Uniwersyteckie Czasopisma NaukoweCo składa się na wiarygodność dowodu: o roli konserwatorów w walce z przestępczością przeciwko dziełom sztuki
DOI:
https://doi.org/10.26881/gsm.2020.18.10Słowa kluczowe:
wiarygodność dowodu, sprawdzalność dowodu, oryginalność dzieła sztuki, atrybucja, proweniencja, kryminalistyka, falsyfikat, oszustwo, autorstwo dzieła sztuki, konserwacjaAbstrakt
W artykule podjęto tematykę ustalania oryginalności i autorstwa dzieł sztuki. Autorka stawia pytanie, jaki jest wkład wiedzy specjalnej w ustalenia faktyczne, w jaki sposób podlega weryfikacji proweniencja, jaką rolę odgrywa tu nauka, wreszcie jakie zadania stoją przed konserwatorami. Aby odpowiedzieć na te pytania, poddaje analizie metody śledcze w świetle trzyelementowej zasady budowania ustaleń, obejmującej historię, łańcuch proweniencji i badania techniczne.
Pojawiające się raz po raz roszczenia restytucyjne, zarzuty podważające autorstwo, sfałszowane dokumenty i wątpliwe ekspertyzy uprawomocniają dążenie do utworzenia sprawnego schematu metodologicznego, dzięki któremu utrwalałyby się dobre praktyki. Procesy sądowe o oryginalność i autorstwo wymagają szczególnych dowodów. Rozmiary wzajemnego rozeznania w obszarach badawczych pomiędzy ekspertami różnych dyscyplin bywają niejednakowe, toteż poszerzanie dyskursu przyczyni się do ogólnej poprawy sytuacji.
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Bibliografia
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Cases
Charles Blackman and ORS v. Peter Gant and Anor (2010) VSC 229.
R v John Douglas O’ Loughlin (2002) Unreported, NSWDC, 23 February 2002.
R v Ivan Liberto and Pamela Yvonne Liberto (2008) VCC 137.
