In Mexico, you might come across a “Leonora Carrington” inherited from a mysterious aunt in San Luis Potosí, or a “Rivera” that conveniently turned up after a multimillion-dollar auction in the United States went viral.
Art Forgery in Mexico: To unravel those cases where things aren’t what they seem, enter Marcel Mendoza, a Mexican-Ecuadorian expert specializing in graphology, document examination, and forensic art analysis.
Marcel went from verifying signatures in corporate financial fraud cases to exposing forged certificates, counterfeit embossed seals, and sculptures reproduced using 3D printers. His job isn’t about “delivering good news, ” but about exposing fraud.
With a background in forensic science and specialized training as an art expert in Europe, our interviewee combines technical methods—chromatography, comparative signature analysis, and the study of brushstrokes and materials—with a rare sense of ethics in a market where silence often reigns. He has collaborated with international organizations on forensic matters and is a member of the International Association of Crime Analysis and is part of a global network of specialists.
Art Forgery in Mexico
How common are art forgeries in Mexico?
Mexico has an endless number of forgeries. I have received documents claiming that a certain work is completely authentic; I follow the proper forensic analysis protocol, and it turns out that the work is not original.
How can a work that isn’t original have a certificate?
Some galleries here in Mexico City also have works that are complete forgeries—by Remedios Varo or Siqueiros—and they don’t have any certificates to back them up: just a document from the gallery owner stating that, to the best of his knowledge, the work is authentic. But that’s all there is.
What was it like to transition from one field to another—from forging official documents to authenticating signatures and works of art?
When I first started out, I was involved in authenticating signatures on multimillion-dollar contracts, financial fraud cases, and similar matters, and then I applied that expertise to the art market.
What is the process for authenticating a work of art?
We conduct analyses of the painting and painting techniques, as well as analyses of each signature. For each expert report, I essentially submit a thesis of about 65 pages. Some clients only want signature analysis; pictorial analysis can also be performed, which is done using a chromatograph to determine the composition of the paint pigments and verify whether they are consistent with those of the period in which the work was created.
Is a notarized signature sufficient in certain cases?
Yes. Even if you see only a single line, that line has graphic features unique to a particular person; there are details that provide information. The same applies to brushstrokes. To do this, I use the last 15 years of signature records from official sources, generally from art dealers and galleries. We’ve traveled to New York, to museums like the Met, to photograph signatures and build a broader collection.
Apart from the obvious financial reasons, what motivates a collector or a gallery to use your services?
Art collectors are people who are genuinely dedicated to collecting; they are very observant and have spent years studying one or more artists. Those who already know me send me a message and say: “Hey, I’m being offered a Siqueiros for seven million pesos, but I don’t trust it”. If you’re going to buy a Siqueiros for seven million, I’ll go with you, give you advice, and we’ll take a look at it.
The Forgeries of Leonora Carrington
I imagine that someone who forges art isn’t just a common criminal; they must also have a broad range of knowledge.
Yes, but they mainly pursue the same goal as a bank robber or any other criminal: money. The difference is that art forgers tend to be much more methodical; it’s a more sophisticated type of fraud. These are people who are already, in a way, involved in the art market. It’s not just anyone.
What cases have caught your attention recently?
Not long ago, a Leonora Carrington painting at Sotheby’s in New York sold for $24 million. A few days later, hundreds of paintings attributed to Leonora began to appear in Mexico City. Now everyone had a Carrington, and the story was: “I don’t have the papers because I inherited it.” That may be true, but generally it isn’t. They also say: “I bought it from an elderly woman in San Luis Potosí who lived near Leonora Carrington’s house.”
Have you been shown any works by Carrington for your evaluation?
So far, I’ve received about nine alleged Leonora Carrington works, only one of which has been formally authenticated. I’ve told several collectors: “I’m not going to make you lose your money. I don’t want to charge you for something that’s obviously a fake.”
What is more dangerous for the market: a talented counterfeiter or a buyer who prefers to delude themselves?
Both. Many people want to feel like they’re part of the collecting scene. “I bought a Picasso for 45,000 pesos.” You’ll never find a Picasso at that price. Maybe a minor sketch, but not a significant work. That desire to belong is what many people exploit for profit. If you take a walk through La Lagunilla, almost every stall has a Picasso.
How many millions of dollars do you think the counterfeit market generates each year, at least in Mexico?
Mexico is consuming more contemporary art. This phenomenon is most evident in markets like the U.S. There, I have seen drawings attributed to Frida Kahlo—poorly executed, with shoddy signatures—selling for two or three million dollars. Mexican legislation is also worth noting. In the case of artists like Frida Kahlo, Diego Rivera, or Tamayo, there are two problems. The first: INBAL has classified certain works as cultural heritage that cannot leave the country. The second: the actual body of work is much larger than what is inventoried.
Could there be people who own an authentic Rivera without knowing it?
That may be true, but it’s also the most common line of argument. INBAL may have some 200 of Rivera’s works on record, but Rivera produced countless others that aren’t cataloged. Furthermore, there was no culture of authentication in that generation. They simply signed and sold their work. Rivera often sold paintings because he needed money right away. According to relatives I met with, he even went so far as to pay off debts with his works.
How can you tell if a work of art is authentic?
What real-life cases do you remember?
A painting by Diego Rivera that had come from Morelia was supposed to be a Virgin of Guadalupe. The client was very excited, even though I told him it didn’t match either the time period or the pictorial characteristics. A full expert analysis was conducted, and the result was negative. Some time later, he wrote to me: “I saw that the appraisal says no, but I want to ask you something: how much would you charge me to make it real?”. He had a foreign buyer willing to pay half a million pesos. Obviously, I refused; I told him I couldn’t do that.
“ “Many people are very attached to their family history. If the analysis confirms authenticity, then I ask about its provenance. I’d rather avoid the emotional burden of having to tell them, ‘Your grandmother gave you a fake,’” Marcel Mendoza, art expert.
Is art easier to forge these days?
It depends on the artist. I saw a fake Andy Warhol; since he worked with silkscreen printing, certain techniques can make reproduction easier. But forging a Rembrandt is nearly impossible because of the pigments, the canvas, and the gesso. Even so, there have been attempts. To forge a master is, technically speaking, to be another master.
Are there teachers like that today?
There are cases such as that of the so-called “Spanish master,” involving the forgery of Greek busts. He made molds and cast ancient bronze coins to reproduce the original pieces. These items are valued at over 200,000 euros. Hundreds were sold in the United States and Europe.
How to Protect Yourself from Art Forgeries
How can a collector protect themselves without becoming paranoid?
Get good advice. Don’t be swayed by price or appearance. If someone tells you, “I’m selling this for 60,000 pesos—it’s a Diego Rivera,” take photos, check the signature, do your research, and ask about its provenance. The word “bargain” shouldn’t trigger an impulse to buy, but rather a need for careful analysis.
And what should the artistic community do?
Overcome your fear of asking for and requesting documentation. “Do you have the paperwork? Is it certified?”
Are there certain periods in Mexican art that are more appealing to forgers?
Yes: Siqueiros, Frida Kahlo, Rivera, Tamayo. In the case of Remedios Varo and Leonora Carrington, there are fewer forgeries of their paintings because their style is very distinctive. The works most often forged by them are drawings, because they are easier to imitate.
What do you foresee for the coming years?
Mexico needs a new wave of artists and greater professionalization. Today, we can register works, protect rights, and even integrate technology into frames to track pieces. We live in a technological world; the tools are there. The problem is that we’re not using them.
