In broad daylight, during opening hours, in peak tourist season, two men entered the Rodin Hall of the Ny Carlsberg Glyptotek Museum in Copenhagen and quickly made off with a 25.5 cm bronze bust by the French sculptor Auguste Rodin (1840-1917).  The museum heist was speedy and smoothly executed. 

Part of the Danish museum's collection for 95 years, the stolen artwork was one of approximately 200 busts Rodin created in the form of "The Man with the Broken Nose". The inspiration for which is believed to have been based upon the features of an elderly workman named “Bibi” from the Saint-Marcel district of Paris.  According to expert Jérôme Le Blay, formerly of the Musée Rodin and the founder of the Comité Rodin, these 200 artworks appear in as many as six distinct versions, some forty of which he believes are similar to the one stolen from the Glyptotek. 

Having cased the museum nine days earlier, the brazen theft took place on the 16th of July in 2015.  During two separate visits the perpetrators disguised themselves as nondescript visiting tourists and entered into the Dahlerup Wing, the oldest part of the museum.  As verified by Copenhagen Police surveillance footage released one month after the theft, the two criminals were approximately 30 to 40 years of age and of average height, between 170-175 cm tall.

During their first reconnaissance foray inside the museum, the pair detached the bronze sculpture from its plinth, tilting it from its base and then replacing the object to its proper position when no alarm was signalled.  During their second visit, the two individuals entered the museum separately.  With no guard present in the gallery where the bronze was displayed, the first, wearing a greyish blue baseball cap, glasses, and a plaid shirt, feigned interest in another Rodin sculpture located in the same gallery, Les Bourgeois de Calais.  This allowed him to kill time without raising suspicion while awaiting the arrival of his accomplice.  

The second man, wearing shorts, a light-coloured panama hat and dark sunglasses, entered the museum with two seperate mail bags, each strapped across his body; one in the front and one towards the back.  He is seen on CCTV stills release by police casually entering the Rodin gallery, where he is seen joining up with his accomplice.  

Once together in the Rodin Gallery, just off the museum's foyer, the straw hatted man removed his second bag and passed it over to his waiting accomplice.  This person in turn placed the empty bag on his own shoulder before the pair moved closer to the Rodin bust.  It is then that they made the first of two attempts to remove the statue from its pedestal.  Stalled briefly, mid-theft, when a visitor arrived, the two waited patiently while first one, then two individuals moved into and out of the gallery. 

Once the potential witnesses had left the gallery, the man in the straw hat continued to stand lookout from inside the gallery while also keeping his eyes on the connecting rooms.  When the coast was finally clear, his baseball hat-wearing accomplice deftly removed the bust from its unalarmed position and quickly placed the sculpture in the bag passed to him earlier.  The pair then exited the Copenhagen museum separately, with the museum's guards and guests none the wiser.

Rodin Gallery of the Ny Carlsberg Glyptotek Museum.  Arrow pointing to the pedestal were the sculpture once was.

The theft reportedly took only twelve minutes and went undetected until an employee, returning from vacation noticed the artwork was not in its proper place. 

"Man with the Broken Nose" by Auguste Rodin  Stolen from the Ny Carlsberg Glyptotek Museum on July 16, 2015

Yet, despite sharing security footage with news agencies and a request to the general public should anyone recognized the thieves, few viable leads developed.   Having reached a dead end police formally closed their investigation without a recovery in April 2016.

What are the chances of this sculpture being recovered?

Despite the many counterfeit Rodin sculptures which have polluted the market, buyers' enthusiasm for the pre-eminent sculptor of the Impressionist and Post-Impressionist era has not diminished and with time it is possible that this hot work of art might still bubble up on the art market.  In July 2015 Rodin's sculpture "Young Girl With a Serpent" (circa 1886), came up for auction at Christie's and was identified by staff working at Art Recovery International as an artwork stolen from a Beverly Hills couple's home 24 years earlier.

For now the curator's at the Ny Carlsberg Glyptotek Museum have still to wait, very, very patiently.

Image Credit: Rahul Nangare,  Indian Revenue Service Diplomat, First Secretary High Commission of India, London

On August 15, the High Commissioner of India in London accepted the return of two objects looted from India.  The first was a 1st Century BCE - 1st Century CE carved limestone railing, which experts believe may have possibly been stolen from the Buddhist complex at Vaddamānu in the south Indian state of Andhra Pradesh.  The second item, was a 17th century Indian bronze figure depicting the Krishna as Balakrishna, standing on a lotus base.  The Hindu deity is naked except for his jeweled ornaments, dancing with his right leg raised, holding a ball of butter in his right hand.  This statue is believed to have been taken from the area of Tamil Nadu, the Indian state located in the extreme south of the subcontinent.

Both objects were voluntarily relinquished by an unnamed collector said to have purchased the objects via an also unnamed individual, long implicated in illicit trafficking. This unnamed dealer is presumed to be Subhash Kapoor.

For the uninitiated, Vaddamānu in Andhra Pradesh’s Guntur district might not ring any bells.  But for S. Vijay Kumar, a Singapore-based Indian trafficking expert and co-founder of the India Pride Project, the area is of considerable historic importance and one subject to looting.  ARCA has also noted that excavations in the area have yielded railing pillars, carved in limestone ('Palnad marble), similar to the one that has just been restituted.  One example of such is pictured here. These objects, along with cross-bars, copings, and other architectural elements were used in ancient Vihara and Stupa, some which date as far back as the Mauryan Empire (322 BCE - 185 BCE).  At Buddhist sites such as these, carved stone railings, sometimes square in plan, but more often circular, were used to define the confines of religious sites and could also have been used as decoration to delineate an external processional path.

Both of these recently restituted pieces came to the attention of U.S. Homeland Security Investigations (HSI) when the London-based collector who possessed them contacted the agency wanting to voluntarily surrender the objects to their rightful home.  The pieces are believed to have been purchased the objects via Subhash Kapoor, a disgraced ancient art dealer arrested in Europe and later extradited.  Kapoor is currently in Indian custody in the high security block of Tiruchirapalli Central Prison in the South Indian state of Tamil Nadu.  There he awaits trial on criminal cases for illegally exporting idols and artefacts from plundered temples.

On 08 July 2019, the Manhattan District Attorney's office followed suit with the Indian government and filed their own formal criminal charges against Kapoor and seven other co-conspirators.  In the court's documentation,  the well organized smuggling ring is believed to have smuggled $145 USD million worth of objects out of India and in to market countries in an operation believed to have lasted for as long as thirty years. Arrest warrants have been issued for all eight defendants on a total of 213 Counts, ranging from grand larceny to criminal possession of stolen property.  


Subhash Kapoor himself is listed in a total of 86 Counts in the recent New York charging document.  His charges include Grand Larceny in the First Degree (1 Count), Criminal Possession of Stolen Property in the First Degree (16 Counts), Grand Larceny in the Second Degree (13 Counts), Criminal Possession of Stolen Property in the Second Degree (50 Counts), Grand Larceny in the Third Degree (1 Count) Criminal Possession of Stolen Property in the Third Degree (3 Counts), Conspiracy in the Fourth Degree (1 Count) and one Count of Scheme and Defraud in the First Degree.

Before Kapoor's arrest on 30 October 2011 at Frankfurt International Airport for the charges he faces in India and his subsequent extradition from Germany to India on 14 July 2012, the influential dealer was widely feted in New York art circles.  In connection with his business, he maintained contacts around the globe, in Afghanistan, Cambodia, Bangkok, Bangladesh, Dubai, Hong Kong, India, Indonesia, and Pakistan, with several of his associates implicated in shipping and selling stolen objects supplied with fake provenance to hide their illicit origin. At the height of his operation, Kapoor personally visited Tamil Nadu frequently which underscores the intimacy of the collector-dealer-smuggler-looter network as it relates to these cases.

Reflective of and similar to the recent restitution, Kapoor's name has already been tied to looted antiquities from Andhra Pradesh, the zone where the limestone railing returned via the UK originates from.  In 2016, a 3rd century CE stone panel, illegally exported from India, originating from the Satavahana-era Buddhist Complex of Chandavaram. was also returned to India by the National Gallery of Australia.  In that instance, the museum stated that it had been duped into purchasing the carving from Kapoor’s Art of the Past gallery for $595,000 USD in 2005 after the dealer provided themuseum with falsified provenance documentation indicating that the object had left the country of origin before the 1970 UNESCO Convention on the Means of Prohibiting and Preventing the Illicit Import, Export and Transfer of Ownership of Cultural Property.  That object was later clearly identified as having been stolen from the Chandavaram site museum in 2001.

Terracotta Rattle in the form of a Yaksha  Metropolitan Museum Accession Number: 1990.309

Likely as a result of the increased pressure by grassroots organizations such as India Pride Project and law enforcement and prosecutors pressing formal charges against actors in the US, UK and India, two museums in the United States are finally taking action in evaluating the ethics of retaining prized antiquities within their collections, which are likely tied to Kapoor's illegal activities. According to an article in the New York Times, the Metropolitan Museum of Art, has at least 15 antiquities known to be directly or indirectly associated with Subhash Kapoor which have been acquired after 1990.

The first, the terracotta rattle pictured at left in the form of yakshas (male nature spirit), dates to the 1st Century BCE Shunga period, comes from the archaeological site of Chandraketugarh in the Indian state of West Bengal. It is documented in the Met's collection with no other provenance aside from a passing mention that it was purchased from Kapoor's now shuttered Madison Avenue gallery, Art of the Past.

At the time of Kapoor's arrest in Europe, the Met's management and curatorial staff showed little interest whatsoever in reviewing the legitimacy of the Kapoor linked pieces within their collection.  This despite the spartan provenance which accompanied many of his objects and the fact that it has been proven in other instances that the network falsified provenance documentation.

Now, perhaps in hindsight, and in the wake of recent embarrassing seizures, including an Egyptian mummiform coffin, inscribed in the name of Nedjemankh, an Italian Bell-Krater by Python and a Lebanese marble head of a bull it seems that the Met has finally decided it might be prudent to rethink its stance on some of its art acquisitions from India.

Image Credit:  S. Vijay Kumar Via Twitter 8 February 2019

Likewise on 20 August 2019 it was finally announced that the Los Angeles County Museum of Art had come round to deaccessioning its own contested Buddha.  First identified by India Pride Project in February 2018 and related to the same theft as the restituted Nalanda Buddha identified at Maastricht's TEFAF in 2018, LACMA had, until recently, resisted acknowledging that the bronze in their collection was stolen 58 years ago.  This despite the fact that the bronze was matched via an image India Pride Project had obtained of 14 objects stolen from the Nalanda Archaeological Museum of the Archaeological Survey of India (ASI) in Nalanda, Bihar, India in 1961.  Despite this overwhelming evidence, it took almost a year and a half of pressuring the museum,  pursuing India’s claim, for LACMA to decide to deaccession the stolen bonze.

All too often, even when faced with proof of illicit origin, museums weigh the rarity or price of their acquisition above the ethical responsibility of voluntarily restituting objects found to have passed through the illicit market.  When they do, they overlook the cumulative cultural cost of lost art to poorer and more vulnerable source countries such as, in this case, India.  It is critical to remember that each and every object stolen or looted, whether or not the statute of limitations has expired, presents a loss to the source nation's cultural patrimony, and when there are many objects plundered, as can be seen within this one trafficking network, each of these losses has a cumulative negative effect.

Those working in the black market bank of the fact that many sculptures stolen from small villages are less likely to be reported to the police, and if they are reported, that not much is achieved because little documentation is made outlining the details surrounding the theft or the object itself making it difficult to determine the actors involved.  Thankfully illicit antiquities researchers, and now more often key prosecutors, like those in New York, are willing to consider the evidence collected by diligent researchers and scholars, as well as reviewing the historic records of civil servants, even retired ones, in order to access overlooked details like old photographs and museum records which can sometimes help determine in determining if the provenance provided to contested pieces is fact or fiction.

By:  Lynda Albertson

By December 2018, burglar, petty criminal, art and book thief, Andrew Shannon has racked up 52 convictions for burglary, theft and criminal damages, 13 of which related to offenses which took place in foreign jurisdictions, including the handling of stolen property.

Andrew Shannon Photo Credit: Collins

Some of his criminal offenses have been mundane, like the 2016 theft of seventeen electric toothbrushes worth only €200 from a supermarket in Swords, a suburb of Dublin.  Others have been just plain peculiar, like the intentional damage he inflicted punching Monet's 1874 painting Argenteuil Basin with a Single Sail Boat, an incident that took place at the National Gallery of Ireland on 29 June 2012.  That bizarre act of vandalism resulted in three tears, the longest of which was 25 centimeters, and took conservators eighteen months to repair.  For this impulsive incident, Shannon was sentenced by Judge Martin Nolan in December 2014 to six year imprisonment, with the final 18 months of his sentence suspended. 

A known serial thief as far back as 2009 Shannon seems to have had a penchant for burgling stately homes, often with the help of accomplices. Travelling from Ireland to target English properties, he often posed as a tourist, pilfering porcelain vases, ashtrays, books, ornamental lions, figurines, valuable antique books and once, even a walking stick. 

By 2014, police were narrowing in on his escapades and in April Ireland's Gardaí or "the Guards", the police service of the Republic executed a search warrant on Shannon's home and recovered some 43 paintings some immediately linked to known thefts and others not.  While owners were identified for some of the artworks, others went unclaimed despite a nationwide appeal.  Shannon sued for the return of these remaining art orphans, however, Judge John Coughlan ruled against him.  Basing his ruling on the fact that Shannon was already notorious as a thief as well as the fact that the claimant had failed to provide verifiable proof of actual ownership, the judge ordered the forfeiture of all remaining unclaimed artworks which then become the property of the state.

In 2016 Shannon was convicted of stealing 57 stolen antique books, once part of the library at Carton House in Kildare, including one of only six rare 1660 editions of the King James Bible.  The books had disappeared in November 2006 when left in storage during a restoration of the country house.  These were recovered in the suspect's home, displayed in neat rows.  When questioned about their origins, Shannon lied to the authorities and stated that he had purchased them in 2002 at a fete in the Midlands.

As recently as May 2019 Shannon lost his appeal Dublin Circuit Criminal Court over an earlier conviction stemming from the theft of an 1892 oil painting by Frederick Goodall stolen from Bantry House, in Cork, in March of 2006.  Blaming his sticky fingers on both his heart disease and his addiction to benzodiazepines and harder substances while recovering from a quadruple heart bypass, the court prosecution built their case against the prolific offender by illustrating how the kleptomaniac had habitually and repeatedly filched a surprising array of objects, some of which had very little monetary value.  Not buying into offender's medical complications excuse, Judge Patricia Ryan sentenced Shannon to two years imprisonment, backdating Shannon's sentence to 20 February 2018,  the day he was taken into custody for this particular offense. 

Flash forward to this summer, when in June 2019 one of the seized 2014 artworks, a painting by English painter William Ashford, was put up for sale at Adams Art Gallery.  As a result of the publicity around the upcoming sale, the painting was recognized by someone who had once worked on the artwork when it was part of the collection at the Royal Dublin Society.

This orphaned artwork, missing since 2006, has now been returned to the RDS.

In September 1971 six portraits were stolen during a burglary at the Valence House Museum in the London Borough of Barking and Dagenham. Shortly after the thefts, law enforcement recovered two of the art works and all 6 frames but over the next four decades the investigation would grind to a standstill with no further recoveries.

That changed in January 2019 when the Fanshawe family set up a Google Alert to notify them if and when any family memorabilia might come up for sale and through a bit of good luck, received a Google notification that a Fanshawe portrait, listed at a value of $3000, was to be auctioned in Philadelphia, Pennsylvania. 

With the help of the FBI Legal Attaché in London and the Upper Dublin Police Department, London's Metropolitan Police Art and Antiques Unit worked with the FBI's art crime team in the United States to recover the portrait which is set to go on display later this month. 

This blog post revisits the case of theft of the Sonobudoyo Museum in Yogyakarta, which occured on On August 11, 2010.  Nine years after the burglary, authorities have still found no traces of any of the stolen objects and the theft is considered to be the largest museum collection loss in the history of Indonesia. 

In total some eighty-seven pieces, many dating from the the 8th and 9th centuries from the Medang Empire or Mataram Kingdom, a Javanese Hindu–Buddhist kingdom that flourished between the 8th and 11th centuries, were stolen.   

On the evening before the theft was detected, Tuesday, August 10, 2010, the Sonobudoyo Museum was open until 10pm for a shortened version of Wayang Kulit, an Indonesian form of shadow puppetry, which described historic storylines executed by a dhalang, or puppet master. 

The theft however was not detected until the morning of Wednesday, August 11, 2010, when the museum opened.  Staffer Bambang Suprayogi, became suspicious when he discovered broken glass in his office adjacent to the collection storage location which in turn led to broken glass from three of the museum’s glass display cabinets.   

Examining the crime scene, police found that the thief or thieves may have entered through a broken window but failed to find any of the perpetrators' fingerprints.  Later it was determined that the alarm system and CCTV were not functional for an extended period of time. 

To date law enforcement investigations have not identified the culprits or recovered the stolen objects.  In 2011 investigators focused on security irregularities and suspicions converged on two museum employees however no charges have ever been formally brought.  Some believe the theft occurred over an extended period of time and not simply during one specific evening.