I feel terribly duped. To supplement my online research I bought some books and DVDs on the internet about Elmyr de Hory. The book Enigma! by Ken Talbot turns out to be a reprint of Clifford Irvings 1969 biography Fake! with an introduction by Talbot only. No where on the sales information was it mentioned the work was a re-print, even the title was deceptive. The same happened with the DVD’s – the movie F for Fake by Orson Welles was said to be accompanied by a documentary about Elmyr titled Almost True: The Noble Art of Forgery. As part of my online searching I found another documentary also about Elmyr titled Masterpiece or Forgery? The Story of Elmyr de Hory. Turns out both documentaries are in fact one and the same – just titled differently. Duped again and $100 out of pocket. Perhaps I got a taste of what a disgruntled collector might feel like on discovering his Vlaminck was really by Elmyr.
In truth when it comes to researching fakes and forgery online there is no shortage of duplicity. Much of the information specifically about Elmyr to be found on websites is a virtual regurgitation of either Clifford Irving, F for Fake or the documentary. Often they do not cite their sources. Unless you had come across the original materials yourself, you really wouldn’t know where they were getting their information from. And that original material itself – with the exception of the documentary – must be considered with a degree of scepticism. After publishing Fake! Irving himself concocted an elaborate hoax when he wrote the fake biography of Howard Hughes. Welles too is not above the acts of a trickster and was behind a radio broadcast which announced to American listeners that Martians were invading earth. His movie is a bizarre mix of fact and fiction, so well mixed in fact that it is difficult if not impossible to tease them apart.
Photograph of the Elusive Elmyr (Time Magazine)
The issue of originality and authenticity which underpins many discussions of fake art works is equally – and ironically - an issue with online source material. Plagiarism is rife online. Alternatively where material does appear to be original or different, it is often unsourced. It is difficult to verify facts and know for sure the information presented is in fact authentic. On a general level, searches on the internet can turn up in the tens, if not hundreds of thousands of results. Of these very few are in fact worthwhile sources or leads. Refining searches still leaves thousands of links, many of which prove to be red herrings. Much of this relates to the fact that the internet is a sales engine and many links are to portals where products or information must be purchased.
The best information by far is to be found in online articles. These are listed under Links to Articles in my blog Bonanza or Bust. Many of these are of a scholarly nature. Although they focus more generally on forgery and fakes in art and often do not contain specific references to the case of Emlyr de Hory, they are valuable and thought provoking discussions. Well sourced and usually complete with a bibliography, they also provide leads for other useful sources of information. These however tend to reside in your local library.
Online articles are often of a philosophical or legal nature. Few if any are written by the so-called art experts or connoisseurs. Talked about at length but notably absent in online forums, the voice of the expert remains a silent mystery in relation to fakes and forgeries. Nor is there any online source which details the exact role and nature of expertise embodied by an art expert or what they do to identify a fake. In contrast, information on the scientific detection of fakes and forgeries is readily available in abundance.
Although Museum sites at times contain information about fakes or forgeries, this is summary in nature and usually confined to a short description of the fake object in their collection. Interestingly however, there are a number of museums who have held exhibitions on fakes over the years. For example British Museum held the exhibition Fake! in 1990. Disappointingly, a search on their website turns up no reference to the exhibition or associated catalogue. The Bruce Museum however has an exhibition, Fakes and Forgeries: The Art of Deception showing May 12 - September 9 2007 - a review of which is available online by Maureen Mullarkey. The collection at the Otsuka Museum in Japan goes a step further and is entirely made up of reproductions of famous works of art (but rendered in ceramic which supposedly makes them more durable and more valuable according to the museum director). Their site is more accessible and has an online tour.
Although dealers do foster an online presence and provide some helpful and practical information targeted at prospective collectors, they along with the auction houses and online art sales engines keep a tight lid on price data. Everything in the art world it seems has a price and many of these sites must be subscribed to before being able to access this type of information. This rule applies in a more general sense too with searches on topical issues generating a huge number of results, most of which turn out to be links to sales engines for online journals, articles or books. The library it seems is still a more complete – not to mention cheaper – source for information. At least you don’t risk getting duped!