The author of this book is a dealer in art and antiques, and has inside knowledge of an international market that is too lucrative to be entirely honest. In this book he reveals the wheeler-dealing and economy with the truth that are common practice in his profession.

The author, a dealer in art and antiques, has inside knowledge of an international market that is too lucrative to be entirely honest. Personally involved in many sensational transactions, he has chosen through this book to reveal the inside workings of his profession.

Since the age of 16, when he drove in a clapped-out van from Amsterdam to Istanbul to pick up a consignment of sheepskin coats - later to be sold at huge profit - Michel van Rijn knew that schoolwork was no longer for him. Business was the thing - buying low and selling high, cutting deals and working the market. It was a decision that would have repercussions throughout the sedate salons of the art world for years to come.

Hot Art, Cold War – Southern and Eastern European Writing on American Art 1945-1990 is one of two text anthologies that trace the reception of American art in Europe during the Cold War era through primary sources. Translated into English for the first time from sixteen languages and introduced by scholarly essays, the texts in this volume offer a representative selection of the diverse responses to American art in Portugal, Italy, Spain, Greece, Yugoslavia, Romania, Bulgaria, Soviet Union (including the Baltic States), Czechoslovakia, Poland, Hungary, and East Germany (GDR). There was no single European discourse, as attitudes to American art were determined by a wide range of ideological, political, social, cultural and artistic positions that varied considerably across the European nations. This volume and its companion, Hot Art, Cold War – Northern and Western European Writing on American Art 1945-1990, offer the reader a unique opportunity to compare how European art writers introduced and explained contemporary American art to their many and varied audiences. Whilst many are fluent in one or two foreign languages, few are able to read all twenty-five languages represented in the two volumes. These ground-breaking publications significantly enrich the fields of American art studies and European art criticism.

Kevin O’Leary shares invaluable secrets on entrepreneurship, business, money and life. Can you make millions just by “visualizing yourself rich” as some business prophets suggest? Don’t buy it, says Kevin O’Leary. If you want to be a successful entrepreneur and amass wealth, you’re going to have to work for it. But the good news is: with the right guidance, focus and perseverance, you can turn entrepreneurial vision into lucrative reality and have the personal freedom that only wealth can buy. Kevin O’Leary would know. The much-feared and revered Dragon on the immensely popular show Dragons’ Den (and Shark Tank in the U.S.) started his company in his basement with a $10,000 loan from his financially savvy mother. A few years later, Kevin sold that company for more than four billion dollars. In this compelling, candid and, above all else, brutally honest business memoir, Kevin provides engaging, practical advice and lessons that will give anyone a distinct competitive edge.

Hot Art, Cold War – Northern and Western European Writing on American Art 1945-1990 is one of two text anthologies that trace the reception of American art in Europe during the Cold War era through primary sources. With the exception of those originally published in English, the majority of these texts are translated into English for the first time from eight languages, and are introduced by scholarly essays. They offer a representative selection of the diverse responses to American art in Great Britain, Ireland, France, Belgium, the Netherlands, West Germany (FRG), Austria, Switzerland, Denmark, Norway, Sweden, and Finland. There was no single European discourse, as attitudes to American art were determined by a wide range of ideological, political, social, cultural, and artistic positions that varied considerably across the European nations. This volume and its companion, Hot Art, Cold War – Southern and Eastern European Writing on American Art 1945-1990, offer the reader a unique opportunity to compare how European art writers introduced and explained contemporary American art to their many and varied audiences. Whilst many are fluent in one or two foreign languages, few are able to read all twenty-five languages represented in the two volumes. These ground-breaking publications significantly enrich the fields of American art studies and European art criticism. This book, together with its companion volume Hot Art, Cold War – Southern and Eastern European Writing on American Art 1945-1990,, is a joint initiative of the Terra Foundation for American Art and the editors of the journal Art in Translation at the University of Edinburgh. The journal, launched in 2009, publishes English-language translations of the most significant texts on art and visual cultures presently only available only in their source language. It is committed to widening the perspectives of art history, making it more pluralist in terms of its authors, viewpoints, and subject matter.

"Scientific Investigation of Copies, Fakes and Forgeries is a comprehensive guide to the technical and scientific study of the authenticity of a wide range of antiquities and artworks. It is the first book to provide a full survey of the subject of forgery from a scientific basis, examining a wide range of materials and techniques." "The demand for copies, fakes and forgeries is driven by rising prices in an international marketplace. The book examines the available new technologies and ever more sophisticated forging techniques, looking at production and distribution of fraudulent artworks. The subject is exemplified by numerous internationally based case studies, some turning out not to be as conclusive as is sometimes believed." "The book is aimed at those who need to understand the available approaches to and methods of scientific and technical authentication, be they curator, collector, conservator or scientist." --Book Jacket.