A Man Who Duped The Art World (Press, 11 July 1970)

"Fake" by Clifford Irving, published by Heinemann, delves into the life of Elmyr de Hory, a notorious art forger who, between 1946 and 1968, created an estimated one thousand fake artworks attributed to renowned artists like Modigliani and Picasso. These forgeries were sold through prominent art galleries and ended up in esteemed museums and private collections worldwide, from New York to Tokyo, and beyond. Irving, who was a close friend and neighbour of de Hory on the Spanish island of Ibiza, recounts the artist's remarkable life story. De Hory, a Hungarian, experienced a privileged upbringing as the sole child of wealthy parents before World War II disrupted his life. He faced internment as a political prisoner, with his family's fortunes seized by the Germans and later the Soviets. Once the war concluded, he returned to Paris, possessing only his artistic talent and a penchant for luxury. His foray into forgery began unintentionally when a friend mistakenly valued one of his paintings as a genuine Picasso. This stroke of luck led him to adopt the persona of a destitute Hungarian aristocrat selling inherited artworks, turning to forgery whenever finances proved tight. His abilities flourished, and he soon sold numerous forgeries across Europe, ultimately leading him to North America, where he honed his skills further. By 1955, de Hory had settled in Miami Beach, successfully marketing his fakes to galleries and collectors, including pieces masquerading as works by numerous celebrated artists such as Matisse and Renoir. However, as suspicions arose regarding his dealings, he was compelled to relocate frequently. His partnership with associates Fernand Legros and Real Lessard, who profited immensely from his forgeries, was marked by extravagance and eventual downfall. While Legros was apprehended for a forgery-related scandal at a government auction, Lessard faced trouble with bad cheques in Geneva. A Madrid court eventually indicted de Hory on several charges, ranging from homosexuality to being without visible means of support, resulting in a two-month imprisonment followed by a year of exile, which he spent flamboyantly in Ibiza. Despite the rampant deceit, de Hory's statement that much of the contemporary art market was artificially inflated by a network of dealers highlights the deeper implications of the art forgery scandal. Irving's portrayal of de Hory as "the greatest art forger of our time" raises unsettling questions about the integrity of the international art market, suggesting that many knowledgeable art institutions either ignored or were unaware of de Hory's influence. This compelling narrative not only shines a light on an extraordinary forger but also casts doubt on the value and authenticity of high-priced artworks, which continue to rise despite the revelations of the scandal. Irving's work prompts a critical examination of the art world, wrapped in de Hory's captivating yet tragic tale. The book includes photographs and illustrations, further adding depth to the story.

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