The Arrest of an Art Forger

Summary

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History Daily: "The Arrest of an Art Forger"

Host: Lindsay Graham
Date: May 29, 2026
Episode Theme:
A riveting exploration of Han van Meegeren, a Dutch artist who, spurned by the art world, masterminded one of history’s most audacious forgery scandals. This episode recounts his journey from frustrated painter to infamous forger, culminating in his arrest in 1945 for allegedly collaborating with the Nazis, and how the revelation of his forgeries both saved his life and sealed his legacy.

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Main Theme Overview

Lindsay Graham takes listeners on a dramatic journey through the life of Han van Meegeren, focusing on the day of his arrest and the secret that could clear his name—if he dares reveal it. The episode delves into themes of ambition, revenge, deception, and the sometimes blurry line between genius and fraud in the world of art.

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Key Discussion Points & Insights

1. The Arrest and Its Irony

• [00:24 – 04:37]

  • On May 29, 1945, Han van Meegeren and his wife are arrested in Amsterdam on charges of aiding the Nazis by allowing a Johannes Vermeer masterpiece to fall into their hands.
  • The stakes: a potential death sentence if convicted as a Nazi collaborator.
  • Irony emerges as Han realizes the only way to defend himself is to confess to an entirely different crime: art forgery.

  “According to investigators, he’s allowed a painting by famous Dutch artist Johannes Vermeer to fall into Nazi hands. But the charge leaves Han in a quandary because to defend himself, Han will have to reveal… that the paintings he sold for vast profits are not real Vermeers, but elaborate forgeries...”
  — Lindsay Graham, [00:52]

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2. Han’s Early Years: Humiliation and Ambition

• [04:37 – 09:54]

  • Flashback to 1907: Han’s early life under the strict rule of a dismissive schoolteacher father.

  • Humiliation and lack of respect for his art from both family and critics fuel Han’s bitterness.

  • After an initial burst of success thanks to his wife’s support, Han’s affair with actress Johanna Erlemans leads to social and professional backlash.

  • Criticized as “a gifted technician…every virtue except originality”

    — Quoting a scathing review, [08:29]

  • The sense of betrayal and defeat turns to anger: If the world sees him as an imitator, he’ll outdo them all at their own game.

  “He’ll become the best imitator that ever lived, and show his critics just how little they really know about true art.”
  — Lindsay Graham, [09:30]

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3. Perfecting the Master Forgery

• [11:48 – 16:41]

  • By the 1930s, Han, now living in France, meticulously develops his forgery methods:
    • Old canvases, period-correct paint formulas, “baking” to harden paint, manufactured cracks, and fake dirt.
  • His masterpiece, "The Supper at Emmaus," dupes renowned expert Dr. Abraham Bredius and the art world at large.
  • The painting sells for what would be over $5 million today.
  • Van Meegeren relishes fooling critics who once dismissed him.
  • This cycle repeats, making him wealthy and respected (under false pretenses).

  “The Supper at Emmaus is being praised by the same people who mocked and dismissed the work Han did under his own name.”
  — Lindsay Graham, [13:21]

  • During WWII, one of Han’s fakes is traded by high-ranking Nazi Hermann Göring for 137 stolen Dutch paintings.

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4. The Twist: Nazis, Justice, and a Daring Defense

• [11:48 – 18:22]

  • Following the war, the Allies uncover Göring’s “Vermeer”—actually Han’s forgery.
  • Han is arrested for collaborating with the Nazis, his life at stake.
  • In desperate self-defense, Han confesses to forgery, but experts, unwilling to admit error, claim he’s lying to avoid execution.
  • Han’s radical proposal: paint a “new Vermeer” under court supervision to prove his skills.

  “Painting has always given Han his livelihood. Now, it might save his life.”
  — Lindsay Graham, [16:33]

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5. The Courtroom Challenge – Art That Saves a Life

• [18:22 – 21:09]

  • Under strict observation, Han produces another convincing “Vermeer.” His techniques exposed, scientific analysis confirms his claim.
  • Cleared of aiding the Nazis, he is instead convicted of fraud and forgery and sentenced to a year in prison.
  • Before serving time, he dies of a heart attack at age 58.
  • By then, public opinion has shifted—Han is seen by many as a folk hero who fooled the Nazis and the art elite.
  • Hundreds attend his funeral, his story immortalized.

  “Many people think of Han van Meegeren not as a criminal, but as a folk hero who defrauded the Nazis.”
  — Lindsay Graham, [20:43]

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Notable Quotes & Memorable Moments

• On Han’s motivation:

  “If they think he’s nothing more than an imitator, he’ll become the best imitator that ever lived.”
  — Lindsay Graham, [09:30]

• On the “Supper at Emmaus” breakthrough:

  “Bredius writes that he has discovered a new Vermeer, and not only that, the Supper at Emmaus is one of the Dutch master’s best works.”
  — Lindsay Graham, [13:10]

• On Han’s gamble at trial:

  “He will offer to create a new Vermeer under the supervision of the court…Now it might save his life.”
  — Lindsay Graham, [16:33]

• On legacy and public perception:

  “Though today his forgeries may seem crude to modern eyes, Han made himself a fortune by skillfully exploiting the art world’s eagerness to unearth lost old masters.”
  — Lindsay Graham, [20:56]

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Timeline of Important Segments

• [00:24] – Opening dramatization of Han’s arrest
• [04:37] – Han’s formative years and early artistic struggle
• [11:48] – The beginnings of his forgery career in France
• [13:10] – Validation of “Supper at Emmaus” by Dr. Bredius
• [15:30] – Sales to Nazis and consequences of WWII
• [16:33] – Han’s court challenge and the supervised forgery
• [18:22] – Court vindication, fraud conviction, and his unexpected death
• [20:40] – The repercussions and transformation of Han's public image

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Tone and Style

Graham narrates the episode as a tightly woven historical drama—suspenseful yet thoughtful, at times sympathetic to Han’s wounded pride and bitterness, while ultimately acknowledging the moral ambiguity of his legacy. Through vivid vignettes, the story is told with a sense of irony and European historical gravitas.

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Summary

This episode of History Daily crafts a compelling portrait of Han van Meegeren—a man whose longing for artistic greatness led him from victimhood through revenge, deceit, and, improbably, folk hero status. It’s a meditation on genius, recognition, and the unpredictable paths history can take, culminating in an arrest that ironically brought the truth, and a strange kind of vindication, to light.

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Transcript

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It's May 29, 1945. In a large house in Amsterdam, the capital of the Netherlands, 55 year old artist Han van Majoren closes his eyes and lets the water cascade over his head. He's trying to wash away the throbbing pain in his temples. Last night Han drank far too much and this morning he's paying the price. Han groans as the pounding in his head is replaced by a banging on his front door. He climbs out of the shower and puts on a robe. Han moves to the hallway and clutches the oak banister as his wife Johanna unlocks the door. But as soon as she's turned the key, the door flies open and four uniformed police officers barge past her and into the foyer. Han races down the stairs to protest as an officer snaps handcuffs on his wife's wrists. But as Han reaches the bottom step, another officer grabs his shoulder and presses him against the wall. Through an open doorway, Han can see into his art studio. And there the other two officers are already rifling through Han's belongings. They examine an almost finished painting on an easel and and then carefully remove the artwork hanging on the walls. Spotting Hahn watching on, the senior officer steps out of the studio and then tells Hahn that he's under arrest for aiding and abetting the recently defeated Nazis. And if he's found guilty, the penalty could be death. Han von Mesrin will soon discover the reason he's been detained on such a serious charge. According to investigators, he's allowed a painting by famous Dutch artist Johannes Vermeer to fall into Nazi hands. But the charge leaves Hahn in a quandary because to defend himself, Hahn will have to reveal a closely guarded secret. That the paintings he sold for vast profits are not real Vermeers, but elaborate forgeries he made himself years before his arrest on May 29, 1945. I was a bit curious so I went looking for an answer. Does Santa Claus say ho ho ho in Germany? Yes, it turns out he does. But what about France? Yes, there too. But they don't pronounce the h, so it's more of a O. And I assume the Austrians do as the Germans do. But I haven't looked that up. Still, why am I telling you all this? Because there are still some places left on my European Christmas market tour. A 10 day journey throughout France, Germany and Austria stuffed with Christmas tradition and history. You can Join me too, but only if you act quickly. Over half of all available places are already taken. Tickets are on sale now, so reserve your spot. Go to historydaily.com and look for the Christmas market section. That's historydaily.com

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From noiser and airship I'm lindsey graham and this is history daily. History is made every day on this podcast. Every day we tell the true stories of the people and events that shaped our world. Today is May 29, 1945. The arrest of an art forger. It's 1907 in Deventer, the Netherlands, 38 years before the arrest of Han von Meeserin. 18 year old Han hunches over a writing desk in his bedroom, scribbling line after identical line that reads I know nothing. I am nothing. I am capable of nothing. By the time he reaches the bottom of the page, his hand is cramping from the repetition. But he grips the pen even harder, imagining it's actually his father's neck. For as long as he can remember, Han has dreamed of being an artist. He has spent every spare minute he can find drawing and painting. But Han's ambition doesn't meet with the approval of his school teacher father who wants Han to learn A profession instead. So to put Han off art, his father belittles him and makes him write lines as though Han was one of his misbehaving students. But Han knows he doesn't have to put up with his father's cruel punishments much longer. A few weeks later, Han sets out on a hundred mile journey to the Delft University of Technology. His father has arranged for him to study architecture there. But once Han is away from his father, he's free to embrace his love of art. And in 1913, one of his paintings wins first prize in a competition, giving him the confidence to quit architecture and enroll in art school instead. His father is furious when he finds out that Han has abandoned his more respectable studies. And he's not the only one who's concerned about Han's career choice. By now, Han is married to one of his classmates, Matthew. They have a baby boy together. His wife is worried about how they'll make ends meet. But Han is not. Because he's convinced that he will become a great artist. But the world is slow to recognize his genius. Galleries turn him down and buyers are only willing to pay a pittance for his work. In response, Han veers between arrogant dismissal of the collectors he sees as Philistines and deep despair at their rejection of him. To earn money, Han draws holiday cards and paints landscape posters for the commercial art industry. And he gets a part time job as a teaching assistant at the Royal Academy of Art. But these only reinforce his feelings of inadequacy and he sinks into depression. At this point, Han almost abandons his dream of becoming an artist. But his wife doesn't give up. She urges Han to return to his easel and sets about organizing an exhibition of his work. She scrapes together enough money to hire a venue and invites every art critic, gallery owner and collector she can. In April 1917, Hahn's first ever solo exhibition opens at a gallery in the Hague. His work isn't modern. In fact, his paintings of churches and still lifes could have been made centuries earlier. But the exhibition is still a runaway success. Hahn sells three paintings on the very first day. By the end of the four week show, he's found a buyer for every single work on display. Thanks to his wife, Suddenly Han is an artist in demand. Commissions flood in with wealthy people asking Han to paint their portrait. Among his new clients is a famous Dutch actress named Johanna Ullermans. It's a job that changes Hans life. He soon starts an affair with Johann and makes little attempt to hide it. This betrayal is devastating for Hans wife. But she's not the only one hurt by this new relationship. Johanna is married as well, and her husband is one of the Netherlands foremost art critics. Friends try to warn Han that humiliating someone so influential in the world of art is a bad move for his career. But Hahn doesn't listen. He's too infatuated with Johanna to break off the affair. And he thinks a great artist like himself shouldn't be hemmed in by the normal rules and expectations of mainstream society. But he soon discovers that he has made a powerful enemy. In 1922, Hahn arranges a second solo exhibition of his work. But this time the show is a failure. His paintings are trashed by the critics, who dismiss them as old fashioned and uninspired. One especially scathing review calls Hahn a gifted technician who has every virtue except originality. Following this setback, Han descends into another bout of depression. And it's all too much for his suffering wife. She supported him for years, but now has had enough of his affairs, his mood swings, his arrogance and his victimhood. In March 1923, they divorce. Han will wallow in his misery for months. He'll practically stop painting entirely and blame everyone but himself for his problems. But eventually that misery will turn into anger and a desire to get revenge. He'll become determined to show them all if they think he's nothing more than an imitator. And he'll become the best imitator that ever lived and show his critics just how little they really know about true art.

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It's 1937 in a village on the south coast of France, 16 years after Han von Meijerin's disastrous second exhibition. In a busy cafe, 46 year old Han anxiously taps his foot on the tiled floor. His coffee has turned cold and his breakfast is untouched. Instead, his attention is focused on the door as he waits for his wife to arrive. Following his divorce, Han eventually married his lover, Johanna Erlemans. In the early 1930s, the couple moved to the south of France where Hahn set up a new studio. But instead of trying to create original works, he focused his efforts on becoming a master forger. According to his critics, he already painted in the style of old artists like Johannes Vermeer. So Hahn figured if he could find a way to age his paintings convincingly, he could pass them off as newly discovered works of famous artists and make a fortune. After much experimentation, he settled on what he thought was a foolproof method. He bought genuine 17th century canvases as his base. Then he mixed up paint using old formulas and used badger hair brushes, just like Vermeer, to apply them to the canvas. The result, though, still looked too new. So Han used a chemical process to harden the paints and then baked the forgeries in an oven. Finally, he rolled a heavy cylinder over the canvas to introduce authentic looking cracks and brushed India ink over the top to mimic three centuries worth of accumulated dust and dirt. So after almost six years of perfecting his technique, Hahn felt ready to create a new Vermeer masterpiece. The Supper at Emmaus depicted the resurrected Jesus Christ breaking bread with his disciples. When it was finished, Hahn used an intermediary to send the painting off to the prominent Dutch art historian Dr. Abraham Bredius for authentication. And now, in this cafe, he's just waiting on the verdict. Hahn's head snaps around as the cafe door opens and his wife Johanna walks in calling, clutching the newest issue of A monthly art magazine. Han quickly grabs it out of her hands and flips through the magazine's pages to an article by Dr. Bredius. Reading a few paragraphs, Han then punches the air in delight. Bredius writes that he has discovered a new Vermeer, and not only that, the Supper at Emmaus is one of the Dutch master's best works. The article captures the attention of the entire art world and Han is quick to take advantage of he puts the forgery on the market and sells it for the modern equivalent of over $5 million. Han is delighted, and not just by the money. The Supper at Emmaus is being praised by the same people who mocked and dismissed the work Han did under his own name. Han can't tell anyone the truth, of course, but he thrills in the idea that he's outwitted. To critics over the next few years, Han will repeat this trick again and again. He creates more fake Vermeers and other forgeries that hoodwink the experts and sell for enormous sums. Even the outbreak of World War II in September 1939 doesn't stop him. And Hahn's huge fortune enables him to live a life of luxury in excess, even in wartime. But although business is booming when the Nazis occupy the Netherlands in 1940, the seeds are sown for the end of Hans fraudulent scheme. Unbeknownst to him, one of Hans forgeries catches the eye of a high ranking Nazi and ardent art collector, Hermann Goering. Goering trades 137 Stolen Dutch paintings for just one of Hans forgeries called the Christ with the adulteress. But Goering doesn't get to enjoy it for long. When Adolf Hitler's regime collapses, Allied soldiers discover a Christ with the adulteress among thousands of paintings and other looted valuables stashed by the Nazis in a disused salt mine. Investigators traced Christ with the adulteress back to the person who supposedly discovered it a few years earlier and and they incorrectly assume that Hahn is the dealer who sold it to Goering. In May 1945, Hahn is arrested and charged with aiding and abetting the Nazi occupation by selling them an important piece of Dutch history. Hahn faces the death penalty, but there's one way to defeat the charges. If he admits to forging the painting. It isn't an easy thing to confess to though. And for several weeks Hahn agonizes over what to do. Finally though, he comes clean and explains to the shocked investigators how he painted the fake Vermeers and how he fooled the art world into believing that they were the real things. But Proving that he's a forger is unexpectedly difficult to protect their reputations, the art experts who authenticated the paintings double down on their assessment, claiming that Han's so called confession is just a ruse to escape the Executioner's noose. So Han will propose an unusual way to prove his innocence. He will offer to create a new Vermeer under the supervision of the court. Painting has always given Han his livelihood. Now it might save his life.

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It's December 1945 at Han van Meejonen's home in Amsterdam, three months after Hahn was arrested by Dutch police. In his light filled studio, Hahn puts the finishing touches on his latest Vermeer masterpiece. He calls it Jesus. Among the doctors the court appointed, witnesses who have watched his progress over the last few months can see that the style of painting is undeniably similar to the earlier Sophretta Mas. But that's still not enough. To prove that Han is innocent, Hahn must also reveal the techniques he used to age his paintings. And once they are complete, the judge orders a comparison of Han's latest forgery with a painting bought by Hermann Goering. And only then do the art experts grudgingly agree that under the microscope, the two paintings appear almost identical. His newest forgery has saved Hahn's life, and he is cleared of charges of collaborating with with the Nazis. But he's not off the hook entirely. He still has to pay for his criminal scheme, and in late 1947, he's put on trial for forgery and fraud. He's quickly found guilty and sentenced to a year in prison. But he'll never serve even that. A few weeks after his conviction, Han suffers a heart attack and dies in the hospital at the age of 58. And by this time, media coverage of his trial has made him a household name in the name Netherlands. Many people think of Han von Mesrin not as a criminal, but as a folk hero who defrauded the Nazis. So hundreds attend his funeral. During his lifetime, Hahn always harbored ambitions of becoming a great artist in his own right. But it was only by assuming the name of a real genius that he found success. Though today his forgeries may seem crude to modernize, Hahn made himself a fortune by skillfully exploiting the art world's ease. Eagerness to unearth lost old masters and his elaborate fakes might have hung undiscovered on gallery walls for many decades to come, were it not for Hermann Goering's greed and Han von Mezurin's wrongful arrest on May 29, 1945. Next on History Daily June 1, 1967. The Beatles define a new era in pop culture with the release of their album sergeant Pepper's Lonely Hearts Club Band. From Noiser and Airship. This is History Daily Hosted, edited and executive produced by me, Lindsey Graham Audio editing by Mohammed Shazi Sound design by Gabriel Gould Supervising sound designer is Matthew Filler. Music by Thrunk this episode is written and researched by Joe Godlike Edited by Scott Reeves Managing producer Emily Burke Executive producers are William Simpson for Airship and Pascal Hughes for Nouser.

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