The Forger's Spell - Edward Dolnick [169]
in The Hague, 5, 15, 44, 179
Hitler and, 268, 274, 321n
home at 321 Keizersgracht, Amsterdam, 3–4, 32, 263, 295n
investigation of forgeries by, 276–79, 279, 314–15n
lies and tall tales, 37
life style, 3–4, 8, 216–17, 263, 267, 295n, 315n
marriage to Jo de Boer, 44, 45
Nazi friends and collaboration, 267–68, 296n, 320n
Nice residence, 5, 277–78
note on revenge, 15
notoriety of, 15–16
occupied Holland as setting for scams, 26, 42–43
personality and temperament, 15, 38, 68
Piller and, 4, 265–73
public opinion of, 288–89
in Roquebrune, France, 5, 46, 139, 167, 186
sentence imposed on, 288
trial, 161, 162, 280–87, 321n
Forgery Career and Paintings by booklet on oils used by, 37, 46
Boon as middleman for, 179–85, 186–89, 193, 198–200, 283, 312n
Boymans show anecdote, 208–9
Bredius as dupe for, 139–44, 149, 179, 181–85, 186–91, 192–97, 198–200, 201, 203–5, 209, 215, 221, 226, 240, 244, 289
Christ at Emmaus, 14, 84, 150, 153, 156, 163–66, 167–69, 170–72, 173–78, 179–85, 181n, 186–210, 213–14, 218, 220–22, 231–32, 238, 239, 239n, 240, 242, 267, 267, 268, 271, 272, 275, 277, 281, 283–84, 285, 286, 290, 292, 317n
Christ with the Woman Taken in Adultery, 7, 8, 21, 84–85, 214, 209, 250, 260–61, 262, 263–64, 268, 269, 275, 278, 281, 286, 289, 303n, 320n
De Hooch forgeries, 215, 263, 268, 276, 281, 283, 290
fate of paintings, after discovery, 16–17
first and unsold forgeries, 15, 132–33, 277
forgery techniques, 33–39, 45–47, 46n, 74, 111, 117, 167–69, 205
Hals forged by, 45, 111, 115, 132, 137, 138, 264, 277, 306n
Head of Christ, 214, 283–84, 286, 321n
Isaac Blessing Jacob, 161, 214, 217, 281, 284
Jesus Teaching in the Temple (new painting created as proof of forgery skill), 161, 272–75, 282–83
Lady and Gentleman at the Harpsichord, 139–44, 149, 150, 179, 184, 186, 187, 190, 309n
Last Supper, 214, 216, 281, 284, 286, 290, 321n
partners in forgery scams, 44–45, 111, 115, 138, 263–64
quality of forgeries by, 16–17, 117, 206, 206n
savvy of marketing, 16, 21, 66
show of forgeries by, 133, 138
skill of, 109, 134, 161, 206, 218–19, 224, 229, 238, 270–71, 296n, 314–15n, 317n
strategy of, 136, 137–38, 151, 164–66, 194–95, 215–16
timing forgeries and conditions in
Holland, 218–22
use of Bakelite, 38–39, 45–47, 74, 167, 173, 173n, 176, 177, 214, 270, 277
Vermeer as choice of, 25, 93, 101, 137–38, 150–53
Vermeer forgeries following success of
Christ at Emmaus, 214–17
Vermeers studied by, 65
The Washing of Christ’s Feet, 214, 217, 282, 284, 286
van Meegeren, Jo de Boer, 44, 45, 46n, 139, 140
van Mieris, Frans, 137
van Rijckevorsel, J. L., 218
van Wijnen, Harry, 295n, 317n
van Wijngaarden, Theo, 44–45, 108, 109–14, 115, 116–17, 138, 306n
Vasari, Giorgio, 24
Vasters, Reinhold, 222n
Velasquez, Diego de Silva y, 163, 241
Vermeer (Bailey), 303n
Vermeer, Johannes, 85–87
American collectors of, 89–92
art of desired by the Nazis, 7, 58–61, 85
Baburen’s Procuress and, 311n
biographical information, 95–97, 97n
birth, 95
Bredius and unknown paintings by discovered, 127–31, 139–44, 194
Caravaggio connection, 163–66, 167, 170, 195, 197, 310n
colors typical of, 34, 36, 82
current prices paid for, 88, 97n
dating of paintings, 94, 152, 194
death of, 47, 97, 204
in Delft, 4, 86, 94–95, 125, 303n, 304n
demand for works by, 105, 305n
document containing words of, 94
Goering’s desire for, 60–61, 82–84, 85
Hitler’s acquisition, 58–61
Holland of his time, 86–87
life of, gaps in, 93–94 “missing link” in development of, 153
mistakes and clumsy execution in paintings of, 234–36, 235, 236, 238, 317n models for, 64n
naming of his paintings, 33n
“newfound” and not authentic, 105–8, 305n
number of known paintings by, 7, 97, 98, 106
obscurity of, 97–98
painters with similar names, 98
paintings by attributed to other artists, 98
paints and materials used by, 33, 36, 169n
popularity of, 85, 87, 88–92, 88n, 91, 105, 137, 305n
reused