camp for being both a Jew and a homosexual. (His homosexuality was proven over time, and while investigation into his past has shown the likelihood that he was at one time christened as a Calvinist, such an ostensible religious affiliation did not stop the Nazi government from targeting Jews for extermination.) He was severely beaten and was transferred to a Berlin prison hospital, from which he escaped. He returned to Hungary, and it was there, he said, that he learned that his parents had been killed and their estate confiscated. However, according to Mark Forgy's account, both de Hory's mother and brother were listed as Holocaust survivors. Life as a forger 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 profits. 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,