Staring at the known counterfeit work, comparing them with undoubted originals, often wonder: "How can pundits and experts can take
is for the original?". The most obvious example, in my opinion, meygerenovskie Vermeer.
However - I can only speak from personal experience - in fact, when you need to determine the authenticity of the artist's works - even that which you know very well (I'm not just talking about Roginsky
), the main question - not "like it on the N .? "and" Could N. done here is not quite like it? ", and I assure you categorically speak very, very difficult.
I read the above statements that the Van Gogh Museum (on Zverevo not speak, in my opinion, it is relatively easy to fabricate) to forge difficult, but it is known that there are many fake Van Gogh - I myself converted and to spread this material. It is impossible to suspect all experts in bad faith or blindness, despite the fact that anything can happen, as evidenced by the famous pre-war history of the canvas, which is one and the same expert, very authoritative, sometimes attributed to Giorgione, a Titian, so to speak, depending on the clients' wishes
Yes, there is the famous "trembling hands counterfeiter," but if it was present in all counterfeits, how the work of experts would have been easier!
Another question: how to be? Whether to declare the work of forgeries all, doubts that could lead to that the number of such "defective" work will get a certain number of originals, or confirm only work completely unconditional? For myself, I decided it: if there is no absolute certainty that it is a fake, I give them a certificate, but no satisfaction from this decision do not feel