Demival Vasques Filho and Jaap Geraerts | Digitale Geschichte(n). Projekte und Praktiken der Digital History
The “International Association of Museum Workers in Defense Against Counterfeiting and Improper Trade Practices” (Internationaler Museenverband zur Abwehr von Fälschungen und unlauterem Geschäftsgebaren), established by the museum directors Justus Brinckmann and Heinrich Angst in 1898, had the noble goal to combat and curb the spread of forged artworks. In order to do so, the Verband was envisaged as an international platform of information exchange that brought together senior members of staff from major museums in Germany and abroad (mainly other European countries). Actual moments of exchange took place at annual meetings as well as in the internal journal, called the Mittheilungen des Museen-Verbandes, in which members shared news about discovered forgeries and fraudulent practices, and warned each other about potential future dangers. By and large, it was an early instance of a “Frühwarnsystem,” a function that has now been taken over, albeit only partially, by initiatives such as the “Datenbank kritischer Werke.” Less ambitions in terms of its scope and reach, unconnected to the Verband and its activities, and by no means its official successor, this database nevertheless pursues a number of similar aims while serving a distinct audience.
Due to the need for a certain amount of confidentiality and secrecy (Fig. 1) – after the termination of their membership, members were required to return all the printed matter created by the Verband – the association and its activities did not receive the sustained (academic) attention it deserves. Hitherto, several aspects of the Verband and its history have been examined in isolated publications, but much remains to be studied. Given the proliferation of art forgeries in the past and present as well as their significant economic, legal, and scholarly impact, historical attempts to take counterfeiting practices head on ought to be scrutinized. The project “Forgeries and Networks. The Mittheilungen des Museen-Verbandes and Forgery Networks in the 20th century” (ForNet), generously funded by the German Research Foundation (DFG), addresses this historiographical lacuna by examining the Verband and its activities, assessing its efficacy, and studying the artworks, institutions, and people that are mentioned in the documentation that it generated. It does so by combining “traditional” art historical research with tools and methods drawn from the world of the digital humanities, in particular the application of network analysis, the creation of network visualizations, and the use of a graph database.