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December 13, 2013

Duryodhana statue from Prasat Chen, Cambodia: "Voluntary" Repatriation by Sotheby's and consigner


By Lynda Albertson, ARCA's CEO



Located 120 kilometres (75 mi) away from Siem Reap and the ancient site of Angkor, Chok Gargyar is often referred to in legal proceedings by its modern name, Koh Ker. The site and its temple complexes once made up the 10th century capital of the Angkorian empire.  It is also one of the most remote and inaccessible temple sites in Cambodia.

The decision to repatriate the Duryodhana Hindu warrior follows the Metropolitan Museum of Art's June 2013 restitution of two life-size sandstone masterworks from the same temple complex.   The two "Kneeling Attendants" had graced the the entrance to the Met’s South East Asian galleries since they opened in 1994.

Throughout the investigation Ms. Ruspoli di Poggio Suasa has maintained that she inherited the statue via her husband’s estate and that he had purchased the statue in good faith in London in 1975.  A copy of the the United States legal complaint can be viewed here.

As part of the Stipulation and Order of Settlement accord signed on Thursday December 12, 2013 by Ruspoli di Poggio Suasa, Sotheby's and U.S. federal attorneys, comes the statement that the plaintiffs “voluntarily determined, in the interests of promoting cooperation and collaboration with respect to cultural heritage,” that the object should be returned to Cambodia. Sotheby’s Spokesman, Andrew Gully went on the record to add that “the agreement confirms that Sotheby’s and its client acted properly at all times.”

It is interesting to speculate if this accord was in any way influenced by Aaron M. Freedman who pled guilty this month to six counts of criminal possession of stolen property valued at $35 million.  He was the long term manager of Subhash Kapoor’s art gallery on Madison Avenue in Manhattan. As part of his plea agreement, Freedman has agreed to work with New York and US investigators with their investigation and prosecution of Kapoor who is currently being held in a Chennai jail awaiting trial.

Sotheby's sells Symes marble matched by Dr. Christos Tsirogiannis in the Schinousa archives for more than $4.6 million today; Sotheby's withdraws The Medici Pan; and Christie's in NY aims to sell Symes Pan tomorrow

Looting Matters: Hermes-Thoth
Image: Schinousa Archive
Today Sotheby's auction house in New York sold an ancient marble head for more than $4.6 million even after Dr. Christos Tsirogiannis pointed out that the piece, owned by Robin Symes, matched an image in the Schinousa archives. 

On December 5, Professor David Gills wrote on his blog "Looting Matters" under the post Symes and Hermes-Thoth about a 2,000 year old marble head for sale at a New York auction house today:
I am grateful to my Cambridge colleague Dr Christos Tsirogiannis for pointing out that the head of Hermes-Thoth due to be auctioned at Sotheby's New York next week had once passed through the hands of Robin Symes (December 12, 2013, lot 39). The estimate is $2.5-3.5 million.... Colour images of the head feature in the Schinousa archive where they were identified by Tsirogiannis.


In 2006, Peter Watson and Cecilia Todeschini published The Medici Conspiracy: the illicit journey of looted antiquities, from Italy's tomb raiders to the world's greatest museums, an expose about the network of tombaroli and art dealers who funneled looted antiquities into private and public collections from the 1960s through the 1990s. Peter Watson wrote Mr. Symes legal problems in "The fall of Robin Symes" in 2005. On Trafficking Culture, archaeologist Neil Brodie summarizes the illegal activities of Giacomo Medici, convicted in 2005 of receiving stolen goods, illegal export of goods, and conspiracy to traffic. Here's how Symes is believed to have been involved:
By the late 1980s, Medici had developed commercial relations with other major antiquities dealers including Robin Symes, Frieda Tchacos, Nikolas Koutoulakis, Robert Hecht, and the brothers Ali and Hischam Aboutaam (Watson and Todeschini 2007: 73-4). He was the ultimate source of artefacts that would subsequently be sold through dealers or auction houses to private collectors, including Lawrence and Barbara Fleischman, Maurice Tempelsman, Shelby White and Leon Levy, the Hunt brothers, George Ortiz, and José Luis Várez Fisa (Watson and Todeschini 2007: 112-34; Isman 2010), and to museums including the J. Paul Getty, the Metropolitan Museum of Art, the Cleveland Museum of Art, and the Boston Museum of Fine Arts.
Sotheby's Hermes-Thoth
Neil Brodie explained in September 2012:
Investigative reporter Nikolas Zirganos took a special interest in the activities of British antiquities dealer Robin Symes, and was present in April 2006 when Greek police raided a villa on the island of Schinoussa belonging to Symes and his deceased partner Christos Michaelides. Zirganos described how the villa on Schinoussa was used for what he described as the ‘preparation and closing of deals’ (Zirganos 2007: 318). The villa was in effect a social and commercial hub, where Symes and Michaelides would entertain archaeologists, museum curators, conservators and wealthy collectors to gossip about the market and what was available for purchase, and to arrange sales. Thus, it was possible for a customer to purchase an illicit artefact on Schinoussa without actually coming into contact with it. The artefact would be smuggled separately to Switzerland, where the customer could take possession of it.
Jason Felch, author of Chasing Aphrodite and an investigative journalist for The Los Angeles Times, wrote of Symes in January 2013:
Last year, the Getty quietly returned 150 marble fragments in the collection (88.AA.140 - 88.AA.144) to Italy after evidence emerged that they joined objects found in the same looted tombs of Ascoli Satriano that produced the Getty's Griffins and statue of Apollo, which were returned to Italy in 2007. The objects and fragments were acquired in the 1980s from London dealer Robin Symes.
Dr. Gill described the Schinousa archive last June on "Looting Matters":
This photographic archive records the material that passed through the hands of a London-based dealer. If material from this archive resurfaces on the market, it would be reasonable to see the full collecting history indicated. But such information would no doubt be provided by rigorous due diligence searches.
December 12, 20013, Sotheby's sold the late Hellenistic marble head of Hermes-Toth for $4,645,000 (Hammer's Price with Buyer's Premium)."

The Medici Pan withdrawn from sale at Sotheby's New York

Professor Gill also noted in "Looting Matters" that Dr. Christos Tsirogiannis identified "The Medici Pan" that was later withdrawn from the sale:
Sotheby's New York are due to auction a giallo antico marble bust of Pan next week (December 12, 2013, lot 51). The estimate is $10,000-$15,000. Dr Christos Tsirogiannis has pointed out to me that a polaroid image of the sculpture was found on the Geneva Freeport premises of Giacomo Medici.
The Symes Pan for sale Dec. 13 at Christie's Rockefeller Plaza

Again, on the blog "Looting Matters", Dr. Gill writes about another item for sale that caught the eye of forensic archaeologist Christos Tsirogiannis:
Tsirogiannis has now identified a terracotta Pan from the Schinousa archive that is due to be auctioned at Christie's Rockefeller Plaza (December 13, 2013, lot 114, estimate $8000 - $12000). Christie's have offered the following collecting history:
with Edward H. Merrin Gallery, New York, 1968.
Private Collection, New York, 1968-2011.
So when was the Pan in the possession of Robin Symes? What is the identity of the private collection? Is the collecting history presented by Christie's robust? What authenticated documentation was supplied to Christie's?
The Edward H. Merrin Gallery has been linked to the bronze Zeus returned to Italy, material in the collection of Dr Elie Borowski, as well as the marble Castor and Pollux on loan to New York's Metropolitan Museum of Art.
Artemagazine

The Italian Artemagazine  in "Pezzi di Medici e Symes all'asta: fino a quando?" (authored by Fabio Isman and his team) asks why illegally excavated antiquities from Italy are being offered for sale in New York City after Cambridge's Dr. Christos Tsirogiannis has identified the items to archives collected in police raids.

December 12, 2013

Thursday, December 12, 2013 - ,,,, No comments

Felicity Strong on "The Mythology of the Art Forger" in the Fall 2013 issue of ARCA's Journal of Art Crime

Felicity Strong uses the biographies of Han van Meegeren and Elmyr de Hory, amongst others, in her academic article on "The Mythology of the Art Forger" in the tenth issue of The Journal of Art Crime. From the abstract:
In the twentieth century, there has been the rise in the depiction of the art forger in non-fiction biographies and memoir. Distinct from scholarly research, these portrayals of individual art forgers have developed a common mythology, which weaves through each narrative. The art forger is mythicised as a hero; the failed artist protesting a corrupt art market dominated by greedy art dealers and scholars. In Australian culture, this mythology has its roots in the wider legend of hero criminal such as in the story of Ned Kelly and includes elements of the North American ‘trickster’ mythology. It also feeds into a broader anti-intellectualism and mistrust of the establishment, particularly in the depiction of art curators and connoisseurs. This mythology is evident in a number of biographies of notable forgers, such as Han van Meegeren and Elmyr de Hory, which intersect with the sub-genre of memoir, in the personal accounts of Tom Keating, Eric Hebborn and Ken Pereyni. These narratives fuel the ability of the forgers to construct their own public persona and feed into the wider mythology of the art forger.
Ms. Strong's article begins with:
“Art forgers are endowed with the same evil attractiveness as emanates from great criminals”. Thierry Lenain
Art historian Otto Kurz in his book, Fakes: a Handbook for Collectors and Students, summarizes the basis of the mythology of the art forger. He refers to the “often repeated story of the innocent forger, dished up every time one of the great forgers has been found out”. This mythology more or less follows the same narrative arc across each story: beginning with childhood struggle, such as Tom Keating, described as “born with every disadvantage except a loving mother, or Eric Hebborn, who described his maternal relationship, “as her favourite, my ears were those she liked to box the best, my bottom was the preferred target for an affectionate kick”. Most of the art forgers overcome their struggles through learning the tools of the art trade, working for restorers or conservators and slowly developing a common distain for the cultural elite and art market. Keating is characterized triumphing over adversity through his talents, as he “taught himself reading and achieved a much broader cultural than most of today’s A-level students and feather- bedded graduates”. The art forgers who began their career as failed artists rail against the agents of the market; dealers, gallery owners, critics and curators; whom they perceive as having wronged them. They begin to create forgeries, justifying their production on their perceived mistreatment by the cultural elite. This is evident in the case of Han van Meegeren, who trained as an artist and held a number of solo exhibitions before he began to forge old master painters. Some commentators claim it was series of poorly performing shows and negative reviews by Amsterdam’s arts community, which drove him to forge Vermeer. He allegedly refused the offer of critics, who approached van Meegeren for payment in return for positive appraisals of his shows, resulting in negative reviews. Jonathan Lopez dismisses the idea that he was pushed into forging, claiming that van Meegeren was creating forgeries well before this time, motivated purely by the money that more established artists could command.
Felicity Strong is a PhD candidate in her second year of research at the University of Melbourne, Australia. She has a Master of Art Curatorship and has worked in commercial galleries in Melbourne and London. Her PhD research is focused on discovering the extent to which perceptions of art forgery are influenced by depictions in cultural context, such as in literature, on screen and within an art museum environment.

Design for this issue and all issues of The Journal of Art Crime is the work of Urška Charney. Here's a link to ARCA's website on The Journal of Art Crime (includes Table of Contents for previous issues).

Bojan Dobovšek and Boštjan Slak on "Criminal Inspectors and Art Crime Investigation in Slovenia" in the Fall 2013 issue of ARCA's Journal of Art Crime


Bojan Dobovšek and Boštjan Slak write on "Criminal Inspectors and Art Crime Investigation in Slovenia" in the Fall 2013 issue of The Journal of Art Crime. This is the academic article's abstract:
The aim of the paper is to present some presumptions about the criminal investigation of art and historical heritage-related crimes. Because credible literature on art crime investigation is rare, especially with clear empirical data, we have decided to survey Slovenian investigators about their opinions and experience relating to art crimes. Slovenian investigators rarely come across art crime cases, even in connection with other types of crime. Our survey showed that Slovenian criminal investigators are indifferent regarding keenness for art-related criminal cases investigation-: cases are not very “desirable” but also they are not “non-desirable.” In addition, investigators do not agree that they have enough knowledge about art-related crime. The most positively evaluated was cooperation with other instructions (like INTERPOL). The study results also showed that more dedication should be devoted to education about investigating art crimes; especially prosecutors and judges lack such knowledge. Some problems and experiences about academic research methods are also debated in the paper, therefore providing some help to future researchers. Our pilot study has shown that (at least in Slovenia) qualitative research methods would be more suitable. However the findings of our research are still useful to those who develop strategies for investigating art-related crimes, and for further academic research.
From the introduction:
Art crimes are most often defined as “criminally punishable acts that involve works of art” (Conklin, 1994, p. 3). Passas & Proulx (2011, p. 52), are more detailed: “... subsumed under the rubric of art crime are such activities as diverse as art thefts and confiscations, vandalism, faked and forged art, illicit excavation and export of antiquities and other archaeological material.” We list these definitions of art crime simply because most countries also penalize criminal acts against art and cultural heritage in such a broad sense. Without a doubt, such broadness limits the research of art crime, as individual acts are lost in the statistics of property crime, under which art crime falls. One can only examine the rough numbers of the frequency with which art crime occurs per year. Only in notorious cases do we have more data, but the majority of data remains uncollectable1 or, as is the case in Slovenia, it isn’t consistent, as determined by Vučko (2012) in her study. She noticed that there are severe discrepancies between annual data about art crime that the General Police Directorate gives to the public, to researchers, and that which was published elsewhere (ibid). Dobovšek, Charney, & Vučko (2009) see one of the reasons why criminologists and criminalists aren’t keen on empirical studies of art crime, in the fact that even though there are extensive art crime databases kept by INTERPOL, the FBI, and private organizations, these are sometimes hard to access. Moreover, because of social and, mainly legal, specifications of different countries, the available data only enables country-by-country analysis (Durney & Proulx, 2011).
Bojan Dobovšek is Associate Professor and Vice-Dean of the Faculty of Criminal Justice and Security, University of Maribor, Slovenia. Boštjan Slak is a postgraduate student at the Faculty of Criminal Justice and Security, University of Maribor, Slovenia. 

Design for this issue and all issues of The Journal of Art Crime is the work of Urška Charney. Here's a link to ARCA's website on The Journal of Art Crime (includes Table of Contents for previous issues).

December 11, 2013

Wednesday, December 11, 2013 - ,,, No comments

Update on the search for the oeuvre of Polish artist Moshe Rynecki by his great-granddaughter

Elizabeth Rynecki has written about her search to identify and recover her great-grandfather's oeuvre of art which Moesche Rynecki hid around Warsaw during World War II before he was believed to have perished in the Majdanek concentration camp in 1943 of which is written:
After the Germans destroyed the Warsaw ghetto in spring 1943, SS and police officials deported between 18,000 and 22,000 survivors of the uprising, including women and children, to Majdanek as forced laborers, along with the equipment of some of the Warsaw ghetto workshops. The SS intended that these prisoners would work for the benefit of a new SS-owned labor deployment concern, East Industries, Inc. (Ostindustrie, GmbH). The surviving documentation is insufficient to determine whether and how many of the Jewish survivors of the Warsaw ghetto were killed upon arrival at Majdanek. As many as 3,000 may eventually have been transferred to the Budzyn forced labor camp. 
Here's an article in the Spring issue of The Journal of Art Crime about the loss of works by Moesche Rynecki: 
At the outbreak of the Second World War, my great-grandfather, Moshe Rynecki (1881-1943), took his oeuvre of work (about 800 paintings depicting the Jewish community) and divided them into bundles to be hidden in and around the city of Warsaw, Poland. He gave a list of the locations where works were hidden to his wife, son, and daughter, in hopes that after the war the family would retrieve the bundles....After the war, my great-grandmother Perla and her cousin went to see if any of the bundles of the paintings survived. They weren’t very hopeful because of the enormous devastation in and around Warsaw. They found just a single package in the Pragash district, across the river Vistula. The package was in the cellar of a home. As my grandfather George recalls in his memoir:
The people were away, and the paintings, all on paper or parchment, fairly small, were strewn on the basement floor in the cellar. Some damaged, some cut in half with scenes missing. They seemed to have gone through the same fate as the Jewish people – massacred and destroyed. About 12-15 percent of Jews survived the Holocaust. So did my father’s paintings. One hundred and twenty were found out of a count of close to eight hundred works. (G. Rynecki 94)
Here's a link to her blog which updates her journey and work on the documentary Chasing Portraits: A Family's Quest for Their Lost Heritage. This blog post on Nov. 5 tells about the photos of paintings Ms. Rynecki saw in the Otto Schneid archive at the University of Toronto Thomas Fischer Rare Book Library.

Here's on article published on Oct. 31 in The Canadian Jewish News by Fern Smiley (ARCA Alum) "Search for lost pre-World War II art bears fruit in Toronto". Ms. Smiley wrote:
While it’s possible that much of Moshe’s extant oeuvre has been stolen, this can’t be easily proven. Since Moshe’s work was never recorded or catalogued, it’s impossible to prove whether paintings that surface at auctions, for example, came from the bundles. As an art historian, Rynecki can search for her great-grandfather’s paintings, establish relationships with those who have his pieces, and potentially learn the stories that tie all of those who have experienced the work into a larger narrative.
 In return, she receives gifts, and that night at her talk, Prof. Barry Walfish gave her several more. After the questions ended, he raised his hand and explained to Rynecki and the audience that the University of Toronto Library, where Walfish works as a Judaica specialist, holds handwritten letters of her great-grandfather as well as more than a dozen photographs of his paintings. Among them was a photo of the damaged painting she showed during her talk.
In the rain, after a long lecture, Walfish accompanied Rynecki to the Thomas Fisher Rare Book Library, where he opened two archival boxes from the Otto Schneid archives. Schneid, a European-born Polish painter, sculptor and historian, wrote a book on modern Jewish art in the Diaspora. In his research, he solicited autobiographies and photos of artwork from dozens of Jewish artists in Europe, including Moshe. In 1938, after Germany’s annexation of Austria, the printing of his authoritative book by his Viennese publisher was halted by the Nazis. Schneid fled Poland for Palestine, but never saw his book in print. A Hebrew version that he prepared in Israel and was ready for publication in 1957 also never saw the light of day. The unpublished manuscripts, in German and Hebrew, along with all the background material he collected, were gifted to the Fisher Library by his widow, Miriam, in 2002.
Out of the boxed archives came more than a dozen photos of paintings Rynecki had never seen before, including one called Kabbalist and one haunting death-bed scene of Moshe’s own father, as well as the intact photographic reproduction of his watercolour Prayer, and a handwritten letter in Yiddish from Moshe to Schneid, introducing himself, which begins: “I was born an artist…”- See more at: http://www.cjnews.com/opinions/search-lost-pre-wwii-art-bears-fruit-toronto#sthash.e1LphXXJ.dpuf

December 9, 2013

"Victorian Art Theft in England: Early Cases and Sociology of the Crime Noah Charney and John Kleberg in the Fall 2013 issue of The Journal of Art Crime

The Fall 2013 issue of The Journal of Art Crime includes an academic article by ARCA Founder Noah Charney and John Kleberg on "Victorian Art Theft in England: Early Cases and Sociology of the Crime". This is the abstract:
Victorian England represents a distinctive sociological Petri dish for criminologists. Attitudes towards crime, the myth of the gentleman thief, and the important veneer of respectability beneath which flowed a rich vein of immorality and criminal activity are all unique to the time and place. And yet the influence of Victorian crime can still be felt today. The general public still assumes that thieves, in particular art thieves, adhere to Victorian (and later Edwardian) stereotypes: that art thieves are non-violent, educated men of gentlemanly aspirations. This was the case in some famous cases, notably that of Adam Worth, described here. But the perception among the general public has not caught up with the more devastating realities of art crime, that it is the third highest-grossing criminal trade worldwide since the Second World War, and that it is entwined with the drug and arms trades, and even terrorism. This paper examines two famous Victorian art theft case studies, discusses the Victorian origin of museums and the art market, and concludes with how these high-profile cases influenced the public perception of art theft, and continues to do so to this day.
This is an introduction to the article:
Victorian England represents a distinctive sociological petri dish for criminologists. Attitudes towards crime, the myth of the gentleman thief, and the important veneer of respectability beneath which flowed a rich vein of immorality and criminal activity are all unique to the time and place. And yet the influence of Victorian crime can still be felt today. The general public still assumes that thieves, in particular art thieves, adhere to Victorian (and later Edwardian) stereotypes: that art thieves are non-violent, educated men of gentlemanly aspirations. This was the case in some famous cases, notably that of Adam Worth, described here. But the perception among the general public has not caught up with the more devastating realities of art crime, that it is the third highest- grossing criminal trade worldwide since the Second World War, and that it is entwined with the drug and arms trades, and even terrorism. This paper examines two famous Victorian art theft case studies, discusses the Victorian origin of museums and the art market, and concludes with how these high-profile cases influenced the public perception of art theft, particularly the archetype of the “gentleman thief,” and continues to do so to this day. 
The extent of theft of fine art across the world, while estimates vary, is most certainly a significant contemporary issue. But the history of such theft, punctuated by extraordinary examples in times of war, is less well documented until more recent times. Two examples, one by an amateur and one by a “professional,” demonstrate the perceived potential value to criminals in Victorian times in England. Known thefts of art from churches exist but it may well be that these two cases represent the earliest examples for financial gain of the theft of fine art.

While details on the amateur thief and the investigation are less available the stories of both are, nonetheless, interesting as possibly the first significant theft of art during this period.
Noah Charney holds Masters degrees in art history from The Courtauld Institute and University of Cambridge, and a PhD from University of Ljubljana. He is Adjunct Professor of Art History at the American University of Rome, a Visiting Lecturer for Brown University abroad programs, and is the founder of ARCA, the Association for Research into Crimes against Art, a non-profit research group on issues of art crimes. Charney is the author of numerous academic and popular articles, including a regular column in ArtInfo called “The Secret History of Art” and a weekly interview series in The Daily Beast called “How I Write.” His first novel, The Art Thief (Atria 2007), is currently translated into seventeen languages and is a best seller in five countries. He is the editor of an academic essay collection entitled Art & Crime: Exploring the Dark Side of the Art World (Praeger 2009) and the Museum Time series of guides to museums in Spain (Planeta 2010). His is author of a critically acclaimed work of non-fiction, Stealing the Mystic Lamb: the True History of the World’s Most Coveted Masterpiece (PublicAffairs 2011), which is a best seller in two countries. His latest book is The Thefts of the Mona Lisa: On Stealing the World’s Most Famous Painting (ARCA Publications 2011). Upcoming books include The Book of Forgery (Phaidon 2014), The Invention of Art (Norton 2015), and an as yet untitled edited collection of essays on art crime (Palgrave 2014).


John Kleberg is a retired Assistant Vice President at The Ohio State University where he was instrumental in organizing a program to identify and record un-catalogued art and artifacts possessed by the University as well as having administrative responsibility for security, police, and other business and finance operations. He also has been a law enforcement administrator, trainer, and educator in Ohio and Illinois. His undergraduate degree is from Michigan State University, graduate degree from the University of Illinois, and he has done post-graduate work at The Ohio State University and Kent State University. He is the author of numerous articles on campus safety and security issues, co-authored several books and is a consultant on campus security issues, including campus museums, libraries, and galleries.

Design for this issue and all issues of The Journal of Art Crime is the work of Urška Charney.

Here's a link to ARCA's website on The Journal of Art Crime (includes Table of Contents for previous issues).

December 6, 2013

Gurlitt Art Collection: The Economist publishes letter from Judge Tompkins on "Hildebrand Gurlitt's secret"

Here's a Letter published in The Economist (December 7, 2013; from the print edition):
Dealing with stolen art
* SIR – The discovery of a treasure trove of so-called “degenerate” art in a Munich flat triggers many challenges for Germany, not the least of which is, what to do with all these unique art works (“Hildebrand Gurlitt’s secret”, November 9th)? If many of the works were stolen from their original owners around 70 or so years ago then they should be returned to the heirs of those same dispossessed owners.
Getting close to doing that is the great challenge. Undoing the harm of the theft of any work of art, even more so when the theft was part of the evil of the Nazi regime, is a uniquely international problem. It demands both an international but also a creative answer. What is needed is, in short, an adhoc International Art Crime Tribunal. Such a tribunal would be assisted by art historians, provenance researchers, advocates to assist the commission and, crucially, claimant advocates and advisers to work with claimants so that they can properly and effectively present their claims. By this means the tribunal could create the kind of independent, neutral ground necessary for the lasting resolution of the disputes that will inevitably arise concerning the stolen art.
The tribunal should be entrusted with the task of resolving the fate of each work of art, not only by deciding the historical and legal claims to it, but also by explicitly evaluating, and giving equal weight to, the moral claim of the claimant. This is crucial. In the past claims to art looted in wartime have been undermined or destroyed by insufficient legal evidence to establish prior ownership, even though the moral claim for return of looted art is clear.
None of this is new. Precedents for all these aspects of the proposed tribunal exist, and have in a variety of settings and circumstances been used during recent decades. The challenges presented by these pictures provide a rare chance to bring together many of the valuable lessons learned over the long years of hard-won, accumulated experience gained in trying to undo the art crimes of the Nazis.
JUDGE ARTHUR TOMPKINS
Trustee and faculty member of the Association for Research into Crimes against Art
Hamilton, New Zealand

December 5, 2013

Thursday, December 05, 2013 - ,, 1 comment

"The Crime That Pays? The Canadian Print Media's Construction of Art Fraud, 1978-2012" authored by Josh and Adie Nelson in the Fall 2013 issue of The Journal of Art Crime

Josh and Adie Nelson authored "The Crime That Pays? The Canadian Print Media’s Construction of Art Fraud, 1978-2012" in the Fall 2013 issue of The Journal of Art Crime. From the abstract:
This article examines the Canadian print media’s construction of art fraud from January 1978 until December 2012. Our content analysis of N=386 articles reveals that art fraud was portrayed as a low-risk crime that pays and as a “victimless” crime. In contrast to conventional crime news, which is situated in the front portions of newspapers, articles on art fraud were most often positioned in sections devoted to “entertainment.” The media’s portrayal of art fraud as a phenomenon that was more entertaining than vexatious resonated in its portrayal of offenders as charming rogues and artful dodgers, with the most notorious of offenders depicted as heroes, and in its casting of victims as fools or “legitimate” victims. This peculiar construction would seem to offer considerable inducements for schadenfreude, a revelling in the misfortunes of others.
From the article's introduction:  
Examinations of the “professional imperatives” (Chibnall, 1977: 23) that guide press reporting on crime have repeatedly suggested the folly of supposing that these dicta encourage a faithful rendering of the incidence and dynamics of crime. Thus, in emphasizing that journalists are tasked daily with producing a “certain quantity of what is called ‘news’,” Breed’s (1955) classic study suggested how this role obligation could catalyze a “persistent search in the drab episodes of city life for the romantic and picturesque, its dramatic accounts of victim and crime” (see also crime: e.g., Ericson, Baranek & Chan, 1987, 1989, 1991; Hugill, 2010; Katz, 1987; Peelo, 2006; Rajiva & Batacharya, 2010). While the frenetic quality of this quest may have abated in more recent eras with the rise of “supermarket journalism” (Mawby, 2010a, 2010b; McGovern, 2010) and the concomitant ability of journalists to “simply ‘buy’ their stories off the shelf from the press offices that are responsible for ‘managing the media’ about a particular crime or event” (Wilson, 2011), journalism’s cynical mantra, “if it bleeds, it leads,” continues to resonate both its disdain for coverage of the mundane and prosaic and rapt readiness to endow statistically atypical incidents with especial lustre. As Reiner (2002: 307) observed in his commentary upon the news media’s tendency to position the extraordinary as ordinary, “[f]rom the earliest studies (e.g., Harris 1932) onward, analyses of news reports have found that crimes of violence are featured disproportionately compared to their incidence in official statistics. Indeed, a general finding has been the lack of relationship between patterns and trends in crime news and crime statistics.”
Josh Nelson is a graduate student at the University of Guelph in the department of art history & visual culture and, beginning in September, 2013, a doctoral student in art history at Queen’s University in Kingston, Ontario, Canada. His doctoral research addresses a criminal event that the Canadian print media early and, ostensibly enduringly, dubbed the “Great Canadian art fraud”; it examines the social context in which this highly-publicized incident emerged in media reports of the early 1960s, was weighted with significance, framed as portentous and defined as a “crime against culture.”

Adie Nelson received her PhD at the London School of Economics and is an Associate Professor in the Department of Sociology & Legal Studies at the University of Waterloo. She is the author/co-author/editor/co-editor of approximately two dozen books and her writings have appeared in journals such as the British Journal of Sociology, Psychology of Women Quarterly, the Journal of Contemporary Ethnography, Qualitative Sociology and the International Review of Victimology.

Design for this issue and all issues of The Journal of Art Crime is the work of Urška Charney.

Here's a link to ARCA's website on The Journal of Art Crime (includes Table of Contents for previous issues).

Thursday, December 05, 2013 - ,,, No comments

Isabella Stewart Gardner Theft: Boston's WGBH News' Emily Rooney reports Anne Hawley's first public comments about threats after the theft and interviews FBI Investigator Geoff Kelley about why suspect(s) not named and speculates about the paintings

Boston's WGBH's Emily Rooney reported Dec. 3 that the FBI has issued "wanted posters" for the 13 missing artworks stolen in 1990:
The posters don't sport the usual most-wanted suspects. instead, they display the missing artwork in an effort to get someone to come forward with what they know about the most significant art heist in history.
In addition, Ms. Rooney reported that "Gardner Museum director Anne Hawley is opening up about the loss":
"It was such a painful and horrible moment in the museum's life," Hawley said. Until now, Hawley has said little about the theft and what happened in the immediate aftermath. "We also are being threatened from the outside by criminals who want attention from the FBI, and so they were threatening us, and threatening putting bombs in the museum," she said. "We were evacuating museum, the staff members were under threat, no one really knew what kind of a conundrum we were in."
[...]

WGBH News' Emily Rooney interviewed Jeff Kelley, a special agent in the FBI's Boston field office, and a member of the art crime unit.

Emily Rooney: You have been in this for at least ten years.
Jeff Kelley: It is actually 11 years now I have been the investigator on this case.

Rooney: You essentially know who did it.

Kelley: Yes.

Rooney: Why can't you say?

Kelley: We have to temper what we put out there in the public, and we certainly want to get the assistance of the public and we feel it is important to kind of lay our cards out on the table and say we know who did it, and we know who is involved, but we need your help. 
[...]
Rooney: The former Boston Herald reporter Tom Mashburger has a great tale of being, essentially, blindfolded and taken to a place where somebody unrolled something and he got some chips. Is there any possibility what he saw is one of the real pieces?

Kelley: I know Tom and he has the utmost integrity. But from what I have learned about the art itself, I don't think that what he saw was the actual painting. He described it as being unrolled, kind of unfurled, but from speaking to the experts at the museum and at other museums, the paintings are so thick that they would really be almost impossible to roll up.

Rooney: Do you think that they are still in existence and do you think together — because with 13 objects, some of them are odd objects, they weren't all paintings — to think that they're together?

Kelley: I don't know if they are still together. I think they are all in existence.
Note: The correct name of the reporter "Tom Mashburger" is Tom Mashberg.
Here's a link to the YouTube video: https://www.youtube.com/watch?v=WwnQs1BvvlU.

December 4, 2013

Wednesday, December 04, 2013 - , No comments

DIA evaluation of $2 billion includes only 'works bought directly with city funds' -- Detroit Free Press

Last summer Christie's evaluated the artworks of the Detroit Institute of Arts as part of a city bankruptcy filing; now "Orr says DIA masterpieces worth less than thought," writes Mark Stryker for the Detroit Free Press
The 459 most valuable masterpieces at the Detroit Institute of Arts have a fair-market value of less than $2 billion, Detroit emergency manager Kevyn Orr said Tuesday. That figure is significantly below most predictions for the value of the art, which many observers expected to reach at least several billion dollars — perhaps as much as $8 billion. A figure less than $2 billion is likely to inflame the passions of bondholders, unions and other creditors who see DIA masterpieces as a prime source for recovering the billions they are owed by the city. It also increases the chances that a court battle over the fate of the DIA will become even more contentious as Orr prepares his plan of adjustment to restructure city finances. On another front, the lower-than-expected estimate could make it easier for Orr to justify his push to extract roughly $500 million in revenue from the DIA to help restructure the city. A high Christie’s estimate had been widely expected to increase pressure on Orr to demand even more from the DIA. “I do think it gives creditors more ammunition,” said Nicholas O’Donnell, a Boston-based attorney who specializes in art-related law. 
[...]
In May, the Free Press consulted art dealers and auction records to estimate the market value of 38 big-ticket works at the DIA. The tally was $2.5 billion. Included in those works were six paintings bought by the city between 1922 and 1930 that also were evaluated by Christie’s. The newspaper’s estimate for those works was more than $500 million, including price tags between $50 million and $150 million for Matisse’s “The Window,” Bruegel’s “The Wedding Dance” and Van Gogh’s “Self-Portrait.” So how could 459 works add up to less than $2 billion? Part of the answer could be that many of the DIA’s most valuable works — including those by Caravaggio, Ruisdael, Van Gogh, De Kooning, Giacometti, Cezanne and others — were not evaluated because they were either donated to the museum or bought with funds other than city dollars. Though every piece of art at the DIA is owned by the city regardless of how it was acquired, Orr decided to evaluate only works bought directly with city funds to avoid messier legal entanglements of donated works and expedite the evaluation process. The DIA owns roughly 65,000 works.