They admitted to counterfeiting works by renowned artists like Warhol and Banksy, defrauding collectors over five years
Category: Arts & Culture
A father and daughter from New Jersey have pleaded guilty to orchestrating a sophisticated art counterfeiting scheme that defrauded collectors of at least $2 million over a period of five years. Erwin Bankowski, 50, and Karolina Bankowska, 26, admitted to their crimes during a hearing in federal court in Brooklyn on April 28, 2026, where they faced charges of wire fraud conspiracy and misrepresentation of Native American-produced goods.
The pair, residents of Lawrence, New Jersey, commissioned an unnamed artist in Poland to create more than 200 forged artworks attributed to prominent artists including Andy Warhol, Pablo Picasso, Banksy, and Native American artist Fritz Scholder. According to federal prosecutors, the counterfeits were often reproductions of lesser-known works by these prolific artists.
The most lucrative counterfeit, purportedly by Richard Mayhew, was sold at auction house DuMouchelles for $160,000 last October. Other notable sales included a forged piece attributed to Raimond Staprans, which fetched $60,000, a fake Andy Warhol that sold for $5,500, and a counterfeit Banksy that went for $2,000. U.S. Attorney Joseph Nocella Jr. remarked, "For years, these defendants painted themselves as purveyors of fine art, selling lies on canvas to unsuspecting collectors. Today’s convictions strip away the varnish and reveal the fraud underneath."
Both Bankowski and Bankowska expressed remorse for their actions during the court proceedings. Bankowska stated, "My conduct was wrong and I am guilty," through a Polish interpreter. Her attorney revealed that she had placed over $1 million in an escrow account. Meanwhile, Bankowski's attorney noted that his client regretted his actions, which he undertook in an effort to support his family.
The counterfeiting scheme began in 2020 and involved elaborate methods to authenticate the forgeries. The pair created false ownership histories, known as provenance, claiming that the works had belonged to private collectors or were previously owned by defunct galleries. They also purchased antique books to obtain aged paper, which they used to forge certificates of authenticity and create custom-made stamps that lent credibility to their fakes.
As news of the fraudulent artworks spread through the art community, experts began to examine the sales. Erin Thompson, a professor of art crime at the City University of New York, commented on the case, stating, "The only unusual thing about this case is that the forgers got caught. People think of the art world as a genteel place full of cultured people who just want to share the wonder of beautiful art. You should assume there are a lot more fakes out there." This sentiment highlights the persistent issue of art forgery and the challenges that collectors face in discerning authenticity.
The scheme also drew attention to the exploitation of the Native American art market. Assistant Director Doug Ault of the U.S. Fish and Wildlife Service remarked that the operation "steals from Native American artists and undermines the integrity of an entire cultural marketplace." This aspect of the case raises broader questions about the protection and representation of indigenous artists in the contemporary art scene.
Both defendants now face the possibility of more than three years in prison under federal sentencing guidelines, with the potential for a maximum sentence of 20 years. In addition to prison time, they are required to pay at least $1.9 million in restitution to the defrauded collectors. Sentencing dates have yet to be announced, and the pair could also face deportation to Poland, as they are Polish citizens living in the United States.
The case serves as a stark reminder of the vulnerabilities within the art market, particularly as it pertains to the sale of high-value works. Auction houses like DuMouchelles, Bonhams, Phillips, and others involved in the scheme have been urged to implement stricter verification processes to prevent similar frauds in the future. A representative from DuMouchelles stated that they have cooperated with federal authorities but were not authorized to discuss the details of the sales.
As the art world grapples with the implications of this case, the focus will likely shift to how auction houses and galleries can bolster their authentication practices. The story of Bankowski and Bankowska serves as a cautionary tale, illustrating the need for vigilance in an industry where the line between genuine and counterfeit can often appear blurred.
With sentencing pending, the art community watches closely, hoping this case will lead to stronger protections for artists and collectors alike. The revelations surrounding this counterfeiting scheme expose the risks inherent in art transactions and highlight the necessity for greater transparency and accountability within the art market.