Fake Fraud Or Genuine

Prepares the average antiquer to be a detective at antiques shops and sales, offering simple, practical techniques for examining furniture to discern the fake, repaired, and genuine antique

Prepares the average antiquer to be a detective at antiques shops and sales, offering simple, practical techniques for examining furniture to discern the fake, repaired, and genuine antique.

'Lively, thought-provoking and consistently surprising. Lydia Pyne is the real deal.' Ed Yong, author of New York Times bestseller I Contain Multitudes Does an authentic Andy Warhol painting need to be painted by Andy Warhol? Why do audiences feel outraged when they find out that scenes from their beloved blockbuster documentaries are staged? Can people move past assuming that a diamond grown in a lab is a fake? What happens when a forged painting or manuscript becomes more valuable than its original? This is a book about genuine fakes – the curious and complex objects that provoke these very sorts of questions. Genuine fakes fall into the space between things that are real and things that are not; whether or not we think that those things are authentic is a matter of perspective. Unsurprisingly, the world is full of genuine fakes – full of things that defy simple categorisation. From stories of audacious forgeries to feats of technological innovation, historian Lydia Pyne explores how the authenticity of eight genuine fakes depends on their unique combinations of history, science and culture. The stories of art forgeries, fake fossils, nature documentaries, synthetic flavours, museum exhibits, Maya codices and Palaeolithic replicas show that genuine fakes are both complicated and change over time. Drawing from historical archives, interviews, museum exhibits and science fiction as well as her own research, Pyne brings each genuine fake to life through unexpected and often outrageous stories. Genuine Fakes will make readers think about all the unreal things they encounter in their daily lives, and why they invoke the reactions – surprise, wonder, understanding or annoyance – that they do.

The Canadian edition of The Little Black Book of Scams is a compact and easy to use reference guide filled with information Canadians can use to protect themselves against a variety of common scams. It debunks common myths about scams, provides contact information for reporting a scam to the correct authority, and offers a step-by-step guide for scam victims to reduce their losses and avoid becoming repeat victims. Consumers and businesses can consult The Little Black Book of Scams to avoid falling victim to social media and mobile phone scams, fake charities and lotteries, dating and romance scams, and many other schemes used to defraud Canadians of their money and personal information.

"A brilliant, twisty thriller--I loved it!" —KAREN M. MCMANUS, bestselling author of One of Us is Lying From the author of We Were Liars, which John Green called "utterly unforgettable," comes a mind-bending, New York Times bestselling thriller told in reverse. "Compulsively readable." —Entertainment Weekly "An addictive and shocking feminist thriller." —Lena Dunham Imogen lives at the Playa Grande Resort in Cabo San Lucas, Mexico. She spends her days working out in the hotel gym and telling other guests how she was forced out of Stanford. But Imogen isn't really Imogen. She's Jule. And she's on the run from something. Or someone. Which means . . . where is the real Imogen? Rewind: Jule and Imogen are the closest of friends. Obsessed with each other, even. Imogen is an orphan, an heiress; she and Jule spend a summer together in a house on Martha's Vineyard, sharing secrets they'd never reveal to another soul. But that was months ago. Where is Immie now? And why is Jule using her name? "You will devour it." —Gayle Forman, bestselling author of If I Stay “Fans of E. Lockhart’s We Were Liars will love this . . . and definitely won’t see the ending coming.” —HelloGiggles Online “Tangled secrets, diabolical lies and, ultimately, a mind-blowing outcome are crafted with the plotted precision we expect (and love!) from E. Lockhart.” —Justine Magazine “Moves at a breakneck speed.” —Marie Claire “As with E. Lockhart's previous novel, the best-selling "We Were Liars," [readers] will likely finish the last page and flip right back to the beginning to search for clues they missed.” —Chicago Tribune Don't miss, Family of Liars, the eagerly anticipated prequel to the New York Times Bestselling phenomenon, We Were Liars. Available in May 2022!

This book explores the processes and practices of the securitization and de-securitization of European infrastructures and how political institutions interact with security and insecurity. Expert contributors address distinct areas, from border politics and biosecurity to health governance and law and border control enforcement, to examine the various ways in which infrastructures are envisioned, designed, negotiated and built. They explore how ‘infrastructuring’ contributes to emergent forms of European identity, integration, and statehood. The book will appeal to scholars and students of Science and Technology Studies, Political Sociology, Critical Security Studies, International Relations, European Integration Studies, Infrastructure Studies, or Critical Border and Migration Studies. The Introduction and the Afterword of this book are freely available as a downloadable Open Access PDF at http://www.taylorfrancis.com under a Creative Commons Attribution-Non Commercial-No Derivatives (CC-BY-NC-ND) 4.0 license.

This book is for art market researchers at all levels. A brief overview of the global art market and its major stakeholders precedes an analysis of the various sales venues (auction, commercial gallery, etc.). Library research skills are reviewed, and advanced methods are explored in a chapter devoted to basic market research. Because the monetary value of artwork cannot be established without reference to the aesthetic qualities and art historical significance of our subject works, two substantial chapters detail the processes involved in researching and documenting the fine and decorative arts, respectively, and provide annotated bibliographies. Methods for assigning values for art objects are explored, and sources of price data, both in print and online, are identified and described in detail. In recent years, art historical scholarship increasingly has addressed issues related to the history of art and its markets: a chapter on resources for the historian of the art market offers a wide range of sources. Finally, provenance and art law are discussed, with particular reference to their relevance to dealers, collectors, artists and other art market stakeholders.