E. Randol Schoenberg and his client, Maria Altmann, famously took on the Republic of Austria to recover paintings stolen from Altmann’s family under the Nazi regime during World War II. The case involved convincing the United States Supreme Court to that Altmann could sue Austria for the return of the paintings. The dispute was arbitrated in Austria and, in January 2006, that panel agreed that the paintings, valued at over $325 million, should be returned to the family.

I'm not too proud of that now, but in 1976, I didn't believe in ghosts or national treasure. I just wanted to keep traveling. I bought pre-Columbian ceramics, textiles, jewelry and artifacts from a secret village tucked away in the Atacama Desert, far outside of Lima, Peru; I wrapped the stuff in newspaper and bought it to the United States. I kept everything but the ceramics, which I dropped off at Sotheby's Parke-Bernet in New York. Back then, they didn't care about ghosts or national treasures, either. They auctioned off everything I gave them and sent the checks to me in Lima, and I'd be back on the road again.

At that point, I formulated "Joyce's Law": After you've decided to do something illegal or weird, give up on the worrying. No matter what nightmares you imagine, reality will be different. And anyway, it's out of your control. At the border, nothing happened -- except that the immigration man said, "I won't let you through; you're too pretty. I want you to stay with me."

My baggage was searched, and I was taken into a small room and given a harsh lesson about the harm I was doing by robbing a country of its archaeological treasures. I was such a small-time operator that they let me go with my last shipment intact. Later, when the big exporters came through, they were busted and their shipments confiscated. And when the really big operators arrived, customs not only confiscated their shipments but went to their homes and took their personal collections.

the first major U.S. museum exhibition devoted to the infamous display of modern art by the Nazis since the 1991 presentation at the Los Angeles County Museum of Art....Highlights of the show include a number of works shown in Munich in the summer of 1937, such as Max Beckmann's Cattle in a Barn (1933); George Grosz's Portrait of Max Hermann-Neisse (1925); Erich Heckel's Barbershop (1913); Ernst Ludwig Kirchner's Winter Landscape in Moonlight (1919), The Brücke-Artists (1926/27); Paul Klee's The Angler (1921), The Twittering Machine (1922), and Ghost Chamber with the Tall Door (1925); Oskar Kokoschka's The Duchess of Montesquiou-Fezensac (1910); Ewald Mataré's Lurking Cat (1928); Karel Niestrath's Hungry Girl (1925); Emil Nolde's Still-Life with Wooden Figure (1911), Red-Haired Girl (1919), and Milk Cows (1913); Christian Rohlf's The Towers of Soest (ca. 1916) and Acrobats (ca. 1916); Karl Schmidt-Rottluff's Pharisees (1912); and Lasar Segall's The Eternal Wanderers (1919), among others.

Born in 1890, Ms. Gurlitt was the elder sister of Hildebrand Gurlitt, a dealer who bought art for Adolf Hitler’s planned “Führermuseum” and acquired the cache of more than 1,200 works found in his son’s apartment. Ms. Gurlitt’s work is virtually unknown — partly because much of it is thought to have been hidden for decades in her nephew’s home, alongside the Matisses, Monets and Munchs. Those works remain out of public reach for now. Yet some of Ms. Gurlitt’s melancholy, Expressionist images, many of them lithographs, did find their way into the possession of friends and family members.

German officials are scrambling to recover from their mishandling of a trove of artistic masterworks, including pieces reputedly looted from Jewish collectors, that had been hidden away since the Nazi era. ...  The controversy is not likely to diminish under an agreement announced last week that provides for the art to be returned to Mr. Gurlitt’s technical ownership while a panel of art specialists is given a year to settle the provenance of questionable pieces. This may be no easy task. ...  More claims are certain to be made as the full content of the trove is finally made public. The discovery of the trove has caused the German government to relax its 30-year statute of limitations on making claims to stolen property. ... If more than a year is needed for a full and fair study of the Munich trove, the German authorities should make that happen.

"Boy on Donkey" (Courtesy of FBI)

Seventy-Five Paintings by Hanna “Kali” Weynerowska Considered Polish Cultural Artifacts, National Treasures ... Hanna Weynerowska, also known as “Kali” in her association with the Polish Underground Resistance during World War II, was a career artist. Following the war, she returned to painting and traveled the world until she immigrated to San Francisco. In 1998, Weynerowska died, but her paintings were being pursued by a museum custodian, but the transfer never occurred. Recently, the paintings were located in a storage facility under safe keeping by a member of Weynerowska’s family. The paintings will be housed and displayed at The Polish Museum in Rapperswil, Switzerland. Notably, “Boy on Donkey,” “Boy with Rooster,” “Pacheco Pass,” “Rafaelito,” “The Cobbler,” and “Walking a Bird” were among the 75 paintings returned.... This investigation was conducted by the FBI San Francisco Field Office and FBI Legal Attaché Office in Warsaw.

By all accounts, Hanna “Kali” Weynerowska led a colorful life – the sort of colorful life she might depict in one of her many paintings. As an up-and-coming painter in her native Poland, she was building something of a name for herself before World War II broke out. Then she was captured by Nazis, escaped from a concentration camp, became a freedom fighter, and eventually made her way to San Francisco, where she continued to paint.

Representatives of the Bavarian State Ministry of Justice and of the Federal Government Commissioner for Culture and the Media have reached an agreement with Cornelius Gurlitt and Christoph Edel, the lawyer who has been appointed by the court to look after Mr. Gurlitt's affairs, on what to do with the artworks of the "Schwabing Art Trove."... Mr. Gurlitt stated his willingness to allow provenance research on a voluntary basis once the works are released from police custody. Mr. Gurlitt will allow the Task Force to continue researching the provenance of those works in the trove suspected of having been confiscated from their owners by the Nazis or of being works the Nazis considered "degenerate art". To this end, these artworks will remain in secure custody and on the website www.lostart.de. However, the Task Force aims to complete the main substance of its provenance research within a year."

The Indianapolis Star interviewed Miller in 1998.

by Catherine Sezgin, ARCA Blog Editor

Diana Penner, a journalist for The Indianapolis Star reported in an article ("FBI seizes thousands of artifacts from rural Ind. home", April 3) published by USA Today (along with contributions from the Associated Press) that on Wednesday, April 2, FBI agents took:

"thousands" of cultural artifacts, including American Indian items, from the private collection of a 91-year-old man who had acquired them over the past eight decades. ... The Rush County man, Don Miller, has not been arrested or charged. Robert A. Jones, special agent in charge of the Indianapolis FBI office, would not say at a news conference specifically why the investigation was initiated, but he did say the FBI had information about Miller's collection and acted on it by deploying its art crime team. FBI agents are working with art experts and museum curators, and neither they nor Jones would describe a single artifact involved in the investigation, but it is a massive collection. Jones added that cataloging of all of the items found will take longer than "weeks or months." 

"Frankly, overwhelmed," is how Larry Zimmerman, professor of anthropology and museum studies at Indiana University-Purdue University Indianapolis described his reaction. "I have never seen a collection like this in my life except in some of the largest museums." 

The monetary value of the items and relics has not been determined, Jones said, but the cultural value is beyond measure. In addition to American Indian objects, the collection includes items from China, Russia, Peru, Haiti, Australia and New Guinea, he said. The items were found in a main residence, in which Miller lives; a second, unoccupied residence on the property; and in several outbuildings, Jones said. The town originally was Iroquois land. The objects were not stored to museum standards, Jones said, but it was apparent Miller had made an effort to maintain them well. The aim of the investigation is to determine what each artifact is, where it came from and how Miller obtained it, Jones said, to determine whether some of the items might be illegal to possess privately. Jones acknowledged that Miller might have acquired some of the items before the passage of U.S. laws or treaties prohibited their sale or purchase. In addition, the investigation could result in the "repatriation" of any of the cultural items, Jones said. 

Dark Rain Thom, a Shawnee descendant who served on the Indiana Native American Indian Affairs Commission under three governors, said the motives of such collectors vary, and that it's not uncommon for collections to come to light when an elderly person dies and descendants try to figure out what to do with artifacts. Often, she said, family members then quietly donate them to museums or arrange to return them to specific tribes — if that provenance can be determined. Some collectors are motivated by money, as the artifacts' sale can be lucrative, Thom said. But others with interests in archaeology or anthropology are motivated by a desire to understand the development of a culture through its art items and everyday implements. And others, Thom said, are in it for the thrill of discovery. The FBI and its partners might have a daunting task determining the origins and provenance of all of the items, Thom predicted. "It may be 30 years — or never — before they have it all cataloged."

The ARCA blog asked Virginia Curry, a retired FBI agent and a licensed private investigator, for additional perspective. Ms. Curry teaches art crime investigations with retired Scotland Yard officer Dick Ellis:

The United States Federal Code Title 18 Section 668. defines a Museum as: (1) ‘‘museum’’ means an organized and permanent institution, the activities of which affect interstate or foreign commerce, that— (A) is situated in the United States;(B) is established for an essentially educational or aesthetic purpose; (C) has a professional staff; and (D) owns, utilizes, and cares for tangible objects that are exhibited to the public on a regular schedule. (2) ‘‘object of cultural heritage’’ means an object that is—(A) over 100 years old and worth in excess of $5,000; or (B) worth at least $100,000. 

One might argue that Donald Miller's collection, in a rural area of Indiana satisfies the federal definition of a museum. While the affidavit in support of the search warrant on this 91-year-old man's home is not yet available on the Internet for review, it appears that there is no evidence that Mr. Miller is a physical threat or would cause harm to the artifacts he has so carefully maintained and displayed to his neighbors on request (on request, by the way, is as regular a schedule as one might ask for in such a rural Indiana community). There does not appear, at present, to be any indication that Mr. Miller is a danger to federal agents or that he would not have cooperated, if asked, in their investigation. Mr. Miller not only served his country on a highly important project at Los Alamos, but he also continued his life of service as a missionary. The artifacts he collected into his "Wunderkammer" were not only collected during his travel, but were also previously profiled in print media. Therefore, the "full corps press" (with an FBI Mobile Command Post) assault on this rural community appears to be extraordinary and an unnecessary show of force by the FBI and any other participating federal agency. I wonder if they contemplated entry on the home of the 91-year-old man with an FBI SWAT team? Regarding the suggestion that Miller’s collection was not maintained is "by museum standards" -- this is a qualification for accreditation of a museum by the AAM (American Association of Museums) and not a standard under federal law for the definition of a museum collection. I suspect that Mr. Miller might have been persuaded before this event to work with the FBI, or any other agency, and the same expertise the FBI will now have to employ to evaluate, inventory and collect this material in anticipation of an eventual legacy donation to another facility. Instead, this is an embarrassing and unnecessary show of force by the FBI to a community that is likely experiencing their first contact with the FBI.

The ARCA blog asked Dr. Kathleen Whitaker, former director, Indian Arts Research Center, School for Advanced Research in Santa Fe, to add a museum professional’s perspective to this story:

Virginia is right, there is no info forthcoming on why the FBI chose to assault this home with so much force. A search warrant has yet to be revealed. I personally find this descent on, and intrusion into a private home a bit disconcerting. I guess the provocation is yet to be revealed, but the number of agents that descended on the site seems outrageously overdrawn. What did they expect from this 91-year-old man? Cannons and oozies? 

AAM standards that define what a museum should be, align somewhat with the federal code; and, of course there are many differences between the 'types’ of museums that are identified, goals, purpose, adequate resources and public engagement - hence differences in the application of standards for each type of facility. AAM was not set up to enforce legal matters the federal code was - so naturally there is a difference in intent. Mr. Miller's establishment aligns more with what AAM would define as an "art museum," although I am unsure what his tax status might suggest in terms of operation. But yes, he is the owner-staff, he shares his collection with the public (assuming by appointment), and he maintains the artifacts through exhibition in glass cases, etc., and provides identity labels for those items on display (according to visuals seen in news reports and video). It seems probable, however, he does not identify his establishment as a " public museum" but rather as a private collection that he willingly shares with others. Legally then, his establishment does not seem to be functioning/operating under any tax or other "code" or "law" (at least that I am, at this writing, aware of). It is unclear to me how old his artifacts REALLY are based on media hype, but a few professionals such as archaeologists, anthropologists and the like have been "called in" to help identify the collection. One might summarily assume, there are both old and ethno- and historically important pieces among the artifacts in this vast collection. All the specifics have yet to be determined. Whatever the outcome, such outrageous ideas that it could take "30 years" to catalogue all the material is just plain inaccurate! 

FBI involvement (if based on the collection alone) suggests the problem could involve violations of NAGPRA [Native American Graves Protection and Repatriation Act], the Antiquity Act, The Indigenous Religious Freedom Act, Fish and Wildlife "feather" violations on artifacts, et al. Or perhaps the suggestion of illegal acquisition or transport across state and perhaps even country boundaries would mandate an FBI investigation - but not invasion! Usually collections of this magnitude are well known among professionals in the area, so I find surprising the local university professor was "frankly overwhelmed" by the collection's magnitude. It might be embarrassing to the university if it admitted knowledge of the collection's contents and it turns out there are violations. Finally, I have many more questions than answers. Primarily among them is: WHO informed the FBI? And WHY?

According to Frank Denzler reporting for the Rushville Republican: During his lifetime, Miller has traveled extensively throughout the world and is a known collector of Native American artifacts – a collection that encompasses not only his residence, but also a number of outlying buildings on his rural property.

Journalist Teresa Mackin included a video of Miller's collection during her report on WISHTV published on the station's website.

Jill Disis and Chris Sikich in Indiana reported for the IndyStar:

In rural Rush County, few are the people who have not heard of the house on 850 West — and the tales of the man who resides within. Some have seen the spectacles that pack the home, from the life-size Chinese terra-cotta figurine on the front porch to the seemingly authentic Egyptian sarcophagus in the basement. [...] But none of the stories friends and former colleagues shared with The Indianapolis Star on Thursday came close to explaining the latest mystery surrounding 91-year-old Don Miller, brought on by a throng of FBI agents that surrounded his house Tuesday.Why did they begin removing thousands of artifacts from Miller's home despite not charging him with a crime or placing him under arrest? And why, two days later, were they still there? "It's odd. The whole situation is odd," said Elizabeth Dykes, an acquaintance of Miller's who lives in Richmond. "I about flipped my lid yesterday when I saw this. What could he of all people have to hide?"

The Italian authorities first took notice of the paintings last summer when members of the Carabinieri TPC, a cultural heritage protection police force, saw photos of the works. “From the preliminary information, it appeared that the works shown were purchased in 1975 for the modest sum of 45,000 lire (€25),” said Brigadier General Mariano Mossa, commander of the Carabinieri TPC. “It's an incredible story, an amazing recovery. A symbol of all the work which Italian art police have put in over the years behind the scenes,” Italy's Culture Minister Dario Franceschini told journalists. Brigadier General Mossa said the investigation into how the paintings ended up in the kitchen of the factory worker were still ongoing. “We need to check the means by which he purchased them and whether this was done in good faith,” he said, “in addition to reconstructing the stages by which the works, arrived in Italy after they were stolen.”

Officials in Italy held an unveiling ceremony Wednesday in Rome for the two paintings: Gauguin's "Fruits sur une Table ou Nature au Petit Chien," or "Fruit on a Table or Still Life With a Puppy," and Bonnard's "La Femme aux Deux Fauteuils," or "Woman on Two Armchairs."

http://www.latimes.com/entertainment/arts/culture/la-et-cm-paul-gauguin-pierre-bonnard-paintings-20140402,0,7602489.story#ixzz2xxDmRTfZ