Something Authentic In Every Fake

“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.