Copies, Fakes and Reproductions: A closer look at works in the Wallace Collection
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- Опубліковано 18 жов 2024
- It is well known that the Wallace Collection houses an internationally renowned collection of French eighteenth-century furniture, but it is perhaps not so well understood that several of these pieces are not quite what they seem to be. Fashions and tastes change all the time and in this fascinating insight, Dr Helen Jacobsen looks at how collectors and dealers - and even cabinetmakers themselves - have viewed copies and reproductions over the years, perhaps even causing us to reassess our attitudes to the concept of ‘fake’.
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Engrossing and interesting to say the least! I particularly like Dr. Jacobsen's voice and explanations ..... very well done! Many thanks for the post during these otherwise dull times!
Exactly! and Dr. Helen's elocution is as classic as the pieces.
Thank you for explanation of changes attitudes of attribution...
hence important to retain the archive department...not to be handled by curatorial staff.
Outstanding presentation - please do make more of these
This video is an excellent presentation that is well organized and perfectly illustrated. The concepts presented have broad implications for museums and collectors in all fields. The ideas herein resonate with the study and collecting of provincial, inland Georgia vernacular furniture.
I hope Dr. Jacobsen will record more videos.
An absolutely fascinating talk. Thank you.
wonderful women! Not only huge knowledge but also skills to lecture and diffuse information is pleasurable way!
Really enjoyed this you should do more!
Excellent material and presentation! I will not look at 19th century French pieces with more respect.
More! Excellent > Thanks.
Thankyou i love this and also own boulle copies
Rishard Wallace was hoodwinked more than once .
The pointy little cursor showing itself in exactly the same spot throughout the presentation is distracting in the extreme. In a visual program wherein intricate elements of pieces are displayed for comparison by the viewer, allowing this interloper to remain amongst gilt finials and marquetry brambles as though yet another detail in the various designs upon these majestic pieces is inexcusable. I found myself, after pausing the video recording, resorting to adhering a piece of masking tape, cut to the exact dimensions of the devilish diminutive diagonal directional which, though quite time-consuming and not solving the problem to my satisfaction in the least, at least (pardon my redundance) toned down the distracting whiteness enough that I was able to continue the program to its conclusion. I now must focus my time and attention toward the task of removing the tiny, no longer relevant piece of arrow-shaped tape from this screen. At least I have my silence. Oh, and there's a small lady in the upper-right-hand-corner of the screen who seems to be trying to get my attention about God-only-knows-what; excuse me for a moment . . .