“There's a lot of risk involved in
passing off a fake or a forgery. If you're found out, your reputation can be
irreparably damaged, or you could face prison. But people engage in the
enterprise nonetheless, for artistic acceptance, ego gratification or for pure
profit.
The terms "fake" and
"forgery" are sometimes thought to mean the same thing, but there's a
difference. A fake is an existing object that's been tampered with to create
the illusion of greater value, and a forgery is an object fabricated in a
familiar style to give the illusion of authenticity. But if you've paid a lot
of money for something that's not what you thought it was, what's the
difference?
The expert is the one thing standing
between the fabricator and the victim. Experts will look at an intended
purchase and verify its authenticity, thereby preventing a buyer from being
fleeced.” (Taken from Treasure
Detectives CNBC, ‘Fakes and Forgeries That Fooled The Experts’.)
Fortunately, where it concerns art, there
are ways you can arm yourself so as to not be deceived:
Make sure you acquaint yourself with
the artist and their work,
study the signature and frame to see
if anything is off and,
not all colours were available in
the past so it’s also a good idea to take a colour chart with you and see if a
colour was used that was not possible during the era the painting was made.
Unfortunately, it is possible for
some fakes to elude detection and even experts can be fooled.
In ‘The Best Offer’ Virgil Oldman (Geoffrey Rush) is just such a man.
As the managing director of the famous Oldman’s
Auction House his opinion where it concerns matters of an artistic nature
is highly valued and frequently sought out, too.
Over a long and illustrious career,
he has managed to build his company into one of the best and most respected in
the auction business and subsequently himself as their finest auctioneer.
Possessing the vast amount of
knowledge about art as he does, Virgil knows how to discern between which works
are authentic and which ones are not. As a result, he doesn’t take on just any
piece to auction off and he definitely doesn’t entertain anybody who simply
claims to be somebody.
When a young heiress, Claire
Ibbetson (Sylvia Hoeks) contacts him to employ his services, he at first is
sceptical about her being a sound future prospect. She surely sounds a bit
aloof when speaking over the telephone and upon their first meeting she
actually fails to show up, thereby showing little to no respect for a person of
his renown.
But beneath all his grandeur of
professionalism, he has a sensitive side to him and when Claire phones again, desperately
trying to explain to his assistant that she was in an accident and left in a
pool of blood, he is moved and stubbornly agrees to take her call.
During their conversation, they
agree on a follow-up appointment and so the wheels are set in motion.
Claire, as it turns out, suffers
from a rare disease, or syndrome, if you want. One she’s had since being a young
girl. As a result, she spends most of her time locked in her room, hardly
engaging with the outside world at all. Obviously conducting the compilation of
an auction list without being privy to some face time with the owner presents
its own set of technicalities and so the plot thickens.
From beyond the wall of her room
most of their conversations are conducted then and slowly but surely they not
only get to complete their business together, but get to know each other, too.
When it comes to women, poor Virgil
however has no clue. The most and best love he has ever received from any, is through his private art collection of numerous female portraits. His affection and
his ability to appreciate the fragile nobility of these women in the paintings
is ultimately his undoing.
The similarities between them and
Claire are all too similar, yet to him, she is the real thing, the one marvelous work of art that his heart has always yearned and chose to wait for.
But feelings, friendship, happiness,
hate and even love can be faked and knowing how to spot them is often an
exercise in futility, even to an expert.
Geoffrey Rush is superb as Virgil Oldman
clinching all the subtle nuances of his character’s performance every step of the
way, while being treated to a score composed by Ennio Morricone, you get to
experience a film that’s a true work of art.
