A fake Rembrandt worth 130 million:
German police uncover an international art fraud ring. Automatic translate

In October 2025, German authorities launched a large-scale operation against an international network of counterfeit art scammers. The criminals passed off the fakes as works by Rembrandt, Pablo Picasso, and Frida Kahlo, demanding sums ranging from €400,000 to €130 million. The operation spanned three countries and resulted in the arrest of the ring’s leaders.

Bavarian police led the investigation following a series of coordinated raids on October 15, 2025. Law enforcement searched 11 cities in Germany, five cantons in Switzerland, and several locations in Liechtenstein. More than 100 officers participated in the operation, seizing documents, mobile phones, cloud data, and dozens of counterfeit paintings.

The investigation began in early 2025, when the prime suspect attempted to sell two supposedly original Picasso works. One of them depicted Dora Maar, the celebrated photographer and muse of the Spanish artist. Experts quickly discovered discrepancies.

Police have established that a 77-year-old German man from southern Germany led a ten-member criminal group. The organization operated with astonishing brazenness, offering potential buyers counterfeit masterpieces from the collections of the world’s largest museums.

Fake Rembrandt for 130 million

The central episode of the fraudulent scheme involved the attempted sale of a copy of Rembrandt’s painting "The Syndics" for 120 million Swiss francs (approximately 130 million euros). The original 1662 painting, depicting members of the Amsterdam clothiers’ guild, is housed in the Rijksmuseum in Amsterdam, where it is on display to millions of visitors.

The swindlers claimed to buyers that they possessed the original and that the painting in the Rijksmuseum was a copy. This audacity surpassed all known cases of art fraud. An expert examination revealed that the confiscated painting was a 20th-century reproduction.

The painting was seized from an 84-year-old Swiss woman, who is also a suspect in the case. Swiss authorities are conducting their own investigation into her involvement in the criminal scheme.

Fake Masters Collection

In addition to the fake Rembrandt, the criminal group attempted to sell 19 other forgeries. These included works attributed to Anthony van Dyck, Peter Paul Rubens, Amedeo Modigliani, and Joan Miró. Prices for these works ranged from 400,000 to 14 million euros.

Among the seized items were two ceramic vases, claimed to be original works by Picasso. A painting of the Madonna and Child, which the swindlers claimed was a work by the Flemish master Van Dyck, was also discovered.

The investigation established that the counterfeits were produced with varying degrees of professionalism. Some could have deceived an inexperienced collector, while others contained obvious anachronisms and stylistic errors.

Fake certificates of authenticity

The key element of the fraudulent scheme was the issuance of fake expert opinions. A 74-year-old man from the state of Rhineland-Palatinate specialized in creating counterfeit authentication certificates. His goal was to make the counterfeits appear legitimate.

These documents contained false information about the works’ origins, ownership, and exhibition history. The fraudsters understood that even a poorly executed forgery with a convincing certificate could deceive a gullible buyer.

Both key figures in the scheme — the 77-year-old mastermind and the 74-year-old document forger — were detained on the day of the raids. After questioning, they were released on bail, but the investigation is ongoing.

The Legacy of Han van Meegeren

The history of art forgery spans centuries, but the 20th century gave birth to some truly masterful deceptionists. Dutch artist Han van Meegeren became a legend among forgers after creating several "new" works by Johannes Vermeer in the 1930s and 1940s. His forgeries earned him approximately $30 million.

Van Meegeren’s most famous work, "Christ at Emmaus," was recognized as Vermeer’s masterpiece by leading art historians of the time. The painting was acquired by the Museum Boijmans van Beuningen in Rotterdam for a huge sum.

The deception was uncovered by accident after the end of World War II. Dutch authorities accused van Meegeren of collaborating with the Nazis, having sold a Vermeer painting to Reichsmarschall Hermann Göring. The artist confessed: the work was a forgery he had created himself.

To prove his case and avoid charges of treason, van Meegeren painted another Vermeer-style painting, "Christ Among the Teachers," under police surveillance. The court found him guilty of forgery but dropped the charge of collaboration. A month after the verdict, the artist died of heart disease at the age of 58.

Wolfgang Beltracchi – master of "originals"

German artist Wolfgang Beltracchi orchestrated one of the greatest frauds in 21st-century art history. Born in 1951 as Wolfgang Fischer, he grew up watching his father copy the works of great masters.

Beltracchi refined his father’s technique but went further — he didn’t copy existing paintings, but created "lost" or "previously unknown" works by famous artists. His forgeries included works by Max Ernst, Heinrich Campendonk, Fernand Léger, and Kees van Dongen.

Together with his wife, Helen, Beltracchi sold forgeries, supplying them with convincing origin stories. They claimed the paintings came from a private collection allegedly assembled by Helen’s grandfather before World War II.

In 2011, Beltracchi was convicted of forging 14 works of art, which earned him $45 million. The artist himself admitted to forging works by approximately 50 different artists. The total damages are estimated at tens of millions of euros.

British duo: Myatt and Drew

John Myatt, a British artist, perpetrated what has been called "the greatest art fraud of the 20th century." In the 1980s and 1990s, he and his accomplice, John Drew, created over 200 forgeries of works by modernist artists.

Myatt used primitive materials — ordinary house paint and KY intimate gel to achieve the desired consistency. He simulated the aging of his canvases by rubbing them with coffee grounds and vacuum dust.

The true genius of the operation was Drew. He infiltrated the archives of renowned museums and institutes, forging or altering documents, creating a convincing origin story for the forgeries. Drew even created counterfeit seals and used stolen documents.

Scotland Yard arrested Myatt in September 1995. The artist quickly confessed and agreed to cooperate with the investigation. He earned approximately £275,000, although the total profit from his forgeries exceeded €25 million. Myatt received a year in prison, Drew received six years. About 120 of Myatt’s forged paintings are still in circulation.

Scientific methods for detecting counterfeits

Modern science provides art historians with a powerful arsenal for detecting forgeries. Mass spectrometry allows us to determine the chemical composition of pigments and binders. If paints invented in 1975 are found in a painting dating back to the 17th century, the forgery is obvious.

X-rays help reveal earlier layers of painting beneath the top image. Experienced forgers are aware of this technology and use old canvases to paint over less valuable paintings. X-rays reveal such tricks, revealing the hidden images.

Infrared reflectography penetrates the top layers of paint and reveals the artist’s preparatory drawings. This technique is particularly effective in attributing works by Renaissance masters such as Leonardo da Vinci.

Microchemical analysis of paint samples determines the age of materials through radiocarbon dating. This method has been successfully used to authenticate works by Van Gogh and Rembrandt, as well as to expose forgeries.

Provenance is the history of a work

Researching a painting’s provenance is often as important as a scientific examination. Provenance is the documented history of ownership of a work of art since its creation. An unbroken chain of ownership serves as powerful proof of authenticity.

Forgers expend enormous effort creating convincing stories. They forge old documents, inventory records, exhibition catalogs, and letters. John Drew even infiltrated museum archives to insert false entries into genuine catalogs.

Experts check every link in the provenance chain. They examine auction house seals, signatures on the backs of paintings, old photographs, and press mentions. Any gap in the ownership history raises suspicion.

Modern technology has made the task of forgers more difficult. Databases of stolen and lost art make it possible to quickly verify the legitimacy of a work. The digitalization of archives makes historical documents easier to access.

Stylistic analysis

Experienced art historians can recognize a fake by subtle details of technique. Every artist has a unique style — the way they apply brushstrokes, mix colors, and construct a composition. These characteristics are difficult to replicate, even for a talented copyist.

Han van Meegeren successfully deceived experts for decades by meticulously studying Vermeer’s technique. He used historically accurate pigments and even baked his paintings to make them appear aged. But after being exposed, experts noticed inconsistencies in his compositional decisions and treatment of light.

Modern forgeries are often betrayed by their overly perfect execution. The young Picasso made mistakes, experimented, and changed his style. A forger who creates an "early Picasso" risks creating an overly mature work, betraying his knowledge of the artist’s later achievements.

Anachronisms in the plot or details also indicate a forgery. In 2022, a museum in Orlando discovered modern logos on paintings attributed to Jean-Michel Basquiat, who died in 1988. The FBI confiscated 25 works.

Artificial intelligence against counterfeiters

Ghent University has developed the Artdetect project, which combines infrared reflectography, hyperspectral imaging, and artificial intelligence. The system analyzes suspicious works, identifying signs of forgery invisible to the human eye:

• Researchers are studying 20 known fakes and 40 authentic works, creating a database of characteristic features. AI is being trained to recognize patterns typical of forgeries. Professor Anna Tummers, the project’s leader, estimates that approximately 30% of all art offered for sale is counterfeit.
• Hyperspectral cameras and X-ray fluorescence scanning create detailed digital prints of paintings. This data includes information on the chemical composition of the paints, the structure of the canvas, and even the smallest changes in surface texture.
• Blockchain technology is revolutionizing the art market by creating immutable digital records of the provenance and ownership of works. Every transaction is recorded in a distributed database that cannot be tampered with retroactively.

New generation certificates of authenticity

Traditional paper certificates are easy to counterfeit. Modern documents incorporate watermarks, holograms, UV printing, and tamper-resistant materials. But even these security measures don’t guarantee security.

Blockchain-based digital certificates are a game-changer. Each piece of art receives a unique digital hash — a kind of fingerprint. This hash is recorded on the blockchain along with high-quality images taken from different angles and under different lighting conditions.

Authenticity verification is instantaneous. Buyers can scan a QR code or RFID tag and retrieve the artwork’s entire history from the blockchain. The system displays previous owners, expert assessment results, and photographs of the painting.

The authority of the certifier is crucial. A document signed by the artist themselves or their official representative is of the utmost value. Conclusions from recognized experts and reputable institutions are also highly valued.

Psychology of a collector

Fraudsters exploit human nature. The desire to find a lost masterpiece or acquire a work by a great master at a bargain price clouds judgment. Buyers believe what they want to believe — a phenomenon psychologists call motivated cognition. Han van Meegeren understood: experts seek confirmation of their theories. When he created "Christ at Emmaus," art historians had been debating for decades about the existence of Vermeer’s religious paintings. Van Meegeren gave them what they were looking for.

Social pressure amplifies the effect. If a reputable expert declares a painting authentic, other experts are reluctant to challenge this opinion. The reputational risks are enormous — a mistake can ruin a career. A Bavarian operation in 2025 demonstrates that even obvious discrepancies don’t stop greed. Criminals were attempting to sell a copy of a painting hanging in Amsterdam’s largest museum. They hoped that greed would overshadow the common sense of potential buyers.

Legal aspects

Art legislation varies significantly across countries. In France, the sale of works of art requires mandatory legal documentation. Many countries have created specialized police units to combat cultural crimes.

The FBI maintains an Art Crime Team. The unit collaborates with Interpol, museums, and private experts. Agents specialize in identifying counterfeits, recovering stolen works, and disrupting the illegal trade in cultural property. International cooperation complicates criminals’ work. The Bavarian operation of October 2025 encompassed Germany, Switzerland, and Liechtenstein. More than 100 officers coordinated cross-border operations, sharing data in real time.

Penalties for art forgery range from fines to lengthy prison terms. John Drew, who created false provenances for Myatt’s forgeries, received a six-year prison sentence. Myatt himself received a one-year sentence for cooperating with investigators.

The market for "legal counterfeits"

Paradoxically, some forgers become successful artists after serving their sentences. John Myatt now sells his works as "authentic forgeries" — blatant copies in the style of the great masters. His paintings are in demand, and the artist himself lectures at prestigious universities.

After his release, Wolfgang Beltracchi returned to painting. He creates works in the style of famous artists, but signs them with his own name. Collectors appreciate his technical mastery and his scandalous past. Copying classical works is not, in itself, a crime. Art students have learned for centuries by copying the works of old masters. The crime begins with the attempt to pass off a copy as an original and profit financially from it.

Some museums display high-quality reproductions instead of fragile originals. Visitors can see the composition and colors while the original is preserved in conditions that ensure its preservation.

Unfinished investigation

Bavarian police continue their investigation into an international counterfeiting ring. Confiscated digital data — the contents of mobile phones, computers, and cloud storage — may lead to the uncovering of further fraudulent activities.

Investigators are examining financial flows, trying to identify buyers who may have purchased other counterfeits from the same network. These people may have been unaware of the counterfeit goods and are now in possession of worthless copies, having paid enormous sums.

Swiss authorities are conducting their own investigation into the 84-year-old woman from whom a fake Rembrandt was seized. Her role in the criminal scheme remains unclear — she could have been an accomplice or a victim of the fraud. Germany, Switzerland, and Liechtenstein are exchanging information, coordinating efforts to identify all participants in the network. The scale of the operation and the geography of the crimes indicate a well-organized structure with clearly defined roles.

The scale of the problem

Experts estimate that counterfeits account for 20-40% of all works offered for sale on the art market. This figure seems incredible, but scandals of recent decades confirm that the problem has reached epidemic proportions. Every major museum likely has several unidentified fakes in its collection. Admitting this fact damages the institution’s reputation and undermines public trust. Therefore, museums rarely publicize the discovery of counterfeits.

The total value of counterfeit works of art in circulation amounts to billions of dollars. Buyers lose money, artists lose their reputations, and humanity’s cultural heritage is eroded by a flood of counterfeits. Technological advances offer hope for a change. The combination of scientific analysis methods, artificial intelligence, and blockchain creates a multi-layered security system. Each new tool makes the task of fraudsters more difficult.

Lessons for collectors

Art buyers should exercise extreme caution. Any offer that appears too good to be true deserves close scrutiny. Masterpieces by the great masters don’t appear on the market every day.

An independent expert assessment by recognized experts is mandatory. Don’t rely solely on documents provided by the seller. An expert opinion should be obtained from a reputable institute or a renowned scientist in the relevant field.

Provenance verification requires meticulous care. Collectors or their representatives must examine every link in the chain of ownership, contact previous owners, and check museum and auction house archives. Scientific analysis methods are becoming increasingly accessible. Many laboratories offer services for analyzing painting materials, dating canvases, and pigments. The cost of such examinations is disproportionate to the potential losses from purchasing a fake.

The case, solved by Bavarian police in October 2025, serves as a reminder that the battle between counterfeiters and defenders of authenticity continues. Technology evolves, methods improve, but human greed and avarice remain the fraudsters’ main allies. Only vigilance, professionalism, and cooperation between international law enforcement agencies can protect cultural heritage from criminal attacks.