About this book:

**They didn’t just collect history. They invented it.**

In the drawing rooms of Gilded Age New England and the auction halls of New York, a quiet frenzy was underway. Not for stocks or railroads—but for simple, spindle-backed wooden chairs. The Windsor chair had become America’s most coveted antique, a sacred relic of the Founding Fathers, a ticket to an idealized colonial past. But here’s the secret the dealers, curators, and millionaire collectors didn’t want you to know: many of those “eighteenth-century masterpieces” had been made the week before.

*Fake Windsors* pulls back the curtain on a century-long forgery empire that fooled the nation’s most prestigious museums, auction houses, and experts. From hidden workshops in Pennsylvania and Connecticut, master craftsmen built chairs using salvaged colonial lumber, custom-mixed milk paints, and ingenious distressing techniques so convincing that they fooled the curators of the Metropolitan Museum of Art and Winterthur. These weren’t cheap knockoffs—they were works of art in their own right, requiring more skill, more historical knowledge, and more devotion to tradition than the originals ever did. And they were sold, exhibited, and celebrated as authentic for generations.

This is more than a story about furniture. It’s a riveting investigation into how desire can blind expertise, how a nation’s hunger for its own heritage created a parallel history—and how modern forensic science finally began unraveling a web of deception that stretched from backwoods barns to the halls of America’s most hallowed institutions. If you’ve ever wondered what “authenticity” really means, or how easily a story can be sold along with a chair, *Fake Windsors* will change the way you look at every antique you’ve ever admired.