The Gentle Art of Faking: A history of the methods of producing imitations & spurious works of art from the earliest times up to the present dayNobili, Riccardo
History
The Gentle Art of Faking: A history of the methods of producing imitations & spurious works of art from the earliest times up to the present day
Nobili, Riccardo
Art -- Forgeries; Collectors and collecting; Forgery of antiquities
The precious metals require no recipe for patinæ, as patinæ play
no part. This is especially so in the case of gold, but as naïve
collectors of all branches of art present the same idiosyncrasies,
it is evident that the general trend of trickery in the human comedy
is more or less identical, when allowance is made for the different
materials peculiar to each particular art. Indeed the whole matter
might be reduced to a simple equation with no unknown quantity, namely
a fool on one side and on the other a fraud which works out to a
positive and disastrous result for the former.
In the case of silver, although there is not exactly a question of
patina properly so-called, there is certainly a question of colouring
or oxidizing, for old silver, as everyone knows, never keeps the
brightly shining appearance of a new piece. It rather improves with
time by the acquisition of a low, pleasing tonality which has a most
favourable effect, a sort of pleasing light and shade, which the flat
negative shininess of a new piece rarely possesses.
In England the conservatism of the upper classes has preserved some
really genuine silver articles with duly authenticated pedigree. In
France the spirit of the Revolution may be responsible to a certain
extent for the scarcity of rich pieces of artistic silver, only long
before the _ruit hora_ of the Revolution various circumstances had
rendered the life of artistic silver precarious, risks to which all
artistic objects in precious metals are liable. Many fine pieces of
silver, in fact, were coined into money during Louis XIV’s time, when
the State became a financial wreck under the glorious reign of the
_Roi Soleil_. Changing fashion and taste also, combined with the fact
that the silver was for use and not collections, contributed to the
destruction of old types of silver-plate to make way for new ones more
in keeping with the new forms dictated by fashion or altered taste.
To the combined effect of financial distress and changing taste Italy
also owes the destruction of old silver that would otherwise have come
down to us intact, just as nowadays plated silver is likely to pass
undisturbed from one generation to another.
Public-domain text, read in full here on John Shaqi.
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