The Forger's Spell - Edward Dolnick [158]
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———. “Some Recently Discovered Works by Frans Hals.” The Burlington Magazine 45, 1924.
Hoving, Thomas. False Impressions. New York: Simon and Schuster, 1996.
———. “The Game of Duplicity.” Bulletin of the Metropolitan Museum of Art. 26, 1967–68.
———. Making the Mummies Dance. New York: Simon and Schuster, 1993.
———. Master Pieces. New York: Norton, 2006.
Howard, Michael. Strategic Deception in the Second World War. New York: Norton, 1995.
Howe, Thomas Carr. Salt Mines and Castles: The Discovery and Restitution of Looted European Art. New York: Bobbs-Merrill, 1946.
Hughes, Robert. “Art and Money,” New Art Examiner, October 1984 and November 1984.
Huizinga, J. H., Dutch Civilization in the Seventeenth Century and Other Essays. New York: Harper, 1968.
Irving, Clifford. Fake! New York: McGraw-Hill, 1969.
———. The Hoax. Sagaponack, N.Y.: Permanent Press, 1981.
Irving, David. Göring. New York: Avon, 1989.
Johnson, Paul. Art: A New History. New York: HarperCollins, 2003.
Jones, Mark, ed. Fake? The Art of Deception. Berkeley: University of California Press, 1990.
Kershaw, Ian. Hitler, 1889–1936: Hubris. New York: Norton, 2000.
Kilbracken, Lord (John Godley). Van Meegeren: Master Forger. New York: Scribner’s, 1967.
Kirstein, Lincoln. Rhymes of a PFC. Boston: David Godine, 1981.
Koestler, Arthur. “The Anatomy of Snobbery.” Anchor Review 1 (1955).
Koningsberger, Hans. The World of Vermeer. New York: Time-Life, 1967.
Kraaijpoel, Diederik, and Harry van Wijnen. Han van Meegeren en Zijn Meesterwerk van Vermeer. Zwolle, Holland: Waanders, 1996. (Kraaijpoel wrote pp. 23–64, Van Wijnen pp. 65–89.)
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———. Han van Meegeren: Meestervervalser. Diemen, Holland: Veen, 2004.
Kurz, Otto. Fakes. New York: Dover, 1967.
Lamont, Peter. The Rise of the Indian Rope Trick: How a Spectacular Hoax Became History. New York: Thunder’s Mouth Press, 2004.
Landesman, Peter. “A 20th-Century Master Scam.” New York Times Magazine, July 18, 1999.
Lessing, Alfred. “What Is Wrong with a Forgery?” pp. 73–74. In Denis Dutton, ed., The Forger’s Art; Forgery and the Philosophy of Art. Berkeley: University of California Press, 1983.
Lochner, Louis, ed. The Goebbels Diaries. New York: Doubleday, 1948.
Lopez, Jonathan. “De Meestervervalser en de fascistische droom.” De Groene Amsterdammer, Sept. 29, 2006.
Maass, Walter B. The Netherlands at War: 1940–1945. London: Abelard, Schumann 1970.
Masterman, J. C. The Double-Cross System. New York: Lyons Press, 2000.
Maurer, David. The Big Con. New York: Anchor Books, 1940.
McPhee, John. A Roomful of Hovings. New York: Farrar, Straus and Giroux, 1966.
Moore, Bob. Victims and Survivors: The Nazi Persecution of the Jews in the Netherlands 1940–1945. New York: St. Martin’s, 1997.
Mosley, Leonard. The Reich Marshal. New York: Dell, 1974.
Nicholas, Lynn. The Rape of Europa. New York: Vintage, 1995.
Norman, Geraldine, and Frank Norman. The Fake’s Progress. London: Hutchinson, 1977.
Pam, Max. “De tragiek van het onfeilbare oog: Over Dirk Hannema.” In his De Armen van de inktvis (Amsterdam: Prometheus, 2005).
Petropoulos, Jonathan. Art as Politics in the Third Reich. Chapel Hill, N.C.: University of North Carolina Press, 1996.
Piattelli-Palmarini, Massimo. Inevitable Illusions. New York: Wiley, 1994.
Plietzsch, Eduard. Vermeer van Delft. Munich: Bruckmann, 1939.
Presser, Jacob. Ashes in the Wind: The Destruction of Dutch Jewry. Detroit, Mich.: Wayne State University Press, 1965.
Reed, Christopher. “Wrong!” Harvard Magazine, Sept.–Oct. 2004.
Rorimer, James. Survival: The Salvage and Protection of Art in War. New York: Abelard Press, 1950.
Rousseau, Theodore. “The Stylistic Detection of Forgeries.” Bulletin of the Metropolitan Museum of Art 26 (1967–68): 248.
Russell, John. “Revenge Keeps Its Colour.” Sunday Times [of London], Oct. 23, 1955.
Scallen, Catherine. Rembrandt, Reputation, and the Practice of Connoisseurship.