Elmyr de Hory (born Elemér Albert Hoffmann; April 14, 1906 – December 11, 1976) was a famed Hungarian-born painter and art forger. It is claimed he was responsible for producing over a thousand forgeries that were sold to reputable art galleries all over the world. His activities garnered celebrity from a Clifford Irving book, Fake (1969), and a documentary essay film by Orson Welles, F for Fake (1974).
De Hory claimed that he was born into an aristocratic family, that his father was an Austro-Hungarian ambassador and that his mother came from a family of bankers. However, subsequent investigation has suggested that de Hory childhood more likely had a middle-class childhood; he was born Elemér Albert Hoffmann on April 14, 1906. (An acquaintance, Fernand Legros, said that de Hory was born in Budapest (Hungary) 14 April 1905, but that de Hory would change the date to 1914 to appear younger) Both his parents were Jewish. His father's occupation was listed as "wholesaler of handcrafted goods." His parents did not divorce when he was sixteen, as he had asserted in the Clifford Irving biography.
At the age of 16, he began his formal art training in the Nagybánya artists' colony (now in Romania). At 18, he joined the Akademie Heinmann art school in Munich, Germany, to study classical painting. In 1926 he moved to Paris and enrolled in the Académie de la Grande Chaumière, where he studied under Fernand Léger. By the time he concluded his traditional education in Paris in 1928, the focus of his studies in figurative art had been eclipsed by Fauvism, Expressionism, Cubism and other nontraditional movements, all of which made his art appear passé, out of step with new trends and public tastes. This harsh reality and the economic shock waves of the Great Depression dimmed any prospects of his making a living from his art. New evidence (Geneva police records) indicates charges and arrests for minor crimes during the late 1920s and '30s. He returned to Hungary at the outbreak of the Second World War. Shortly after, he became involved with a British journalist and suspected spy. This friendship landed him in a Transylvanian prison for political dissidents in the Carpathian Mountains. During this time, de Hory befriended the prison camp officer by painting his portrait. Later, during the Second World War, de Hory was released.
On arriving in Paris after the war, de Hory attempted to make an honest living as an artist, but soon discovered that he had an uncanny ability to copy the styles of noted painters. In 1946, he sold a pen-and-ink drawing to a British woman who mistook it for an original work by Picasso. His financial desperation trumped his scruples, as was most often the case for the next two decades. To his mind, it offered redemption from the starving artist scenario, buttressed by the comfortable rationalization that his buyers were getting something beautiful at "friendly" prices. He began to sell his Picasso pastiches to art galleries around Paris, claiming that he was a displaced Hungarian aristocrat and his offerings were what remained from his family's art collection or else that he had acquired them directly from the artist, whom he had known during his years in Paris.
That same year, de Hory formed a partnership with Jacques Chamberlin, who became his art dealer. They toured Europe together, selling the forgeries until de Hory discovered that, although they were supposed to share the profits equally, Chamberlin had kept most of the money. De Hory ended the relationship and resumed selling his fakes on his own.
After a successful sale of drawings in Sweden, he bought a one-way ticket for Rio de Janeiro in 1947. There, living from the sales of his fakes, he resumed creating his own art, though the sales of his portraits, landscapes, and still lifes in his own avant-garde style did not bring in the kind of money he had become accustomed to from his newly created master works. In August 1947 he visited the United States on a three-month visa and decided to stay there, moving between New York City, Los Angeles, Miami, and Chicago for the next twelve years. De Hory expanded his forgeries to include works in the manner of Henri Matisse, Amedeo Modigliani and Renoir. When some of the galleries de Hory had sold his forgeries to were becoming suspicious, he began to use pseudonyms and to sell his work by mail order. Some of de Hory's many pseudonyms included Louis Cassou, Joseph Dory, Joseph Dory-Boutin, Elmyr Herzog, Elmyr Hoffman and E. Raynal.
De Hory always denied that he had ever signed any of his forgeries with the name of the artist whom he was imitating. This is an important legal matter, since painting in the style of an artist is not a crime—only signing a painting with another artist's name makes it a forgery.
By 1966, more of de Hory's paintings were being revealed as forgeries; one man in particular, Texas oil magnate Algur H. Meadows, to whom Legros had sold 56 forged paintings, was so outraged to learn that most of his collection was forged that he demanded the arrest and prosecution of Legros. Alarmed, Legros decided to hide from the police at de Hory's house on Ibiza, where he asserted ownership and threatened to evict de Hory. Coupled with this and with Legros's increasingly violent mood swings, de Hory decided to leave Ibiza.
On December 11, 1976, de Hory's live-in bodyguard and companion Mark Forgy informed him that the Spanish government had agreed to extradite de Hory to France. Shortly thereafter, de Hory took an overdose of sleeping pills, and asked Forgy to accept his decision and not intervene or prevent him from taking his life. However, Forgy later went for help to take de Hory to a local hospital, though en route he died in Forgy's arms. Clifford Irving has expressed doubts about de Hory's death, claiming that he may have faked his own suicide in order to escape extradition, but Forgy has dismissed this theory.