr_1_fkmr0_1?s=books&ie=UTF8&qid=1329636465&sr=1-1-fkmr0"><span class="s9">http://www.amazon.com/Essential-Art-History-Paul-Duro/dp/0747515859/ref=sr_1_fkmr0_1?s=books&ie=UTF8&qid=1329636465&sr=1-1-fkmr0</span></a></span></span></div>
<div class="p4">
<span style="font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p7">
<span class="s4"><span style="font-size: x-small;">56. <a href="http://www.copyright.gov/title17/92chap1.html"><span class="s7">http://www.copyright.gov/title17/92chap1.html</span></a><br />
<br />
57. <a href="http://www.copyright.gov/title17/92chap1.html"><span class="s7">http://www.copyright.gov/title17/92chap1.html</span></a><br />
<br />
58. <a href="http://www.copyright.gov/help/faq/definitions.html"><span class="s7">http://www.copyright.gov/help/faq/definitions.html</span></a><br />
<br />
59. Ibid<br />
<br />
60. www. copyright.gov</span></span></div>
<div class="p7">
<span class="s4"><span style="font-size: x-small;"><br />
61. <a href="http://www.collegeart.org/guidelines/sculpture"><span class="s7">www.collegeart.org/guidelines/sculpture</span></a></span></span></div>
<div class="p4">
<span style="font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p7">
<span class="s4"><span style="font-size: x-small;">62. <a href="http://foothillsartcenter.org/fac/about/"><span class="s7">http://foothillsartcenter.org/fac/about/</span></a></span></span></div>
<div class="p4">
<span style="font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p6">
<span class="s1"><span style="font-size: x-small;">63. Copyright © 1999, By West Group, ISBN 0-314-22864-0</span></span></div>
<div class="p4">
<span style="font-size: x-small;"><span class="s1"></span><br /></span></div>
<div class="p6">
<span class="s1"><span style="font-size: x-small;">64. © Kluwer Law International 1998, ISBN 90-411-0697-9<br />
<br />
65. Ibid<br />
<br />
66. Ibid<br />
<br />
67. Ibid</span></span></div>
<br />Gary Arseneauhttp://www.blogger.com/profile/10379667479866306615noreply@blogger.com2tag:blogger.com,1999:blog-34909527.post-53133621948180106042012-10-24T02:32:00.001-04:002017-12-26T19:00:36.874-05:00Little Dancer Aged Fourteen sculptural forgery in the Montreal Museum of Fine Arts' "Once upon a Time... Impressionism" exhibition<div class="separator" style="clear: both; text-align: left;">
<span style="font-family: inherit;"><span style="font-size: small;"> <b>NOTE: </b>Footnotes enclosed as: <span style="font-size: x-small;"><span style="color: blue;">[FN ]</span></span></span></span></div>
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<span style="font-family: inherit;"><span style="font-size: small;"><img border="0" src="https://1.bp.blogspot.com/-8nUQdEUGfqs/UIdN1SgD0PI/AAAAAAAACrE/-cEa5jxl5AA/s1600/favoritebig_27.jpg" /><b> </b></span></span></div>
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<span style="font-size: x-small;"><span style="font-family: inherit;">Hilaire Germain Edgar Degas
, French, 1834-1917<i>, Little Dancer Aged Fourteen</i>, Modeled, 1880-1; cast 1919-21, Bronze,<span style="font-size: x-small;"> </span>99.1 cm, Acquired by Sterling and Francine Clark, c. 1921, 1955.45<span style="font-size: x-small;"> </span></span></span></div>
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<span style="font-size: x-small;"><span style="font-family: inherit;"><span style="font-size: x-small;"> </span>http://www.clarkart.edu/museum/collections/impressionist/content.cfm?ID=31&marker=2&start=2 </span></span></div>
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<span style="font-family: inherit;"><span style="font-size: small;"><span style="font-size: large;"><b>I</b></span><b>n</b> the Montreal Museum of Fine Arts' October 13, 2012 to January 20, 2013 <b>Once upon a Time... Impressionism </b>exhibition from the Sterling and Francine Clark Art Institute, the so-called "Degas sculpture <i>Little Dancer Aged Fourteen"</i><span style="font-size: x-small;"><span style="color: blue;">[FN 1]</span></span> is actually a non-disclosed posthumous [c<span style="font-size: small;">.</span> 1921] 3rd-generation-removed brass [not bronze] -forgery- with a counterfeit <i>"Degas"</i> signature inscribed on the wooden base that is falsely attributed to a dead Edgar Degas [d 1917]. </span></span></div>
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<span style="font-family: inherit;"><span style="font-size: small;">Rhetorically, the<span style="font-family: inherit;"><span style="font-size: small;"> dead don't sculpt, much less sign.</span></span></span></span></div>
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<span style="font-family: inherit;"><span style="font-size: small;"><span style="font-family: inherit;"><span style="font-size: small;"><span class="Apple-style-span">On page 661 of the <span style="font-style: italic;">Seventh Edition of Black's Law Dictionary</span>, -forgery- is defined as: "the act of fraudulently making a false document or altering a real one to be used as if genuine."<span style="font-size: x-small;"><span style="color: blue;">[FN 2]</span></span></span></span></span><span style="font-size: x-small;"><span style="color: blue;"> </span></span></span></span></div>
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<span style="font-family: inherit;"><span style="font-size: small;">As<span style="font-size: small;"> members of the Association of Art Museum Directors, </span>the <span style="font-size: small;">Montreal Museum <span style="font-size: small;">of Fine Arts<span style="font-size: small;"> and the S<span style="font-size: small;">terling and Francine Clark Art Institute are<span style="font-size: small;"> v<span style="font-size: small;">iolating their own endorsed eth<span style="font-size: small;">ical guidelines for their museums, not to mention their <span style="font-size: small;">gift shops,</span> by exhibiting this non-disclosed </span></span></span></span></span></span></span></span></span><span style="font-family: inherit;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-family: inherit;"><span style="font-size: small;">posthumous [c<span style="font-size: small;">.</span> 1921] 3rd-generation-removed brass [not bronze] -forgery- </span></span></span></span></span></span></span></span></span></span></span><span style="font-family: inherit;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-family: inherit;"><span style="font-size: small;"><span style="font-family: inherit;"><span style="font-size: small;">with a counterfeit <i>"Degas"</i> signature inscribed on the wooden base </span></span>for monetary considerations including but not limited to<span style="font-size: small;">: <span style="font-size: small;">a<span style="font-size: small;">dult </span></span>admission fee of <span style="font-size: small;">$<span style="font-size: small;">8.70 to $17.40<span style="font-size: small;">.</span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></div>
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<span style="font-family: inherit;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-family: inherit;"><span style="font-size: small;">On page 670 of the <i>Seventh Edition of Black's Law Dictionary</i>,
-fraud- is defined as: "A knowing misrepresentation of the truth or
concealment of a material fact to induce another to act to his or her
detriment."<span style="font-size: x-small;"><span style="color: blue;">[FN 3]</span></span> </span></span></span></span></span></span></span></span></span></span></span></div>
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<span style="font-family: inherit;"><span style="font-size: small;">The Montreal Museum of Fine Arts' director<span style="font-size: small;"> </span></span></span><span style="font-family: inherit;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-family: inherit;">Nathalie Bondil </span></span>and the Sterling <span style="font-size: small;">and Francine Clark Art Institute's </span></span></span><span style="font-family: inherit;"><span style="font-size: small;"><span style="font-size: small;">director <span style="font-size: x-small;"><span style="font-size: small;">Michael Conforti</span> </span> have no sha<span style="font-size: small;">me.</span></span></span></span></div>
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<span style="font-family: inherit;"><span style="font-size: small;">This monograph will document those facts.</span></span></div>
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<a href="http://2.bp.blogspot.com/-GVXIQsZPCkw/UIeGYcbJP2I/AAAAAAAACt0/WbuFUdvgH-s/s1600/PhotoEdgarDegas.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://2.bp.blogspot.com/-GVXIQsZPCkw/UIeGYcbJP2I/AAAAAAAACt0/WbuFUdvgH-s/s1600/PhotoEdgarDegas.png" /></a></div>
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<span style="font-family: inherit;"><span style="font-size: small;"><br />These five references document Edgar Degas -never- worked in wax, -never- cast in bronze [much less brass], -never- signed his mixed-media models and thought if his mixed-media models were to fall apart after his death his reputation would better for it.<br /><br />DEGAS' TRUE INTENT </span></span></div>
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<span style="font-family: inherit;"><span style="font-size: small;">On page 95 of the College Art Association’s published spring 1995 “art journal,” in a Degas Bronzes? article by Roger J. Crum, the author wrote: “In Wilken’s essay we read that in 1921 Francois Thiebault-Sisson recalled that Degas had once said: I modeled animals and people in wax for my own satisfaction, not to take to rest from painting or drawing, but to give more expression, more spirit, and more life to my paintings and drawings. They are exercises to get me started. My sculptures will never give that impression of completion that is the ultimate goal of the statue-maker’s trade and since, after all, no one will ever see these efforts, no one should think of speaking about them, not even you. After my death all that will fall apart by itself, and that will be better for my reputation. (p. 23).”<span style="color: blue;"><span style="font-size: x-small;">[FN 4] </span></span><br /><br />DEGAS NEVER CAST HIS SCULPTURE </span></span></div>
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<span style="font-family: inherit;"><span style="font-size: small;">On page 180 in the National Gallery of Art’s published 1998 <i>Degas at the Races </i>catalogue, in Daphne S. Barbour’s and Shelly G. Sturman’s “The Horse in Wax and Bronze” essay, these authors wrote: “Degas never cast his sculpture in bronze, claiming that it was a “tremendous responsibility to leave anything behind in bronze -- the medium is for eternity.”<span style="color: blue;"><span style="font-size: x-small;">[FN 5]</span></span><br /><br />2ND TO 3RD GENERATION REMOVED </span></span></div>
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<span style="font-family: inherit;"><span style="font-size: small;">On page 78 of the “Degas; The Sculptures” essay by Hirshhorn Curator of Sculpture Valerie J. Fletcher, published in Ann Dumas and David A. Brenneman’s 2001 <i>Degas and America The Early Collectors </i>catalogue, the author wrote: “In 1919-20 Hebrard’s founder Albino Palazzolo, made a first set of {Degas} bronzes. -- Those 'masters' served to make molds for casting edition of twenty-two bronzes. Technically, all bronzes except the master set are surmoulages.”'<span style="color: blue;"><span style="font-size: x-small;">[FN 6]</span></span><br /><br />COUNTERFEIT DEGAS SIGNATURES </span></span></div>
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<span style="font-family: inherit;"><span style="font-size: small;">On page 32-33 in Charles W. Milliard’s 1976 <i>The Sculpture of Edgar Degas</i>, the author wrote: “Each cast is stamped with the legend 'cire perdue A.A. Hebrard' in relief, and incised with the signature ‘Degas.’” Later on page 34, the author wrote: “At least some of the casts were set on wooden bases into which the signature “Degas” was burned.”<span style="color: blue;"><span style="font-family: inherit;"><span style="font-size: x-small;">[FN 7] </span></span></span><br /><br />BRASS NOT BRONZE </span></span></div>
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<span style="font-family: inherit;"><span style="font-size: small;">This metallurgical discovery is confirmed on page 26 of the National Gallery of Art’s published 2010 <i>Edgar Degas Sculptures</i> catalogue, in the “Degas’ Bronzes Analyzed” essay by Shelly G. Sturman and Daphne S. Barbour. In part, the authors wrote: “Analysis of the elemental surface composition of the National Gallery sculptures was performed using X R F, a noninvasive technique. An alloy of copper and zinc with low to medium tin and traces of lead was used to cast all the sculptures. Results were also compared to X R F analysis undertaken at the Norton Simon Museum on the bronze modeles and at the Metropolitan Museum of Art on some of the serial A set as well. - Bronze is a misnomer for these sculptures, because they are all cast from brass (copper and zinc with tin).”<span style="font-size: x-small;"><span style="color: blue;">[FN 8] </span></span></span></span></div>
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<span style="font-size: small;">Now that t</span><span style="font-family: inherit;"><span style="font-size: small;">hese five references
document Edgar Degas -never- worked in wax, -never- cast in bronze
[much less brass], -never- signed his mixed-media models and thought if
his mixed-media models were to fall apart after his death his
reputation would better for it<span style="font-size: small;">, what does that mean for<span style="font-size: small;"> </span>anything posthumously<span style="font-size: small;"> attributed <span style="font-size: small;">to a <span style="font-size: small;">dead Edgar Degas</span> as it may apply to the Montreal Museum of Fine Art<span style="font-size: small;">s'</span> </span></span></span></span></span><span style="font-family: inherit;"><span style="font-size: small;"><b>Once upon a Time... Impressionism </b>exhibition from the Sterling and Francine Clark Art Institute</span></span><span style="font-family: inherit;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;">?</span> </span></span></span></div>
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<span style="font-family: inherit;"><span style="font-size: small;">ASSOCIATION OF ART MUSEUM DIREC<span style="font-size: small;">TORS MEMBERS</span></span></span></div>
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The Montreal Museum of Fine Arts director <span style="font-family: inherit;"></span><span style="font-family: inherit;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-family: inherit;">Nathalie Bondil </span></span></span></span> and Sterling and Francine Clark Art Institute's director <span style="font-size: small;"><span style="font-family: inherit;">Michael Conforti</span> </span>are members of the Association of Art Museum Directors.<span style="font-family: inherit;"><span style="font-size: small;"><span style="font-size: x-small;"><span style="color: blue;">[FN <span style="font-size: x-small;">9</span>] </span></span></span></span></div>
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In 1974, the Association of Art
Museum Directors organization endorsed the College Art Association
ethical guidelines on sculptural reproductions. In
part, these ethical guidelines state: “All bronze casting from finished
bronzes, all unauthorized enlargements, and all transfers into new
materials, unless specifically condoned by the artist, all works cast as
a result of being in the public domain should be considered as
inauthentic or counterfeit. Unauthorized casts of works in the public
domain cannot be looked upon as accurate presentations of the artist’s
achievement. Accordingly, in the absence of relevant laws and for moral
reasons, such works should: -- Not be acquired by museums or exhibited
as works of art.”<span style="color: blue;"><span style="font-size: x-small;">[FN 10]</span></span></div>
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</div>
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<br />
Since a dead Edgar Degas [d 1917] could not have condoned anything posthumously, by acquiring and exhibiting this <span style="font-family: inherit;"><span style="font-size: small;">non-disclosed
posthumous [c<span style="font-size: small;">.</span> 1921] 3rd-generation-removed brass [not bronze] -forgery-
with a counterfeit <i>"Degas"</i> signature inscribed on the wooden base that
is falsely attributed to a dead Edgar Degas [d 1917] titled <i><span style="font-size: small;">Little Dancer Aged Fo<span style="font-size: small;">urteen</span></span></i>, </span></span>the Montreal Museum of Fine Arts' director Nathalie Bondil and Sterling and Francine Clark Art Institute director Michael Conforti are directly violating their own endorsed ethical guidelines for monetary consideration <span style="font-family: inherit;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-family: inherit;"><span style="font-size: small;"> including but not limited to<span style="font-size: small;">: <span style="font-size: small;">a<span style="font-size: small;">dult </span></span>admission fee of <span style="font-size: small;">$<span style="font-size: small;">8.70 to $17.40<span style="font-size: small;">.</span></span></span></span></span></span></span></span></span></span></span></span></span></span></span><br />
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<br /></div>
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<span style="font-family: inherit;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-family: inherit;"><span style="font-size: small;">Once again, on page 670 of the <i>Seventh Edition of Black's Law Dictionary</i>,
-fraud- is defined as: "A knowing misrepresentation of the truth or
concealment of a material fact to induce another to act to his or her
detriment."<span style="font-size: x-small;"><span style="color: blue;">[FN 11]</span></span></span></span></span></span></span></span></span></span></span></span></span></div>
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<span style="font-family: inherit;"><span style="font-size: small;">So<span style="font-size: small;">, are t<span style="font-size: small;">hese <span style="font-size: small;">AAMD member museums<span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"> commit<span style="font-size: small;">ting </span></span></span></span></span></span></span></span></span><span style="font-family: inherit;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-family: inherit;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-family: inherit;"><span style="font-size: small;">"a knowing misrepresentation of the truth or
concealment of a material fact to induce another to act to his or her
detriment<span style="font-size: small;">?</span>"</span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></div>
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<span style="font-family: inherit;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-family: inherit;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-family: inherit;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-family: inherit;"></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></div>
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<span style="font-family: inherit;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-family: inherit;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-family: inherit;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-family: inherit;"><a href="http://4.bp.blogspot.com/-0nLidPrMDGY/T63YoYqt-lI/AAAAAAAACd0/K8lTllRcgUA/s1600/ProfessionalPracticesMuseum.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="201" src="https://4.bp.blogspot.com/-0nLidPrMDGY/T63YoYqt-lI/AAAAAAAACd0/K8lTllRcgUA/s400/ProfessionalPracticesMuseum.jpg" width="400" /></a></span></span> </span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></div>
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<span style="font-family: inherit;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-family: inherit;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-family: inherit;"><span style="font-size: small;">AAMD'<span style="font-size: small;">S PROFESSIONAL PRACTICES IN ART MUSEUM MANUEL</span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></div>
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<span style="font-size: small;">O</span><span class="Apple-style-span">n page 31 under the subtitle -Reproductions of Works of Art- in the Association of Art Museum Directors published 2001 <i>Professional Practices in Art Museum</i>
manuel, 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/or foundry marks on sculpture must not appear on
the reproduction. </span><span class="Apple-style-span"><span style="font-size: small;"><span style="font-family: inherit;"><span class="Apple-style-span">- The touting of exaggerated investment value of
reproductions must be avoided because the object or work being offered
for purchase is not original and the resale value is highly in doubt. -
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.</span></span></span>”<span style="color: blue;"><span style="font-size: x-small;">[FN 12]</span></span></span></div>
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<span class="Apple-style-span">Therefore, the AAMD mem<span style="font-size: small;">bers</span> Montreal Museum of Fine Arts </span></span></span><span style="font-size: small;"><span style="font-family: inherit;"><span class="Apple-style-span">director <span style="font-family: inherit;"></span><span style="font-family: inherit;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-family: inherit;">Nathalie Bondil </span></span></span></span> and Sterling and Francine Clark Art Institute's director <span style="font-size: small;"><span style="font-family: inherit;">Michael Conforti</span> could not even exhibit<span style="font-size: small;">, much less sell, th<span style="font-size: small;">is</span></span></span> </span></span></span><span style="font-size: small;"><span style="font-family: inherit;"><span class="Apple-style-span"><span style="font-family: inherit;"><span style="font-size: small;">non-disclosed
posthumous [c<span style="font-size: small;">. </span>1921] 3rd-generation-removed brass [not bronze] -forgery-
with a counterfeit <i>"Degas"</i> signature inscribed on the wooden base that
is falsely attributed to a dead Edgar Degas [d 1917]</span></span><span style="font-size: small;"> with the title<span style="font-size: small;">: <i>Little Dancer <span style="font-size: small;">Aged Fourteen</span></i></span> in their gift<span style="font-size: small;"> shop.</span></span></span></span></span></div>
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<span style="font-size: small;"><span style="font-family: inherit;"><span class="Apple-style-span"><span style="font-size: small;"><span style="font-size: small;">CANADA CRIMINAL CODE </span></span></span></span></span></div>
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In the Canada Criminal Code 380, it states: "(1) Every one who, by deceit, falsehood or other fraudulent
means, whether or not it is a false pretence within the meaning of this
Act, defrauds the public or any person, whether ascertained or not, of
any property, money or valuable security or any service, (a) is guilty of an indictable offence and liable to a term of
imprisonment not exceeding fourteen years, where the subject-matter of
the offence is a testamentary instrument or the value of the
subject-matter of the offence exceeds five thousand dollars."<span class="Apple-style-span"><span style="color: blue;"><span style="font-size: x-small;">[FN 13]</span></span></span></div>
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<a href="http://1.bp.blogspot.com/-Jilew_6cfvM/UId-_DDfC7I/AAAAAAAACsc/fgfWBBqzm9I/s1600/works-1-degas-petite-danseuse.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="276" src="https://1.bp.blogspot.com/-Jilew_6cfvM/UId-_DDfC7I/AAAAAAAACsc/fgfWBBqzm9I/s640/works-1-degas-petite-danseuse.jpg" width="640" /></a></div>
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<span style="font-size: small;"><span style="font-family: inherit;"><span class="Apple-style-span"><span style="font-size: small;"><span style="font-size: small;"> <span style="font-size: x-small;">http://www.mbam.qc.ca/impressionnisme/HTML/en/works.html</span></span></span></span></span></span></div>
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<span style="font-size: small;"><span style="font-family: inherit;"><span class="Apple-style-span"><span style="font-size: small;"><span style="font-size: small;">The Montreal Museum of Fine Art <span style="font-size: small;">seems to believe</span> the Sterling <span style="font-size: small;">and Francine Clark<span style="font-size: small;"> Art In<span style="font-size: small;">stitute<span style="font-size: small;">'s "</span></span></span></span></span></span></span></span></span><span style="font-size: small;"><span style="font-family: inherit;"><span class="Apple-style-span"><span style="font-size: small;"><span style="font-size: small;">Degas sculpture <span style="font-size: small;"><span style="font-family: inherit;"><span class="Apple-style-span"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><i>Little Dancer Aged </i><span style="font-size: small;"><i>Fourteen<span style="font-size: small;">"</span></i></span></span></span></span></span></span></span></span></span></span></span></span></span></span><span style="font-size: small;"><span style="font-family: inherit;"><span class="Apple-style-span"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: x-small;"><span style="color: blue;">[FN 14]</span></span></span></span></span></span></span></span></span></span></span></span> <span style="font-size: small;">will draw vis<span style="font-size: small;">itors, for the </span></span> <span style="font-family: inherit;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-family: inherit;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;">a<span style="font-size: small;">dult </span></span>admission fee of <span style="font-size: small;">$<span style="font-size: small;">8.70 to $17.40 each to view their <b>Once Upon a Time</b><span style="font-size: small;"><b>... Impressio</b><span style="font-size: small;"><b>nism</b> exhibition, when it is specifically [and the only one] fea<span style="font-size: small;">tured by title in their online press release:</span></span> </span>"</span></span></span></span></span></span></span></span></span></span></span></span></span></span>seventy-four paintings by Bonnard,
Corot, Degas, Gauguin, Manet, Millet, Monet, Morisot, Pissarro, Sisley
and Toulouse-Lautrec, including a selection of twenty-one outstanding
canvases by Renoir, and the Degas sculpture <a class="texte-continu-liens" href="http://www.mbam.qc.ca/impressionnisme/HTML/images/oeuvres-parcours/degas_petite_danseuse.png" rel="lightbox" title="Edgar Degas<br /><em>Little Dancer Aged Fourteen</em><br />1880-81, cast 1919-21<br /><br />© The Sterling and Francine Clark Art Institute, Williamstown, Massachusetts, USA"><i>Little Dancer Aged Fourteen</i></a> (on view exclusively in Montreal)."<span style="font-size: x-small;"><span style="color: blue;">[FN 15]</span></span></div>
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<span style="font-size: small;"><span style="font-family: inherit;"><span class="Apple-style-span"><span style="font-size: small;"><span style="font-size: small;">The importance placed upon this </span></span></span></span></span><span style="font-size: small;"><span style="font-family: inherit;"><span class="Apple-style-span"><span style="font-size: small;"><span style="font-size: small;"><span style="font-family: inherit;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;">non-disclosed </span></span></span></span></span></span></span></span></span></span></span></span></span></span><span style="font-family: inherit;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-family: inherit;"><span style="font-size: small;">posthumous [c<span style="font-size: small;">.</span> 1921] 3rd-generation-removed brass [not bronze] -forgery- </span></span></span></span></span></span></span></span></span></span></span><span style="font-family: inherit;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-family: inherit;"><span style="font-size: small;"><span style="font-family: inherit;"><span style="font-size: small;">with a counterfeit <i>"Degas"</i> signature inscribed on the wooden base, titled <i>Little Dancer Aged Fourteen</i>, is further confirmed<span style="font-size: small;"><span style="font-size: small;"> by the Montreal Museum of Fine Arts when it is one of <span style="font-size: small;">only 22 photographs featured on their website promoting the 75 works in their </span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span><span style="font-size: small;"><span style="font-family: inherit;"><span class="Apple-style-span"><span style="font-size: small;"><span style="font-size: small;"><span style="font-family: inherit;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-family: inherit;"><span style="font-size: small;"><span style="font-family: inherit;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-family: inherit;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-family: inherit;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><b>Once Upon a Time</b><span style="font-size: small;"><b>... Impressio</b><span style="font-size: small;"><b>nism </b></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span>exhibition.</div>
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<span style="font-size: small;"><span style="font-family: inherit;"><span class="Apple-style-span"><span style="font-size: small;"><span style="font-size: small;"><span style="font-family: inherit;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-family: inherit;"><span style="font-size: small;"><span style="font-family: inherit;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;">What revenue could this </span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span><span style="font-size: small;"><span style="font-family: inherit;"><span class="Apple-style-span"><span style="font-size: small;"><span style="font-size: small;"><span style="font-family: inherit;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-family: inherit;"><span style="font-size: small;"><span style="font-family: inherit;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-family: inherit;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-family: inherit;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><b>Once Upon a Time</b><span style="font-size: small;"><b>... Impressio</b><span style="font-size: small;"><b>nism </b>exhibition generate for the Montreal Museum of <span style="font-size: small;">Fine Arts and its' loaner institution Sterling and Franci<span style="font-size: small;">ne Clark Art Institute<span style="font-size: small;">?</span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span><br />
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<span style="font-size: small;"><span style="font-family: inherit;"><span class="Apple-style-span"><span style="font-size: small;"><span style="font-size: small;">This is potentially addressed in an <span style="font-size: small;">Ott<span style="font-size: small;">a<span style="font-size: small;">wa Citzen p<span style="font-size: small;">ublished October 16, 2012 "<span style="font-size: small;">Daytripping: Impressionists in Montreal" articl<span style="font-size: small;">e<span style="font-size: small;"> by Paul Gessell, In part, the r<span style="font-size: small;">eporter wrote: "</span></span></span></span></span></span></span></span></span></span></span></span></span><span style="font-size: small;"><span style="font-family: inherit;"><span class="Apple-style-span"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;">Ottawa loves Renoir.</span></span></span></span></span></span></span></span></span></span></span></span></span> That was demonstrated most dramatically
in 1997 when a Renoir exhibition drew 340,000 visitors to the National
Gallery of Canada. That’s the highest number of people ever to attend a
National Gallery show. Renoir addicts now can get a fix just a
two-hour drive from the capital, at the Montreal Museum of Fine Arts,
which recently opened an exhibition titled Once Upon A Time …
Impressionism: Great French Paintings from the Clark."<span style="font-size: x-small;"><span style="color: blue;">[FN 1<span style="font-size: x-small;">6</span>]</span></span><span style="font-size: small;"><span style="font-family: inherit;"><span class="Apple-style-span"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"> </span></span></span></span></span></span></div>
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<span style="font-size: small;"><span style="font-family: inherit;"><span class="Apple-style-span"></span></span></span><span style="font-size: x-small;"><span style="color: blue;"></span></span><span style="font-size: small;"><span style="font-family: inherit;"><span class="Apple-style-span"></span></span></span></div>
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<span style="font-size: small;"><span style="font-family: inherit;"><span class="Apple-style-span"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;">T<span style="font-size: small;">HREE TO SIX MILLION DOLLARS IN POTENTIAL RE<span style="font-size: small;">VENUE</span></span></span> </span></span></span></span></span></div>
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<span style="font-size: small;"><span style="font-family: inherit;"><span class="Apple-style-span"><span style="font-size: small;"><span style="font-size: small;">So, if you muti<span style="font-size: small;">ply 340,000<span style="font-size: small;"> paying visitors</span> by $8.70 <span style="font-size: small;">to $17<span style="font-size: small;">.40 adult admission fee, the total rang<span style="font-size: small;">es from 3,000,000 to 6,000,000 dollars of potential re<span style="font-size: small;">venue for the Montreal Museum of Fine Arts and the Sterling and Francine Clark Art Institute<span style="font-size: small;"><span style="font-size: small;"> that in part is being gene<span style="font-size: small;">rated by their promotion of </span></span> </span></span></span></span></span></span></span></span></span></span></span><span style="font-size: small;"><span style="font-family: inherit;"><span class="Apple-style-span"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-family: inherit;"><span class="Apple-style-span"><span style="font-size: small;"><span style="font-size: small;"> </span></span></span></span></span><span style="font-size: small;"><span style="font-family: inherit;"><span class="Apple-style-span"><span style="font-size: small;"><span style="font-size: small;"><span style="font-family: inherit;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;">non-disclosed </span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span><span style="font-family: inherit;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-family: inherit;"><span style="font-size: small;">posthumous [c<span style="font-size: small;">.</span> 1921] 3rd-generation-removed brass [not bronze] -forgery- </span></span></span></span></span></span></span></span></span></span></span><span style="font-family: inherit;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-family: inherit;"><span style="font-size: small;"><span style="font-family: inherit;"><span style="font-size: small;">with a counterfeit <i>"Degas"</i> signature inscribed on the wooden base, misrepresented as a "Degas <span style="font-size: small;">sculpture</span> <i>Little Dancer Aged Fourteen</i><span style="font-size: small;">."</span></span></span></span></span></span></span></span></span></span></span></span></span></span><span style="font-size: x-small;"><span style="color: blue;">[FN 17]</span></span><span style="font-size: small;"><span style="font-family: inherit;"><span class="Apple-style-span"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"> </span></span></span></span></span></span></div>
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<span style="font-size: small;"><span style="font-family: inherit;"><span class="Apple-style-span"><span style="font-size: small;"><span style="font-size: small;">So, once again, would the following be applicable:</span></span></span></span></span><span style="font-size: small;"><span style="font-family: inherit;"><span class="Apple-style-span"><span style="font-size: small;"><span style="font-size: small;"> Canada Criminal Code 380 states: "(1) Every one who, by deceit, falsehood or other fraudulent
means, whether or not it is a false pretence within the meaning of this
Act, defrauds the public or any person, whether ascertained or not, of
any property, money or valuable security or any service, (a) is guilty of an indictable offence and liable to a term of
imprisonment not exceeding fourteen years, where the subject-matter of
the offence is a testamentary instrument or the value of the
subject-matter of the offence exceeds five thousand dollars<span style="font-size: small;">?</span>"<span class="Apple-style-span"><span style="color: blue;"><span style="font-size: x-small;">[FN 18]</span></span></span> </span></span></span></span></span></div>
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<span style="font-size: small;"><span style="font-family: inherit;"><span class="Apple-style-span"><br /></span></span></span></div>
<div class="separator" style="clear: both; text-align: justify;">
<span style="font-size: small;"><span style="font-family: inherit;"><span class="Apple-style-span"><span style="font-size: small;"><span style="font-size: small;"><span style="font-family: inherit;"><span style="font-size: small;"><span class="Apple-style-span">LAW, ETHICS AND THE VISUAL ARTS <br />On page 816-817 of Kluwer Law International’s published 1998 <i>Law, Ethics and the Visual Arts, Third Edition </i>by John Henry Merryman and Albert E. Elsen wrote about “Counterfeit Art.<span style="font-size: small;">"</span></span></span></span></span></span></span></span></span><span style="font-size: small;"><span style="font-family: inherit;"><span class="Apple-style-span"><span style="font-size: small;"><span style="font-size: small;"><span style="font-family: inherit;"><span style="font-size: small;"><span class="Apple-style-span"><span style="font-size: small;"><span class="Apple-style-span"><span style="color: blue;"><span style="font-size: x-small;">[FN 1<span style="font-size: x-small;">9</span>]</span></span></span></span> <br /> </span><br /><span class="Apple-style-span">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.”</span></span></span></span></span></span></span></span><span style="font-size: small;"><span style="font-family: inherit;"><span class="Apple-style-span"><span style="font-size: small;"><span style="font-size: small;"><span style="font-family: inherit;"><span style="font-size: small;"><span class="Apple-style-span"><span class="Apple-style-span"><span style="color: blue;"><span style="font-size: x-small;">[FN 20]</span></span></span></span></span>
<span style="font-size: small;"><br />
<span class="Apple-style-span"><b> </b> <br />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.”</span></span></span></span></span></span></span></span><span style="font-size: small;"><span style="font-family: inherit;"><span class="Apple-style-span"><span style="font-size: small;"><span style="font-size: small;"><span style="font-family: inherit;"><span style="font-size: small;"><span class="Apple-style-span"><span class="Apple-style-span"><span style="color: blue;"><span style="font-size: x-small;">[FN 21]</span></span></span></span><br />
<span class="Apple-style-span"><b> </b> <br />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.”</span></span></span></span></span></span></span></span><span style="font-size: small;"><span style="font-family: inherit;"><span class="Apple-style-span"><span style="font-size: small;"><span style="font-size: small;"><span style="font-family: inherit;"><span style="font-size: small;"><span class="Apple-style-span"><span class="Apple-style-span"><span style="color: blue;"><span style="font-size: x-small;">[FN 22]</span></span></span><b> </b></span></span></span><br />
<span class="Apple-style-span" style="font-size: x-small;"><b> </b><b> </b></span><br />
<br />
<span style="font-family: inherit;"><span style="font-size: small;"><span class="Apple-style-span"><b>CONCLUSION</b> <br />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 Montreal Museum of Fine Arts and Sterling and Francine Clark Art Institute will give full and honest disclosure for all
reproductions as: -reproductions- it would allow museum patrons to give
informed consent on whether they wish to attend an exhibition of with
reproductions, much less forgeries, <span style="font-size: small;">including but not limited to<span style="font-size: small;">: whether to pay the <span style="font-size: small;">price o<span style="font-size: small;">f admission, <span style="font-size: small;">pur<span style="font-size: small;">cha<span style="font-size: small;">se mem<span style="font-size: small;">bership and<span style="font-size: small;">/or</span> support<span style="font-size: small;"> t</span>he museums monetarily with donations</span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span>.</div>
<span class="Apple-style-span"><br />But
if these objects are not reproductions by definition and law, but
-forgeries- with or without counterfeit signatures or inscriptions
applied, much less posthumous, to create the illusion the artist created
it, much less approved and signed it, then serious consequences of law
may come into play for those who chose to misrepresent these -forgeries-
for profit.</span>
<span style="font-size: small;"><br /><br /><span class="Apple-style-span">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. </span></span><br />
<br />
<br />
<div style="text-align: center;">
<span class="Apple-style-span"><span style="font-size: small;"><span style="font-family: inherit;">[Correction mine<span style="font-size: small;">:<span style="font-size: small;"> </span><i>Impressionnism</i> to <i>Impressionism </i>except for URLS]</span><b><br /></b></span></span></span></div>
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<span style="font-family: inherit;"><b><span style="font-size: small;">FOOTNOTES:</span></b></span><br />
<span style="font-family: inherit;"><span style="font-size: x-small;"> 1. http://www.mbam.qc.ca/impressionnisme/HTML/en/exhibition.htm<br />"ONCE UPON A TIME... IMPRESSIONISM, AS PART OF AN UNPRECEDENTED WORLD TOUR THE IMPRESSIONIST MASTERPIECES OF THE STERLING AND FRANCINE CLARK ART INSTITUTE IS PRESENTED AT THE MONTREAL MUSEUM OF FINE ART – THE EXCLUSIVE CANADIAN VENUE <br /> "Nathalie Bondil, Director and Chief Curator of the MMFA and curator of this exhibition in Montreal, is delighted that “For the first and only time, one of the finest collections of Impressionist works in North America will be displayed in a Canadian exclusive at the Museum. Montreal will be the sole Canadian venue for this historic tour, which will travel from Europe to Asia during expansion work at the prestigious Sterling and Francine Clark Art Institute in Williamstown, Massachusetts. Chosen for their exceptional quality, seventy-four paintings by Bonnard, Corot, Degas, Gauguin, Manet, Millet, Monet, Morisot, Pissarro, Sisley and Toulouse-Lautrec, including a selection of twenty-one outstanding canvases by Renoir, and the Degas sculpture Little Dancer Aged Fourteen (on view exclusively in Montreal) will be shown at the MMFA. The inclusion of academic works by Bouguereau, Gérôme and Stevens, among others, will enable visitors to see how the new ‘modernism’ challenged official painting.” <br /> "This extraordinary collection, comparable in quality and size to that of Alfred C. Barnes, was the work of Robert Sterling Clark (1877-1956), heir to the Singer sewing machine fortune, who, for over half a century, quietly built up one of the finest art collections in the United States. Married to a French actress, Clark lived for many years in Paris, enthusiastically collecting art. A discriminating art lover and skilled negotiator, as independent in his lifestyle as in his tastes, this thoughtful and reticent man chose the artworks himself, consulting only with his knowledgeable wife, Francine. His collection included European and American paintings, Old Master prints and drawings, sculpture, silver and ceramics. <br /> "In 1955, the Clarks opened the institute that bears their names in Williamstown, Massachusetts, in the heart of New England. It is now famous around the world for the outstanding quality of its art collection, which spans from European Old Masters to nineteenth-century art, decorative arts and remarkable holdings of works on paper, and one of America’s largest art history libraries. <br /> "This exhibition is organized by the Sterling and Francine Clark Art Institute, Williamstown, Massachusetts. The Montreal presentation is produced in collaboration with the Montreal Museum of Fine Arts.<span style="font-size: x-small;">"</span></span></span><br />
<br />
<span style="font-family: inherit;"><span style="font-size: x-small;">2. <span class="Apple-style-span">© 1999 By West Group, ISBN: 0314022864 </span></span></span><br />
<br />
<span style="font-family: inherit;"><span style="font-size: x-small;"><span class="Apple-style-span">3. Ibid</span></span></span><br />
<br />
<span style="font-family: inherit;"><span style="font-size: x-small;">4. Art Journal © 1995 College Art Association, http://www.jstor.org/pss/777513<span class="Apple-style-span"> </span></span></span><br />
<br />
<span style="font-family: inherit;"><span style="font-size: x-small;"><span style="font-size: x-small;">5<span style="font-size: x-small;">. © 1998 National Gallery of Art ISBN 0-300-07517-0<br /> </span></span></span></span><br />
<span style="font-family: inherit;"><span style="font-size: x-small;"><span style="font-size: x-small;"><span style="font-size: x-small;">6. Copyright © 2000 by High Museum of Art, ISBN 0-8478-2340-7<br /> </span></span></span></span><br />
<span style="font-family: inherit;"><span style="font-size: x-small;"><span style="font-size: x-small;"><span style="font-size: x-small;">7. <a href="http://www.nga.gov/education/degas-11.htm" target="_blank">www.nga.gov/education/degas-11.htm</a><br /> </span></span></span></span><br />
<span style="font-family: inherit;"><span style="font-size: x-small;"><span style="font-size: x-small;"><span style="font-size: x-small;">8. © 2010 ISBN 978-0-691-14897-7, National Gallery of Art, Washington</span></span></span></span><br />
<br />
<span style="font-family: inherit;"><span style="font-size: x-small;"><span style="font-size: x-small;"><span style="font-size: x-small;">9. http://www.aamd.org/about/</span></span></span></span><br />
<span style="font-family: inherit;"><span style="font-size: x-small;"><span style="font-size: x-small;"><span style="font-size: x-small;">Montreal Museum of Fine Arts<span style="font-size: x-small;">, </span>Nathalie Bondil Montreal, Quebec </span></span></span></span><br />
<span style="font-family: inherit;"><span style="font-size: x-small;"><span style="font-size: x-small;"><span style="font-size: x-small;">Sterling & Francine Clark Art Institute<span style="font-size: x-small;">, </span>Michael Conforti Williamstown, MA</span></span></span></span><br />
<br />
<span style="font-family: inherit;"><span style="font-size: x-small;"><span style="font-size: x-small;"><span style="font-size: x-small;">10. </span></span></span><span style="font-size: x-small;"><span style="font-size: x-small;"><span style="font-size: x-small;">www.collegeart.org/caa/ethics/sculpture.html “A Statement on
Standards for Sculptural Reproduction and Preventive Measures to Combat
Unethical Casting in Bronze Approved by the CAA Board of Directors,
April 27, 1974. Endorsed by the Association of Art Museum Directors and
the Art Dealers Association of America.”</span></span></span></span><br />
<br />
<span style="font-family: inherit;"><span style="font-size: x-small;"><span style="font-size: x-small;"><span style="font-size: x-small;">11. </span></span></span><span style="font-size: x-small;"><span style="font-size: x-small;"><span style="font-size: x-small;"><span style="font-size: x-small;"><span class="Apple-style-span">© 1999 By West Group, ISBN: 0314022864</span></span></span></span></span></span><br />
<br />
<span style="font-family: inherit;"><span style="font-size: x-small;"><span style="font-size: x-small;"><span style="font-size: x-small;"><span style="font-size: x-small;"><span class="Apple-style-span">12. </span></span></span></span></span></span><span style="font-family: inherit;"><span style="font-size: x-small;"><span style="font-size: x-small;"><span style="font-size: x-small;"><span style="font-size: x-small;"><span class="Apple-style-span"><span class="Apple-style-span" style="font-size: x-small;">Published in 2001 by the Association of Art Museum Directors, 41 East
65th Street, New York, New York 10021, ISBN: 1-880974-02-9 </span> </span></span></span></span></span></span><br />
<br />
<span style="font-family: inherit;"><span style="font-size: x-small;"><span style="font-size: x-small;"><span style="font-size: x-small;"><span style="font-size: x-small;"><span class="Apple-style-span"><span style="font-size: x-small;">13. http://yourlaws.ca/criminal-code-canada/380-fraud-0</span></span></span></span></span></span></span><span style="font-family: inherit;"><span style="font-size: x-small;"><span style="font-size: x-small;"><span style="font-size: x-small;"><span style="font-size: x-small;"><span class="Apple-style-span"><span style="font-size: x-small;"><span style="font-size: x-small;"> </span></span></span></span></span></span></span></span><br />
<br />
<span style="font-family: inherit;"><span style="font-size: x-small;"><span style="font-size: x-small;"><span style="font-size: x-small;"><span style="font-size: x-small;"><span class="Apple-style-span"><span style="font-size: x-small;"><span style="font-size: x-small;">1<span style="font-size: x-small;">4</span>. http://www.mbam.qc.ca/impressionnisme/HTML/en/exhibition.html </span></span></span></span></span></span></span></span><br />
<br />
<span style="font-family: inherit;"><span style="font-size: x-small;"><span style="font-size: x-small;"><span style="font-size: x-small;"><span style="font-size: x-small;"><span class="Apple-style-span"><span style="font-size: x-small;"><span style="font-size: x-small;">15. Ibi<span style="font-size: x-small;">d</span></span></span></span></span></span></span></span></span><br />
<br />
<span style="font-family: inherit;"><span style="font-size: x-small;"><span style="font-size: x-small;"><span style="font-size: x-small;"><span style="font-size: x-small;"><span class="Apple-style-span"><span style="font-size: x-small;">1<span style="font-size: x-small;">6. http://www.ottawacitizen.com/travel/Daytripping+Impressionists+Montreal/7411251/story.html</span></span></span></span></span></span></span></span><br />
<br />
<span style="font-family: inherit;"><span style="font-size: x-small;"><span style="font-size: x-small;"><span style="font-size: x-small;"><span style="font-size: x-small;"><span class="Apple-style-span"><span style="font-size: x-small;"><span style="font-size: x-small;">17. </span></span></span></span></span></span></span></span><span style="font-family: inherit;"><span style="font-size: x-small;"><span style="font-size: x-small;"><span style="font-size: x-small;"><span style="font-size: x-small;"><span class="Apple-style-span"><span style="font-size: x-small;"><span style="font-size: x-small;">http://www.mbam.qc.ca/impressionnisme/HTML/en/exhibition.html </span></span></span></span></span></span></span></span><br />
<br />
<span style="font-family: inherit;"><span style="font-size: x-small;"><span style="font-size: x-small;"><span style="font-size: x-small;"><span style="font-size: x-small;"><span class="Apple-style-span"><span style="font-size: x-small;"><span style="font-size: x-small;">18. </span></span></span></span></span></span></span></span><span style="font-family: inherit;"><span style="font-size: x-small;"><span style="font-size: x-small;"><span style="font-size: x-small;"><span style="font-size: x-small;"><span class="Apple-style-span"><span style="font-size: x-small;">http://yourlaws.ca/criminal-code-canada/380-fraud-0</span></span></span></span></span></span></span><span style="font-family: inherit;"><span style="font-size: x-small;"><span style="font-size: x-small;"><span style="font-size: x-small;"><span style="font-size: x-small;"><span class="Apple-style-span"></span></span></span></span></span></span><br />
<br />
<span style="font-family: inherit;"><span style="font-size: x-small;"><span style="font-size: x-small;"><span style="font-size: x-small;"><span style="font-size: x-small;"><span class="Apple-style-span"><span class="Apple-style-span" style="font-size: x-small;">19. © Kluwer Law International 1998, ISBN: 90-411-0697-9 </span><span class="Apple-style-span" style="font-size: x-small;"><br /> </span></span></span></span></span></span></span><br />
<span style="font-family: inherit;"><span style="font-size: x-small;"><span style="font-size: x-small;"><span style="font-size: x-small;"><span style="font-size: x-small;"><span class="Apple-style-span"><span class="Apple-style-span" style="font-size: x-small;">20. Ibid </span><span class="Apple-style-span" style="font-size: x-small;"><br /> </span></span></span></span></span></span></span><br />
<span style="font-family: inherit;"><span style="font-size: x-small;"><span style="font-size: x-small;"><span style="font-size: x-small;"><span style="font-size: x-small;"><span class="Apple-style-span"><span class="Apple-style-span" style="font-size: x-small;">21. Ibid </span><br />
<span class="Apple-style-span" style="font-size: x-small;"> </span></span></span></span></span></span></span><br />
<span style="font-family: inherit;"><span style="font-size: x-small;"><span style="font-size: x-small;"><span style="font-size: x-small;"><span style="font-size: x-small;"><span class="Apple-style-span"><span class="Apple-style-span" style="font-size: x-small;">22. Ibid </span> </span></span> </span><br />
</span></span></span>Gary Arseneauhttp://www.blogger.com/profile/10379667479866306615noreply@blogger.comtag:blogger.com,1999:blog-34909527.post-15640007189139633602012-06-24T14:09:00.000-04:002012-06-26T20:18:20.520-04:00Goya Forgeries in the University of Georgia's collection, Posthumous Impressions from Reworked and Altered Plates can never be Etchings<div style="font-family: inherit;">
<span style="font-size: small;"><b>NOTE:</b></span><span style="font-size: small;"> Footnotes are enclosed as <span style="font-size: x-small;"><span style="color: blue;">[FN ]</span></span></span></div>
<div style="font-family: inherit;">
<span style="font-size: x-small;"><b><br />
</b></span></div>
<div class="separator" style="clear: both; font-family: inherit; text-align: justify;">
<span style="font-size: x-small;"><a href="http://3.bp.blogspot.com/-fhEy7k0NpvA/T-R8vELB5gI/AAAAAAAACmw/Sdjt4OEdB4M/s1600/Goya_grande_hazana.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="307" src="http://3.bp.blogspot.com/-fhEy7k0NpvA/T-R8vELB5gI/AAAAAAAACmw/Sdjt4OEdB4M/s400/Goya_grande_hazana.jpg" width="400" /></a></span></div>
<div style="font-family: inherit; text-align: justify;">
<span style="font-size: x-small;">39. <i>Grande hazaña! Con muertos!</i>
(A heroic feat! With dead men!), From The Disasters of War (1906
edition), Etching, lavis, and drypoint on laid paper, 6 1/16 x 8 1/16
inches (plate), 16 x 22 inches (frame), Georgia Museum of Art,
University of Georgia;, Gift of Mr. and Mrs. James B. Anderson, GMOA
1985.11.39</span></div>
<div style="font-family: inherit; text-align: justify;">
<span style="font-size: small;"><b>NON-DISCLOSED FORGERY FROM A POSTHUMOUSLY REWORKED AND ALTERED PLATE</b></span><br />
<div style="font-family: inherit;">
<span style="font-size: x-small;"><br /></span></div>
</div>
<div class="separator" style="clear: both; font-family: inherit; text-align: justify;">
<span style="font-size: x-small;"><a href="http://2.bp.blogspot.com/-X6eBaQol-QU/T-R-i15BfBI/AAAAAAAACm4/uF9D_4U_n94/s1600/AN00038003_001_l.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="332" src="http://2.bp.blogspot.com/-X6eBaQol-QU/T-R-i15BfBI/AAAAAAAACm4/uF9D_4U_n94/s400/AN00038003_001_l.jpg" width="400" /></a></span></div>
<div style="font-family: inherit; text-align: justify;">
<span style="font-family: inherit; font-size: x-small;"><i>Grande hazaña! Con muertos!</i>
(An heroic feat! With dead men!)</span><span style="font-family: inherit; font-size: x-small;"> /</span><span style="font-family: inherit; font-size: x-small;"> Los Desastres de la Guerra </span><span style="font-family: inherit; font-size: x-small;">(The Disasters of War)</span><span style="font-size: small;"><span style="font-family: inherit; font-size: x-small;">, from The Disasters of War, working
proof for plate 39, 1810-1812, Francisco de Goya y Lucientes (Spanish,
Fuendetodos 1746 - 1828 Bordeaux), Spanish; made Spain, Etching, lavis,
and drypoint; image: Height: 155 millimetres, Width: 204 millimetres,
AN38003001, © The Trustees of the British Museum, Department: Prints
& Drawings. Registration number: 1975,1025.421.41<br /> <span style="color: blue;">http://www.britishmuseum.org/research/search_the_collection_database/search_object_details.aspx?objectid=1333636&partid=1&searchText=goya&fromDate=1810&fromADBC=ad&toDate=1900&toADBC=ad&numpages=10&images=on&orig=%2fresearch%2fsearch_the_collection_database.aspx&currentPage=2</span></span><br /><b>LIFETIME ETCHING BY FRANCISCO DE GOYA Y LUCIENTES</b></span></div>
<div style="font-family: inherit; text-align: justify;">
<span style="font-size: small;"><br /></span></div>
<div style="font-family: inherit; text-align: justify;">
<span style="font-size: small;"><span style="font-size: small;"><span style="font-size: x-large;"><b>T</b></span>he</span> University of Georgia and its' Georgia Museum of Art's August 18, 2012 - October 26, 2012 </span><b>Francisco de Goya’s “Disasters of War” </b>exhibition is a -fraud-.<br />
<b><br /></b><br />
On page 670 of the <i>Seventh Edition of Black's Law Dictionary</i>, -fraud- is defined as: "A knowing misrepresentation of the truth or concealment of a material fact to induce another to act to his or her detriment."<span style="font-size: small;"><span style="color: blue; font-size: x-small;">[FN 1]</span></span><b> </b></div>
<div style="font-family: inherit; text-align: justify;">
<br />
<span style="font-size: small;">The so-called </span><b>Francisco de Goya’s “Disasters of War” </b>exhibition is being misrepresented by the University of Georgia and its' Georgia Museum of Art as:<span style="font-size: small;"> "</span>Perhaps his greatest achievement as a printmaker, this famous series of
prints concentrates on the lengthy Peninsular War (1808–1814) between
Spanish forces and the invading army of Napoleon Bonaparte"<span style="font-size: small;"><span style="color: blue; font-size: x-small;">[FN </span></span><span style="font-size: small;"><span style="color: blue; font-size: x-small;">2]</span></span> when in fact <span style="font-size: small;">it consists of eighty non-disclosed posthumous [1906] -forgeries-, </span><span style="font-size: small;">impressed f</span><span style="font-size: small;">rom posthumously [1863 or later] reworked and altered plates,</span><span style="font-size: small;"> that are being </span><span style="font-size: small;">falsely attributed as etchings ie., original works of visual art to a dead Francisco de Goya y Lucientes.</span><span style="font-size: small;"> </span></div>
<div style="font-family: inherit; text-align: justify;">
<span style="font-size: small;"><br /></span><span style="font-size: small;">On page 660 of the <i>Seventh Edition of Black's Law
Dictionary,</i> -forgery- is defined as: "The act of fraudulently making a
false document or altering a real one to be used as if geniune."<span style="color: blue; font-size: x-small;">[FN 3]</span></span></div>
<div style="font-family: inherit; text-align: justify;">
<span style="font-size: small;"> </span><span style="font-size: small;"><br />Francisco de Goya y Lucientes died in 1828. </span><br />
<br />
<span style="font-size: small;">Rhetorically, the dead don't etch, much less approve posthumous impressions from posthumously reworked and altered plates.</span><br />
<br />
<span style="font-size: small;"></span><br />
<span style="font-size: small;">The University of Georgia and its' Georgia Museum of Art have no shame.</span><br />
<br />
<br />
<span style="font-size: small;"><span style="font-size: x-small;"><span style="color: blue;"></span></span></span><span style="font-size: small;">So, without full and honest -disclosure-</span><span style="font-size: small;"><span style="color: blue; font-size: x-small;">[FN 4]</span></span><span style="font-size: small;"> to these </span><span style="font-size: small;">eighty non-disclosed posthumous [1906] -forgeries-, </span><span style="font-size: small;">impressed f</span><span style="font-size: small;">rom posthumously [1863 or later] reworked and altered plates,</span><span style="font-size: small;"> that are being </span><span style="font-size: small;">falsely attributed as etchings ie., original works of visual art to a dead Francisco de Goya y Lucientes, </span><span style="font-size: small;">h</span><span style="font-size: small;">ow can there be informed -consent-</span><span style="font-size: small;"><span style="color: blue; font-size: x-small;">[FN 5]</span></span><span style="font-size: small;"> by the public on whether to attend this so-called </span><span style="font-size: small;"><b>Francisco de Goya's "Disasters of War"</b></span><span style="font-size: small;"> exhibition, much less pay the $3 suggested donation admission fee</span><span style="font-size: small;"><span style="color: blue; font-size: x-small;">[FN 6]</span></span><span style="font-size: small;">,<span style="color: blue; font-size: x-small;"> </span>and including but not limited to other monetary considerations such as paid membership<span style="font-size: x-small;"><span style="color: blue;">[FN 7]</span></span> solicited by the museum?</span></div>
<div style="font-family: inherit; text-align: justify;">
<span style="font-size: small;"><br />Therefore, in the interest of full and honest disclosure and informed consent by the public for the </span><span style="font-size: small;">University of Georgia and its' Georgia Museum of Art's August 18,
2012 - October 28, 2012 <b>Francisco de Goya's "Disasters of War"</b> exhibition</span><span style="font-size: small;">,
the following will be documented in this monograph: </span></div>
<div style="font-family: inherit; text-align: justify;">
<span style="font-size: small;"><span style="font-size: small;"></span></span><br />
<ol>
<li><span style="font-size: small;">Bordeaux 1828 to Madrid 1919, Goya gravestones, </span></li>
<li><span style="font-size: small;">the chronology of posthumous
reworking and alteration of Goya's original etching plates, </span></li>
<li><span style="font-size: small;">never-ending editions
with no limitation, </span><span style="font-size: small;"> </span></li>
<li><span style="font-size: small;">how a living Goya actually
created his </span><span style="font-size: small;">etchings ie., </span><span style="font-size: small;">original works of visual art, </span></li>
<li><span style="font-size: small;">the
professional standards, definitions and laws on what is and what is not
an etching, </span></li>
<li><span style="font-size: small;">the University of Georgia's representation versus
disclosure, </span></li>
<li><span style="font-size: small;">profiting from forgeries, prior exhibiton venues, </span><span style="font-size: small;"> </span></li>
<li><span style="font-size: small;">University of Georgia's Honor Code, </span><span style="font-size: small;"> </span></li>
<li><span style="font-size: small;">truth, resource allocations and fraud, and </span></li>
<li><span style="font-size: small;">the Association of
Art Museum Directors' endorsed Professional Practices in Art Museums.</span></li>
</ol>
<div style="text-align: justify;">
<ul>
<li>Conclusion</li>
<li>Principals </li>
<li>Footnotes <br />
</li>
<li>Addendum: Checklist</li>
</ul>
</div>
<span style="font-size: small;"><br /></span><br />
<span style="font-size: small;"><br /></span><br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<span style="font-size: small;"><a href="http://1.bp.blogspot.com/-qkGGGKQ0Dmg/T0ER7wOsVcI/AAAAAAAACY4/xYsiSz3k5ZA/s1600/GoyaGravesBordeauxtoMadrid.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="311" src="http://1.bp.blogspot.com/-qkGGGKQ0Dmg/T0ER7wOsVcI/AAAAAAAACY4/xYsiSz3k5ZA/s320/GoyaGravesBordeauxtoMadrid.jpg" width="320" /></a></span></div>
<br /></div>
<div style="font-family: inherit; text-align: justify;">
<span style="font-size: small;"><b><span style="font-size: x-large;">1.</span></b></span> <b>BORDEAUX 1828 TO MADRID 1919, GOYA GRAVESTONES</b><br />
<span style="font-size: small;">In 1828, Francisco de Goya y Lucientes
suffered a stroke and died in Bordeaux, France ending his career as an artist/printmaker. He was subsequently interred at the
cemetary of the Chartreuse of Bordeaux [photo above left]. In 1919,
Francisco de Goya y Lucientes' remains were transferred some 344 miles
south to the Royal Chapel of St. Anthony of La Florida in Madrid, Spain
[photo on right].</span><br />
<br />
<span style="font-size: small;">On page 204 of <i>Random House College Dictionary</i>, -career- is defined as: "progress or general course of action of a person through life."<span style="font-size: x-small;"><span style="color: blue;">[FN </span></span></span><span style="font-size: small;"><span style="font-size: x-small;"><span style="color: blue;">8</span></span></span><span style="font-size: small;"><span style="font-size: x-small;"><span style="color: blue;">]</span></span> </span><br />
<br />
<span style="font-size: small;">Obviously, the dead have no "progress or general course of action." </span><br />
<br />
<span style="font-size: small;"> DISASTERS OF WAR 1906 EDITION </span><br />
<span style="font-size: small;">The Georgia Museum of Art's checklist [see Addendum] for their </span><span style="font-size: small;">August 18, 2012 - October 28, 2012 <b>Francisco de Goya's "Disasters of War"</b> exhibition lists</span><span style="font-size: small;"> all eighty non-disclosed posthumous forgeries</span><span style="font-size: small;"> as: "etchings - from the Disasters of War 1906 edition."</span><br />
<span style="font-size: small;"> </span><br />
<span style="font-size: small;">Additionally, in the June 1, 2012 "Georgia Museum of Art at the University of
Georgia to exhibit Goya's "Disasters of War" website release, </span><span style="font-size: small;">it states: "The entire set of 80
prints, a 1906 edition, was given to the museum in 1985 by Mr. and Mrs.
James B. Anderson."</span><span style="font-size: x-small;"><span style="color: blue;">[FN 9]</span></span><br />
<br />
<span style="font-size: small;">GOYA'S SERIES - HE CREATED THE IMAGES 200 YEARS AGO </span>
<br />
<span style="font-size: small;">Yet, despite theses admissions of a "1906" date for these non-disclosed forgeries, </span>in a UGA Today published June 4, 2012 "Georgia Museum of Art to exhibit Goya’s ‘Disasters of War’" article by Kathryn Kao, the author quotes<span style="font-size: small;"> the
exhibition's organizer and GMOA's Pierre Daura Curator of European Art
Lynn Boland contradictorily stating: “Goya’s series is a telling indictment of war and
its atrocities that rings as true today as it did when he created the
images 200 years ago.”</span><span style="color: blue; font-size: x-small;">[FN 10] </span><br />
<div style="display: none;">
<img alt="GMOA-Goya-Si resucitará-h.env" height="153" src="http://news.uga.edu/media/images/GMOA-Goya-Si_resucitara-230x153.jpg" width="230" /></div>
<span style="font-size: small;"><br /><span style="font-family: inherit;">BAIT AND SWITCH</span></span><br />
<span style="font-family: inherit; font-size: small;">On page 137 of the <i>Seventh Edition of Black's Law Dictionary,</i>
-bait and switch- is defined, in part, as: "Most states prohibit the
bait and switch when the original product is not actually available as
advertised."</span><span style="color: blue; font-size: x-small;">[FN 11]</span><br />
<br />
<span style="font-size: small;">NOT ACTUALLY AVAILABLE AS ADVERTISED </span><br />
<div style="font-family: inherit;">
<span style="font-size: small;">Rhetorically, why would the </span><span style="font-size: small;">University
of Georgia, Georgia Museum of Art and its' Pierre Daura Curator of
European Art
Lynn Boland offer the public one thing: -Goya's "Disasters of War"-, for
the voluntary price of admission and other monetary considerations,
when it "is not actually available as advertised?"</span></div>
</div>
<div style="font-family: inherit; text-align: justify;">
<br /></div>
<div style="font-family: inherit;">
<span style="font-size: x-small;"><a href="http://1.bp.blogspot.com/-6oVfGlz7F00/T-SBIh6gptI/AAAAAAAACnE/05ZQFo0zTt4/s1600/Goya_1985.11.2%282%29.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="301" src="http://1.bp.blogspot.com/-6oVfGlz7F00/T-SBIh6gptI/AAAAAAAACnE/05ZQFo0zTt4/s400/Goya_1985.11.2%282%29.jpg" width="400" /></a> </span></div>
<div style="font-family: inherit;">
<span style="font-size: x-small;">2. <i>Con razon ó sin ella</i>.
(With reason or without.), From The Disasters of War (1906 edition),
Etching, lavis, drypoint, burin, and burnisher on laid paper, 5 15/16 x 8
1/8 inches (plate), 16 x 22 inches (frame), Georgia Museum of Art,
University of Georgia;, Gift of Mr. and Mrs. James B. Anderson, GMOA
1985.11.2</span></div>
<div style="font-family: inherit; text-align: justify;">
<span style="font-size: small;"><b>NON-DISCLOSED FORGERY FROM A POSTHUMOUSLY REWORKED AND ALTERED PLATE</b></span></div>
<div style="font-family: inherit; text-align: justify;">
<span style="font-size: small;"><br /></span></div>
<div class="separator" style="clear: both; font-family: inherit; text-align: justify;">
<span style="font-size: small;"><a href="http://1.bp.blogspot.com/-wKThE_Ai8kI/T-SFFzUeSRI/AAAAAAAACnw/E8dgcK3mgJU/s1600/AN00037946_001_l.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="338" src="http://1.bp.blogspot.com/-wKThE_Ai8kI/T-SFFzUeSRI/AAAAAAAACnw/E8dgcK3mgJU/s400/AN00037946_001_l.jpg" width="400" /></a></span></div>
<div style="font-family: inherit; text-align: justify;">
<span style="font-size: small;"><span style="font-family: inherit; font-size: x-small;"><i>Con raizon ó sin ella</i>
(Rightly or wrongly) / Los Desastres de la Guerra (The Disasters of
War), Print made by Francisco Goya, 1810-1812, 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.
1810-12, Etching, lavis, drypoint, burin and burnisher, Inscription
Content: Numbered on plate. Titled by the artist in pencil below plate,
Height: 155 millimetres, Width: 205 millimetres, AN37946001, © The
Trustees of the British Museum, Department: Prints & Drawings,
Registration number: 1975,1025.421.4<br /><span style="color: blue;">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</span></span><br />
<b>LIFETIME ETCHING BY FRANCISCO DE GOYA Y LUCIENTES</b></span></div>
<div style="font-family: inherit; text-align: justify;">
<span style="font-size: small;"><br /></span></div>
<div style="font-family: inherit; text-align: justify;">
<span style="font-size: small;"><b><span style="font-size: x-large;">2.</span> <span style="font-family: inherit;">REWORKED AND ALTERED PLATES</span></b></span><br />
<div style="font-family: inherit;">
<span style="font-size: small;">The
posthumous reworking and alteration of Goya's etching plates and the
subsequent non-disclosed forgeries impressed from those reworked and
altered plates is
confirmed, aside from one's own eyes, by following sources:</span><br />
<br />
<span style="font-size: small;">RETOUCHING TO THE AQUATINT BACKGROUNDS</span>
</div>
<div style="text-align: justify;">
<span style="font-size: small;">
In <i>The Disasters of War by Francisco Goya y Lucientes</i>
catalogue published in 1967 by Dover Publications, on page 1 of the
"Introduction to the Dover Edition," Harvard University Library
Department of Graphic Arts' Philip Hofer wrote: "Then a year later, in
1863, the Academy issued the prints publicly, with a newly engraved
title page, and printed preface, in eight paper-covered, numbered parts,
with some retouching to the aquatint backgrounds and even to Goya’s
etching itself!”</span><span style="color: blue; font-size: x-small;">[FN 12]</span><span style="font-size: small;"> </span><br />
<br />
<span style="font-size: small;">THE PLATES WERE ALTERED</span></div>
<div style="text-align: justify;">
<span style="font-size: small;">This posthumous reworking and alterations of Goya etching plates with aquatint is
further confirmed by Janis A. Tomlinson in her 1992 <i>Goya In the Twilight
of Enlightenment </i>catalogue published by Yale University Press. After
Goya's "Disasters of War" etching plates were acquired by the Academy of
Fine Art of San Fernando in 1862, the author writes: "To make the first
edition of the series most of the plates were altered, completing the
lines framing the scenes, adding scratches, and even brunienclo areas of
aquatint (7) and tinkering with drypoint (1, 77), chisel (38) or
etching (43, 57). Besides printing was performed following the style of
the time by the effects of entrapado, a procedure which passes a muslin
cloth over the plate and inked on the surface leaving a certain amount
of ink that produces a very soft toned overall. The result was far from
the force and clarity that can be seen in the many state tests are
preserved."</span><span style="font-size: x-small;"><span style="color: blue;">[FN 13]</span> </span><br />
<br />
<span style="font-size: small;">PLATES WERE QUITE EXTENSIVELY RETOUCHED</span></div>
<div style="text-align: justify;">
<span style="font-size: small;">In "The World Printmakers Great Printmakers Series Francisco de Goya"
essay by Mike Booth, 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."</span><span style="color: blue; font-size: x-small;">[FN 14]</span><br />
<br />
GOYA'S ORIGINAL TITLE CHANGED TO DISASTERS OF WAR</div>
<div style="text-align: justify;">
<span style="font-size: small;">
In a <i>GOYA: CHRONICLER OF ALL WARS</i> catalogue by Juan Bordes, for a May 15-September 13, 2009 <b>The Disasters and War Photography</b>
exhibition at the CAAM-Calcografia Nacional, the author wrote: "On the
cover of one of the three complete copies of this series printed by Goya
himself, reads the title "Fatales consecuencias de la sangrienta guerra
en España con Bonaparte Y otros caprichos enfáticos en 85 estampas.
Inventadas, dibujadas y grabadas por el pintor original D. Francisco de
Goya y Lucientes" (Fatal Consequences of the Bloody War in Spain with
Bonaparte and Other Emphatic Caprices in 85 prints. Invented, drawn and
etched by the original painter Don Francisco de Goya y Lucientes). In
Madrid, such is the title of this one and only first copy, which was set
and bound for Agustín Ceán Bermúdez, who subsequently corrected the
inscriptions and this cover."</span><span style="color: blue; font-size: x-small;">[FN 15]</span> <span style="font-family: inherit; font-size: small;"> </span><br />
<br />
<span style="font-family: inherit; font-size: small;">EXECUTION OF THE CAPTIONS BY ANOTHER HAND </span><br />
<span style="font-family: inherit; font-size: small;">This posthumous skewing is additionally confirmed on page 1 of <i>The Disasters of War by Francisco Goya y Lucientes</i>
catalogue published in 1967 by Dover Publications. In the "Introduction
to the Dover Edition," Harvard University Library Department of Graphic
Arts' Philip Hofer wrote: "Los Desastres de la guerra (The Disasters of
War). First published in 1863, thirty-five years after the artist’s
death, it normally consist of eighty aquatint plates, roughly six by
eight inches oblong format, with short but vivid captions perhaps
composed by Goya’s learned friend, Cean Bermudex from the artist’s
notes. The actual execution of the captions is by still another
hand.”</span><span style="color: blue; font-size: x-small;">[FN 16]</span></div>
<span style="font-size: small;"><br /></span><br />
<span style="font-size: small;">In other words, those who reworked and altered Francisco de Goya y Lucientes original etching plates treated them like a child's coloring book, they made it up as they went along substituting their judgment to fit their arrogant sensibilites.</span><br />
<span style="font-size: small;"><br /></span><br />
<span style="font-size: small;">They had no shame.</span><br />
<span style="font-size: small;"><br /></span></div>
<div class="separator" style="clear: both; font-family: inherit; text-align: justify;">
<span style="font-size: x-small;"><a href="http://3.bp.blogspot.com/-DbEECTxNmcg/T-SPpbNoLeI/AAAAAAAACoM/xp1LXbvICgg/s1600/Goya_esto_es_peor.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="321" src="http://3.bp.blogspot.com/-DbEECTxNmcg/T-SPpbNoLeI/AAAAAAAACoM/xp1LXbvICgg/s400/Goya_esto_es_peor.jpg" width="400" /></a></span></div>
<div style="font-family: inherit; text-align: justify;">
<span style="font-size: x-small;">37. <i> Esto es peor.</i>
(This is worse.), From The Disasters of War (1906 edition), Etching,
lavis, and drypoint on laid paper, 6 x 8 3/16 inches (plate), 16 x 22
inches (frame), Georgia Museum of Art, University of Georgia;, Gift of
Mr. and Mrs. James B. Anderson, GMOA 1985.11.37 </span></div>
<div style="font-family: inherit; text-align: justify;">
<span style="font-size: small;"><b>NON-DISCLOSED FORGERY FROM A POSTHUMOUSLY REWORKED AND ALTERED PLATE</b></span></div>
<div style="font-family: inherit; text-align: justify;">
<span style="font-size: small;"><br /></span></div>
<div class="separator" style="clear: both; font-family: inherit; text-align: justify;">
<span style="font-size: x-small;"><i><a href="http://1.bp.blogspot.com/-qsRf_1WFED8/T0CSv1KVScI/AAAAAAAACYA/hQSZnmPdx-I/s1600/GoyaBritishMuseumPlate37.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="331" src="http://1.bp.blogspot.com/-qsRf_1WFED8/T0CSv1KVScI/AAAAAAAACYA/hQSZnmPdx-I/s400/GoyaBritishMuseumPlate37.jpg" width="400" /></a></i></span></div>
<div style="font-family: inherit; text-align: justify;">
<span style="font-size: x-small;"><i>Esto es peor </i>(This
is worse) , etching, lavis and drypoint, Print made by Francisco Goya,
1812-1820, Plate 37: male corpse impaled on tree stump, soldiers
dragging and hacking at corpses beyond; from a bound album of working
proofs, presented by the artist to Ceán Bermúdez. 1812-20, Signed and
numbered on plate. Titled by the artist in pencil within platemark,
below image, Height: 155 millimetre, Width: 205 millimetres </span></div>
<div style="font-family: inherit; text-align: justify;">
<span style="font-size: small;"><span style="color: blue; font-family: inherit; font-size: x-small;">http://www.britishmuseum.org/research/search_the_collection_database/search_object_details.aspx?objectid=1333729&partid=1&searchText=plate+37+goya&fromADBC=ad&toADBC=ad&numpages=10&images=on&orig=%2fresearch%2fsearch_the_collection_database.aspx&currentPage=1</span><br /><span style="color: blue;"> </span></span></div>
<div style="font-family: inherit; text-align: justify;">
<span style="font-size: small;"><b>LIFETIME ETCHING BY FRANCISCO DE GOYA Y LUCIENTES</b></span></div>
<div style="font-family: inherit; text-align: justify;">
<span style="font-size: small;"><br /></span></div>
<div style="font-family: inherit; text-align: justify;">
<span style="font-size: small;"><b><span style="font-size: x-large;">3. </span>NEVER-ENDING EDITIONS WITH NO LIMITATION</b> </span><br />
<span style="font-size: small;">In the "Medium for the Message:
Printmaking and the Disasters of War" essay by Grinnell College's
Roxanne Young and Annaliese Beaman, <span style="font-size: small;"><span class="style1">for the</span> 13 August– 12 September 2004<span class="style1"> <b>I saw it: The invented Realities of Goya's </b><i><b>Disasters of War</b> </i></span>exhibition
at the Faulconer Gallery in the Bucksbaum Center for the Arts on the
campus of Grinnell College, </span>the authors wrote: "Large print
editions can damage copper plates, especially plates with raised burrs
from engraving processes. Sometimes these copper plates can be coated
with a layer of steel alloy that makes them stronger and more resilient
to multiple printings for large editions. This is called “steel-facing.”
The Disasters of War plates were steel-faced after a large edition was
printed in 1863. This steel- facing helped make it possible to publish
later, smaller, editions of the Disasters of War without further
damaging these valuable plates."</span><span style="font-size: x-small;"><span style="color: blue;">[FN 17]</span> </span><br />
<br />
<span style="font-size: small;">Harris Shank Fine Prints notes on their website that "the First Edition
of Los Desastres de la Guerra was published posthumously, in 1863, and
seven editions were made in all."</span><span style="font-size: x-small;"><span style="color: blue;">[FN 18]</span></span><br />
<br />
<div style="text-align: justify;">
</div>
<div style="text-align: justify;">
<span style="font-size: small;">
Five of those seven editions are chronicled on Wikipedia, where it is
written: "The 1863 edition had 500 impressions, and editions followed in
1892 (100) before which the plates were probably steel-faced to prevent
further wear, 1903 (100), 1906 (275), and 1937. Spaightwood Galleries
accessed October 18, 2009."</span><span style="color: blue; font-size: x-small;">[FN 19</span><span style="color: blue; font-size: x-small;">]</span></div>
<div style="text-align: justify;">
</div>
<div style="text-align: justify;">
<span style="font-size: small;">
Unfortunately, the term "edition" is being used, as an euphemism for
non-disclosed mass-produced forgeries, from posthumously reworked and
altered plates, falsely attributed to a dead Francisco de Goya y Lucientes.</span></div>
<div style="text-align: justify;">
</div>
<div style="text-align: justify;">
<span style="font-size: small;">
This perspective seems to be supported on the <span style="color: blue;">www.almendron.com</span> website, where there are now ten editions of the "Disasters of War" listed: </span></div>
<ul>
<li><span style="font-size: small;">"FIRST EDITION 1864 (Laurentian Potenciano strike the Royal Academy of Fine Arts of San Fernando),</span></li>
<li><span style="font-size: small;">SECOND EDITION October 1875*, </span></li>
<li><span style="font-size: small;">THIRD EDITION 1891*, </span></li>
<li><span style="font-size: small;">FOURTH EDITION 1902*, </span></li>
<li><span style="font-size: small;">FIFTH EDITION 1904*, </span></li>
<li><span style="font-size: small;">SIXTH EDITION 1916*, </span></li>
<li><span style="font-size: small;">SEVENTH EDITION 1923*, </span></li>
<li><span style="font-size: small;">EIGHTH EDITION 1930*, </span></li>
<li><span style="font-size: small;">NINTH EDITION 1937 (Rupérez in the National Engraving for the Ministry of Public Instruction Aries), </span></li>
<li><span style="font-size: small;">and TENTH EDITION 1970 (*Stamped on the Chalcography Real (or
National) to the Royal Academy of Fine Arts of San Fernando.)."</span><span style="color: blue; font-size: x-small;">[FN 20]</span></li>
</ul>
<br />
<span style="font-size: small;"><b><span style="font-size: x-large;">4. </span>HOW DID GOYA CREATED HIS ETCHINGS?</b></span><br />
<div style="text-align: justify;">
<span style="font-size: small;"> In the curators Annaliese Beaman and Roxanne Young's "The Medium for the Message: Printmaking and the <i>Disasters of War</i>" essay <span class="style1">for the</span> 13 August– 12 September 2004<span class="style1"> <b>I saw it: The invented Realities of Goya's </b><i><b>Disasters of War</b> </i></span>exhibition
at the Faulconer Gallery in the Bucksbaum Center for the Arts on the
campus of Grinnell College, the curators wrote: "Understanding the
process by which an etching is made is invaluable
in appreciating Francisco Goya’s supreme mastery of this difficult
medium. The processes Goya used to prepare the plates for the <i>Disasters of War</i>
print series are broadly categorized as intaglio, a general term for
the type of printmaking in which the lines carved into a metal plate are
the same lines that later hold and print ink, as opposed to relief
processes, such as woodcut, in which the parts of the plate that hold
ink are those parts left untouched. Viewing the <i>Disasters</i>
leaves no doubt that the methods Goya used were complicated and required
a number of tools to render the varied effects in his prints. In fact,
Goya combined several specific methods of etching and aquatint to
achieve the rich lineal and tonal qualities we see in his prints. Some
of these methods were old ones that had been mastered by many artists
before Goya’s lifetime, while others marked innovations in printmaking
that were being pioneered at the turn of the nineteenth century while
Goya was creating the <i>Disasters of War</i>."</span><span style="color: blue; font-size: x-small;">[FN 21]</span><span style="font-size: x-small;">
</span> <span style="font-size: small;"> </span><br />
<span style="font-size: small;"> </span><br />
<span style="font-size: small;">ETCHINGS PRINTED BY THE ARTIST </span><br />
<span style="font-size: small;">The curators Annaliese Beaman and Roxanne Young additionally wrote
of how the artist such as Francisco de Goya y Lucientes would: "coat
the copper plate with acid-resistant ground, scratch lines into the
ground, place the copper plate in acid solution that bites the exposed
copper giving grooves for holding the ink for printing, sometime
engrave ie., carve directly into the plate, aquatint ie., texture,
apply lavis ie., acid-resistant varnish to create even tones, and
burnish ie., erase to flatten out textured areas to create highlights
for the original works of visual art ie., etchings printed by the artist "or a commissioned printmaker."</span><span style="color: blue; font-size: x-small;">[FN 22]</span><span style="font-size: small;"><br /></span>
<br />
<span style="font-size: small;">
</span><br />
<span style="font-size: small;">OR A COMMISSIONED PRINTMAKER </span><br />
<span style="font-size: small;">Rhetorically, was that a slight-of-hand opening: "or a commissioned printmaker," with or
without intent, given by Grinnell College curators as a plausible explanation<span style="font-size: small;"> for Grinnell College's acceptance of non-disclosed posthumous
forgeries impressed in 1930 from posthumously [after 1863] reworked and altered plates</span>?</span></div>
<div style="text-align: justify;">
<span style="font-size: small;"></span></div>
<div style="text-align: justify;">
</div>
<div style="text-align: justify;">
<span style="font-size: small;"> </span>
</div>
<div style="text-align: justify;">
<span style="font-size: small;">NOT ACTUALLY AVAILABLE AS ADVERTISED </span><br />
<span style="font-size: small;">Regardless, the <span style="font-size: small;">13 August– 12 September 2004<span class="style1"> <b>I saw it: The invented Realities of Goya's </b><i><b>Disasters of War</b> </i></span>exhibition
at the Faulconer Gallery in the Bucksbaum Center for the Arts on the
campus of Grinnell College was nothing more than just another -bait and switch- ie.,<i> </i> "</span></span><span style="font-size: small;">not actually available as advertised?"</span>
</div>
<div style="text-align: justify;">
<span style="font-size: small;"><br /></span>
</div>
<div style="text-align: justify;">
</div>
<div style="text-align: justify;">
<span style="font-size: small;"><span style="font-size: x-large;"><b>5.</b> </span><b>WHAT IS AND IS NOT AN ETCHING</b></span>
<br />
<div style="text-align: justify;">
<span style="font-size: small;">"What is
and is not an etching" means that even if you have an artists' etching
plates such as Francisco de Goya y Lucientes' etching plates, -no- <span style="font-size: small;">etchings ie., </span>original works of visual
art can be printed from those plates without that living
artist's, much less a living Goya's,
participation and approval. </span></div>
<div style="text-align: justify;">
<span style="font-size: small;"><br />
</span></div>
<div style="text-align: justify;">
<span style="font-size: small;">ARTIST PARTICIPATION REQUIRED<span class="bodyText"> </span></span><br />
<span style="font-size: small;"><span class="bodyText">That is confirmed in <span style="font-style: italic;">The Fifth Edition of the Artist`s Handbook of Materials and Techniques</span>
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."<span style="font-size: x-small;"><span style="color: blue;">[FN 23]</span></span></span></span></div>
<div style="font-family: inherit; text-align: justify;">
<span style="font-size: small;"><br />
</span></div>
<div style="font-family: inherit; text-align: justify;">
<span style="font-size: small;"><span class="bodyText">The dead don't participate.</span></span><br />
<span style="font-size: small;"><span class="bodyText"> </span><br />
<span style="font-family: inherit;">MADE AND APPROVED BY ARTIST</span><span style="font-family: inherit;"> </span></span><br />
<span style="font-size: small;"><span style="font-family: inherit;">That is additionally confirmed by </span><span style="font-family: inherit; font-style: italic;">A GUIDE TO THE COLLECTING AND CARE OF ORIGINAL PRINTS</span><span style="font-family: inherit;">
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:
</span><b style="font-family: inherit;">a.</b><span style="font-family: inherit;">
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. </span><b style="font-family: inherit;">b.</b><span style="font-family: inherit;"> The print is made from the said material, by the artist or pursuant to his directions. </span><b style="font-family: inherit;">c.</b><span style="font-family: inherit;"> The finished print is approved by the artist."</span><span style="font-size: x-small;"><span style="color: blue;">[FN 24]</span></span></span></div>
<div style="text-align: justify;">
<span style="font-size: small;"><br />
</span></div>
<div style="text-align: justify;">
<span style="font-size: small;">The dead don't approve. <br />
</span></div>
<div style="text-align: justify;">
<span style="font-size: small;"><br />
WHOLLY EXECUTED BY HAND BY THE ARTIST</span><br />
<span style="font-size: small;">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: <span style="font-style: italic;">"</span>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."<span style="font-size: x-small;"><span style="color: blue;">[FN 25]</span></span></span></div>
<div style="text-align: justify;">
<span style="font-size: small;"><br />
</span></div>
<div style="text-align: justify;">
<span style="font-size: small;">The dead don't execute. </span><br />
<br />
<span style="font-size: small;">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.”<span style="font-size: x-small;"><span style="color: blue;">[FN 26]</span></span></span><br />
<br />
<div style="color: black;">
<span style="font-size: small;">So,
aside ordinary sense, much less U.S. Copyright Law, in 1906 a dead
Francisco de Goya y Lucientes could not have created any etchings</span><span style="font-size: small;"> ie.,</span><span style="font-size: small;"> </span><span style="font-size: small;">works of visual
art, </span><span style="font-size: small;"> much less signed and consecutively number any
limited edition.</span><br />
<span style="font-size: small;"> </span>
</div>
<div style="text-align: justify;">
</div>
<div style="text-align: justify;">
<span style="font-size: small;">U<span class="Apple-style-span">nder U.S. Copyright Law 101. Definitions, a -derivative work- is defined as an: "art reproduction"</span><span style="font-size: x-small;"><span style="color: blue;">[FN 27]</span></span><span class="Apple-style-span">
and under U.S. Copyright Law 106A. the "Rights of certain authors to
attribution and integrity - shall not apply to any reproduction."</span><span style="font-size: x-small;"><span style="color: blue;">[FN 28]</span></span></span><br />
<div style="font-family: inherit;">
<br /></div>
</div>
<div style="font-family: inherit; text-align: justify;">
</div>
<div style="text-align: justify;">
<span style="font-size: small;"><span style="color: black; font-family: inherit;">Therefore,
if reproductions of Goya's original works of visual art would not be
attributable to him, why would an academic university, much less its'
museum, believe it would be any different for non-disclosed posthumous
forgeries impressed from posthumously reworked and altered plates? </span><br style="color: black;" />
<br />
In other words, ignoring for the moment, Goya's etching plates have been posthumously reworked and altered,
</span><span style="font-size: small;">ignoring for the moment that under U.S. Copyright Law, much less ordinary sense, you can't make an original works of visual art ie., etchings attributable to a dead artist, much less a dead Goya, 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 consecutively numbered by the author which a
dead Goya
could not, the University of Georgia and its' Georgia Museum of Art
seems either to believe and/or act on the belief the living presence of
Francisco de Goya y Lucientes is not required to create, approve and print
the work they are so eager to give him credit for.</span></div>
<div style="text-align: justify;">
<span style="font-size: small;"><br />
</span></div>
</div>
<div style="text-align: justify;">
</div>
<div style="text-align: justify;">
</div>
<div style="text-align: justify;">
<div style="text-align: justify;">
<span style="font-size: small;"><span style="font-size: x-large;"><b>6.</b></span> <b>REPRESENTATION VS DISCLOSURE</b> </span><br />
<span style="font-size: small;">In a June 1, 2012 "Georgia Museum of Art at the
University of Georgia to exhibit Goya’s “Disasters of War” press
release, the University of Georgia's Georgia Museum of Art</span><span style="font-size: small;">
makes the following -representation-: "The Georgia Museum of Art (GMOA)
at the University of Georgia will exhibit Francisco de Goya’s
(1746–1828) “Disasters of War” August 18 to October 28, 2012. This
exhibition will feature all 80 prints that make up the famous series
depicting the lengthy Peninsular War (1808–1814) between Spanish forces
and the invading army of Napoleon Bonaparte. - this print series is one
of the earliest attempts by an artist to record history as it was
unfolding. Based on Goya’s experience of the conflict, each image is a
powerful eyewitness account of the death and destruction war generates."<span style="font-size: x-small;"><span style="color: blue;">[FN 29]</span></span></span></div>
<div style="text-align: justify;">
<div style="text-align: justify;">
<span style="font-size: small;"><br />
</span></div>
<div style="text-align: justify;">
<span style="font-size: small;"><span class="Apple-style-span">On page 1303 of the <i>Seventh Edition of Black’s Law Dictionary</i>,
-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."</span><span style="font-size: x-small;"><span style="color: blue;">[FN 30]</span></span><span class="Apple-style-span"> <br />
</span> </span></div>
<div style="text-align: justify;">
<span style="font-size: small;">Yet,
despite "this print series [being] one of the earliest attempts by
[Goya] to record history as it was unfolding," seven paragraphs later in
this same press release the University of Georgia's Georgia Museum of
Art makes the following -disclosure-: "The entire set of 80 prints, a
1906 edition, was given to the museum in 1985 by Mr. and Mrs. James B.
Anderson."</span><span style="font-size: small;"><span style="font-size: x-small;"><span style="color: blue;">[FN 31]</span></span></span></div>
<div style="text-align: justify;">
<span style="font-size: small;"> <br />
</span></div>
<div style="text-align: justify;">
<span style="font-size: small;"><span class="Apple-style-span">On page 476 of the <i>Seventh Edition of Black’s Law Dictionary,</i> -disclosure- is defined as: “The act or process of making known something that was previously unknown.”</span><span style="font-size: x-small;"><span style="color: blue;">[FN 32]</span></span></span>
</div>
<div style="text-align: justify;">
<span style="font-size: small;"><br />
</span></div>
<div style="text-align: justify;">
<span style="font-size: small;">In other words, the University of Georgia's Georgia Museum of Art's representation: </span><span style="font-size: small;">"this print series [being] one of the earliest attempts by [Goya] to record history as it was unfolding,"</span><span style="font-size: small;"> does not match their disclosure: "the entire set of 80 prints, a 1906 edition." <br />
</span></div>
<div style="text-align: justify;">
<span style="font-size: small;"><br />
</span></div>
<div style="text-align: justify;">
<span style="font-size: small;">GOYA'S GENERAL SENTIMENTS IN 1906</span><br />
<span style="font-size: small;">So, </span><span style="font-size: small;">despite</span><span style="font-size: small;"> Georgia Museum of Art's Pierre Daura Curator of European Art </span><span style="font-size: small;">Lynn </span><span style="font-size: small;">Boland</span><span style="font-size: small;">
statement: “Goya’s general sentiments are immediately clear in the
prints, but some of the nuances of his critiques require explanations
for contemporary viewers,” </span><span style="font-size: small;">for this</span><span style="font-size: small;">
"1906 edition" of non-disclosed posthumous forgeries from posthumously
[after 1863] reworked and altered plates, Francisco de Goya y Lucientes
[d 1828] was, in 1906, some 78 years dead. </span><br />
<div style="font-family: inherit;">
<br /></div>
</div>
<div style="font-family: inherit; text-align: justify;">
</div>
<div style="font-family: inherit; text-align: justify;">
<span style="font-size: small;">The dead don't have sentiments.</span></div>
<div style="text-align: justify;">
<span style="font-size: small;"><br />
</span></div>
<span style="font-size: small;">HE CREATED THE IMAGES 200 YEARS AGO</span><br />
<span style="font-size: small;">So, when 100 percent
of the so-called "etchings" in this <span style="font-size: small;">University of Georgia and its' Georgia Museum of Art's August 18, 2012 - October 26, 2012 </span><b>Francisco de Goya’s “Disasters of War” </b>exhibition are
non-disclosed posthumous [1906] forgeries impressed from posthumously [after 1863] reworked and altered plates, hyped</span><span style="font-size: small;"> by
the Georgia Museum of Art's Pierre Daura Curator of European Art </span><span style="font-size: small;">Lynn Boland</span><span style="font-size: small;"> as
predating his death
</span><span style="font-size: small;">for monetary considerations
including but not limited to the $3 [each] price of</span><span style="font-size: small;"> </span><span style="font-size: small;">admission [voluntary], and museum membership, </span><span style="font-size: small;"> should it be just be considered a lack of connoisseurship?</span><span style="font-family: inherit; font-size: small;"> </span><br />
<div style="font-family: inherit;">
<br /></div>
</div>
<div style="font-family: inherit; text-align: justify;">
</div>
<div style="text-align: justify;">
<div style="text-align: justify;">
<span style="font-size: small;"><span style="color: black;"><span style="font-family: inherit;">In Paul Duro and Michael
Greenhalgh’s published </span><i style="font-family: inherit;">Essential Art History,</i><span style="font-family: inherit;"> -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.”</span><span style="font-size: x-small;"><span style="color: blue;">[FN 33]</span></span></span></span></div>
</div>
<div style="text-align: justify;">
<span style="font-size: small;"><br />
</span><br />
<span style="font-size: small;">Someday, the University of Georgia, its' Georgia Museum of Art and curators may someday admit they had little to no idea what they were talking about, much less exhibiting but that would be a plausible explanation but not an excuse.</span><br />
<div style="font-family: inherit;">
<span style="font-size: x-small;"><br />
</span></div>
</div>
<div style="font-family: inherit; text-align: justify;">
<span style="font-size: x-small;"><br />
</span></div>
<div class="separator" style="clear: both; font-family: inherit; text-align: center;">
<span style="font-size: x-small;"><a href="http://2.bp.blogspot.com/-IbxXkSyWsE4/T-Yn8zC4VuI/AAAAAAAACpo/8rZGaVAwWs4/s1600/Goya_Con_razon_o_sin_ella.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="297" src="http://2.bp.blogspot.com/-IbxXkSyWsE4/T-Yn8zC4VuI/AAAAAAAACpo/8rZGaVAwWs4/s400/Goya_Con_razon_o_sin_ella.jpg" width="400" /></a></span></div>
<div style="font-family: inherit; text-align: justify;">
<span style="font-size: x-small;"><span class="caption">Francisco de Goya, <i>Con razon o sin ella</i>,
(Rightly or wrongly.), from The Disasters of War, 1810-14, etching, 5
15/16” x 8 1/8” (plate), Georgia Museum of Art, University of
Georgia,gift of Mr. and Mrs. James B. Anderson.</span></span></div>
<div style="color: blue; font-family: inherit; text-align: justify;">
<span style="font-size: x-small;"><span class="caption">http://unh.edu/news/campusjournal/2007/Jan/10goya.cfm</span></span></div>
<div style="text-align: justify;">
<span style="font-size: small;"><span class="caption"><b>NON-DISCLOSED FORGERY FROM POSTHUMOUSLY REWORKED AND ALTERED PLATES </b></span></span><br />
<span style="font-size: small;"><span class="caption"><b> </b><br />
</span></span></div>
<div style="text-align: justify;">
</div>
<div style="text-align: justify;">
<span style="font-size: small;"><b><span style="font-size: x-large;">7. </span> PROFITING FROM FORGERIES, </b><b>PRIOR EXHIBITION VENUES</b> </span><br />
<span style="font-size: small;">For, at least, the last half a decade or so, the University of Georgia and its' Georgia Museum of Art has been profiting from
their collection of non-disclosed forgeries, falsely attributed as
"Disasters of War" etchings to dead Francisco de Goya y Lucientes, by
lending them to other academic and/or cultural venues for a $2,000 fee</span><span style="color: blue; font-size: small;">.<span style="font-size: x-small;">[FN 34]</span></span> <span style="font-size: small;"></span><br />
<span style="font-size: small;"><br /></span>
</div>
<div style="text-align: justify;">
</div>
<div style="text-align: justify;">
<span style="font-size: small;">UNIVERSITY OF NEW HAMPSHIRE</span><br />
<span style="font-size: small;">One of those academic venues was
from January 20, 2007 to April 7, 2007 at The Art Gallery, Paul Creative
Arts Center on the campus of University of New Hampshire. In a
University of New Hampshire Campus Journal [News for Faculty and Staff]
published January 10, 2007 "Art Gallery Presents Goya Prints and Works
by NH Art Association" press release, it stated: "The Disasters of War
by Goya: Selections from the Georgia Museum of Art, features 40 etchings
from a series created by Goya (1704-1838), Spain's most important
artist of the late 18th and early 19th centuries."</span><span style="color: blue; font-size: x-small;">[FN 35]</span><br />
<div style="font-family: inherit;">
<span style="color: blue; font-size: small;"> </span> </div>
</div>
<div style="font-family: inherit; text-align: justify;">
</div>
<div style="font-family: inherit; text-align: justify;">
<span style="font-size: small;">The -most important- fact left
out, with or without intent, by the UNH Campus Journal, in their
promotion of these 40 non-disclosed posthumous forgeries, from
posthumously reworked and altered plates, is they were actually forged
in 1906, the early 20th-century.</span></div>
<div style="font-family: inherit; text-align: justify;">
</div>
<div style="text-align: justify;">
<div style="font-family: inherit;">
<span style="font-size: small;">Francisco de Goya y Lucientes died in 1828, some 78 years earlier in the 19th-century. </span><br />
<br /></div>
<div style="font-family: inherit;">
<span style="font-size: x-small;"><br /></span></div>
</div>
<div style="font-family: inherit; text-align: justify;">
</div>
<div style="font-family: inherit; text-align: justify;">
</div>
<div style="font-family: inherit; text-align: center;">
<span style="font-size: x-small;"><img height="280" src="http://www.inliquid.com/gallery/bucks/graphics/0208bucks.jpg" width="350" /></span> <span style="font-size: x-small;"><br /></span>
</div>
<div style="font-family: inherit; text-align: justify;">
</div>
<div style="font-family: inherit; text-align: justify;">
<span style="font-size: x-small;">“Y no hai remedio (And there’s nothing to be done),” sketched by
Francisco de Goya to document Spain’s Peninsular War with France in the
early 19th century, makes a political statement in support of peace.
It’s one of 40 prints on exhibition in “The Disasters of War” by Goya:
Selections from the Georgia Museum of Art at BCCC’s Hicks Art Center
Gallery in Newtown Jan. 23 – March 19. A gallery reception takes place
Thursday, Feb. 7 from 5 – 7 p.m. followed by an art historian’s lecture
at 7 p.m. Admission is free.</span></div>
<div style="text-align: justify;">
<span style="color: blue; font-family: inherit; font-size: x-small;">http://www.americantowns.com/pa/newtown/news/hicks-art-center-gallery-presents-the-disasters-of-war-by-goya-76333</span><span style="font-size: small;"><br /><b>NON-DISCLOSED FORGERY FROM A POSTHUMOUSLY REWORKED AND ALTERED PLATE</b></span>
</div>
<div style="text-align: justify;">
<span style="font-size: small;"><b> </b></span> <span style="font-size: small;"><br /></span>
</div>
<div style="text-align: justify;">
<span style="font-size: small;">BUCKS COUNTY COMMUNITY COLLEGE</span><br />
<span style="font-size: small;">Another academic venue, for these
non-disclosed forgeries, was from January 23, 2008 to March 19, 2008 at
the Hicks Art Center Gallery on the campus of Bucks County Community
College. In a published release, it stated: “The Disasters of War” by
Goya: Selections from the Georgia Museum of Art. 40 prints by Francisco
de Goya depicting death and destruction during Spain’s 19th century
Peninsular War with France"</span><span style="color: blue; font-size: x-small;">[FN 36]<span style="color: black; font-size: small;"> with "Admission to gallery and all events is free."<span style="color: blue; font-size: x-small;">[FN 37]</span></span></span></div>
<div style="font-family: inherit; text-align: justify;">
<span style="font-size: small;"><br /></span>
</div>
<div style="font-family: inherit; text-align: justify;">
<span style="font-size: small;">Unfortunately, free comes at considerable cost, the Hicks Art Centere Gallery and Bucks County Community College's credibility.</span><br />
<div style="font-family: inherit;">
<br /></div>
</div>
<div style="text-align: justify;">
<div style="font-family: inherit;">
<span style="font-family: inherit; font-size: small;">HARD TO BELIEVE </span><br />
<span style="font-family: inherit; font-size: small;">That cost was never more
evident than in The Centurion, The Student newspaper of Bucks County
Community College's published December 11, 2007 "Hicks Art Center plays
host to 'Disasters'" article by Sara Crouse. The student reporter wrote:
"When asked to comment on Goya's etchings, Sonya Ral, a high school
student at Central Bucks East said, "It's hard to believe an artist in
my history book is on exhibit at Bucks."</span><span style="color: blue; font-size: x-small;">[FN 38]</span></div>
</div>
<div style="font-family: inherit; text-align: justify;">
</div>
<div style="text-align: justify;">
<div style="font-family: inherit;">
<br /></div>
<span style="font-size: small;"><span style="font-family: inherit;">If this high school student had
been given full and honest disclosure, to the University of Georgia and its' Georgia Museum of Art's
collection of non-disclosed "Disasters of War" forgeries, impressed from
posthumously reworked and altered plates, she might have realized it would be -impossibly- "</span><span style="font-family: inherit; font-size: small;">hard to believe an artist in
my history book is on exhibit at Bucks."</span><span style="color: blue; font-size: x-small;">[FN 39]</span></span></div>
<div style="text-align: justify;">
<span style="font-size: small;"><br /></span>
</div>
<div style="text-align: justify;">
<span style="font-size: small;">Then to go from the ridiculous to
the sublime, after writing the "Goya’s collection is created using a
type of printmaking called intaglio printing,"</span><span style="color: blue; font-size: x-small;">[FN 40]</span><span style="font-size: small;">
then describing how the "artists use sharp tools and acid to make
grooves in metal plates and these depressed areas below the surface of
the plate hold the ink. The surface of the plate is then wiped clean and
a dampened paper is applied with pressure to the plate and the inked
grooves create the impression,"</span><span style="color: blue; font-size: x-small;">[FN 41]</span><span style="font-size: small;">
the student reporter then wrote: “The Disasters of War,” a series to
support peace, was not published until 35 years after Goya’s death in
1828."</span><span style="color: blue; font-size: x-small;">[FN 42]</span></div>
<div style="font-family: inherit; text-align: justify;">
<span style="font-size: small;"><br /></span>
</div>
<div style="font-family: inherit; text-align: justify;">
<span style="font-size: small;">Aside the University of Georgia and its' Georgia Museum of Art's
collection of non-disclosed "Disasters of War" forgeries were impressed
from posthumously reworked and altered plates in 1906 some 78 years after Goya's
death in 1828, the student reporter, much less The Centurion editor
and/or the student newspaper's academic advisor, seem not to realize
she had contradicted herself?</span><br />
<span style="font-size: small;"> </span>
</div>
</div>
<div style="font-family: inherit; text-align: justify;">
</div>
<div style="font-family: inherit; text-align: justify;">
<span style="font-size: small;">The dead don't etch.</span></div>
<div style="text-align: justify;">
<span style="font-size: small;"><br /></span>
<br />
<div style="text-align: justify;">
</div>
<div style="text-align: justify;">
<span style="font-size: small;"><b><span style="font-size: x-large;">8. </span>UNIVERSITY OF GEORGIA'S HONOR CODE</b></span><br />
<span style="font-size: small;"><b>“Academic Honesty” </b>means performing all academic work
without plagiarism, cheating, lying, tampering, stealing, giving or
receiving unauthorized assistance from any other person, or using any
source of information that is not common knowledge without properly
acknowledging the source."</span><span style="font-size: small;"> </span><span style="font-size: small;"><span style="color: black;"><span style="font-size: x-small;"><span style="color: blue;">[FN 43]</span></span></span></span><br />
<div style="font-family: inherit;">
<br /></div>
</div>
<div style="font-family: inherit; text-align: justify;">
</div>
<div style="text-align: justify;">
<span style="font-family: inherit; font-size: small;">On page 1 of the
University of Georgia's Code of Conduct 2012-2013, under the heading
"I. Introduction" and subtitle "Purpose," it states: "The University of
Georgia’s primary mission is to develop intellectual community within an
environment that fosters respect and integrity among its members."</span><span style="font-size: small;"><span style="color: black;"><span style="font-size: x-small;"><span style="color: blue;">[FN 44]</span></span></span></span><span style="font-size: small;"> <br />
</span></div>
<div style="text-align: justify;">
<br />
<span style="font-size: small;">On page 4 of the
University of Georgia's Code of Conduct 2012-2012, under the heading "V.
Conduct Regulations," it states: "The following actions are prohibited
and constitute a violation of the University of Georgia Student Code of
Conduct."</span><span style="font-size: small;"><span style="color: black;"><span style="font-size: x-small;"><span style="color: blue;">[FN 45]</span></span></span></span><span style="font-size: small;"><b> </b></span>
<span style="font-size: small;"><b> </b></span></div>
<div style="text-align: justify;">
<ol>
<li><span style="font-size: small;"><b> Academic Dishonesty</b></span></li>
</ol>
</div>
<div style="text-align: justify;">
<ul>
</ul>
</div>
<ul>
<li><span style="font-size: small;">"Knowingly performing, attempting to perform, or assisting another in performing any act of academic dishonesty. </span></li>
</ul>
<ul>
<li><span style="font-size: small;">"The University of Georgia’s Honor Code, a
supplement to the University’s academic honesty policy states, “I will
be academically honest in all of my academic work and will not tolerate
academic dishonesty of others.”</span><span style="font-size: small;"><span style="color: black;"><span style="font-size: x-small;"><span style="color: blue;">[FN 46]</span></span></span></span></li>
</ul>
<span style="font-size: small;"> </span>
<br />
<div style="text-align: justify;">
<span style="font-size: small;">Additionally, it states: "To determine whether an
organization is responsible for a violation of the code of conduct, all
circumstances will be considered, including, but not limited to: a)
whether the misconduct was committed by one or more members of the
organization; b) whether officers of the organization had prior
knowledge of the misconduct; c) whether organization funds were used; d)
whether the misconduct occurred as a result of an
organization-sponsored function; and e) whether members of the
organization lied about the incident." </span><span style="font-size: small;"><span style="color: black;"><span style="font-size: x-small;"><span style="color: blue;">[FN 47]</span></span></span></span><br />
<div style="font-family: inherit;">
<br /></div>
</div>
<div style="font-family: inherit; text-align: justify;">
</div>
<div style="text-align: justify;">
<span style="font-family: inherit; font-size: small;">"All members of the University
community have a responsibility to uphold and maintain an honest
academic environment and to report when dishonesty occurs. Where suspected violations of the academic
honesty policy occur, appropriate procedures are designed to protect
the integrity of the academic process while ensuring due process. The
University's academic honesty system is an academic process founded on
educational opportunities."</span><span style="font-size: small;"><span style="color: black;"><span style="font-size: x-small;"><span style="color: blue;">[FN 48]</span></span></span></span><br />
<div style="font-family: inherit;">
<br /></div>
</div>
<div style="font-family: inherit; text-align: justify;">
</div>
<div style="font-family: inherit; text-align: justify;">
<span style="font-size: small;">So, rhetorically,
should the University of Georgia and its' Georgia Museum of Art be held
to a lesser standard of disclosure and ethics than its' students?<br />
</span></div>
<div style="text-align: justify;">
<span style="font-family: inherit; font-size: small;"> </span><span style="font-size: small;"> </span></div>
<div style="text-align: justify;">
<span style="font-size: small;"><br />
</span></div>
<div style="text-align: justify;">
<span style="font-size: small;"><span class="Apple-style-span"><b><span style="font-size: x-large;">9. </span>TRUTH, RESOURCE ALLOCATION AND FRAUD </b><br />On page 816-817 of Kluwer Law International’s published 1998 <i>Law, Ethics and the Visual Arts, Third Edition </i>by John Henry Merryman and Albert E. Elsen wrote about “Counterfeit Art.”</span><span style="font-size: x-small;"><span style="color: blue;">[FN 49]</span></span><span class="Apple-style-span"> <br /> </span><br /><span class="Apple-style-span">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.”</span><span style="font-size: x-small;"><span style="color: blue;">[FN 50]</span></span><br /><span class="Apple-style-span"><b> </b> <br />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.”</span><span style="font-size: x-small;"><span style="color: blue;">[FN 51]</span>
</span><span class="Apple-style-span"><b> </b></span><br />
</span>
<span style="font-size: small;"><span class="Apple-style-span"><b> </b><br />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.”</span><span style="font-size: x-small;"><span style="color: blue;">[FN 52]</span></span></span></div>
<div style="text-align: justify;">
<span style="font-size: small;"><span style="font-size: x-small;"><span style="color: blue;"> </span></span><br />
<span style="font-family: inherit; font-size: x-small;"><br /></span>
</span>
</div>
<div style="text-align: justify;">
<div class="separator" style="clear: both; font-family: inherit; text-align: center;">
<span style="font-size: x-small;"><a href="http://4.bp.blogspot.com/-cV7yUyrgSwQ/T-Zud9IyZwI/AAAAAAAACqo/fH--FWwGir8/s1600/AN00027378_001_l.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="305" src="http://4.bp.blogspot.com/-cV7yUyrgSwQ/T-Zud9IyZwI/AAAAAAAACqo/fH--FWwGir8/s400/AN00027378_001_l.jpg" width="400" /></a></span></div>
<div style="color: black;">
<span style="font-size: small;"><span style="font-family: inherit; font-size: x-small;">Title page to the fourth edition of Goya's 'Los Desastres de la Guerra', printed in the Calcografia for the Real Academia,
Published in Madrid, 1906, Height: 231 millimetres, Width: 355
millimetres, This edition, limited to 275 examples, was produced with
two title pages differing in type, both dated 1906 and copied from the
third edition.<br /><span style="color: blue;">http://www.britishmuseum.org/research/search_the_collection_database/search_object_details.aspx?objectid=1396630&partid=1&searchText=Los+Desastres+de+la+Guerra&fromADBC=ad&toADBC=ad&numpages=10&images=on&orig=%2fresearch%2fsearch_the_collection_database.aspx&currentPage=1</span></span>
<br style="color: black;" /><b>1906 TITLE PAGE FOR SOME 22,000 NON-DISCLOSED FORGERIES FROM POSTHUMOUSLY REWORKED AND ALTERED PLATE</b></span><b><span style="font-size: small;">S</span></b>
</div>
</div>
<div style="text-align: justify;">
<span style="font-size: small;"><br />
<span class="Apple-style-span"><b><span style="font-size: x-large;">10.</span> PROFESSIONAL PRACTICES IN MUSEUMS</b></span></span>
<span style="font-size: small;"><span class="Apple-style-span"> </span></span><br />
<span style="font-size: small;"><span class="Apple-style-span">On page 31 in the Association of Art Museum's published 2001 <i>Professional Practices in Art Museum</i> manual, </span><span class="Apple-style-span">
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.”</span><span style="font-size: x-small;"><span style="color: blue;">[FN53]</span></span></span><br />
<div>
<span style="font-size: small;"><br /></span></div>
<div>
<span style="font-size: small;"><span class="Apple-style-span">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."</span><span style="font-size: x-small;"><span style="color: blue;">[FN 54]</span></span></span></div>
<div>
<span style="font-size: small;"><br />
</span></div>
<div style="color: red;">
<span style="font-size: small;"><span style="color: black;">Despite
the University of Georgia and its' Georgia Museum of Art's own "Checklist" disclosing it as a "(1906
edition)," it continues in this same "Checklist" to list everyone of
their 80 non-disclosed forgeries impressed from posthumously reworked
and altered plates as etchings ie., original works of visual art and
astoundingly as "all works by Francisco de Goya (Spanish, 1746-1828)."</span></span><br />
<br />
<span style="font-size: small;"><span style="color: black;">Rhetorically, does the left hand know what the right hand is doing?</span></span></div>
<div style="color: red;">
</div>
<div style="color: red;">
<span style="font-size: small;"><span style="color: black;">In
a UGA Today, News and Information from the University of Georgia's
published June 4, 2012 "Georgia Museum of Art to exhibit Goya’s
‘Disasters of War’" article by Kathryn Kao, the author wrote: "the print
series is one of the earliest attempts by an artist to record history
as it was unfolding. Based on Goya's experience of the conflict, each
image is a powerful eyewitness account of the death and destruction war
generates."</span></span><span style="font-size: small;"><span style="font-size: x-small;"><span style="color: blue;">[FN 55]</span></span></span><br />
<div style="font-family: inherit;">
<span style="font-size: small;"><br /></span></div>
</div>
<div style="color: red; font-family: inherit;">
</div>
<div style="color: red; font-family: inherit;">
<span style="font-size: small;"><span style="color: black;">These
non-disclosed forgeries impressed from posthumously reworked and
altered plates listed in the Georgia Museum of Art's exhibition
checklist as "(edition 1906)" could not be "one of the earliest
attempts" by a dead Francisco de Goya y Lucientes [d 1828] "to record
history as it was unfolding" since he was history.</span></span></div>
<div style="color: red; font-family: inherit;">
</div>
<div style="color: red; font-family: inherit;">
<span style="font-size: small;"><span style="color: black;">The dead are history.</span></span></div>
<div style="color: red; font-family: inherit;">
</div>
<div style="color: red; font-family: inherit;">
<span style="font-family: inherit; font-size: small;"><span style="color: black;">Additionally,
these non-disclosed forgeries impressed from posthumously reworked and
altered plates could never be "a powerful eyewitness account of the
death and destruction war generates,"</span></span><span style="font-size: x-small;"><span style="color: blue;">[FN 55]</span></span><span style="font-family: inherit; font-size: small;"><span style="color: black;">
by a dead Francisco de Goya y Lucientes [d 1828] since the dead Goya is
dead and could never be an eyewitness to anything, much less the
reworking and alteration of his plates after 1863, and their subsequent
impressing of over 80,000 non-disclosed forgeries between 1863 till
1970 and beyond. </span></span></div>
<div style="color: red; font-family: inherit;">
<span style="font-size: small;"><span style="color: black;"><br />
</span></span></div>
<div style="color: red; font-family: inherit;">
<div style="font-family: inherit;">
<span style="font-size: small;"><span style="color: black;">The dead don't eyewitness.</span></span></div>
<div style="font-family: inherit;">
<br /></div>
<div style="font-family: inherit;">
<br /></div>
<div style="font-family: inherit;">
<span style="font-size: x-small;"><br /></span></div>
</div>
<div style="color: red; font-family: inherit;">
</div>
<div style="color: red; font-family: inherit;">
</div>
<div style="color: red;">
<div class="separator" style="clear: both; font-family: inherit; text-align: center;">
<span style="font-size: x-small;"><a href="http://3.bp.blogspot.com/-VNsnhbkeG2A/T-ZpRjVD-ZI/AAAAAAAACqM/NJ1ASo8Qu0U/s1600/AN00037973_001_l.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="363" src="http://3.bp.blogspot.com/-VNsnhbkeG2A/T-ZpRjVD-ZI/AAAAAAAACqM/NJ1ASo8Qu0U/s400/AN00037973_001_l.jpg" width="400" /></a></span></div>
<div style="color: black; font-family: inherit; text-align: justify;">
<span style="font-size: x-small;"><i>Y no hai remedio </i>(And
there's no help for it) / Los Desastres de la Guerra (The Disasters of
War), etching, drypoint, burin and burnisher, Print made by Francisco
Goya,
1810-12, Plate 15: man bound to post at edge of pit, another dead on
floor beside him, with firing squad executing another behind; from a
bound album of working proofs, presented by the artist to Ceán
Bermúdez. 1810-12, Numbered on plate. Titled by the artist in pencil
within platemark,
below image, Height: 140 millimetre, Width: 165 millimetres </span></div>
<div style="text-align: justify;">
<span style="font-size: small;"><span style="color: blue; font-family: inherit; font-size: x-small;">http://www.britishmuseum.org/research/search_the_collection_database/search_object_details.aspx?objectid=1333670&partid=1&searchText=Los+Desastres+de+la+Guerra&fromADBC=ad&toADBC=ad&numpages=10&images=on&orig=%2fresearch%2fsearch_the_collection_database.aspx&currentPage=17</span><br /><span style="color: blue;"> </span></span></div>
<div style="text-align: justify;">
<div style="color: black;">
<span style="font-size: small;"><b>LIFETIME ETCHING BY FRANCISCO DE GOYA Y LUCIENTES</b></span></div>
</div>
</div>
<div style="color: red;">
<span style="font-size: small;"><span style="color: black;"><br />
</span></span></div>
<div style="color: red;">
<span style="font-size: small;"><span style="color: black;">Then
to go from the ridiculous to the sublime, <span style="font-size: small;"><span style="color: black;">in
a UGA Today, News and Information from the University of Georgia's
published June 4, 2012 "Georgia Museum of Art to exhibit Goya’s
‘Disasters of War’" article by Kathryn Kao, </span></span>the author repeats
misinformation and nonsense in one sentence when she wrote: "Goya did
not print these etchings during his lifetime. The first set of prints
was not published until 1863, when it was finally considered politically
safe to distribute works of art criticizing the French and the Bourbon
Restoration."</span></span><span style="font-size: small;"><span style="font-size: x-small;"><span style="color: blue;">[FN 57]</span></span></span></div>
<div style="color: red; font-family: inherit;">
<span style="font-size: small;"><span style="color: black;"><br />
</span></span></div>
<div style="color: red; font-family: inherit;">
<span style="font-size: small;"><span style="color: black;">First,
posthumous impressions could never be "works of art" no matter what
they may criticize, much less whether they are posthumous impressions
from posthumously reworked and altered plates.</span></span></div>
<div style="color: red; font-family: inherit;">
<span style="font-size: small;"><span style="color: black;"><br />
</span></span></div>
<div style="color: red; font-family: inherit;">
<span style="font-size: small;"><span style="color: black;">The dead aren't political, much less afraid of criticism.</span></span><br />
<span style="font-size: small;"><span style="color: black;"><br />
</span></span></div>
<div style="color: red; font-family: inherit;">
</div>
<div style="color: red; font-family: inherit;">
<div style="font-family: inherit;">
<span style="font-size: small;"><span style="color: black;">485 LIFETIME DISASTERS OF WAR WORKING PROOFS</span></span></div>
<span style="font-family: inherit; font-size: small;"><span style="color: black;">Second, Francisco de Goya y Lucientes actually printed </span><span style="color: black;">"485 working proofs</span></span><span style="font-size: small;"><span style="color: black; font-family: inherit;">"<span style="font-size: x-small;"><span style="color: blue;">[FN 58]</span></span> of</span><span style="font-family: inherit;"> </span><span style="color: black; font-family: inherit;">his </span><span style="color: black;"><span style="font-family: inherit;">"Fatales consecuencias de la sangrienta guerra
en España con Bonaparte Y otros caprichos enfáticos en 85 estampas.
Inventadas, dibujadas y grabadas por el pintor original D. Francisco de
Goya y Lucientes" translated as: (Fatal Consequences of the Bloody War in Spain with
Bonaparte and Other Emphatic Caprices in 85 prints. Invented, drawn and
etched by the original painter Don Francisco de Goya y Lucientes) a.k.a. the "Disasters of War."</span><br />
</span></span></div>
<div style="color: red;">
<div style="text-align: justify;">
<div style="color: black; font-family: inherit;">
<span style="font-size: small;"><br /></span></div>
<div style="color: black;">
<span style="font-size: small;"><span style="font-family: inherit;">I</span>n "The Medium for the Message: Printmaking and the <i>Disasters of War"</i></span><span style="font-size: small;"> essay by curators Annaliese Beaman and Roxanne Young for Grinnell College's <b>Goya's Disasters of War</b>
exhibition held in their Faulconer Gallery of non-disclosed forgeries
impressed in 1930 from reworked and altered plates, the curators wrote: </span><span style="font-size: small;">"Collectors, especially modern ones, value these proofs largely because
of their limited number and direct connection to the artist’s working
method and thought."</span><span style="font-size: x-small;"><span style="color: blue;">[FN 59]</span></span></div>
<div style="color: blue;">
<br /></div>
<div style="color: black;">
<span style="font-size: small;">Ironically, Grinnell College has similar
philosophy on "Policy on plagiarism and attribution" for its' students
which in part state: Some of the required work for this course, most
notably the team project,
is naturally collaborative in nature. However, since your grade for the
course is based on your individual performance, it is both ethically
responsible and prudent to cite and acknowledge the work of each of the
contributors to a collaborative project and to allocate credit
accurately. Both collaboration and the use of outside work are
prohibited on the first
programming exercise, which is partly diagnostic in intent. The work
you
submit on this exercise must be entirely your own."<span style="color: blue;"><span style="font-size: x-small;">[FN 60]</span> </span></span></div>
<div style="color: black;">
<br /></div>
<div style="color: black;">
<span style="font-size: small;">Rhetorically, upon Francisco de
Goya y Lucientes death in 1828, any individual performances or exercises
entirely on his own, much less collaborative days were over. </span></div>
<div style="color: black;">
<span style="font-size: small;"><br /></span>
</div>
<div style="color: black;">
<span style="font-size: small;">The dead are dead.</span>
</div>
<div style="color: black;">
<br />
<div style="font-family: inherit;">
<span style="font-size: x-small;"><br /></span></div>
<div style="font-family: inherit; text-align: justify;">
<span style="font-size: x-small;"><br /></span></div>
<div class="separator" style="clear: both; font-family: inherit; text-align: justify;">
<span style="font-size: x-small;"><a href="http://4.bp.blogspot.com/-IrkW_vfOu04/T-SXJ9a1_PI/AAAAAAAACoo/M11OQF_i1ZU/s1600/Goya_Si_resucitar%C3%A1.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="266" src="http://4.bp.blogspot.com/-IrkW_vfOu04/T-SXJ9a1_PI/AAAAAAAACoo/M11OQF_i1ZU/s400/Goya_Si_resucitar%C3%A1.jpg" width="400" /></a></span></div>
<div style="text-align: justify;">
<div style="font-family: inherit;">
<span style="font-size: x-small;">80. <i>Si resucitará?</i>
(Will she rise again?), From The Disasters of War (1906 edition),
Etching and burnisher on laid paper, 6 13/16 x 8 9/16 inches (plate), 16
x 22 inches (frame), Georgia Museum of Art, University of Georgia;,
Gift of Mr. and Mrs. James B. Andersonm GMOA 1985.11.80</span></div>
<span style="font-size: small;"><b>NON-DISCLOSED FORGERY FROM A POSTHUMOUSLY REWORKED AND ALTERED PLATE</b></span></div>
<div style="font-family: inherit; text-align: justify;">
<span style="font-size: x-small;"><br /></span></div>
<div style="font-family: inherit; text-align: justify;">
<span style="font-size: x-small;"><br /></span></div>
<div class="separator" style="clear: both; font-family: inherit; text-align: justify;">
<span style="font-size: x-small;"><a href="http://2.bp.blogspot.com/-XQ5zy1SjQz4/T-SaNtveJGI/AAAAAAAACpE/tc-JpVZqOzM/s1600/GoyaSiresucitaraBritishMuseum.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="348" src="http://2.bp.blogspot.com/-XQ5zy1SjQz4/T-SaNtveJGI/AAAAAAAACpE/tc-JpVZqOzM/s400/GoyaSiresucitaraBritishMuseum.jpg" width="400" /></a></span></div>
<div style="font-family: inherit; text-align: justify;">
<span style="font-size: x-small;"><i>Si resucitará?</i>
(Will she rise again?) / Los Desastres de la Guerra (The Disasters of
War), etching, Print made by Francisco Goya (biographical details | all
objects), Plate 80: allegorical female figure of Truth lying on ground,
surrounded by figures, light emanating from her head; from a bound album
of working proofs, presented by the artist to Ceán Bermúdez. 1812-20,
Etching and burnisher, Inscription Content: Signed and numbered on
plate. Titled by the artist in pencil within platemark, below image,
Height: 176 millimetres, Width: 216 millimetres, 1812-1820 </span></div>
<div style="color: blue; font-family: inherit; text-align: justify;">
<span style="font-size: x-small;">http://www.britishmuseum.org/research/search_the_collection_database/search_object_details.aspx?objectid=1334041&partid=1&searchText=plate+80+goya&fromADBC=ad&toADBC=ad&numpages=10&orig=%2fresearch%2fsearch_the_collection_database.aspx&currentPage=2</span></div>
<div style="text-align: justify;">
<span style="font-size: small;"><b>LIFETIME ETCHING BY FRANCISCO DE GOYA Y LUCIENTES</b></span></div>
</div>
</div>
</div>
<div style="color: black;">
<span style="font-size: small;"><br /></span></div>
</div>
<div style="font-family: inherit; text-align: justify;">
<span style="font-size: small;"><span style="color: black; font-weight: bold;">CONCLUSION</span><span style="color: black;"><br />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 University of Georgia and its' Georgia Museum of Art</span>, in their </span><span style="font-size: small;">August 18, 2012 - October 28, 2012 <b>Francisco de Goya's "Disasters of War"</b> exhibition, </span><span style="font-size: small;"><span style="color: black;"> will give full and honest disclosure to their</span></span><span style="font-size: small;"> eighty non-disclosed posthumous [1906] -forgeries-</span><span style="font-size: small;"> printed f</span><span style="font-size: small;">rom posthumously [1863 or later] reworked and altered plates</span><span style="font-size: small;">, </span><span style="font-size: small;">falsely attributed as original works of visual art ie., etchings to a Francisco Goya y Lucientes, </span><span style="font-size: small;"><span style="color: black;">it would allow consumers the
potential to give informed
consent on whether to attend an exhibition of non-disclosed posthumous
forgeries, much less including but not limited to voluntarily
paying the $3 price of admission.</span></span></div>
<div style="font-family: inherit; text-align: justify;">
<span style="font-size: small;"><span style="color: black;"><br />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.</span></span></div>
<div style="font-family: inherit; text-align: justify;">
<span style="font-size: small;"><br />
</span></div>
<div style="color: black; font-family: inherit; text-align: justify;">
<span style="font-size: small;">
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.</span><br />
<span style="font-size: small;"><br /></span><br />
<span style="font-size: small;">To quote Francisco de Goya y Lucientes' title concerning the truth: <span style="font-size: small;">"Si resucitará?" </span>(Will she rise again)? </span></div>
<div style="font-family: inherit;">
<span style="font-size: small;"><br />
Caveat Emptor!<br />
</span>
</div>
</div>
<br />
<span style="font-size: small;"><br /></span>
<br />
<span style="font-size: small;"><br /></span>
<br />
<span style="font-size: small;"><br /></span>
<br />
<span style="font-size: small;"><br /></span><br />
<div style="font-family: inherit; text-align: justify;">
<span style="font-size: small;"><b>PRINCIPALS:</b></span><br />
William U. Eiland<br />
<i>Director</i><br />
Georgia Museum of Art<br />
90 Carlton Street<br />
University of Georgia<br />
Athens, GA 30602-6719 <br />
706.542.0441<span style="font-size: small;"><b> </b></span><br />
<br />
Lynn Boland<br />
<i>Pierre Daura Curator of<br />
European Art, Daura Center</i><br />
706.542.1208<br />
lboland@uga.edu<br />
<span style="font-size: small;"><b> </b></span><br />
<br />
<br />
<span style="font-size: small;"><b>FOOTNOTES:</b></span></div>
<div style="font-family: inherit; text-align: justify;">
<span style="font-size: x-small;">1. </span><span style="font-size: x-small;">Copyright © 1999, By West Group, ISBN 0-314-22864-0 </span></div>
<div style="color: black; font-family: inherit; text-align: justify;">
<span style="font-size: x-small;">2.http://www.georgiamuseum.org/art/exhibitions/upcoming/selections-from-goyas-disasters-of-war</span></div>
<div style="font-family: inherit; text-align: justify;">
<span style="font-size: x-small;"><br />
</span></div>
<div style="font-family: inherit; text-align: justify;">
<span style="font-size: x-small;">3. </span><span style="font-size: x-small;">Copyright © 1999, By West Group, ISBN 0-314-22864-0 </span><span style="font-size: x-small;"> </span><br />
<br />
<span style="font-size: x-small;">4. Ibid, </span><span style="font-size: x-small;">On page 477 of the <i>Seventh Edition of Black’s Law Dictionary</i>, -disclosure- is defined as: “The act or process of making known something that was previously unknown.”<span style="color: blue;"> </span></span></div>
<div style="font-family: inherit; text-align: justify;">
<span style="font-size: x-small;"><br />
</span></div>
<div style="font-family: inherit; text-align: justify;">
<span style="font-size: x-small;">5. Ibid</span><span style="font-size: x-small;">, On page 300 of the <i>Seventh Edition of Black’s Law Dictionary</i>,
-consent- is defined as: “Agreement, approval or permission as to some
act or purpose, esp. given voluntarily by a competent person.”</span></div>
<div style="font-family: inherit; text-align: justify;">
<span style="font-size: x-small;"><br />
</span></div>
<div style="font-family: inherit; text-align: justify;">
<span style="font-size: x-small;">6. http://www.georgiamuseum.org/visit/hours </span></div>
<div style="font-family: inherit; text-align: justify;">
<span style="font-size: x-small;"><br /></span></div>
<div style="font-family: inherit; text-align: justify;">
<span style="font-size: x-small;">7. http://www.georgiamuseum.org/join/</span></div>
<ul style="font-family: inherit;">
<li><span style="font-size: x-small;">
<b>Friends of the Georgia Museum of Art</b> </span></li>
<li><span style="font-size: x-small;">Join the museum during one of the most exciting moments in its history!
The museum reopened in January 2011 with a beautiful new addition that
includes space for the continual display of its permanent collection,
state-of-the-art storage facilities and administrative and library space
to house the Study Centers in the Humanities.</span></li>
<li><span style="font-size: x-small;">
Friends of the Georgia Museum of Art receive reduced admission rates to
Friends events, a subscription to GMOA’s quarterly newsletter,
invitations to exhibition openings and programs, a 10 percent discount
on items for sale in the <a href="https://estore.uga.edu/C21653_ustores/web/store_main.jsp?STOREID=57">Museum Shop</a>
(both online and in person), reciprocal membership prices to more than
50 museums in the United States (with membership at the $100 level and
above) and recognition in the museum’s Annual Report and quarterly
newsletter.</span></li>
<li><span style="font-size: x-small;">
The Friends of the Georgia Museum of Art are responsible for much of
the private support the museum needs to bring in high-caliber
exhibitions and programming and are involved in every facet of the
museum’s activities: fund-raising, exhibition openings, acquisitions,
educational programming and special events.</span></li>
<li>
<span style="font-size: x-small;"><a class="join-button" href="https://www.externalaffairs.uga.edu/os/pages/gmoa_memberships" target="_blank">Join Now!</a></span></li>
<li><span style="font-size: x-small;">
<b>The Collectors</b></span></li>
<li><span style="font-size: x-small;">A Collectors’ membership costs $50 per person in addition to a regular
Friends membership. For information about the Collectors, please call
706.542.0437 or click on the following link.
<a href="https://www.externalaffairs.uga.edu/os/pages/gmoa_memberships" target="_blank">Join the Collectors!</a></span></li>
<li><span style="font-size: x-small;"><b>Young at Art</b></span></li>
<li><span style="font-size: x-small;">Membership to Young at Art, a subgroup of the Friends for young
professionals (ages 21–45), is $20 per person in addition to a regular
Friends membership. Young at Art members receive invitations to
exclusive events and special opportunities focused on fine art as well
as music, food and other crafts that extend beyond the fine arts. For
more information about Young at Art, please call 706.542.0437.</span></li>
<li><span style="font-size: x-small;"><b>Reciprocity</b></span></li>
<li><span style="font-size: x-small;">One of the benefits of joining the Friends of the Georgia Museum of Art
at the Contributing Level ($100 and above) is reciprocal membership to
other museums in the state and across the country. This includes museums
in the <a href="http://sites.google.com/site/northamericanreciprocalmuseums/north-american-reciprocal-museum-listing" target="_blank">North American Reciprocal Program</a> and the <a href="http://fine-arts.org/images/SERM_list.pdf" target="_blank">Southeastern Reciprocal Program</a>.</span></li>
<li><span style="font-size: x-small;"><b>Gift Memberships</b></span></li>
<li><span style="font-size: x-small;">Why not give someone the gift of art? Gift memberships to the Friends of the Georgia Museum of Art can be purchased <a href="http://www.georgiamuseum.org/join/gift-membership-form">here</a>.</span></li>
</ul>
<div style="font-family: inherit;">
<span style="font-size: x-small;">8. © 1980, ISBN 0-394-43600 thumb-indexed ed.</span></div>
<div style="font-family: inherit;">
<br /></div>
<div style="font-family: inherit;">
<span style="font-size: x-small;">9. http://www.georgiamuseum.org/art/exhibitions/upcoming/selections-from-goyas-disasters-of-war</span></div>
<div style="font-family: inherit;">
<br /></div>
<div style="font-family: inherit;">
<span style="font-size: x-small;">10. http://news.uga.edu/releases/article/georgia-museum-of-art-to-exhibit-goya/ <br />
</span></div>
<div style="font-family: inherit;">
<br /></div>
<div style="font-family: inherit;">
<span style="font-size: x-small;">11. Copyright © 1999, By West Group, ISBN 0-314-22864-0 <br />
</span></div>
<div style="font-family: inherit;">
<span style="font-size: x-small;">
<br />
12. Copyright © 1967 by Dover Publications, Inc., ISBN: 0-486-21872-4) <br />
<br />
13. New Haven: Yale University Press, 1992, ISBN 0-3-005462-9</span></div>
<div style="font-family: inherit;">
<br /></div>
<div style="font-family: inherit;">
<span style="font-size: x-small;">14.<span style="color: blue;"> www.worldprintmakers.com/masters/goya.htm </span><br />
<br />
15. </span>
<span style="font-size: x-small;"><span style="color: blue;">www.caam.net/en/exposiciones/b11/2009/goya.htm </span><br />
<br />
16. Copyright © 1967 by Dover Publications, Inc. </span>
<span style="font-size: x-small;"><br />
</span><span style="font-size: x-small;"> </span></div>
<div style="font-family: inherit;">
<span style="font-size: x-small;">17. <span style="color: blue;">http://web.grinnell.edu/faulconergallery/goya/essays/medium.htm</span><br />
</span><span style="font-size: x-small;"> </span></div>
<div style="font-family: inherit;">
<span style="font-size: x-small;">18. <span style="color: blue;">http://harrisschrank.com/bien-te-se-esta-%e2%80%93-it-serves-you-right.htm </span></span><span style="font-size: x-small;"> <br />
<br />
19. http://en.wikipedia.org/wiki/The_Disasters_of_War<br />
<br />
20.http://www.almendron.com/arte/pintura/goya/estampas/anexos/anexos.htm </span></div>
<div style="font-family: inherit;">
<span style="font-size: x-small;"><br />
</span></div>
<div style="font-family: inherit;">
<span style="font-size: x-small;">21.http://web.grinnell.edu/faulconergallery/goya/essays/medium.htm</span></div>
<div style="font-family: inherit;">
<span style="font-size: x-small;"><br />
</span></div>
<div style="font-family: inherit;">
<span style="font-size: x-small;">22. Ibid</span></div>
<div style="font-family: inherit;">
<span style="font-size: x-small;"><br />
</span></div>
<div style="font-family: inherit;">
<span style="font-size: x-small;">23. Copyright © 1991 by Bena Mayer, ISBN 0-06-461012-8 (pbk.)<br /><br />24.© 1965 by Print Council of America, Library of Congress, Catalog Card Number: 65-24325, Seventh Printing, March, 1971<br /><br />25. http://www.cbp.gov/xp/cgov/trade/legal/informed_compliance_pubs/</span></div>
<div style="font-family: inherit;">
<br /></div>
<div style="font-family: inherit;">
<span style="font-size: x-small;">26. http://www.copyright.gov/title17/92chap1.html#101</span></div>
<div style="font-family: inherit;">
<br /></div>
<div style="font-family: inherit;">
<span style="font-size: x-small;">27. Ibid</span></div>
<div style="font-family: inherit;">
<span style="font-size: x-small;"><br />
28, http://www.copyright.go/title17/92chap1.html#106a</span></div>
<div style="font-family: inherit;">
<span style="font-size: small;"><span style="font-size: x-small;">29. http://www.georgiamuseum.org/about/pressroom-item/georgia-museum-of-art-to-exhibit-goyas-disasters-of-war<br />
<br />
30. Copyright © 1999, By West Group, ISBN 0-314-22864-0 <br />
<br />
31.http://www.georgiamuseum.org/about/pressroom-item/georgia-museum-of-art-to-exhibit-goyas-disasters-of-war<br />
<br />
32. Copyright © 1999, By West Group, ISBN 0-314-22864-0 <br />
<br />
33. rubens.anu.edu.au/htdocs/teach/eah/ImageServe<br />
<br />
34. “"So I thought it would be a good tie-in not only with art but with
theater and drama in terms of theme," said Wright who collaborated with
Kaye, found the exhibit for the right price ($2,000) at the Georgia
Museum of Art, University of Georgia, Athens, and set up the exhibit at
UNH to follow the Greek Trilogy Project.”<br />
Excerpt from The New Hampshire [student-run] newspaper published March
28 2007 “Emotional exhibit documents the disasters of war” article by
Michael Farrell [The New Hampshire (TNH) is the University of New
Hampshire's only student-run newspaper. It is published every week on
Tuesdays and Fridays throughout the academic year and has a print
circulation of approximately 5,000. It's office is located in room 156
of the Memorial Union Building (pictured to the left). Click here for
editorial and advertising contact information.]<br />
[cache] http://www.tnhonline.com/<br />
<br />
35. http://unh.edu/news/campusjournal/2007/Jan/10goya.cfm<br />
<br />
36. http://www.americantowns.com/pa/newtown/news/hicks-art-center-gallery-presents-the-disasters-of-war-by-goya-76333<br />
</span></span><span style="font-size: x-small;">The Disasters of War” by
Goya: Selections from the Georgia Museum of Art. 40 prints by Francisco
de Goya depicting death and destruction during Spain’s 19th century
Peninsular War with France. January 23 – March 19, Hicks Art Center
Gallery, Bucks County Community College, 275 Swamp Road, Newtown.
Gallery reception 5 – 7 p.m., including 6 p.m. gallery talk, Thur., Feb.
7. Slide lecture by art historian Dr. Roberta A. Mayer, “Goya in
Context,” 7 p.m. Thur., Feb. 7 in the Music and Multimedia Center.
Admission to gallery and all events is free.</span></div>
<div style="font-family: inherit;">
<br /></div>
<div style="font-family: inherit;">
<span style="font-size: x-small;">37. Ibid <br />
</span></div>
<div style="font-family: inherit;">
<span style="font-size: x-small;"><br />
</span><span style="font-size: small;"><span style="font-size: x-small;">
38. http://www.bucks-news.com/studentlife/2007/12/11/hicks-art-center-plays-host-to-disasters/</span></span></div>
<div style="font-family: inherit;">
<br /></div>
<div style="font-family: inherit;">
<span style="font-size: small;"><span style="font-size: x-small;">39. Ibid<br />
<br />
40. Ibid<br />
<br />
41. Ibid<br />
<br />
42. Ibid<br />
<br />
43. http://honesty.uga.edu/ahpd/definitions.html#honesty<br />
<br />
44. http://www.conduct.uga.edu/<br />
The 2012-2013 Code of Conduct takes effect on Monday, May 14, 2012. All
current students are responsible for knowing and adhering to the current
code. We encourage you to read through the updated version in its
entirety and welcome any questions you may have. A complete description of the regulations and procedures for handling
matters of academic dishonesty appear in the policy manual, A Culture of
Honesty, which is available in the Office of the Vice President for
Instruction, 114 New College (706-542-4336), in the Student Handbook
under Academic Policies and Procedures, at The Office of Student Affairs
for Gwinnett University Center (room A1160), and online at
http://honesty.uga.edu. www.uga.edu/eoo/pdfs/NDAH.pdf. <br />
<br />
45. Ibid<br />
<br />
46. Ibid<br />
<br />
47. Ibid<br />
<br />
48.http://honesty.uga.edu/<br />
<br />
49. © Kluwer Law International 1998, ISBN: 90-411-0697-9<br />
<br />
50. Ibid<br />
<br />
51. Ibid<br />
<br />
52. Ibid<br />
<br />
53. Copyright 2001 by the Association of Art Museum Directors, ISBN: 1-880974-02-9<br />
<br />
54. Ibid<br />
<br />
55. http://news.uga.edu/releases/article/georgia-museum-of-art-to-exhibit-goya/<br />
<br />
56. Ibid<br />
<br />
57. Ibid<br />
<br />
58. http://web.grinnell.edu/faulconergallery/goya/essays/medium.htm<br />
<br />
59. Ibid<br />
<br />
60. http://drupal.cs.grinnell.edu/~stone/courses/software-design/plagiarism.html </span><br />
</span></div>
<div style="font-family: inherit;">
<span style="font-size: small;"><br /></span></div>
<div style="font-family: inherit; text-align: justify;">
<span style="font-size: small;"><br /></span><br />
<span style="font-size: small;"><br /></span><br />
<span style="font-size: small;"><br /></span></div>
<div style="font-family: inherit; text-align: justify;">
<span style="font-size: small;"><b>ADDENDUM:</b></span></div>
<div style="font-family: inherit; text-align: justify;">
<span style="font-size: small;">Georgia Museum of Art's Goya Checklist.pdf</span></div>
<div style="font-family: inherit; text-align: justify;">
<span style="font-size: small;">The Link is: </span></div>
<div style="font-family: inherit; text-align: justify;">
<span style="font-size: small;"> <a href="http://www.georgiamuseum.org/image/dnRha29hMWZuZG1xNmFEZ2o2SGgwOVdMNDh2VmxhYmdYdDNVbXFIWTRwYVh6dUhjbHVXM3hxTmcxSlBmMTV6bDIrMlRvZDNmbTNIRHBhT1BlT0twejhHVzJ0ZmNsWjdZMytCWTVyckk=" style="color: #0000cc; text-decoration: underline;">http://www.georgiamuseum.org/image/dnRha29hMWZuZG1xNmFEZ2o2SGgwOVdMNDh2VmxhYmdYdDNVbXFIWTRwYVh6dUhjbHVXM3hxTmcxSlBmMTV6bDIrMlRvZDNmbTNIRHBhT1BlT0twejhHVzJ0ZmNsWjdZMytCWTVyckk=</a>.</span></div>
<div style="font-family: inherit; text-align: justify;">
<span style="font-size: small;"><br /></span></div>
<div style="font-family: inherit; text-align: justify;">
<span style="font-size: small;">Francisco Goya’s “Disasters of War” <br />Lamar Dodd Gallery, August 18–October 28, 2012 <br />80 works total <br />All works by Francisco de Goya (Spanish, 1746–1828) <br /><br /> 1. Tristes presentimientos de lo que ha de acontecer. <br /> (Sad forebodings of what is going to happen.) <br /> From The Disasters of War (1906 edition) <br /> Etching, burin, drypoint, and burnisher on laid paper <br /> 6 7/8 x 8 1/2 inches (plate) <br /> 16 x 22 inches (frame) <br /> Georgia Museum of Art, University of Georgia; <br /> Gift of Mr. and Mrs. James B. Anderson <br /> GMOA 1985.11.1 <br /><br /> 2. Con razon ó sin ella. (With reason or without.) <br /> From The Disasters of War (1906 edition) <br /> Etching, lavis, drypoint, burin, and burnisher on laid paper <br /> 5 15/16 x 8 1/8 inches (plate) <br /> 16 x 22 inches (frame) <br /> Georgia Museum of Art, University of Georgia; <br /> Gift of Mr. and Mrs. James B. Anderson <br /> GMOA 1985.11.2 <br /><br /> 3. Lo mismo. (The same.) <br /> From The Disasters of War (1906 edition) <br /> Etching, lavis, drypoint, burin, and burnisher on laid paper <br /> 6 1/4 x 8 5/8 inches (plate) <br /> 16 x 22 inches (frame) <br /> Georgia Museum of Art, University of Georgia; <br /> Gift of Mr. and Mrs. James B. Anderson <br /> GMOA 1985.11.3 <br /><br /><br /> 4. Las mugeres dan valor. (The women give courage.) <br /> From The Disasters of War (1906 edition) <br /> Etching, burnished aquatint, drypoint, and burnisher on laid paper <br /> 6 x 8 1/16 inches (plate) <br /> 16 x 22 inches (frame) <br /> Georgia Museum of Art, University of Georgia; <br /> Gift of Mr. and Mrs. James B. Anderson <br /> GMOA 1985.11.4 <br /><br /> 5. Y son fieras. (And they are like wild beasts.) <br /> From The Disasters of War (1906 edition) <br /> Etching, burnished aquatint, and drypoint on laid paper <br /> 5 7/8 x 8 1/16 inches (plate) <br /> 16 x 22 inches (frame) <br /> Georgia Museum of Art, University of Georgia; <br /> Gift of Mr. and Mrs. James B. Anderson <br /> GMOA 1985.11.5 <br /><br /> 6. Bien te se está. (It serves you right.) <br /> From The Disasters of War (1906 edition) <br /> Etching, lavis, and burin on laid paper <br /> 5 1/2 x 8 1/8 inches (plate) <br /> 16 x 22 inches (frame) <br /> Georgia Museum of Art, University of Georgia; <br /> Gift of Mr. and Mrs. James B. Anderson <br /> GMOA 1985.11.6 <br /><br /> 7. Que valor! (What courage!) <br /> From The Disasters of War (1906 edition) <br /> Etching, aquatint, drypoint, burin, and burnisher on laid paper <br /> 6 x 8 1/8 inches (plate) <br /> 16 x 22 inches (frame) <br /> Georgia Museum of Art, University of Georgia; <br /> Gift of Mr. and Mrs. James B. Anderson <br /> GMOA 1985.11.7 <br /><br /> 8. Siempre sucede. (It always happens.) <br /> From The Disasters of War (1906 edition) <br /> Etching and drypoint on laid paper <br /> 6 3/4 x 8 9/16 inches (plate) <br /> 16 x 22 inches (frame) <br /> Georgia Museum of Art, University of Georgia; <br /> Gift of Mr. and Mrs. James B. Anderson <br /> GMOA 1985.11.8 <br /><br /> 9. No quieren. (They don’t like it.) <br /> From The Disasters of War (1906 edition) <br /> Etching <br /> 5 7/8 x 8 1/16 inches (plate) <br /> 16 x 22 inches (frame) <br /> Georgia Museum of Art, University of Georgia; <br /> Gift of Mr. and Mrs. James B. Anderson <br /> GMOA 1985.11.9 <br /><br /> 10. Tampoco. (Nor [do these] either.) <br /> From The Disasters of War (1906 edition) <br /> 3 <br /> Etching and burin on laid paper <br /> 5 3/4 x 8 1/2 inches (plate) <br /> 16 x 22 inches (frame) <br /> Georgia Museum of Art, University of Georgia; <br /> Gift of Mr. and Mrs. James B. Anderson <br /> GMOA 1985.11.10 <br /><br /> 11. Ni por esas. (Neither do these.) <br /> From The Disasters of War (1906 edition) <br /> Etching, lavis, drypoint, and burin on laid paper <br /> 6 1/4 x 8 5/16 inches (plate) <br /> 16 x 22 inches (frame) <br /> Georgia Museum of Art, University of Georgia; <br /> Gift of Mr. and Mrs. James B. Anderson <br /> GMOA 1985.11.11 <br /><br /> 12. Para eso habeis nacido. (This is what you were born for.) <br /> From The Disasters of War (1906 edition) <br /> Etching, lavis, drypoint, and burin on laid paper <br /> 6 3/16 x 9 1/4 inches (plate) <br /> 16 x 22 inches (frame) <br /> Georgia Museum of Art, University of Georgia; <br /> Gift of Mr. and Mrs. James B. Anderson <br /> GMOA 1985.11.12 <br /><br /> 13. Amarga presencia. (Bitter to be present.) <br /> From The Disasters of War (1906 edition) <br /> Etching, lavis, drypoint, burin, and burnisher on laid paper <br /> 5 1/2 x 6 5/8 inches (plate) <br /> 16 x 22 inches (frame) <br /> Georgia Museum of Art, University of Georgia; <br /> Gift of Mr. and Mrs. James B. Anderson <br /> GMOA 1985.11.13 <br /><br /> 14. Duro es el paso! (It's a hard step!) <br /> From The Disasters of War (1906 edition) <br /> Etching, burnished lavis, drypoint, and burin on laid paper <br /> 5 1/2 x 6 5/8 inches (plate) <br /> 16 x 22 inches (frame) <br /> Georgia Museum of Art, University of Georgia; <br /> Gift of Mr. and Mrs. James B. Anderson <br /> GMOA 1985.11.14 <br /><br /> 15. Y no hai remedio. (And there’s no help for it.) <br /> From The Disasters of War (1906 edition) <br /> Etching, drypoint, burin, and burnisher on laid paper <br /> 5 7/16 x 6 1/2 inches (plate) <br /> 16 x 22 inches (frame) <br /> 4 <br /> Georgia Museum of Art, University of Georgia; <br /> Gift of Mr. and Mrs. James B. Anderson <br /> GMOA 1985.11.15 <br /><br /> 16. Se aprovechan. (They make use of them.) <br /> From The Disasters of War (1906 edition) <br /> Etching, lavis, drypoint, burin, and burnisher on laid paper <br /> 6 1/4 x 9 1/4 inches (plate) <br /> 16 x 22 inches (frame) <br /> Georgia Museum of Art, University of Georgia; <br /> Gift of Mr. and Mrs. James B. Anderson <br /> GMOA 1985.11.16 <br /><br /> 17. No se convienen. (They do not agree.) <br /> From The Disasters of War (1906 edition) <br /> Etching, drypoint, burin, and burnisher on laid paper <br /> 5 5/8 x 8 9/16 inches (plate) <br /> 16 x 22 inches (frame) <br /> Georgia Museum of Art, University of Georgia; <br /> Gift of Mr. and Mrs. James B. Anderson <br /> GMOA 1985.11.17 <br /><br /> 18. Enterrar y callar. (Bury them and keep quiet.) <br /> From The Disasters of War (1906 edition) <br /> Etching, burnished lavis, drypoint, and burin on laid paper <br /> 6 1/4 x 9 1/4 inches (plate) <br /> 16 x 22 inches (frame) <br /> Georgia Museum of Art, University of Georgia; <br /> Gift of Mr. and Mrs. James B. Anderson <br /> GMOA 1985.11.18 <br /><br /> 19. Ya no hay tiempo. (There isn’t time now.) <br /> From The Disasters of War (1906 edition) <br /> Etching, lavis, drypoint, burin, and burnisher on laid paper <br /> 6 3/8 x 9 3/8 inches (plate) <br /> 16 x 22 inches (frame) <br /> Georgia Museum of Art, University of Georgia; <br /> Gift of Mr. and Mrs. James B. Anderson <br /> GMOA 1985.11.19 <br /><br /> 20. Curarlos, y à otra. (Get them well, and on to the next.) <br /> From The Disasters of War (1906 edition) <br /> Etching, lavis, burin, and burnisher on laid paper <br /> 6 1/4 x 9 3/16 inches (plate) <br /> 16 x 22 inches (frame) <br /> Georgia Museum of Art, University of Georgia; <br /> Gift of Mr. and Mrs. James B. Anderson <br /> GMOA 1985.11.20 <br /> 5 <br /><br /> 21. Serà lo mismo. (It will be the same.) <br /> From The Disasters of War (1906 edition) <br /> Etching and burnished lavis on laid paper <br /> 5 11/16 x 8 1/2 inches (plate) <br /> 16 x 22 inches (frame) <br /> Georgia Museum of Art, University of Georgia; <br /> Gift of Mr. and Mrs. James B. Anderson <br /> GMOA 1985.11.21 <br /><br /> 22. Tanto y mas. (Even worse.) <br /> From The Disasters of War (1906 edition) <br /> Etching, lavis, and burin on laid paper <br /> 6 1/4 x 9 15/16 inches (plate) <br /> 16 x 22 inches (frame) <br /> Georgia Museum of Art, University of Georgia; <br /> Gift of Mr. and Mrs. James B. Anderson <br /> GMOA 1985.11.22 <br /><br /> 23. Lo mismo en otras partes. (The same elsewhere.) <br /> From The Disasters of War (1906 edition) <br /> Etching, lavis, drypoint, and burin on laid paper <br /> 6 3/16 x 9 3/8 inches (plate) <br /> 16 x 22 inches (frame) <br /> Georgia Museum of Art, University of Georgia; <br /> Gift of Mr. and Mrs. James B. Anderson <br /> GMOA 1985.11.23 <br /><br /> 24. Aun podrán servir. (They can still be of use.) <br /> From The Disasters of War (1906 edition) <br /> Etching and burnisher on laid paper <br /> 6 1/4 x 9 1/2 inches (plate) <br /> 16 x 22 inches (frame) <br /> Georgia Museum of Art, University of Georgia; <br /> Gift of Mr. and Mrs. James B. Anderson <br /> GMOA 1985.11.24 <br /><br /> 25. Tambien estos. (These too.) <br /> From The Disasters of War (1906 edition) <br /> Etching, drypoint, and burin on laid paper <br /> 6 3/8 x 9 3/16 inches (plate) <br /> 16 x 22 inches (frame) <br /> Georgia Museum of Art, University of Georgia; <br /> Gift of Mr. and Mrs. James B. Anderson <br /> GMOA 1985.11.25 <br /><br /> 26. No se puede mirar. (One can’t look.) <br /> From The Disasters of War (1906 edition) <br /> 6 <br /> Etching, burnished lavis, drypoint, and burin on laid paper <br /> 5 9/16 x 8 1/8 inches (plate) <br /> 16 x 22 inches (frame) <br /> Georgia Museum of Art, University of Georgia; <br /> Gift of Mr. and Mrs. James B. Anderson <br /> GMOA 1985.11.26 <br /><br /> 27. Caridad. (Charity.) <br /> From The Disasters of War (1906 edition) <br /> Etching, lavis, drypoint, burin, and burnisher on laid paper <br /> 6 1/4 x 9 1/16 inches (plate) <br /> 16 x 22 inches (frame) <br /> Georgia Museum of Art, University of Georgia; <br /> Gift of Mr. and Mrs. James B. Anderson <br /> GMOA 1985.11.27 <br /><br /> 28. Populacho. (Rabble.) <br /> From The Disasters of War (1906 edition) <br /> Etching, lavis, drypoint, burin, and burnisher on laid paper <br /> 6 13/16 x 8 9/16 inches (plate) <br /> 16 x 22 inches (frame) <br /> Georgia Museum of Art, University of Georgia; <br /> Gift of Mr. and Mrs. James B. Anderson <br /> GMOA 1985.11.28 <br /> <br /> 29. Lo merecia. (He deserved it.) <br /> From The Disasters of War (1906 edition) <br /> Etching, drypoint, burin, and burnisher on laid paper <br /> 6 15/16 x 8 1/2 inches (plate) <br /> 16 x 22 inches (frame) <br /> Georgia Museum of Art, University of Georgia; <br /> Gift of Mr. and Mrs. James B. Anderson <br /> GMOA 1985.11.29 <br /><br /> 30. Estragos de la guerra. (Ravages of war.) <br /> From The Disasters of War (1906 edition) <br /> Etching, drypoint, burin, and burnisher on laid paper <br /> 5 1/2 x 6 9/16 inches (plate) <br /> 16 x 22 inches (frame) <br /> Georgia Museum of Art, University of Georgia; <br /> Gift of Mr. and Mrs. James B. Anderson <br /> GMOA 1985.11.30 <br /><br /> 31. Fuerte cosa es! (That’s tough!) <br /> From The Disasters of War (1906 edition) <br /> Etching, burnished aquatint, and drypoint on laid paper <br /> 6 x 8 1/16 inches (plate) <br /> 16 x 22 inches (frame) <br /> 7 <br /> Georgia Museum of Art, University of Georgia; <br /> Gift of Mr. and Mrs. James B. Anderson <br /> GMOA 1985.11.31 <br /> <br /> 32. Por qué? (Why?) <br /> From The Disasters of War (1906 edition) <br /> Etching, lavis, drypoint, burin, and burnisher on laid paper <br /> 6 1/16 x 8 1/16 inches (plate) <br /> 16 x 22 inches (frame) <br /> Georgia Museum of Art, University of Georgia; <br /> Gift of Mr. and Mrs. James B. Anderson <br /> GMOA 1985.11.32 <br /><br /> 33. Qué hai que haur mas? (What more can be done?) <br /> From The Disasters of War (1906 edition) <br /> Etching, lavis, drypoint, burin, and burnisher on laid paper <br /> 6 1/8 x 8 1/8 inches (plate) <br /> 16 x 22 inches (frame) <br /> Georgia Museum of Art, University of Georgia; <br /> Gift of Mr. and Mrs. James B. Anderson <br /> GMOA 1985.11.33 <br /><br /> 34. Por una navaja. (On account of a knife.) <br /> From The Disasters of War (1906 edition) <br /> Etching, drypoint, burin, and burnisher on laid paper <br /> 6 1/16 x 8 1/8 inches (plate) <br /> 16 x 22 inches (frame) <br /> Georgia Museum of Art, University of Georgia; <br /> Gift of Mr. and Mrs. James B. Anderson <br /> GMOA 1985.11.34 <br /><br /> 35. No se puede saber por qué. (One can’t tell why.) <br /> From The Disasters of War (1906 edition) <br /> Etching, burnished lavis, drypoint, and burin on laid paper <br /> 6 x 8 1/16 inches (plate) <br /> 16 x 22 inches (frame) <br /> Georgia Museum of Art, University of Georgia; <br /> Gift of Mr. and Mrs. James B. Anderson <br /> GMOA 1985.11.35 <br /><br /> 36. Tampoco. (Not [in this case] either.) <br /> From The Disasters of War (1906 edition) <br /> Etching, burnished aquatint, drypoint, burin, and burnisher on laid paper <br /> 6 1/16 x 8 1/16 inches (plate) <br /> 16 x 22 inches (frame) <br /> Georgia Museum of Art, University of Georgia; <br /> Gift of Mr. and Mrs. James B. Anderson <br /> GMOA 1985.11.36 <br /> 8 <br /><br /> 37. Esto es peor. (This is worse.) <br /> From The Disasters of War (1906 edition) <br /> Etching, lavis, and drypoint on laid paper <br /> 6 x 8 3/16 inches (plate) <br /> 16 x 22 inches (frame) <br /> Georgia Museum of Art, University of Georgia; <br /> Gift of Mr. and Mrs. James B. Anderson <br /> GMOA 1985.11.37 <br /> <br /> 38. Bárbaros! (Barbarians!) <br /> From The Disasters of War (1906 edition) <br /> Etching, burnished aquatint, burin, and burnisher on laid paper <br /> 6 x 8 1/8 inches (plate) <br /> 16 x 22 inches (frame) <br /> Georgia Museum of Art, University of Georgia; <br /> Gift of Mr. and Mrs. James B. Anderson <br /> GMOA 1985.11.38 <br /><br /> 39. Grande hazaña! Con muertos! (A heroic feat! With dead men!) <br /> From The Disasters of War (1906 edition) <br /> Etching, lavis, and drypoint on laid paper <br /> 6 1/16 x 8 1/16 inches (plate) <br /> 16 x 22 inches (frame) <br /> Georgia Museum of Art, University of Georgia; <br /> Gift of Mr. and Mrs. James B. Anderson <br /> GMOA 1985.11.39 <br /><br /> 40. Algun partido saca. (He gets something out of it.) <br /> From The Disasters of War (1906 edition) <br /> Etching, drypoint, and burin on laid paper <br /> 6 7/8 x 8 11/16 inches (plate) <br /> 16 x 22 inches (frame) <br /> Georgia Museum of Art, University of Georgia; <br /> Gift of Mr. and Mrs. James B. Anderson <br /> GMOA 1985.11.40 <br /> <br /> 41. Escapan entre las llamas. (They escape through the flames.) <br /> From The Disasters of War (1906 edition) <br /> Etching and burin on laid paper <br /> 6 1/4 x 9 3/8 inches (plate) <br /> 16 x 22 inches (frame) <br /> Georgia Museum of Art, University of Georgia; <br /> Gift of Mr. and Mrs. James B. Anderson <br /> GMOA 1985.11.41 <br /><br /> 42. Todo va revuelto. (Everything is topsy-turvy.) <br /> From The Disasters of War (1906 edition) <br /> 9 <br /> Etching and burin on laid paper <br /> 6 13/16 x 8 1/2 inches (plate) <br /> 16 x 22 inches (frame) <br /> Georgia Museum of Art, University of Georgia; <br /> Gift of Mr. and Mrs. James B. Anderson <br /> GMOA 1985.11.42 <br /><br /> 43. Tambien esto. (This too.) <br /> From The Disasters of War (1906 edition) <br /> Etching, burnished aquatint, and burnisher on laid paper <br /> 6 1/8 x 8 1/8 inches (plate) <br /> 16 x 22 inches (frame) <br /> Georgia Museum of Art, University of Georgia; <br /> Gift of Mr. and Mrs. James B. Anderson <br /> GMOA 1985.11.43 <br /><br /> 44. Yo lo vi. (I saw it.) <br /> From The Disasters of War (1906 edition) <br /> Etching, drypoint, and burin on laid paper <br /> 6 3/16 x 9 1/8 inches (plate) <br /> 16 x 22 inches (frame) <br /> Georgia Museum of Art, University of Georgia; <br /> Gift of Mr. and Mrs. James B. Anderson <br /> GMOA 1985.11.44 <br /><br /> 45. Y esto tambien. (And this too.) <br /> From The Disasters of War (1906 edition) <br /> Etching, aquatint or lavis, drypoint, and burin on laid paper <br /> 6 3/8 x 8 9/16 inches (plate) <br /> 16 x 22 inches (frame) <br /> Georgia Museum of Art, University of Georgia; <br /> Gift of Mr. and Mrs. James B. Anderson <br /> GMOA 1985.11.45 <br /><br /> 46. Esto es malo. (This is bad.) <br /> From The Disasters of War (1906 edition) <br /> Etching, burnished aquatint, lavis, drypoint, burin, and burnisher on laid paper <br /> 6 x 8 inches (plate) <br /> 16 x 22 inches (frame) <br /> Georgia Museum of Art, University of Georgia; <br /> Gift of Mr. and Mrs. James B. Anderson <br /> GMOA 1985.11.46 <br /><br /> 47. Así sucedió. (This is how it happened.) <br /> From The Disasters of War (1906 edition) <br /> Etching, burnished lavis, drypoint, burin, and burnisher on laid paper <br /> 6 x 8 1/16 inches (plate) <br /> 16 x 22 inches (frame) <br /> 10 <br /> Georgia Museum of Art, University of Georgia; <br /> Gift of Mr. and Mrs. James B. Anderson <br /> GMOA 1985.11.47 <br /><br /> 48. Cruel lastima. (Cruel tale of woe!) <br /> From The Disasters of War (1906 edition) <br /> Etching, lavis, burin, and burnisher on laid paper <br /> 6 1/16 x 8 inches (plate) <br /> 16 x 22 inches (frame) <br /> Georgia Museum of Art, University of Georgia; <br /> Gift of Mr. and Mrs. James B. Anderson <br /> GMOA 1985.11.48 <br /><br /> 49. Caridad de una muger. (A woman’s charity.) <br /> From The Disasters of War (1906 edition) <br /> Etching, lavis, burin, and burnisher on laid paper <br /> 6 x 8 1/16 inches (plate) <br /> 16 x 22 inches (frame) <br /> Georgia Museum of Art, University of Georgia; <br /> Gift of Mr. and Mrs. James B. Anderson <br /> GMOA 1985.11.49 <br /><br /> 50. Madre infeliz! (Unhappy mother!) <br /> From The Disasters of War (1906 edition) <br /> Etching, burnished aquatint, and drypoint on laid paper <br /> 5 15/16 x 8 inches (plate) <br /> 16 x 22 inches (frame) <br /> Georgia Museum of Art, University of Georgia; <br /> Gift of Mr. and Mrs. James B. Anderson <br /> GMOA 1985.11.50 <br /><br /> 51. Gracias á la almorta (Thanks to the millet) <br /> From The Disasters of War (1906 edition) <br /> Etching and burnished aquatint on laid paper <br /> 6 x 8 inches (plate) <br /> 16 x 22 inches (frame) <br /> Georgia Museum of Art, University of Georgia; <br /> Gift of Mr. and Mrs. James B. Anderson <br /> GMOA 1985.11.51 <br /><br /> 52. No llegan á tiempo. (They do not arrive in time.) <br /> From The Disasters of War (1906 edition) <br /> Etching, lavis, drypoint, and burin on laid paper <br /> 6 x 8 1/8 inches (plate) <br /> 16 x 22 inches (frame) <br /> Georgia Museum of Art, University of Georgia; <br /> Gift of Mr. and Mrs. James B. Anderson <br /> GMOA 1985.11.52 <br /> 11 <br /><br /> 53. Espiró sin remedio. (There was nothing to be done and he died.) <br /> From The Disasters of War (1906 edition) <br /> Etching, burnished aquatint, lavis, burin, and burnisher on laid paper <br /> 6 1/16 x 8 inches (plate) <br /> 16 x 22 inches (frame) <br /> Georgia Museum of Art, University of Georgia; <br /> Gift of Mr. and Mrs. James B. Anderson <br /> GMOA 1985.11.53 <br /><br /> 54. Clamores en vano. (Appeals are in vain.) <br /> From The Disasters of War (1906 edition) <br /> Etching, lavis, burin, and burnisher on laid paper <br /> 5 15/16 x 8 1/16 inches (plate) <br /> 16 x 22 inches (frame) <br /> Georgia Museum of Art, University of Georgia; <br /> Gift of Mr. and Mrs. James B. Anderson <br /> GMOA 1985.11.54 <br /><br /> 55. Lo peor es pedir. (The worst is to beg.) <br /> From The Disasters of War (1906 edition) <br /> Etching, lavis, and burnisher on laid paper <br /> 6 1/8 x 8 inches (plate) <br /> 16 x 22 inches (frame) <br /> Georgia Museum of Art, University of Georgia; <br /> Gift of Mr. and Mrs. James B. Anderson <br /> GMOA 1985.11.55 <br /><br /> 56. Al cementerio. (To the cemetery.) <br /> From The Disasters of War (1906 edition) <br /> Etching, lavis, and drypoint on laid paper <br /> 6 x 8 inches (plate) <br /> 16 x 22 inches (frame) <br /> Georgia Museum of Art, University of Georgia; <br /> Gift of Mr. and Mrs. James B. Anderson <br /> GMOA 1985.11.56 <br /><br /> 57. Sanos y enfermos. (The healthy and the sick.) <br /> From The Disasters of War (1906 edition) <br /> Etching, burnished aquatint, burin, and burnisher on laid paper <br /> 6 1/16 x 8 1/8 inches (plate) <br /> 16 x 22 inches (frame) <br /> Georgia Museum of Art, University of Georgia; <br /> Gift of Mr. and Mrs. James B. Anderson <br /> GMOA 1985.11.57 <br /><br /> 58. No hay que dar voces. (It’s no use crying out.) <br /> From The Disasters of War (1906 edition) <br /> 12 <br /> Etching, burnished aquatint, burin, and burnisher on laid paper <br /> 6 1/8 x 8 3/16 inches (plate) <br /> 16 x 22 inches (frame) <br /> Georgia Museum of Art, University of Georgia; <br /> Gift of Mr. and Mrs. James B. Anderson <br /> GMOA 1985.11.58 <br /><br /> 59. De qué sirve una taza? (What is the use of a cup?) <br /> From The Disasters of War (1906 edition) <br /> Etching, burnished aquatint, and lavis on laid paper <br /> 5 15/16 x 8 inches (plate) <br /> 16 x 22 inches (frame) <br /> Georgia Museum of Art, University of Georgia; <br /> Gift of Mr. and Mrs. James B. Anderson <br /> GMOA 1985.11.59 <br /><br /> 60. No hay guien los socorra. (There is no one to help them.) <br /> From The Disasters of War (1906 edition) <br /> Etching, burnished aquatint, burin, and burnisher on laid paper <br /> 5 7/8 x 7 7/8 inches (plate) <br /> 16 x 22 inches (frame) <br /> Georgia Museum of Art, University of Georgia; <br /> Gift of Mr. and Mrs. James B. Anderson <br /> GMOA 1985.11.60 <br /><br /> 61. Si son de otro linage. (Perhaps they are of another breed.) <br /> From The Disasters of War (1906 edition) <br /> Etching, lavis, drypoint, burin, and burnisher on laid paper <br /> 6 x 8 inches (plate) <br /> 16 x 22 inches (frame) <br /> Georgia Museum of Art, University of Georgia; <br /> Gift of Mr. and Mrs. James B. Anderson <br /> GMOA 1985.11.61 <br /><br /> 62. Las camas de la muerte. (The beds of death.) <br /> From The Disasters of War (1906 edition) <br /> Etching, lavis, drypoint, burin, and burnisher on laid paper <br /> 6 7/8 x 8 9/16 inches (plate) <br /> 16 x 22 inches (frame) <br /> Georgia Museum of Art, University of Georgia; <br /> Gift of Mr. and Mrs. James B. Anderson <br /> GMOA 1985.11.62 <br /> <br /> 63. Muertos recogidos. (Harvest of the dead.) <br /> From The Disasters of War (1906 edition) <br /> Etching and burnished aquatint on laid paper <br /> 5 7/8 x 8 inches (plate) <br /> 16 x 22 inches (frame) <br /> 13 <br /> Georgia Museum of Art, University of Georgia; <br /> Gift of Mr. and Mrs. James B. Anderson <br /> GMOA 1985.11.63 <br /><br /> 64. Carretadas al cemeterio. (Cartloads to the cemetery.) <br /> From The Disasters of War (1906 edition) <br /> Etching, aquatint, drypoint, burin, and burnisher on laid paper <br /> 6 1/16 x 8 1/16 inches (plate) <br /> 16 x 22 inches (frame) <br /> Georgia Museum of Art, University of Georgia; <br /> Gift of Mr. and Mrs. James B. Anderson <br /> GMOA 1985.11.64 <br /><br /> 65. Qué alboroto es este? (What is this hubbub?) <br /> From The Disasters of War (1906 edition) <br /> Etching, burnished aquatint and/or lavis, burin, and burnisher on laid paper <br /> 6 7/8 x 8 1/2 inches (plate) <br /> 16 x 22 inches (frame) <br /> Georgia Museum of Art, University of Georgia; <br /> Gift of Mr. and Mrs. James B. Anderson <br /> GMOA 1985.11.65 <br /><br /> 66. Extraña devocion! (Strange devotion!) <br /> From The Disasters of War (1906 edition) <br /> Etching and burnished aquatint or lavis and burnisher on laid paper <br /> 6 13/16 x 8 5/8 inches (plate) <br /> 16 x 22 inches (frame) <br /> Georgia Museum of Art, University of Georgia; <br /> Gift of Mr. and Mrs. James B. Anderson <br /> GMOA 1985.11.66 <br /><br /> 67. Esta no lo es menos. (This is not less so.) <br /> From The Disasters of War (1906 edition) <br /> Etching, burnished aquatint, burin, and burnisher on laid paper <br /> 6 15/16 x 8 1/2 inches (plate) <br /> 16 x 22 inches (frame) <br /> Georgia Museum of Art, University of Georgia; <br /> Gift of Mr. and Mrs. James B. Anderson <br /> GMOA 1985.11.67 <br /><br /> 68. Que locura! (What madness!) <br /> From The Disasters of War (1906 edition) <br /> Etching, lavis, and burin on laid paper <br /> 6 5/16 x 8 5/8 inches (plate) <br /> 16 x 22 inches (frame) <br /> Georgia Museum of Art, University of Georgia; <br /> Gift of Mr. and Mrs. James B. Anderson <br /> GMOA 1985.11.68 <br /> 14 <br /> <br /> 69. Nada. Ello dirá. (Nothing. The event will tell.) <br /> From The Disasters of War (1906 edition) <br /> Etching, burnished aquatint, lavis, drypoint, and burin on laid paper <br /> 6 x 7 3/4 inches (plate) <br /> 16 x 22 inches (frame) <br /> Georgia Museum of Art, University of Georgia; <br /> Gift of Mr. and Mrs. James B. Anderson <br /> GMOA 1985.11.69 <br /><br /> 70. No saben el camino. (They do not know the way.) <br /> From The Disasters of War (1906 edition) <br /> Etching, drypoint, burin, and burnisher on laid paper <br /> 6 7/8 x 8 1/2 inches (plate) <br /> 16 x 22 inches (frame) <br /> Georgia Museum of Art, University of Georgia; <br /> Gift of Mr. and Mrs. James B. Anderson <br /> GMOA 1985.11.70 <br /><br /> 71. Contra el bien general. (Against the common good.) <br /> From The Disasters of War (1906 edition) <br /> Etching and burnisher on laid paper <br /> 6 7/8 x 8 1/2 inches (plate) <br /> 16 x 22 inches (frame) <br /> Georgia Museum of Art, University of Georgia; <br /> Gift of Mr. and Mrs. James B. Anderson <br /> GMOA 1985.11.71 <br /><br /> 72. Las resultas. (The consequences.) <br /> From The Disasters of War (1906 edition) <br /> Etching on laid paper <br /> 6 11/16 x 8 9/16 inches (plate) <br /> 16 x 22 inches (frame) <br /> Georgia Museum of Art, University of Georgia; <br /> Gift of Mr. and Mrs. James B. Anderson <br /> GMOA 1985.11.72 <br /><br /> 73. Gatesca Pantomima. (Feline pantomime.) <br /> From The Disasters of War (1906 edition) <br /> Etching, burin, and burnisher on laid paper <br /> 6 13/16 x 8 7/16 inches (plate) <br /> 16 x 22 inches (frame) <br /> Georgia Museum of Art, University of Georgia; <br /> Gift of Mr. and Mrs. James B. Anderson <br /> GMOA 1985.11.73 <br /><br /> 74. Esto es lo peor! (That is the worst of it!) <br /> From The Disasters of War (1906 edition) <br /> 15 <br /> Etching and burnisher on laid paper <br /> 6 7/8 x 8 1/2 inches (plate) <br /> 16 x 22 inches (frame) <br /> Georgia Museum of Art, University of Georgia; <br /> Gift of Mr. and Mrs. James B. Anderson <br /> GMOA 1985.11.74 <br /><br /> 75. Farándula de charlatanes. (Charlatan’s show.) <br /> From The Disasters of War (1906 edition) <br /> Etching, aquatint or lavis, drypoint, and burin on laid paper <br /> 6 11/16 x 8 9/16 inches (plate) <br /> 16 x 22 inches (frame) <br /> Georgia Museum of Art, University of Georgia; <br /> Gift of Mr. and Mrs. James B. Anderson <br /> GMOA 1985.11.75 <br /><br /> 76. El buitre carnívoro. (The carnivorous vulture.) <br /> From The Disasters of War (1906 edition) <br /> Etching, drypoint, burin, and burnisher on laid paper <br /> 6 7/8 x 8 5/8 inches (plate) <br /> 16 x 22 inches (frame) <br /> Georgia Museum of Art, University of Georgia; <br /> Gift of Mr. and Mrs. James B. Anderson <br /> GMOA 1985.11.76 <br /><br /> 77. Que se rompe la cuerda. (May the cord break.) <br /> From The Disasters of War (1906 edition) <br /> Etching, burnished aquatint or lavis, drypoint, and burnisher on laid paper <br /> 6 13/16 x 8 1/2 inches (plate) <br /> 16 x 22 inches (frame) <br /> Georgia Museum of Art, University of Georgia; <br /> Gift of Mr. and Mrs. James B. Anderson <br /> GMOA 1985.11.77 <br /><br /> 78. Se defiende bien. (He defends himself well.) <br /> From The Disasters of War (1906 edition) <br /> Etching, drypoint, burin, and burnisher on laid paper <br /> 6 7/8 x 8 9/16 inches (plate) <br /> 16 x 22 inches (frame) <br /> Georgia Museum of Art, University of Georgia; <br /> Gift of Mr. and Mrs. James B. Anderson <br /> GMOA 1985.11.78 <br /><br /> 79. Murió la Verdad. (Truth has died.) <br /> From The Disasters of War (1906 edition) <br /> Etching and burnisher on laid paper <br /> 6 3/4 x 8 7/16 inches (plate) <br /> 16 x 22 inches (frame) <br /> 16 <br /> Georgia Museum of Art, University of Georgia; <br /> Gift of Mr. and Mrs. James B. Anderson <br /> GMOA 1985.11.79 <br /><br /> 80. Si resucitará? (Will she rise again?) <br /> From The Disasters of War (1906 edition) <br /> Etching and burnisher on laid paper <br /> 6 13/16 x 8 9/16 inches (plate) <br /> 16 x 22 inches (frame) <br /> Georgia Museum of Art, University of Georgia; <br /> Gift of Mr. and Mrs. James B. Anderson <br /> GMOA 1985.11.80 <br /><br /> <br /> </span></div>
</div>
<span style="font-size: small;"><br /></span></div>Gary Arseneauhttp://www.blogger.com/profile/10379667479866306615noreply@blogger.comtag:blogger.com,1999:blog-34909527.post-22255633654184576292012-06-13T22:41:00.000-04:002012-06-17T08:42:39.293-04:00Rembrandt -Forgeries- at the Arlington Museum of Art, The Dead Don't Etch<div style="font-family: inherit;">
<span style="font-size: large;"><span style="font-size: small;">NOTE: Footnotes are enclosed as: <span style="color: blue; font-size: x-small;">[FN]</span></span></span></div>
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<a href="http://2.bp.blogspot.com/-eTWa8d9-S_g/T9N9_Bu1ezI/AAAAAAAACio/_r_CMp2hGOQ/s1600/Cow+Drinking.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="325" src="http://2.bp.blogspot.com/-eTWa8d9-S_g/T9N9_Bu1ezI/AAAAAAAACio/_r_CMp2hGOQ/s400/Cow+Drinking.jpg" width="400" /></a></div>
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<span style="font-size: x-small;">"<i>Landscape with Cow Drinking</i>,
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]</span></div>
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<span style="font-size: large;"><span style="font-size: small;"><b>NON-DISCLOSED POSTHUMOUS FORGERY IN THE ARLINGTON MUSEUM OF ART</b></span></span></div>
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<a href="http://3.bp.blogspot.com/-WuIIP1zMxu0/T9lE0H2H7wI/AAAAAAAAClE/RcQSqHccAn0/s1600/AN00038475_001_l.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="http://3.bp.blogspot.com/-WuIIP1zMxu0/T9lE0H2H7wI/AAAAAAAAClE/RcQSqHccAn0/s400/AN00038475_001_l.jpg" width="400" /></a></div>
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<span style="font-size: x-small;">Etching, Print made by Rembrandt, 1650 (circa), Height: 104 millimetres, Width: 130 millimetres, <b>Acquisition date</b> 1<b>868, Acquisition name</b> Bequeathed by Felix Slade</span><span style="font-size: x-small;">, "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])</span><span style="font-size: x-small;">"</span></div>
<span style="color: blue; font-size: x-small;">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</span><br />
<b>LIFETIME ETCHING BY REMBRANDT IN THE BRITISH MUSEUM</b></div>
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<span style="font-size: large;"><span style="font-size: small;"><span style="font-size: large;"><b>T</b></span>he above <i>Landscape with Cow Drinking</i>
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 A</span></span><span style="font-size: large;"><span style="font-size: small;">rlington Museum of Art in their June 9th through August 12th, 2012 <b>Rembrandt: An Evolution of Etchings </b>exhibition, </span></span><span style="font-size: large;"><span style="font-size: small;">as original works of visual art ie., "etchings by Rembrandt"<span style="font-size: x-small;"><span style="color: blue;">[FN 1]</span></span>. </span></span><span style="font-size: small;"> </span></div>
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<span style="font-size: small;">On page 660 of the <span style="font-style: italic;">Seventh Edition of Black's Law Dictionary</span>,
-forgery- is defined as: "The act of fraudulently making a false
document or altering a real one to be used as if geniune."<span style="color: blue; font-size: x-small;">[FN 2]</span></span></div>
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<span style="font-size: large;"><span style="font-size: small;">Rembrandt Harmenszoon van Rijn died October 4, 1669.</span></span><span style="font-size: small;"> </span></div>
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<span style="font-size: small;">The dead don't etch.</span></div>
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On page 477 of the <span style="font-style: italic;">Seventh Edition of Black’s Law Dictionary</span>,
-disclosure- is defined as: “The act or process of making known something that was previously unknown.”<span style="color: blue; font-size: x-small;">[FN 3]</span><span style="font-size: small;"> </span>On page 300 of the <span style="font-style: italic;">Seventh Edition of Black’s Law Dictionary</span>,
-consent- is defined as: “Agreement, approval or permission as to some
act or purpose, esp. given voluntarily by a competent person.”<span style="font-size: x-small;"><span style="color: blue;">[FN 4]</span></span><span style="font-size: small;"> </span></div>
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<span style="font-size: small;">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 </span><span style="font-size: large;"><span style="font-size: small;"><b>Rembrandt: An Evolution of Etchings </b></span></span><span style="font-size: small;">exhibition, much less pay the $8 [each] adult price of admission?</span></div>
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<span style="font-size: small;">Therefore, in the interest of </span><span style="font-size: small;">full and honest disclosure and informed consent by the public for </span><span style="font-size: large;"><span style="font-size: small;">the Arlington Museum of Art's <b>Rembrandt: An Evolution of Etchings</b> exhibition, </span></span><span style="font-size: small;">the following will be documented in this monograph: 1</span><span style="font-size: small;">)
the exhibition's 36 non-disclosed posthumous forgeries, falsely
attributed to Rembrandt, as documented using the museum's "Rembrandt
Packing List" ie. checklist,</span><span style="font-size: small;"> </span><span style="font-size: small;">2) the chronology of the three centuries of posthumous reworking of Rembrandt's original etching plates,</span><span style="font-size: small;"> </span><span style="font-size: small;">3) how a living Rembrandt actually created his original works of visual art ie., etchings, 4</span><span style="font-size: small;">) the professional standards, definitions and laws on what is and what is not an etching, </span><span style="font-size: small;">5) the Arlington Museum of Art's representation doesn't match their disclosure, 6) truth, resource allocations and fraud, </span><span style="font-size: small;"> and 7) the Association of Art Museum Directors' endorsed <i>Professional Practices in Art Museums</i>.</span></div>
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<a href="http://2.bp.blogspot.com/-DZr8J0WI7hU/T9P_0ora55I/AAAAAAAACjM/GqubZ5_jLqA/s1600/descent.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="http://2.bp.blogspot.com/-DZr8J0WI7hU/T9P_0ora55I/AAAAAAAACjM/GqubZ5_jLqA/s400/descent.jpg" width="316" /></a></div>
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<span style="font-size: x-small;">"<i>Descent from the Cross</i>,
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]<br />
</span><span style="font-size: large;"><span style="font-size: small;"><b>NON-DISCLOSED POSTHUMOUS FORGERY </b></span></span><span style="font-size: large;"><span style="font-size: small;"><b> IN THE ARLINGTON MUSEUM OF ART</b></span></span></div>
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<a href="http://2.bp.blogspot.com/-kvKEXJHHlPw/T9lCaDyH4lI/AAAAAAAACk8/92xDY-QCUFU/s1600/AN00087646_001_l.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="http://2.bp.blogspot.com/-kvKEXJHHlPw/T9lCaDyH4lI/AAAAAAAACk8/92xDY-QCUFU/s400/AN00087646_001_l.jpg" width="300" /></a></div>
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<span style="font-size: x-small;">Etching, Print made by Rembrandt, 1633, Height: 530 millimetres, Width: 410 millimetres, <b>Acquisition date</b> 17<b>53, Acquisition name</b> Bequeathed by Sir Hans Sloane (?)</span><span style="font-size: x-small;">, "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"."</span></div>
<span style="color: blue; font-size: x-small;">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</span><br />
<b></b><b>LIFETIME ETCHING BY REMBRANDT IN THE BRITISH MUSEUM</b></div>
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<span style="font-size: large;"><span style="font-size: small;"><span style="font-size: large;"><b><span style="font-size: small;"><span style="font-size: x-large;">1.</span> REMBRANDT PACKING LIST</span> </b></span><br />
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<span style="font-size: large;"><span style="font-size: small;">The Arlington </span></span><span style="font-size: large;"><span style="font-size: small;"> Museum of Art's -Rembrandt Packing List-</span></span><span style="font-size: x-small;"><span style="color: blue;">[FN 5]</span></span><span style="font-size: large;"><span style="font-size: small;"> [checklist] for their June 9th through August 12th, 2012 <b>Rembrandt: An Evolution of Etchings </b>exhibition lists the "Title Given by Lender" and date of "Print made."</span></span>
With chronological order, subtitle headings and numerical/descriptions
mine, those 4 lifetime etchings, 3 unknown, and 36 non-disclosed
posthumous forgeries are as follows:</div>
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17th CENTURY -1601-1700- [<b>Lifetime etchings</b>] </div>
<ul style="text-align: justify;">
<li><b>1 of 4 lifetime etchings:</b><i> "Joseph and Potiphar's Wife</i>, Print pulled in artist's lifetime," <br />
</li>
<li><b>2 of 4 lifetime etchings: </b><i>"Rembrandt with Plumed Hat and Lowered Sabre</i>, Print pulled in artist's lifetime," <br />
</li>
<li><b>3 of 4 lifetime etchings: </b><i>"Self Portrait in Velvet Cap with Plume</i>, Print pulled in artist's lifetime," <br />
</li>
<li><b>4 of 4 lifetime etchings: </b><i>"Student at a Table by Candlelight</i>, Print pulled in artist's lifetime,"</li>
</ul>
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UNKNOWN</div>
<ul style="text-align: justify;">
<li><b>1 of 3 unknowns: </b><i>"The Goldsmith</i>, Print pulled possibly in artists lifetime," </li>
<li><b>2 of 3 unknowns: </b><i>"Self Portrait in a Flat Cap and Embroidered Dress</i>, Print possibly pulled in the artist's lifetime," </li>
<li><b>3 of 3 unknowns: </b><i>"Christ Disputing with the Doctors</i>, - Small Plate Print pulled - unknown,"</li>
</ul>
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<b><span style="font-size: small;">Rembrandt
Harmenszoon van Rijn (15 July 1606 –
4 October 1669)</span></b></div>
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17th CENTURY -Posthumous- [<b>Rembrandt is up to 31 years dead</b>.]</div>
<ul style="text-align: justify;">
<li><b>1 of 36 forgeries:</b> <i>"Landscape with a Windmill</i>, Print pulled in late-17th-century," </li>
</ul>
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18th CENTURY -1701-1800- [<b>Rembrandt is 32-132 years dead</b>.]</div>
<ul style="text-align: justify;">
<li><b>2 of 36 forgeries: </b><i>"The Triumph of Mordecai</i>, Restrike pulled in early-18th-century," </li>
<li><b>3 of 36 forgeries: </b><i>"Beggar Leaning on a Stick</i>, Print pulled in mid-18th-century," </li>
<li><b>4 of 36 forgeries: </b><i>"Beggar Man and Woman Conversing</i>, Print pulled in mid-18th-century," <br />
</li>
<li><b>5 of 36 forgeries: </b><i>"Beggar Warming his Hands at a Chafing Dish</i>, Print pulled in mid-18th-century,"</li>
<li><b>6 of 36 forgeries: </b><i>"Peasant Family on the Tramp</i>, Restrike pulled in mid-18th-century,"</li>
<li><b>7 of 36 forgeries: </b><i>"Beggar Man and Woman Conversing</i>, Print puled in mid-18th-century," </li>
<li><b>8 of 36 forgeries: </b><i>"The Strolling Musicians</i>, Restrike pulled in 18th-century," </li>
<li><b>9 of 36 forgeries: </b><i>"Abraham Speaking with Isaac</i>, Restrike pulled in the 18th-century," </li>
<li><b>10 of 36 forgeries: </b><i>"Christ and the Woman of Samaria - Among Ruins</i>, Print pulled in late-18th-century," </li>
<li><b>11 of 36 forgeries: </b><i>"Saint Jerome in a Dark Study</i>, Restrike pulled in the late-18th-century,"</li>
</ul>
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19th CENTURY -1801-1900- <b>[Rembrandt is 132-232 years dead.</b>]</div>
<ul style="text-align: justify;">
<li><b>12 of 36 forgeries: </b><i>"Christ Disputing with the Doctors</i>, Print pulled ca. 1812," </li>
<li><b>13 of 36 forgeries: </b><i>"Peasant Family on the Tramp,</i> Restrike pulled in early-19th-century," </li>
<li><b>14 of 36 forgeries: </b><i>"Peasant Family on the Tramp</i>, Print pulled in early-19th-century," <br />
</li>
<li><b>15 of 36 forgeries: </b><i>"Self Portrait in a Flat Cap and Embroidered Dress</i>, Print possibly pulled in early-19th-century," </li>
<li><b>16 of 36 forgeries: </b><i>"Peasant in a High Hat, Leaning on a Stick</i>, Print pulled in early-19th-century," </li>
<li><b>17 of 36 forgeries: </b><i>"Old Women Sleeping</i>, Print pulled in early-19th-century," <br />
</li>
<li><b>18 of 36 forgeries: </b><i>"Old Bearded Man in High Fur Cap</i>, Restrike pulled in 19th-century," </li>
<li><b>19 of 36 forgeries: </b><i>"Rembrandt with Curly Hair</i>, Print pulled in late-19th-century,"</li>
<li><b>20 of 36 forgeries: </b><i>"Self Portrait in Velvet Cap with Plume</i>, Print pulled in late-19th-century," <br />
</li>
</ul>
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20th CENTURY -1901-2000-<b> [Rembrandt is 232-332 years dead</b>.]</div>
<ul style="text-align: justify;">
<li><b>21 of 36 forgeries: </b><i>"Man in a High Cap</i>, Restrike pulled in late-20th-century," </li>
<li><b>22 of 36 forgeries: </b><i>"Rembrandt's Mother with Hand on her Chest</i>, Restrike pulled in late-20th-century," </li>
<li><b>23 of 36 forgeries: </b><i>"Christ Raising Lazarus</i>, Restrike pulled in late-20th-century," <br />
</li>
<li><b>24 of 36 forgeries: </b><i>"Descent from the Cross</i>, - Large Plate Restrike pulled in late-20th-century," <br />
</li>
<li><b>25 of 36 forgeries: </b><i>"Self Portrait in Velvet Cap with Plume</i>, Restrike pulled in late-20th-century," <br />
</li>
<li><b>26 of 36 forgeries: </b><i>"Christ and the Woman of Samaria - Among Ruins</i>, Restrike pulled in late-20th-century,"</li>
<li><b>27 of 36 forgeries: </b><i>"The Schoolmaster</i>, Restrike pulled in late-20th-century," </li>
<li><b>28 of 36 forgeries: </b><i>"The Card Player</i>, Restrike pulled in late-20th-century," <br />
</li>
<li><b>29 of 36 forgeries: </b><i>"Landscape with Cow Drinking</i>, Restrike pulled in late-20th-century," </li>
<li><b>30 of 36 forgeries:<i> </i></b><i>"Rembrandt Drawing at the Window</i>, Restrike pulled in late-20th-century,"</li>
<li><b>31 of 36 forgeries: </b><i>"The Golf Player,</i> Restrike pulled in late-20th-century,"</li>
<li><b>32 of 36 forgeries: </b><i>"Old Man with Beard, Fur Cap and Velvet Cloak</i>, Restrike pulled 1816 - modern edition," </li>
<li><b>33 of 36 forgeries: </b><i>"Joseph's Coat Brought Before Jacob</i>, Restrike pulled 1816 - modern edition," </li>
<li><b>34 of 36 forgeries: </b><i>"Christ Crucified between the Two Thieves</i>, - Oval Plate Restrike pulled 1816 - modern edition," </li>
<li><b>35 of 36 forgeries: </b><i>"Jan Antonedis Van Der Linden, Physician</i>, Restrike pulled 1816 - modern edition, [and]"<br />
</li>
<li><b>36 of 36 forgeries: </b><i>"The Agony in the Garden</i>, Restrike pulled 1816 - modern edition."</li>
</ul>
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<a href="http://2.bp.blogspot.com/-YrrsrLzeg_k/T9P9hkJwDiI/AAAAAAAACjE/aHr_ILaEgkY/s1600/musicians.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="http://2.bp.blogspot.com/-YrrsrLzeg_k/T9P9hkJwDiI/AAAAAAAACjE/aHr_ILaEgkY/s400/musicians.jpg" width="330" /></a></div>
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<span style="font-size: x-small;">"<i>The Strolling Musicians</i>,
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]<br />
</span><span style="font-size: large;"><span style="font-size: small;"><b>NON-DISCLOSED POSTHUMOUS FORGERY </b></span></span><span style="font-size: large;"><span style="font-size: small;"><b> IN THE ARLINGTON MUSEUM OF ART</b></span></span></div>
<div style="text-align: justify;">
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="http://3.bp.blogspot.com/-TdLqH2XmzgI/T9k_5B_-eqI/AAAAAAAACkg/Y0p8w6aoMkc/s1600/AN00022415_001_l.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="http://3.bp.blogspot.com/-TdLqH2XmzgI/T9k_5B_-eqI/AAAAAAAACkg/Y0p8w6aoMkc/s400/AN00022415_001_l.jpg" width="337" /></a></div>
<span style="font-size: x-small;">Etching, Print made by Rembrandt, 1635 (circa), Height: 140 millimetres, Width: 116 millimetres, <b>Acquisition date</b> 179<b>9, Acquisition name</b> 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"</span><br />
<span style="color: blue; font-size: x-small;">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</span><br />
<b></b><b>LIFETIME ETCHING BY REMBRANDT IN THE BRITISH MUSEUM</b><br />
<br />
<br />
<div style="text-align: justify;">
<span style="color: black; font-size: large;"><span style="font-size: small;"><b><span style="font-size: x-large;">2.</span></b><b> <span style="font-size: small;">REWORKED AND ALTERED PLATES</span></b></span></span></div>
<div style="text-align: justify;">
<span style="font-size: large;"><span style="font-size: small;">O</span></span><span style="font-size: large;"><span style="font-size: small;">ver the last 300 or more years,</span></span><span style="font-size: large;"><span style="font-size: small;">
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.</span></span></div>
<div style="text-align: justify;">
<span style="color: black; font-size: large;"><span style="font-size: small;"><br />
</span></span><span style="color: black; font-size: large;"><span style="font-size: small;">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</span></span><span style="color: black; font-size: large;"><span style="font-size: small;"> 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.</span></span><span style="font-size: small;"><span style="font-size: x-small;"><span style="color: blue;">[FN 6]</span></span></span></div>
<div style="color: black; text-align: justify;">
<span style="font-size: large;"><span style="font-size: small;"><br />
WATELET REWORKED SOME OF THE PLATES </span></span></div>
<div style="color: black; text-align: justify;">
<span style="font-size: large;"><span style="font-size: small;">"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.</span></span><span style="font-size: small;"><span style="font-size: x-small;"><span style="color: blue;">[FN 7]</span></span></span><br />
<span style="font-size: large;"><span style="font-size: small;">
<br />BASAN AND OTHERS REWORKED PLATES</span></span></div>
<div style="color: black; text-align: justify;">
<span style="font-size: large;"><span style="font-size: small;">"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.</span></span><span style="font-size: small;"><span style="font-size: x-small;"><span style="color: blue;">[FN 8]</span></span></span></div>
<div style="color: black; text-align: justify;">
<br />
<span style="font-size: large;"><span style="font-size: small;"> ETCHING PLATES ON THE MARKET IN 1993</span></span></div>
<div style="text-align: justify;">
<span style="color: black; font-size: large;"><span style="font-size: small;">"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.</span></span><span style="color: black;">"</span><span style="font-size: small;"><span style="font-size: x-small;"><span style="color: blue;">[FN 9]</span></span></span></div>
<div style="text-align: center;">
<span style="font-size: large;"><span style="font-size: small;">[Subtitles mine] </span></span></div>
<div style="text-align: justify;">
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="http://3.bp.blogspot.com/-RPqIYhPCXL0/T9lJ08c2ZwI/AAAAAAAAClo/QaiAofXdMD4/s1600/Self_Portrait_Drawing_at_a_Window.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="http://3.bp.blogspot.com/-RPqIYhPCXL0/T9lJ08c2ZwI/AAAAAAAAClo/QaiAofXdMD4/s400/Self_Portrait_Drawing_at_a_Window.jpg" width="333" /></a></div>
<span style="font-size: x-small;">“<i>Self Portrait, Drawing At A Window</i>, B. 22, Signed and dated Rembrandt f. 1648, 6-1/4"x 5-1/8", Fifth and final state, Posthumous Impression, 1998” [Millennium Impressions] </span><span style="font-size: x-small;">
</span><br />
<div style="text-align: justify;">
<span style="font-size: x-small;"><span style="color: blue;">http://www.collectionprivee.com/rembrandt/pages/Self_Portrait_Drawing_at_a_Window.htm</span><br />
</span><span style="font-size: large;"><span style="font-size: small;"><b>NON-DISCLOSED POSTHUMOUS FORGERY</b></span></span></div>
<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="http://1.bp.blogspot.com/-n3AJMapE7nY/T9lHJVi81pI/AAAAAAAAClM/v0G3gkvuSH8/s1600/AN00038497_001_l.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="http://1.bp.blogspot.com/-n3AJMapE7nY/T9lHJVi81pI/AAAAAAAAClM/v0G3gkvuSH8/s400/AN00038497_001_l.jpg" width="325" /></a></div>
<div>
<span style="font-size: x-small;">Etching, Print made by Rembrandt, 1648, Height: 160 millimetres, Width: 130 millimetres, <b>Acquisition date</b> 1<b>910, Acquisition name</b> Bequeathed by George Salting,</span><span style="font-size: x-small;"> "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"."</span></div>
<span style="color: blue; font-size: x-small;">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</span><br />
<b></b><b>LIFETIME ETCHING BY REMBRANDT IN THE BRITISH MUSEUM</b><br />
<br />
<span style="font-size: large;"><span style="font-size: small;">MILLENNIUM IMPRESSIONS</span></span><br />
Eight of the so-called "etchings by Rembrandt," in the Arlington Museum of Art's <span style="font-size: large;"><span style="font-size: small;"><b>Rembrandt: An Evolution of Etchings </b>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:</span></span><br />
<ol>
<li><i>"Man in a High Cap</i>, Restrike pulled in late-20th-century," </li>
<li><i>"Rembrandt's Mother with Hand on her Chest</i>, Restrike pulled in late-20th-century," </li>
<li><i>"Christ Raising Lazarus</i>, Restrike pulled in late-20th-century," </li>
<li><i>"Christ and the Woman of Samaria - Among Ruins</i>, Restrike pulled in late-20th-century,"</li>
<li><i>"The Card Player</i>, Restrike pulled in late-20th-century," </li>
<li><i>"Landscape with Cow Drinking</i>, Restrike pulled in late-20th-century," </li>
<li><i>"Rembrandt Drawing at the Window</i>, Restrike pulled in late-20th-century,"</li>
<li><i>"The Golf Player,</i> Restrike pulled in late-20th-century,"</li>
</ol>
</div>
<div style="text-align: justify;">
<span style="font-size: large;"><span style="font-size: small;">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."</span></span><span style="font-size: small;"><span style="font-size: x-small;"><span style="color: blue;">[FN 10]</span></span></span></div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
<span style="font-size: large;"><span style="font-size: small;">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"</span></span><span style="font-size: small;"><span style="font-size: x-small;"><span style="color: blue;">[FN 11]</span></span></span><span style="font-size: large;"><span style="font-size: small;">
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."</span></span><span style="font-size: small;"><span style="font-size: x-small;"><span style="color: blue;">[FN 12]</span></span></span></div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
<span style="font-size: large;"><span style="font-size: small;">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. </span></span></div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
<span style="font-size: large;"><span style="font-size: small;">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."</span></span><span style="font-size: small;"><span style="font-size: x-small;"><span style="color: blue;">[FN 13]</span></span></span></div>
<div style="text-align: justify;">
<br />
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.”<span style="font-size: small;"><span style="font-size: x-small;"><span style="color: blue;">[FN 14]</span></span></span></div>
<div style="text-align: justify;">
<span style="font-size: large;"><span style="font-size: small;">U</span></span><span style="font-size: small;"><span class="Apple-style-span">nder U.S. Copyright Law 101. Definitions, a -derivative work- is defined as an: "art reproduction"</span></span><span style="font-size: small;"><span style="font-size: x-small;"><span style="color: blue;">[FN 15]</span></span></span><span style="font-size: small;"><span class="Apple-style-span">
and under U.S. Copyright Law 106A. the "Rights of certain authors to
attribution and integrity - shall not apply to any reproduction."</span></span><span style="font-size: small;"><span style="font-size: x-small;"><span style="color: blue;">[FN 16]</span></span></span><br />
<br />
<span style="font-size: large;"><span style="font-size: small;">Ignoring for the moment, Rembrandt's etching plates have been reworked and altered for centuries, </span></span><span style="font-size: large;"><span style="font-size: small;">ignoring for the moment that </span></span><span style="font-size: large;"><span style="font-size: small;">under U.S. Copyright Law, much less ordinary sense, </span></span><span style="font-size: large;"><span style="font-size: small;">you can't make an original work of visual art ie., etching attributable to a dead artist, much less a dead Rembrandt, and </span></span><span style="font-size: large;"><span style="font-size: small;">ignoring for the moment that </span></span><span style="font-size: large;"><span style="font-size: small;">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. </span></span></div>
<div style="text-align: justify;">
<span style="font-size: large;"><span style="font-size: small;"><br /></span></span></div>
<div style="text-align: justify;">
<span style="font-size: large;"><span style="font-size: small;">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?</span></span></div>
<div style="text-align: justify;">
<span style="font-size: large;"><span style="font-size: small;"><br /></span></span></div>
<div style="text-align: justify;">
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: center;">
<a href="http://3.bp.blogspot.com/-X1GGM5Y2ueU/T9QjCmlpvpI/AAAAAAAACjo/Tm0aGbjlhXI/s1600/Rembrandt.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="http://3.bp.blogspot.com/-X1GGM5Y2ueU/T9QjCmlpvpI/AAAAAAAACjo/Tm0aGbjlhXI/s400/Rembrandt.jpg" width="312" /></a></div>
<div style="text-align: justify;">
<span style="font-size: x-small;">"<i>Self Portrait in Velvet Cap with Plume</i>,
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]<br />
</span><span style="font-size: large;"><span style="font-size: small;"><b>1 OF 4 POSSIBLE LIFETIME ETCHINGS</b></span></span></div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
<span style="font-size: small;"><br /></span></div>
<div style="text-align: justify;">
<span style="font-size: large;"><span style="font-size: x-large;"><b>3.</b></span> <b><span style="font-size: small;">REMBRANDT CREATED ETCHINGS</span></b></span></div>
<div style="text-align: justify;">
<span style="font-size: large;"><span style="font-size: small;">I</span></span><span style="font-size: large;"><span style="font-size: small;">n the Arlington Museum of Art's June 9th through August 12th, 2012 <b>Rembrandt: An Evolution of Etchings </b>exhibition,</span></span><span style="font-size: large;"><span style="font-size: small;"> 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], </span></span><span style="font-size: large;"><span style="font-size: small;">the museum seems </span></span><span style="font-size: large;"><span style="font-size: small;">to have at least four possible lifetime etchings created and printed by Rembrandt.</span></span><br />
<br />
<span style="font-size: large;"><span style="font-size: small;">If these are actually authentic etchings by Rembrandt, how did he create them? </span></span><br />
<span style="font-size: large;"><span style="font-size: small;"><br />
</span></span></div>
<div style="color: black; text-align: justify;">
<span style="font-size: large;"><span style="font-size: small;">ARTIST USES ETCHING NEEDLE TO DRAW </span></span></div>
<div style="text-align: justify;">
<span style="font-size: large;"><span style="font-size: small;"><span style="color: black;">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. </span><span style="color: #660000;"><span style="color: black;">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.</span><span style="font-size: x-small;"><span style="color: blue;">[FN 17]</span></span></span></span></span></div>
<div style="text-align: justify;">
<span style="font-size: large;"><span style="font-size: small;"><span style="color: black;">ARTIST COVERS THE PLATE WITH PRINTING INK</span><br style="color: black;" /><span style="color: black;">"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.</span><span style="color: #660000;"><span style="color: black;">
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</span>.</span></span></span><span style="font-size: large;"><span style="font-size: small;"><span style="color: #660000;"><span style="font-size: x-small;"><span style="color: blue;">[FN 18]</span></span></span></span></span><span style="font-size: large;"><span style="font-size: small;"><br style="color: #660000;" /><br style="color: #660000;" /><span style="color: black;">REMBRANDT ALTERED PLATES BY SCRATCHING DIRECTLY </span></span></span></div>
<div style="text-align: justify;">
<span style="color: black; font-size: large;"><span style="font-size: small;">"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."</span></span><span style="font-size: large;"><span style="font-size: small;"><span style="color: #660000;"><span style="font-size: x-small;"><span style="color: blue;">[FN 19]</span></span></span></span></span></div>
<div style="color: black; text-align: center;">
<span style="font-size: large;"><span style="font-size: small;">[Subtitles mine] </span></span></div>
<div style="text-align: justify;">
<br />
<br />
<span style="font-size: large;"><b><span style="font-size: x-large;">4.</span></b> <span style="font-size: small;"><b>WHAT IS AND IS NOT AN ETCHING</b></span></span></div>
<div style="text-align: justify;">
<span style="font-size: large;"><span style="font-size: small;">"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. </span></span></div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
<span style="font-size: large;"><span style="font-size: small;">ARTIST PARTICIPATION REQUIRED </span></span></div>
<div style="text-align: justify;">
<span style="font-size: small;"><span class="bodyText">That is confirmed in <span style="font-style: italic;">The Fifth Edition of the Artist`s Handbook of Materials and Techniques</span>
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."<span style="font-size: x-small;"><span style="color: blue;">[FN 20]</span></span></span></span></div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
<span style="font-size: small;"><span class="bodyText">The dead don't participate. <br />
</span></span></div>
<div style="text-align: justify;">
<br />
<span style="font-size: small;">MADE AND APPROVED BY ARTIST </span></div>
<div style="text-align: justify;">
<span style="font-size: small;">That is additionally confirmed by <span style="font-style: italic;">A GUIDE TO THE COLLECTING AND CARE OF ORIGINAL PRINTS</span>
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:
<b>a.</b>
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>b.</b> The print is made from the said material, by the artist or pursuant to his directions. <b>c.</b> The finished print is approved by the artist."<span style="font-size: x-small;"><span style="color: blue;">[FN 21]</span></span></span></div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
<span style="font-size: small;">The dead don't approve. <br />
</span></div>
<div style="text-align: justify;">
<br />
<span style="font-size: small;">WHOLLY EXECUTED BY HAND BY THE ARTIST </span></div>
<div style="text-align: justify;">
<span style="font-size: small;">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: <span style="font-style: italic;">"</span>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."<span style="font-size: x-small;"><span style="color: blue;">[FN 22]</span></span></span></div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
<span style="font-size: small;">The dead don't execute. </span><br />
<span style="font-size: small;"><br />
</span></div>
</div>
<div style="text-align: justify;">
</div>
</div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
<span style="font-size: large;"><span style="font-size: small;"><span style="font-size: large;"><b><span style="font-size: x-large;">5.</span></b> <span style="font-size: small;"><b>ARLINGTON MUSEUM OF ART'S AVARICE</b></span> </span><br />
</span></span></div>
<div style="text-align: justify;">
<span style="font-size: large;"><span style="font-size: small;">The Arlington Museum of Art's "Fact Sheet," distributed to the news media for their June 9th through
August 12th, 2012 <b>Rembrandt: An Evolution of Etchings </b>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."<span style="color: blue; font-size: x-small;">[FN 23]</span></span></span></div>
<div style="text-align: justify;">
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
<span style="font-size: small;"><span class="Apple-style-span">On page 1303 of the <i>Seventh Edition of Black’s Law Dictionary</i>,
-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."</span></span><span style="font-size: large;"><span style="font-size: small;"><span style="color: blue; font-size: x-small;">[FN 24]</span></span></span><span style="font-size: small;"><span class="Apple-style-span"> <br />
</span></span><span style="font-size: small;"> </span></div>
<div style="text-align: justify;">
<span style="font-size: small;">In the</span><span style="font-size: large;"><span style="font-size: small;"> June 9th through
August 12th, 2012 <b>Rembrandt: An Evolution of Etchings </b>exhibition, </span></span><span style="font-size: small;">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." </span></div>
<div style="text-align: justify;">
<span style="font-size: small;"><span class="Apple-style-span">On page 476 of the <i>Seventh Edition of Black’s Law Dictionary,</i> -disclosure- is defined as: “The act or process of making known something that was previously unknown.”</span></span><span style="font-size: large;"><span style="font-size: small;"><span style="color: blue; font-size: x-small;">[FN 25]</span></span></span>
</div>
<div style="text-align: justify;">
<span style="font-size: small;"><br />
</span></div>
</div>
<div style="text-align: justify;">
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"<span style="font-size: large;"><span style="font-size: small;"><span style="color: blue; font-size: x-small;">[FN 26]</span></span></span>]<span style="font-size: small;"> </span>as an exhibition that
"showcases some of the most celebrated etchings," should it be just be considered as just a lack of connoisseurship?</div>
<div style="text-align: justify;">
<div style="text-align: justify;">
CONNOISSEURSHIP </div>
<div style="text-align: justify;">
<span style="color: black;">In Paul Duro and Michael
Greenhalgh’s published <i>Essential Art History,</i> -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.”<span style="color: blue; font-size: x-small;">[FN 27]</span></span></div>
</div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
<span style="font-size: small;"><span class="Apple-style-span"><span style="font-size: large;"><b><span style="font-size: x-large;">6.</span> <span style="font-size: small;">TRUTH, RESOURCE ALLOCATION AND FRAUD </span></b></span><br />On page 816-817 of Kluwer Law International’s published 1998 <i>Law, Ethics and the Visual Arts, Third Edition </i>by John Henry Merryman and Albert E. Elsen wrote about “Counterfeit Art.”</span></span><span style="font-size: large;"><span style="font-size: small;"><span style="color: blue; font-size: x-small;">[FN 28]</span></span></span><span style="font-size: small;"><span class="Apple-style-span"> <br /> </span><br /><span class="Apple-style-span">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.”</span></span><span style="font-size: large;"><span style="font-size: small;"><span style="color: blue; font-size: x-small;">[FN 29]</span></span></span><span style="font-size: small;"><br /><span class="Apple-style-span"><b> </b> <br />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.”</span></span><span style="font-size: large;"><span style="font-size: small;"><span style="color: blue; font-size: x-small;">[FN 30]</span></span></span>
<span class="Apple-style-span" style="font-size: x-small;"><span style="font-size: small;"><b> </b></span></span><br />
<span class="Apple-style-span" style="font-size: x-small;"><span style="font-size: small;"><b> </b><br />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.” </span></span><span style="font-size: large;"><span style="font-size: small;"><span style="color: blue; font-size: x-small;">[FN 31]</span></span></span><br />
<br /></div>
<div style="text-align: justify;">
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="http://1.bp.blogspot.com/-VvdolskyyPo/T9VfAdv6S3I/AAAAAAAACkE/qzyYD1rB1TQ/s1600/rembrandtSLIDE.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="186" src="http://1.bp.blogspot.com/-VvdolskyyPo/T9VfAdv6S3I/AAAAAAAACkE/qzyYD1rB1TQ/s400/rembrandtSLIDE.png" width="400" /></a></div>
<span style="font-size: x-small;">SOURCE: http://arlingtonmuseum.org/exhibitions/rembrandt-an-evolution-of-etchings/</span><br />
<br />
<br />
<span style="font-size: small;"><span class="Apple-style-span"><span style="font-size: large;"><b><span style="font-size: x-large;">7.</span> <span style="font-size: small;">PROFESSIONAL PRACTICES IN MUSEUMS</span></b></span></span></span><br />
<div>
<span style="font-size: small;"><span class="Apple-style-span">On page 31 in the Association of Art Museum's published 2001 <i>Professional Practices in Art Museum</i> manual, </span><span class="Apple-style-span">
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.”</span></span><span style="font-size: large;"><span style="font-size: small;"><span style="color: blue; font-size: x-small;">[FN 32]</span></span></span></div>
<div>
<span style="font-size: small;"><br /></span></div>
<div>
<span style="font-size: small;"><span class="Apple-style-span">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."</span></span><span style="font-size: large;"><span style="font-size: small;"><span style="color: blue; font-size: x-small;">[FN 33]</span></span></span></div>
<div>
<br /></div>
<div>
<span style="font-size: small;">Despite the Arlington Museum of Art's own "Rembrandt
Packing List" disclosing 36 of the 43 so-called "etchings by
Rembrandt," in the </span><span style="font-size: large;"><span style="font-size: small;"><b>Rembrandt: An Evolution of Etchings </b>exhibition, </span></span><span style="font-size: small;">have posthumous dates ranging from late 17-century to late
20th-century, post-dating Rembrandt's death in 1669, </span><span style="font-size: small;">the
Arlington Museum of Art's published May 24, 2012 "Arlington Museum of
Art hosts Rembrandt etchings " press release quotes the </span><span style="font-size: small;">AMA Executive Director Chris Hightower stating; </span><span style="font-size: small;">“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."</span><span style="font-size: large;"><span style="font-size: small;"><span style="color: blue; font-size: x-small;">[FN 34]</span></span></span></div>
<div>
<br /></div>
<div>
<span style="font-size: small;">The dead don't etch, much less achieve dramatic detail. </span></div>
<div>
<span style="font-size: small;"><br /></span></div>
<div>
<span style="font-size: small;">Yet, in</span><span style="font-size: small;"> the Fort Worth Star-Telegram's published June 4, 2012 "For art museum, two key men" article by Faye Reeder, </span><span style="font-size: small;">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?"</span><span style="font-size: large;"><span style="font-size: small;"><span style="color: blue; font-size: x-small;">[FN 35]</span></span></span><br />
<span style="font-size: large;"><span style="font-size: small;"><span style="color: blue; font-size: x-small;"> </span></span></span><span style="font-size: small;"> </span></div>
<div>
<span style="font-size: small;"><br /></span></div>
</div>
<div style="text-align: justify;">
<span style="color: black; font-size: small; font-weight: bold;">CONCLUSION</span><span style="color: black;"><br />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</span> in their <span style="font-size: large;"><span style="font-size: small;">June 9th through August 12th, 2012 <b>Rembrandt: An Evolution of Etchings </b>exhibition</span></span>,<span style="color: black;">
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.</span></div>
<div style="text-align: justify;">
<span style="color: black;"><br />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.</span></div>
<div style="text-align: justify;">
<br /></div>
<div style="color: black; text-align: justify;">
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.</div>
<div style="text-align: justify;">
<br />
Caveat Emptor!<br />
<br />
<br />
<br />
<b>PRINCIPALS:</b><br />
Chris Hightower<br />
Arlington Museum of Art<br />
201 West Main Street<br />
Arlington, Texas 76010<br />
817.275.4600<br />
director@arlingtonmuseum.org<br />
<br />
Emile Mathis<br />
curator<br />
<br />
<br />
<b>FORMER VENUES:</b><br />
Dane Pollei<br />
Director and Chief Curator<br />
Mabee-Gerrer Museum of Art<br />
1900 West MacArthur Drive, Shawnee, OK 74804<br />
405-878-5622 <br />
dfpollei@mgmoa.org<br />
<b>Rembrandt Etchings: States, Fakes, and Restrikes</b><br />
May 6 - June 26, 2011<br />
"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."<br />
Excerpt from: www.mgmoa.org/exhibitions/rembrandt-etchings/<br />
<br />
Dan Joyce<br />
Director<br />
Kenosha Public Museum<br />
5500 First Ave.<br />
Kenosha, WI 53140<br />
262-653-4427<br />
djoyce@kenosha.org<br />
<b>Rembrandt Etchings: States, Fakes, and Restrikes</b><br />
December 4, 2010 - February 27, 2011<br />
"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."<br />
Excerpt from: http://www.absolutearts.com/artsnews/2011/02/08/artspublish/2348910385.html<br />
<br />
<br />
<br /></div>
<div style="text-align: justify;">
<span style="font-size: large;"><span style="font-size: small;"><b>FOOTNOTES:</b><br /><span style="font-size: x-small;">1. excerpt from the Arlington Museum of Art’s “Fact Sheet” for their June 9th through August 12th, 2012 <b>Rembrandt: An Evolution of Etchings </b>exhibition<br /><br />2. Copyright © 1999, By West Group, ISBN 0-314-22864-0<br /><br />3. Ibid<br /><br />4. Ibid</span></span></span><br />
<span style="font-size: x-small;"><br /></span><br />
<div style="text-align: left;">
<span style="font-size: x-small;">5. From: arlingtonmuseum@gmail.com on behalf of Arlington Museum of Art (ama@arlingtonmuseum.org)</span></div>
<span style="font-size: x-small;">Sent: Fri 6/08/12 3:41 PM<br />To: gary arseneau (gwarseneau@hotmail.com)<br /> Attachments: 1 attachment<br /> Rembrandt Packing List.xls (28.0 KB)</span><br />
<span style="font-size: x-small;"><br />6. http://www.rembrandthuis.nl/index.php?item=137&lang=en<br /><br />7. Ibid<br /><br />8. Ibid<br /><br />9 . Ibid<br /><br />10.
http://www.ebay.com/itm/REMBRANDT-VAN-RIJN-MILLENNIUM-IMPRESSIONS-8-ETCHINGS-GALLERY-FRAMED-W-CERT-RARE-/160802904804?pt=Art_Paintings&hash=item2570999ae4<br /><br />11. Ibid<br /><br />12. Ibid<br /><br />13. Ibid<br /><br />14. http://www.copyright.gov/title17/92chap1.html#101<br /><br />15. Ibid<br /><br />16 http://www.copyright.gov/title17/92chap1.html#106a <br /><br />17. http://www.rembrandthuis.nl/index.php?item=123&lang=en<br /><br />18. Ibid<br /><br />19. Ibid<br /><br />20. Copyright © 1991 by Bena Mayer, ISBN 0-06-461012-8 (pbk.)<br /><br />21.© 1965 by Print Council of America, Library of Congress, Catalog Card Number: 65-24325, Seventh Printing, March, 1971<br /><br />22. http://www.cbp.gov/xp/cgov/trade/legal/informed_compliance_pubs/<br /><br />23. Arlington Musem of Art’s May 17, 2012 Release<br /><br />24. Copyright © 1999, By West Group, ISBN 0-314-22864-0<br /><br />25. Ibid<br /><br />26. http://www.star-telegram.com/2012/06/04/4006912/for-art-museum-two-key-men.html<br />For art museum, two key men<br />Posted Monday, Jun. 04, 2012 Updated Monday, Jun. 04, 2012, By Faye Reeder, Special to the Citizen-Journal<br /><br />27. rubens.anu.edu.au/htdocs/teach/eah/ImageServe<br /><br />28. © Kluwer Law International 1998, ISBN: 90-411-0697-9 <br /><br />29. Ibid <br /><br />30. Ibid<br /><br />31. Ibid</span><br />
<span style="font-size: x-small;"><br /></span><br />
<span style="font-size: x-small;">32. Copyright 2001 by the Association of Art Museum Directors, ISBN: 1-880974-02-9 </span><br />
<span style="font-size: x-small;"><br /></span><br />
<span style="font-size: x-small;">33. Ibid</span><br />
<span style="font-size: x-small;"><br /></span><br />
<span style="font-size: x-small;">34. http://arlingtonnewsnetwork.com/showstory.cfm?ID=2269<br /> </span><br />
<span style="font-size: x-small;">35. http://www.star-telegram.com/2012/06/04/4006912/for-art-museum-two-key-men.html</span></div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
<b>ADDENDUM:</b></div>
<div style="text-align: justify;">
[Arlington Museum of Art's<b> Rembrandt: An Evolution of Etchings</b> exhibition checklist] </div>
<div style="text-align: justify;">
Title Given by Lender Print made </div>
<div style="text-align: justify;">
"Man in a High Cap" Restrike pulled in late 20th century </div>
<div style="text-align: justify;">
"Christ Disputing with the Doctors" - Small Plate Print pulled - unknown </div>
<div style="text-align: justify;">
"Beggar Leaning on a Stick" Print pulled in mid 18th century </div>
<div style="text-align: justify;">
"Beggar Man and Woman Conversing" Print pulled in mid 18th century </div>
<div style="text-align: justify;">
"Beggar Warming his Hands at a Chafing Dish" Print pulled in mid 18th century </div>
<div style="text-align: justify;">
"Rembrandt's Mother with Hand on her Chest" Restrike pulled in late 20th century </div>
<div style="text-align: justify;">
"Rembrandt with Curly Hair" Print pulled in late 19th century </div>
<div style="text-align: justify;">
"Old Man with Beard, Fur Cap and Velvet Cloak" Restrike pulled 1816 - modern edition </div>
<div style="text-align: justify;">
"Christ Raising Lazarus" Restrike pulled in late 20th century </div>
<div style="text-align: justify;">
"Joseph's Coat Brought Before Jacob" Restrike pulled 1816 - modern edition </div>
<div style="text-align: justify;">
"Descent from the Cross" - Large Plate Restrike pulled in late 20th century </div>
<div style="text-align: justify;">
"Joseph and Potiphar's Wife" Print pulled in artist's lifetime </div>
<div style="text-align: justify;">
"Rembrandt with Plumed Hat and Lowered Sabre" Print pulled in artist's lifetime </div>
<div style="text-align: justify;">
"Christ and the Woman of Samaria - Among Ruins" Restrike pulled in late 20th century </div>
<div style="text-align: justify;">
"Christ and the Woman of Samaria - Among Ruins" Print pulled in late 18th century </div>
<div style="text-align: justify;">
"Old Bearded Man in High Fur Cap" Restrike pulled in 19th century </div>
<div style="text-align: justify;">
"The Strolling Musicians" Restrike pulled in 18th century </div>
<div style="text-align: justify;">
"Old Women Sleeping" Print pulled in early 19th century </div>
<div style="text-align: justify;">
"Self Portrait in Velvet Cap with Plume" Print pulled in artist's lifetime </div>
<div style="text-align: justify;">
"Self Portrait in Velvet Cap with Plume" Restrike pulled in late 20th century </div>
<div style="text-align: justify;">
"Self Portrait in Velvet Cap with Plume" Print pulled in late 19th century </div>
<div style="text-align: justify;">
"Self Portrait in a Flat Cap and Embroidered Dress" Print possibly pulled in the artist's lifetime </div>
<div style="text-align: justify;">
"Self Portrait in a Flat Cap and Embroidered Dress" Print possibly pulled in early 19th century </div>
<div style="text-align: justify;">
"Peasant in a High Hat, Leaning on a Stick" Print pulled in early 19th century </div>
<div style="text-align: justify;">
"The Triumph of Mordecai" Restrike pulled in early 18th century </div>
<div style="text-align: justify;">
"Christ Crucified between the Two Thieves" - Oval </div>
<div style="text-align: justify;">
Plate Restrike pulled 1816 - modern edition </div>
<div style="text-align: justify;">
"The Schoolmaster" Restrike pulled in late 20th century </div>
<div style="text-align: justify;">
"The Card Player" Restrike pulled in late 20th century </div>
<div style="text-align: justify;">
"Landscape with a Windmill" Print pulled in late 17th century </div>
<div style="text-align: justify;">
"Saint Jerome in a Dark Study" Restrike pulled in the late 18th century </div>
<div style="text-align: justify;">
"Student at a Table by Candlelight" Print pulled in artist's lifetime </div>
<div style="text-align: justify;">
"Abraham Speaking with Isaac" Restrike pulled in the 18th century </div>
<div style="text-align: justify;">
"Rembrandt Drawing at the Window" Restrike pulled in late 20th century </div>
<div style="text-align: justify;">
"Landscape with Cow Drinking" Restrike pulled in late 20th century </div>
<div style="text-align: justify;">
"Peasant Family on the Tramp" Restrike pulled in mid 18th century </div>
<div style="text-align: justify;">
"Peasant Family on the Tramp" Restrike pulled in early 19th century </div>
<div style="text-align: justify;">
"Peasant Family on the Tramp" Print pulled in early 19th century </div>
<div style="text-align: justify;">
"Christ Disputing with the Doctors" Print pulled ca. 1812 </div>
<div style="text-align: justify;">
"The Golf Player" Restrike pulled in late 20th century </div>
<div style="text-align: justify;">
"The Goldsmith" Print pulled possibly in artists lifetime </div>
<div style="text-align: justify;">
"The Agony in the Garden" Restrike pulled 1816 - modern edition </div>
<div style="text-align: justify;">
"Jan Antonedis Van Der Linden, Physician" Restrike pulled 1816 - modern edition </div>
</div>Gary Arseneauhttp://www.blogger.com/profile/10379667479866306615noreply@blogger.com