Counterfeiting is a complex crime. We currently have the case of the âPower of Deathâ? exhibition in Hamburg. It features terracotta warrior figures from China. The exhibiting Musuem of Ethnology is now arranging to refund the 10,000 visitors their money; the figures are not original.
The museum claims it received express assurances of originality and certificates of authenticity, but some commentators are sceptical of the museumâs innocence. Mr. Grimm, for the organisers, denies he ever asserted the originality of the figures, but even with German art detectives launching an investigation, stressed the accuracy of the facsimiles. The Museum has responded by putting up a sign to the effect;
Some or all of the objects in the exhibition that are said to be authentic may in fact be copies.
So, fake statues may be authentic or may be copies. They may be claimed to be original or not so claimed. Despite the current absence of a defendant, art critics are positive; this is an art crime.
Elsewhere we have the case of Marcus Glindon of Enfield, England, who produced an estimated 14 million £1 counterfeit coins. The coins were not easily distinguishable from genuine coins. He took his instructions from Tom and John, who apparently paid him up to £2,000 per week for his work. He has been sentenced to five years in jail.
Marcus himself made no representations as to authenticity; yet he is a counterfeiter.
A bank may claim to be a client of a solicitor when it is not. Mr. Michael Lynn, for instance, was representing himself where his banks thought he was representing them, or so they may wind up saying.