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In the same way that Van Meegeren created a Vermeer or Maillefer a piece of furniture.
It is no longer a question of copying the original these men would be classed more in thecategory of creative artists than in that of the common forger who limits himself toordinary plagiarism.
Thesculpture continued to remain in the place of honor, which it was occupying.
The curatorsimply replaced the name of Donatello with that of Doccena, because in his judgment itwas a case of an authentic masterpiece of sculpture worthy of remaining on public view.
This extraordinary increase in the caste of African art objects has encouraged hunters ingreat numbers, Africans as well as Europeans, who no longer hesitate to undertakeexpeditions demanding a great deal of time and enormous investments in order to bring tothe market pieces for which collectors and museums will eagerly vie against each other.
Accordingly, there has developed a parallel activity, the manufacture and sale of copiesand fakes.
Contemporary works must come from the and of the artist to which they are attributedand of course must date from his lifetime.The cost of art objects in general and those of Black art in particular, already badlyestablished before the war has increased during the last thirty years at a dizzying rate.Following the law of supply and demand, quality pieces have reached prices today, whichwere unimaginable only a few years ago.Inthe face of general skepticism among the experts, he painted a Vermeer in his cell.Maillefer, after having sold his 18th century French furniture to museums and collectorsthe world over, felt the need to write a book explaining in detail his techniques ofcraftsmanship.