Clementine Wim spots a famous painting being carried away from the Capitol City Art Museum. But when she arrives at the museum, the painting is hanging right where it should be. It's up to Clementine to convince the others and determine fact from forgery before it's too late.

When Clementine Wim spots a famous painting being carried away from the Capitol City Art Museum, she knows something is wrong. But when she arrives at the museum, the painting is hanging right where it should be. No one believes what Clementine saw:ænot even her mother, an assistant curator at the museum, or her friends. It's up to Clementine to convince the others and determine fact from forgery before it's too late.

Clementine Wim spots a famous painting being carried away from the Capitol City Art Museum. But when she arrives at the museum, the painting is hanging right where it should be. It's up to Clementine to convince the others and determine fact from forgery before it's too late.

Armed with only one clue, can a young girl beat a master criminal to a priceless painting? Morgan Draca loves the world's uniqueness beyond her village. When her mother is sent on business to Pittsburgh, the inquisitive twelve-year-old is excited to travel too. But after she overhears a thief's nefarious plot to steal a famous painting, Morgan realizes she alone can protect the coveted masterpiece. Unable to locate the painting in the obvious places, Morgan's mother insists she leave the sleuthing to the authorities. With no clues to find the thief and every museum a potential target, the tween turned amateur detective sifts through the city's storied institutions and culture for clues in a race against time. Will a stroke of genius allow her to save the Pittsburgh art scene? The Case of the Counterfeit Painting is the intriguing prequel to The Morgan Draca Mysteries middle grade series. If you like determined heroines, rich cultures, and perplexing problems then you'll find Angela D. Moss's page-turning story hard to put down. Buy The Case of the Counterfeit Painting to save the art world today! Rated Five Stars by Readers' Favorite Originally published with ISBN 978-1737993506 as trim size 6x9. This is the same story as the previous hardcover.

When the Wollstonecraft Detective Agency is approached by famous fossil hunter Mary Anning, the team know that this could be their most important case yet. Mary Anning's precious dog has been snatched - to get her back, the kidnappers demand she lie about fake dinosaur bones, and pretend they are genuine. Now the Wollstonecraft detectives have just three days to track down the fossil fakers, and save the integrity of science! The game is afoot- blood-sucking leeches, smoke bombs and diabolical disguises abound. And behind the lies and fakery, a genuine criminal may finally be revealed . . .

While searching for her friends at the Dino Festival, Clementine Wim runs into two people carrying what she thinks is the Tiled Lunch Counter (a famous painting) away from the Capitol City Art Museum, but when she checks the painting is still hanging in place--and before she can track down the thieves, and prove that the painting now in the museum is a forgery, she has to convince her friends that she was not imagining things.

The Art of Forgery: Case Studies in Deception explores the stories, dramas and human intrigues surrounding the world’s most famous forgeries – investigating the motivations of the artists and criminals who have faked great works of art, and in doing so conned the public and the art establishment alike.

“Written in prose so clear that we absorb its images as if by mind meld, “The Last Painting” is gorgeous storytelling: wry, playful, and utterly alive, with an almost tactile awareness of the emotional contours of the human heart. Vividly detailed, acutely sensitive to stratifications of gender and class, it’s fiction that keeps you up at night — first because you’re barreling through the book, then because you’ve slowed your pace to a crawl, savoring the suspense.” —Boston Globe A New York Times Bestseller A New York Times Book Review Editor's Choice A RARE SEVENTEENTH-CENTURY PAINTING LINKS THREE LIVES, ON THREE CONTINENTS, OVER THREE CENTURIES IN THE LAST PAINTING OF SARA DE VOS, AN EXHILARATING NEW NOVEL FROM DOMINIC SMITH. Amsterdam, 1631: Sara de Vos becomes the first woman to be admitted as a master painter to the city’s Guild of St. Luke. Though women do not paint landscapes (they are generally restricted to indoor subjects), a wintry outdoor scene haunts Sara: She cannot shake the image of a young girl from a nearby village, standing alone beside a silver birch at dusk, staring out at a group of skaters on the frozen river below. Defying the expectations of her time, she decides to paint it. New York City, 1957: The only known surviving work of Sara de Vos, At the Edge of a Wood, hangs in the bedroom of a wealthy Manhattan lawyer, Marty de Groot, a descendant of the original owner. It is a beautiful but comfortless landscape. The lawyer’s marriage is prominent but comfortless, too. When a struggling art history grad student, Ellie Shipley, agrees to forge the painting for a dubious art dealer, she finds herself entangled with its owner in ways no one could predict. Sydney, 2000: Now a celebrated art historian and curator, Ellie Shipley is mounting an exhibition in her field of specialization: female painters of the Dutch Golden Age. When it becomes apparent that both the original At the Edge of a Wood and her forgery are en route to her museum, the life she has carefully constructed threatens to unravel entirely and irrevocably.

According to Vasari, the young Michelangelo often borrowed drawings of past masters, which he copied, returning his imitations to the owners and keeping originals. Half a millennium later, Andy Warhol made a game of "forging" the Mona Lisa, questioning the entire concept of originality. Forged explores art forgery from ancient times to the present. In chapters combining lively biography with insightful art criticism, Jonathon Keats profiles individual art forgers and connects their stories to broader themes about the role of forgeries in society. From the Renaissance master Andrea del Sarto who faked a Raphael masterpiece at the request of his Medici patrons, to the Vermeer counterfeiter Han van Meegeren who duped the avaricious Hermann Göring, to the frustrated British artist Eric Hebborn, who began forging to expose the ignorance of experts, art forgers have challenged "legitimate" art in their own time, breaching accepted practices and upsetting the status quo. They have also provocatively confronted many of the present-day cultural anxieties that are major themes in the arts. Keats uncovers what forgeries—and our reactions to them—reveal about changing conceptions of creativity, identity, authorship, integrity, authenticity, success, and how we assign value to works of art. The book concludes by looking at how artists today have appropriated many aspects of forgery through such practices as street-art stenciling and share-and-share-alike licensing, and how these open-source "copyleft" strategies have the potential to make legitimate art meaningful again. Forgery has been much discussed—and decried—as a crime. Forged is the first book to assess great forgeries as high art in their own right.

A tautly paced investigation of one the 20th century's most audacious art frauds, which generated hundreds of forgeries-many of them still hanging in prominent museums and private collections today Provenance is the extraordinary narrative of one of the most far-reaching and elaborate deceptions in art history. Investigative reporters Laney Salisbury and Aly Sujo brilliantly recount the tale of a great con man and unforgettable villain, John Drewe, and his sometimes unwitting accomplices. Chief among those was the struggling artist John Myatt, a vulnerable single father who was manipulated by Drewe into becoming a prolific art forger. Once Myatt had painted the pieces, the real fraud began. Drewe managed to infiltrate the archives of the upper echelons of the British art world in order to fake the provenance of Myatt's forged pieces, hoping to irrevocably legitimize the fakes while effectively rewriting art history. The story stretches from London to Paris to New York, from tony Manhattan art galleries to the esteemed Giacometti and Dubuffet associations, to the archives at the Tate Gallery. This enormous swindle resulted in the introduction of at least two hundred forged paintings, some of them breathtakingly good and most of them selling for hundreds of thousands of dollars. Many of these fakes are still out in the world, considered genuine and hung prominently in private houses, large galleries, and prestigious museums. And the sacred archives, undermined by John Drewe, remain tainted to this day. Provenance reads like a well-plotted thriller, filled with unforgettable characters and told at a breakneck pace. But this is most certainly not fiction; Provenance is the meticulously researched and captivating account of one of the greatest cons in the history of art forgery.