Following the recent developments surrounding the case of art dealer Giorgos Tsagkarakis, a particularly insightful interview was given by the President of the Association of Art Appraisers and Experts of Greece and Cyprus, Achilleas Tsantilis, to TLIFE.
In this interview, key aspects of artwork authentication, potential risks for collectors, and the regulatory framework of the art market in Greece are discussed.
The full article follows below:
The news of the arrest of well-known gallerist Giorgos Tsagkarakis by the Greek FBI on the afternoon of Friday, March 20, has taken on major dimensions.
The investigation was reportedly triggered by a social media post by the gallerist, in which he announced the sale of a Gospel dating back to the previous century. During the investigation, authorities discovered 100 forged paintings, while €150,000 in cash was also found in a storage facility in Elliniko.
TLIFE contacted the President and representative of the Association of Art Appraisers and Experts of Greece and Cyprus, Achilleas Tsantilis, who answered questions regarding the mechanisms used to certify the authenticity of artworks, how easily collectors can be deceived, and the existing regulatory framework.
What are the main mechanisms for certifying authenticity in Greece today, and where do the biggest gaps lie?
The certification of an artwork is based on a combination of technical and scientific methods: certificates of authenticity issued by recognized experts, laboratory analysis of materials, and research into the work’s provenance. It is important to note that Greece now has highly skilled scientists who conduct laboratory tests with reliability equal to—or even exceeding—international standards.
However, evaluating artworks requires extensive experience and expertise. Younger professionals, even those trained in art history or conservation, do not necessarily possess in-depth knowledge of Greek art. While many have academic qualifications, true expertise requires more than 20 years of hands-on professional experience.
How easy is it for a collector or buyer to fall victim to fraud? What should they check before making a purchase?
There is no “one-size-fits-all” solution. Each collector bears personal responsibility when purchasing artworks. Mistakes do happen, and in some cases, works initially considered forgeries may actually be period copies.
We should avoid rushing to condemn individuals or labeling all artworks as fake. It is not advisable to purchase artworks from private individuals without the assistance of an experienced appraiser, who can provide preventive and constructive guidance prior to any acquisition.
Is there an adequate regulatory framework and oversight in Greece, or are immediate interventions needed?
Oversight by the competent authorities in Greece is considered excellent, and professionals in the field perform their duties effectively. The art market, however, requires careful wording: some works described as “forgeries” may in fact be period copies, and it is important to be precise in how such matters are discussed.
Following this case, should collectors be concerned about artworks purchased in recent years in Greece?
When participating in auctions abroad, a degree of caution is advisable. However, auction houses do not bear responsibility; the responsibility ultimately lies with the buyer.
Knowledge, experience, and thorough documentation are critical elements in protecting any collector.
In closing, Mr. Tsantilis emphasized:
“The Association of Appraisers does not condemn anyone. Mistakes happen, and some works believed to be authentic may turn out to be copies—or vice versa. It is not right to become ‘predatory’ toward those who are misled or make incorrect assessments. Prevention, transparency, and proper education are key to protecting everyone.”
Such cases highlight the need for greater transparency and education in the art market. Private collectors are encouraged to have their artworks examined and to consult the Association before making any purchase, in order to ensure authenticity and reduce risk.
BY GEORGIA TSINTZA