In 1998 curators at the Courtauld Institute received an anonymous phone call informing them that 11 drawings in their collection were fakes. The caller intimated that he was an associate of the notorious forger Eric Hebborn, who had claimed in his 1991 memoir, Drawn to Trouble, to have sold the institute a fake Rowlandson. The
If there is one thing great art institutions usually try to avoid, it is fakes. The Courtauld Gallery has turned that on its head, with a show that tells the intriguing and instructive stories of the fakes in its own collection
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