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Thursdays, September 2 – September 30, 2 – 4:10pm


An Egyptian relief is examined under UV light in the Conservation Lab.

$220; members $198
(4 classes; no class on Sept. 16)

All classes in Eastern time. We encourage you to watch live, but classes can be streamed once the live session ends. See our FAQ.

About the Class

Even the best collectors get duped from time to time—including Albert Barnes. Scholars working in our research department have recently discovered that a few of his lovely antiquities might actually be modern productions. This course explores several known forgeries from around the world, including the Shroud of Turin and Mesoamerican crystal skulls, and investigates how these puzzling objects were made and passed off as the real deal. Then, we’ll turn to a few of the artifacts at the Barnes to learn about the modern detective work used by scholars in determining an object’s authenticity.

Each week, the 90-minute lecture is followed by a 30-minute discussion session that allows students the opportunity to ask questions and exchange ideas with the instructor and classmates.


Instructor Carl Walsh examines an Egyptian relief under UV light.


Kaelin Jewell

Jewell is a senior instructor in adult education at the Barnes. She holds a PhD in late Roman and early medieval art history from Temple University and has worked as a field archeologist. In addition to her work at the Barnes, Jewell is the art historian for an underwater archaeology project near the Sicilian town of Marzamemi.

Carl Walsh

Walsh is a postdoctoral research fellow at the Barnes, where he is conducting an in-depth study of the collection’s Egyptian antiquities. Walsh earned a PhD from University College London and has taught at Brown University’s Joukowsky Institute for Archaeology and the Ancient World. His research focuses on reconstructing the sensorial experiences of ancient Egyptian and Nubian peoples.

Art in Context

Art in Context courses connect works of art to history: What was happening politically, socially, and culturally at the time a piece was made? How did these circumstances shape the artist’s formal choices?