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Showing posts with label FBI. Show all posts
Showing posts with label FBI. Show all posts

April 1, 2025

The Life and Death of Antiquities Trafficker Leonardo Patterson: A Dealer in Stolen History

1992 photo of Leonardo Patterson with Pope John Paul II 

This morning Arthur Brand posted that Leonardo Augustus Patterson, euphemistically known as a dealer and collector of ancient art, but long accused of trafficking looted pre-Columbian artefacts, has died.  His passing, at the age of 82, marks the end of a decades-long saga of intrigue, deception, and international investigations conducted by the F.B.I., and the National police in Mexico, Spain, Peru, Guatamala and Germany, all of which centred around his circulation and sale of illicit ancient artefacts as well as forgeries.

Born in Costa Rica to Jamaican parents in 1942, Patterson rose to prominence in the booming, Janus-faced antiquities market of the 1960s and 1970s.  Over the years, he developed a reputation as both a knowledgable connoisseur as well as a trafficker, and occasional dealer in forgeries, who amassed an inventory of ancient artefacts worth millions and maintained homes in New York, Mexico city, and Munch.  Many of the pieces he handled are believed to have been plundered from sites in Costa Rica, El Salvador, Mexico, Guatemala, and Peru, all countries rich in archaeological histories.  

During the 1960s and 1970s, Mesoamerican archaeological sites were subjected to rampant looting, driven in part by an increasingly insatiable global demand for Pre-Columbian material.  In Mexico, Guatemala, Honduras, and Belize, ancient Maya, Olmec, and Aztec sites were raided by looters, often referred to as huaqueros who left behind a path of damage or devastation in their wake. 

These individuals, working in well-funded and well-connected trafficking networks, unearthed jade masks, ceramic figurines, jewellery, carved stelae, and codices, stripping important archaeological sites of invaluable movable cultural heritage.  With the rise of private collectors and museum acquisitions in Europe and the United States during this period, many of these black market artefacts ended up in prestigious collections as well as in institutions, purchased through dealers such as Patterson, or those who bought directly from him.

Governments in Mesoamerica responded to their losses with stricter cultural patrimony laws.  Yet ,despite increased legislation, enforcement remained inconsistent.  This in turn allowed the looting to persist, and further resulted in damaging the historical record of what we know and can document about the sites and customs of these ancient civilisations.

Patterson’s dealings in cultural property, on and over the edge of legality, placed him at the centre of legal controversies.  

In his first overt brush with the law, on 21 May 1984, the FBI charged Patterson federally with wire fraud for trying to sell a fake Mayan fresco to an art dealer in Boston.  In that instance he pleaded no contest, contending that he was set up by FBI officers, who he claimed held had a vendetta against him.  Despite the felony conviction, he was sentenced lightly, to probation. 

A year later, and while still on probation for his earlier conviction, Patterson was arrested upon arrival at the Dallas-Fort Worth airport for illegally importing a 650 and 850 CE, pre-Columbian ceramic figure and 36 sea turtle eggs, a violation of the Endangered Species Convention.  In that case, the flamboyant merchant claimed that the pre-Columbian artwork was a newly made souvenir, but openly admitted he planned to consume the eggs as part of his health regimen, even describing how he would eat them.  In his own defense, he stating that he thought he only had to declare the endangered turtle eggs when he arrived at his final destination.  

Leonardo Patterson in his apartment in Munich.

By the 1990s, Patterson had moved away from his repeated US headaches to Europe, relocating to Munich, where he began holding large exhibitions and making sales in France, Germany, and Spain.  There, he befriended and sold ancient art works to a large circle of wealthy collectors and by 1995, was named Costa Rica's cultural attache to the U.N.  Interviewed by the newspaper, Der Spiegel, journalists recorded that at the highest point in his selling career, the extravagant dealer had been chauffeured around the city in a blue Rolls Royce and sponsored his own polo team, which included four players and 12 horses.

In 1995, this also became complicated in Europe, when Patterson's activities were linked publicly in the New York Times to Val Edwards, a successful, if not controversial smuggler.  Edwards told journalists that over the course of a decade he had covertly brought 1000 museum-quality artefacts into the United States which had been plundered from various sites in Guatemala and Mexico.   

With pre-Columbian artworks fetching record prices and while the United States Customs Service officials concentrated on the drug trade, Edwards claimed that he got away with smuggling by posing as a businessman, entering the United States with restaurant equipment and a ready-made alibi that the objects he possessed were cheap tourist reproductions, to be used to decorate a Mexican restaurant he planned to open.  In his ten years of smuggling, Edwards was never arrested, and his bags were only searched once, for drugs. 

Not long after he this link to Edwards was made public, Patterson's honorary role with the UN was revoked.

One of the most important pieces tied to Patterson's illicit activities is this three-foot-wide Mochica headdress of a tentacled zoomorphic sea god.  In was looted from a Moche funerary site in the Jequetepeque valley in northern Peru during a wave of clandestine excavations following the discovery of the famous lord of Sipán tomb.  The artefact had been stolen by a man named Ernil Bernal, who led a band of huaqueros who tunnelled into one of the pyramids located at Huaca Rajada.  Bernal in turn sold the piece to a Peruvian collector named Raul Apesteguia, who later sold the extremely rare artefact to Patterson. 

On 26 January 1996 Apesteguía was robbed, and found beaten to death in his home. Authorities in Peru believe that the collector died at the hands of an antiquities trafficking mob with whom he had been associated.  Though never charged, Patterson's name surfaced as a person of interest in connection to this murder investigation, as objects associated with Apesteguía, including this magnificent gold piece, were identified in circulation with Patterson.

While it is not possible to list all of Patterson's antics in one blog post, here are a few.

In 1997 Patterson staged an exhibition at the Museo do Pobo Galego in Santiago de Compostela in northwestern Spain, sponsored by the Galicia regional government.  During this event, several experts voiced concerns that some of the artefacts might be forgeries, including an Olmec throne described as made of fired clay, something the Olmecs weren't known for. Patterson filed a $63 million defamation lawsuit against the dissenting experts, only to later withdrew his charges.

Peruvian archaeologist Walter Alva, who reviewed a copy of Patterson's museum exhibition catalog, identified more than 250 ancient Peruvian pieces, mostly from tombs raided in the late 1980s, one of which was the gold Peruvian Mochica headdress mentioned earlier. 

In 2004, after receiving a tip, customs officials in Germany targeted an air freight delivery at Frankfort Airport containing archeological artefacts from Mexico and simply waited until Patterson's daughter showed up.  That same year, and based on the contents of Patterson's 1997 exhibit catalogue for the Santiago de Compostela exhibition, and identifications from archaeological experts, Peru issued an arrest warrant for the dealer.

In 2006, and acting on information from Michel van Rijn and Arthur Brand, London's Metropolitan Police successfully recovered the Mochica headdress of a tentacled zoomorphic sea god when Van Rijn posed as a buyer during a visit to the London office of Leonardo Patterson's lawyer. That piece was returned to Peru later that summer. 

Later that same year, on 30 October 2006, Peruvian commander George Gamarra Romero received a confidential email inbox in which Spanish colleagues had notified him that Spanish authorities had a tip that more than a thousand of pieces tied to Patterson were being stored in a moving warehouse in Galicia.  Executing a search warrant in early 2007, police documented rare Mayan and Aztec pieces, Incan gold, and a variety of other pre-Columbian relics were suspected to have been illegally obtained.  As part of this police investigation, and based on a request from Peru, Spain seized 45 Peruvian cultural objects, many of which were determined to have been looted from Sipán and La Mina.

But before Spanish police could investigate the remaining pieces further, Patterson had the rest of the items moved to Munich in March 2007.  Sparking further questions, Patterson disputed the sequester in Spain and claimed that all of the artefacts were part of a loan from German millionaire Anton Roeckl.

As the international cases progressed, German authorities seized more than 1,000 Aztec, Maya, Olmec and Inca antiquities from Patterson in April 2008.  The pieces were packed into more than a hundred crates held in a Munich warehouse.

In September 2011 Patterson was arrested at the Mexico City international airport while traveling to his native Costa Rica based on an Interpol red notice issued by Guatemala and a location order issued in Mexico by the Specialized Unit for Investigation of Crimes against the Environment and Provided for in Special Laws of the PGR, for the alleged crime of theft of archaeological goods and pieces.   In December 2012, a criminal court in Santiago de Compostela put the dealer on trial for violating export regulations relating to cultural artefacts when he moved his collection to Munich.  Unfortunately, Patterson wasn't present at the trial, as a German doctor had issued him a certificate of poor health saying that he was unable to travel. 

Leonard Patterson during the trial in Spain.

On 28th March 2013, at yet another airport, Patterson is again arrested, this time at the Adolfo Suárez Madrid–Barajas Airport in Madrid on the bases of Interpol notices from Guatemala and Peru. While awaiting a decision on extradition to Latin America, he was housed at the Madrid V Penitentiary Center, Soto del Real.

Wanted since 2008, Guatemala's Office of the Public Prosecutor for Crimes against Cultural Heritage requested Patterson's extradition for the crimes of illicit export of cultural property and the illegal possession of 269 looted objects purportedly part of the larger "Patterson Collection" a batch of 1,800 archaeological objects from countries such as Mexico, Guatemala and Peru, which he's exhibited in Santiago de Compostela.  But as the requests progressed, Patterson was released from custody for health reasons 10 months after his arrest in January 2014. Although he had been ordered to remain in Spain, he immediately left for Munich.


Back in Germany,  he racked up another charge, for selling a 10 percent share of an allegedly fake Olmec head (the Olmec were an ancient civilization in Mexico) to a businessman from nearby Starnberg for €85,000.  In that case the Court in Munich found him guilty of "deceptively selling a piece of recent manufacture as an archaeological artefact of Mexican origin to a German citizen" and "possessing looted artefacts."  


Given his advancing age, as is too often the case with elderly lifetime traffickers, Patterson was sentenced in Germany to probation, plus home confinement for three years, ordered to return two wooden Olmec head carvings to Mexico and fined approximately $40,000.  Arthur Brand, a witness in that trial, testified that Patterson had told him that the returned pieces had been taken by a tomb raider from an archaeological dig in El Manatí, Mexico, a sacred site of the Olmec people. 


In his 2016 interview with Der Speigel, Patterson openly elaborated on his business model, and admitted to working with Mexican intermediaries who travelled to Munich on a regular basis. "They worked together with the illegal excavators," he stated. "Their focus was on fresh goods, primarily because of the prices. They had to know where digging was currently going on. They always got it at the place where it was found. They knew the people in the villages."


Patterson’s death leaves many questions unanswered about the final fate of the thousands of artefacts he once controlled.  While some have been returned to their countries of origin, many others remain in legal limbo, or in the hands of private collectors, some of whom are unaware of—or indifferent to—their questionable provenance.

A Paris warehouse of Patterson's merchandise. 

Noting his death today, some say, why not let the dead rest? I myself disagree, as this man certainly didn't.

By Lynda Albertson

April 21, 2021

Restitution announcements sometimes don't (or can't) tell the whole story

Yesterday ARTnews broke a restitution story that a looted sculpture was in the process of being sent back home to Nepal, thanks to the help of the Art Institute of Chicago. The artefact, en route to Kathmandu, was referred to as a caturmukha linga, also sometimes called a Shivalinga or a Mukhalingam.  Yet despite its differing names, these votary linga represent the Hindu god Shiva.  In this instance, the object in question has four faces, each pointing toward a cardinal direction, evoking different aspects of the sacred deity.

According to the article's author, Alex Greenberger, Senior Editor at ARTnews, the museum declined to name the collector identified as the holder of the artwork. One of the oldest and largest art museums in the United States, the Art Institute of Chicago said only that the antiquity in question "had never been accessioned" into their collection.

The Illinois museum also did not provide clarification on the artefact's collection history or elaborate further on how they knew the idol was stolen, or when, or from where, the Shivalinga had been removed.  All this empty space surrounding a restitution is indicative of formal or informal confidentiality agreements and sometimes these are the only means of ensuring a collector, or his or her heir(s), agree to relinquish an artefact voluntarily.

Underscoring this, an email, from the embassy of the Federal Democratic Republic of Nepal had only limited details and cited that an “agreement” had been reached between the object's holder and the embassy for the caturmukha linga's voluntarily surrender.

But to answer the question on every provenance researcher's mind, I've outlined what we have been able to determine, prefacing it that all this information is available in open-source records available to the public if you are willing to dig a bit deeper.

Last December Nepal's news service Kantipur Daily issued an article discussing an artefact from Nepal in the custody of the US Federal Bureau of Investigation. That artefact was described as a four-faced Shivalinga of the Lichchhavi era (approximately 400 to 750 CE).  The sculpture was said to have previously been in the Christie's Collection in London until 1997 when it was purchased at some point by a private individual and ultimately taken to the United States.   Sometime after that, the Shivalinga was presented to the Art Institute of Chicago, apparently as part of the Alsdorf Collection.

Image Credit: POLYMath Design
Businessman and investor James W. Alsdorf, who died in 1990 at 76 years of age, was one of Chicago's top art collectors, as well as chairman of the board of the Art Institute of Chicago from 1975 to 1978. His wife, Marilynn Bruder Alsdorf, an art collector in her own right, died in 2019. The couple is survived by a daughter and two sons as well as numerous grandchildren.  

Over the years the Alsdorf donations significantly enriched the collections of North American Museums, including the Art Institute of Chicago.  Their collection, before it was broken up, donated, or sold, was an example of cross-category collecting and encompassed antiquities, works on paper, European and Latin American art, and Indian and Southeast Asian and Asian art as well as paintings by Frida Kahlo, René Magritte, Joan Miró among others.  Yet some of the objects the ancient art they collected have raised some questions as to whether or not the Alsdorfs conducted sufficient due diligence before purchasing pieces for their collection.

As a testament to their relationship with The Art Institute of Chicago, the Alsdorf's generosity made possible a Renzo Piano-designed renovation to the institution's Alsdorf Galleries for Indian, Himalayan and Southeast Asian Art.  It is here where a considerable portion (approximately 400 objects) of the Alsdorf Collection is now viewable.

Outside Illinois,  the couple's sway in the art and political world was no less influential.  Mr. Aldsorf was appointed to the U.S. Information Agency's Cultural Affairs Committee, first by President Ronald Reagan and later by President George H. W. Bush.  But back to our stolen artefact.


In July 1984, the mūrti in question disappeared from the southeast corner outside the Panch Deval, part of the sacred Hindu Pashupatinath Temple Complex on the western bank of Bagmati River which runs through the Kathmandu Valley.  A photograph of the caturmukha linga, noting the period of its theft, is depicted intact on page 117 of Lain Singh Bangdel's book, Stolen Images of Nepal, published in 1989.   The previous height of the four-faced artefact was 28 inches, unfortunately, those who stole it saw fit to hacked it in two, leaving only the upper 16 inches preserved. 

The Pashupatinath Temple Complex

How this sacred mūrti was smuggled out of the country and into London remains an unanswered (or unpublicised) question. As does what import documentation accompanied the mūrti after its purchase in the United Kingdom and upon entering the United States. 

What is clear, is that Nepal's gods, often leave the country by brutal means, ripped away or sawed into transportable sized hunks, only to be orinamentalised in the homes of private collectors.  This time it took almost 27 years to right a past wrong.  But at least this one 1271+-year-old beloved object is, at last, going home. 

If you would like to follow the identifications of Nepal sacred objects in circulation, please follow the Nepal Pride Project on Twitter or Lost Arts of Nepal on Facebook


March 7, 2021

The chronology of a beloved mūrti...now on its way home to Nepal

Image Credit: Embassy of the Federal Democratic Republic of Nepal

1956
Nepal's Ancient Monuments Preservation Act goes into effect. Article 12 of the Act criminalises theft from ancient monuments and Article 13 restricts the export of cultural objects without prior Government approval, meaning an official permit issued by the Department of Archaeology.

1 January 1984
A 15th-century, 34” tall, deity statue of Lakshmi-Narayana (Sanskrit: लक्ष्मी-नारायण, IAST: Lakṣmīnārāyaṇa), a manifestation of Vishnu in the Hindu religion is published in Krishna Deva’s Images of Nepal.

1984
The 15th-century deity statue of Lakshmi-Narayan is stolen from the Narayan Temple in the Patko Tol neighbourhood in Patan, located in the Lalitpur district in the south-central part of Kathmandu Valley in Nepal. 

Between 1984- and 1990
The 15th-century deity statue of Lakshmi-Narayan is illegally transported out of Nepal and into the United States.

1989
A photograph of the 15th-century deity statue of Lakshmi-Narayana is published on page 246 in Stolen Images of Nepal, a book by Lain S. Bangdel, former Chancellor of the Royal Nepal Academy.

This publication is the culmination of a project was undertaken by the Royal Nepal Academy in which research was carried out to document known stolen artefacts from the Valley of Kathmandu.

22 March 1990
Despite the previous publication, the 15th century, deity statue of Lakshmi-Narayana stolen from the Narayan Temple in Patko Tol is auctioned at Sotheby’s New York during its Sale 5987: Indian, Himalayan and Southeast Asian Art.  The artefact is listed as Lot 278 and is purchased by David T. Owsley.

Later in 1990
David T. Owsley loans the 15th century, deity statue of Lakshmi-Narayana stolen from the Narayan Temple in Patko Tol to the Dallas Museum of Art (DMA) as part of a 30-year long-term loan agreement.

01 October 1999
Journalist, writer and civil rights activist Kanak Mani Dixit becomes aware that the 15th century, deity statue of Lakshmi-Narayana stolen from the Narayan Temple has been auctioned by Sotheby’s in New York in 1990 and writes about the Murti's sale at Sotheby's in his article “Gods in Exile” in Himal magazine, bringing the sale to the attention of artist Joy Lynn Davis. 

2013
David T. Owsley pledges a portion of his large personal collection of South Asian art to museums. 

In total Owsley’s name appears 274 times in the Dallas Museum of Art 2013 catalogue "The Arts of India, Southeast Asia, and the Himalayas at the Dallas Museum of Art." Some of these objects are on display in the DMA, but few are fully documented in the museum’s online collections inventory as the bulk of these are loans, making them more difficult for potential claimants to trace their origins.

2013-2014
Artist Joy Lynn Davis paints a commemorative version of the stolen 15th century, deity statue of Lakshmi-Narayana as part of her project “Remembering the Lost” which documents art theft from Nepal.  By the conclusion of her research Davis will have 

12 December 2013
The 15th century, deity statue of Lakshmi-Narayana is published in a catalogue The Arts of India, Southeast Asia, and the Himalayas at the Dallas Museum of Art on Page 94 listed as an intended bequest of David T. Owsley.  The listing makes no mention of the object's provenance. 

2015
A year after finished the painting, Joy Lynn Davis located the Lakshmi-Narayan sculpture on display in the South Asian Art collection at the Dallas Museum of Art via a Google Image search after a blogger posted a photograph of the Lakshmi-Narayan while at an event at the Dallas Museum of Art. 

2016
At the start of Joy Lynn Davis' research, INTERPOL's database of stolen art included six stone sculptures from the Federal Democratic Republic of Nepal.  By 2016, with the help of UNESCO, Davis had now documented a total of 160 Kathmandu Valley consecrated sculptures which could then be included in INTERPOL's Stolen Works of Art Database.

2017
Joy Lynn Davis exhibited her stolen murti paintings and research, and gave a talk about the illicit trade of Nepal’s cultural heritage at a conference on the ethics of the art trade at Washington and Lee University in Virginia, using the Lakshmi Narayan sculpture as a case study. There she meets Dr. Erin L. Thompson, Associate Professor of Art Crime at John Jay College of Criminal Justice (CUNY). 


19 November 2019 

20 November 2019
The Dallas Museum of Art responds to Dr. Thompson's Tweet on Twitter, promising to investigate the object's history. 

December 2019
Sometime after Dr. Erin L. Thompson's tweet, the Lakshmi-Narayana is removed from public display at the Dallas Museum of Art and the FBI become involved in the case.  

24 January 2020
Dr. Erin L. Thompson pens an article for the journal Hyperallergic providing the general public with details of the theft of the Lakshmi-Narayana (elsewhere described as Vasudeva-kamalaja) statue, on long-term loan to the Dallas Museum of Art (DMA), via David Owsley.

Image Credit: U.S. Federal Bureau of Investigation

2 March 2021 
Officials from the Dallas FBI Field Office and the Dallas Museum of Art announce the formal transfer of the recovered Lakshmi-Narayana previously on loan to the museum from David OWSLEY to the Federal Democratic Republic of Nepal.
With the full support of the object’s US Owner, the Stele of Lakshmi-Narayana is transported from Dallas, Texas to Washington, D.C. for the formal handover ceremony. 

Image Credit: Joy Lynn Davis Facebook


6 March 2021 
37 years after its theft Dr. Yuba Raj Khatiwada, Ambassador of the Federal Democratic Republic of Nepal to the United States of America received the beautiful mūrti of “Vasudeva-Kamalaja” (also known as Lakshmi-Narayan) handed over from the representative of the US Government Timothy N. Dunham, Deputy Assistant Director, Federal Bureau of Investigation (FBI), in a ceremony organized at the Nepal Embassy in Washington DC. 

By:  Lynda Albertson

References used for this chronology:
--------------------------------

‘A Statue Stolen 35 Years Ago from Patan Exhibited at Dallas Museum of Art’. Kathmandu Post, 20 November 2019. https://kathmandupost.com/art-culture/2019/11/20/a-statue-stolen-38-years-ago-from-patan-exhibited-at-dallas-museum-of-art.
Bangdel, Lain S. Stolen Images of Nepal. Royal Nepal Academy, 1989.
Blay, Christopher. ‘Art Crime Professor Erin L. Thompson Points to Stolen Statue at Dallas Museum of Art’. Glasstire (blog), 30 January 2020. https://glasstire.com/2020/01/30/art-crime-professor-erin-l-thompson-points-to-stolen-statue-at-dallas-museum-of-art/.
Dallas Museum of Art. ‘Dallas Museum of Art, Embassy of Nepal, and Federal Bureau of Investigation to Transfer Stele of Lakshmi-Narayana To the  Federal Democratic Republic of  Nepal’, 5 March 2021. https://dma.org/press-release/dallas-museum-art-embassy-nepal-and-federal-bureau-investigation-transfer-stele.
Davis, Joy Lynn. ‘A Gift to the Dallas Museum of Art by Joy Lynn Davis’. Facebook, 4 March 2021. https://www.facebook.com/Joy-Lynn-Davis-121478937004/photos/10158012279237005.
Deva, Krishna. Images of Nepal. Director General, Archaeological Survey of India, 1984.
Federal Bureau of Investigation. ‘FBI Dallas and Dallas Museum of Art Announce Transfer of Stele of Lakshmi-Narayana to Government of Nepal’. Press Release, 5 March 2021. https://www.fbi.gov/contact-us/field-offices/dallas/news/press-releases/fbi-dallas-and-dallas-museum-of-art-announce-transfer-of-stele-of-lakshmi-narayana-to-government-of-nepal.
Granberry, Michael. ‘Dallas Museum of Art Removes Object That Website Contends Is a “Deity Stolen from a Temple in Nepal”’. Dallas News, 30 January 2020. https://www.dallasnews.com/arts-entertainment/visual-arts/2020/01/30/dallas-museum-of-art-removes-object-that-website-contends-is-a-deity-stolen-from-a-temple-in-nepal/.
Kanak Mani Dixit. ‘Gods in Exile’. Himal, 1 October 1999. https://www.himalmag.com/gods-in-exile/.
‘Press Release on the Handover of the Vasudeva-Kamalaja Statue – Embassy of Nepal, Washington DC, USA’. Accessed 7 March 2021. https://us.nepalembassy.gov.np/press-release-on-the-handover-of-the-vasudeva-kamalaja-statue/.
‘Repatriations – Remembering the Lost’. Accessed 7 March 2021. http://rememberingthelost.com/repatriations/.
Sijapati, Alisha. ‘Replicating Nepal’s Stolen Gods’, 21 February 2020. https://www.nepalitimes.com/here-now/replicating-nepals-stolen-gods/.
INTERPOL. ‘Stolen Works of Art Database’. Accessed 8 March 2021. https://www.interpol.int/en/Crimes/Cultural-heritage-crime/Stolen-Works-of-Art-Database.
The Arts of India, Southeast Asia, and the Himalayas at the Dallas Museum of Art. Dallas Museum of Art, 2013.
Thompson, Erin L. ‘Stolen Deities Resurface in a Dallas Museum’. Hyperallergic, 24 January 2020. https://hyperallergic.com/530848/stolen-deities-resurface-in-a-dallas-museum/.
‘US Hands over Historical Statue of Laxmi-Narayan to Nepal’. Khabarhub, 6 March 2021, sec. News. https://english.khabarhub.com/2021/06/168030/.

February 28, 2019

In pursuit of restitution: FBI asks representatives of Native American tribes and foreign authorities and indigenous tribes for assistance in identifying material remains catalogued as part of from the Don Miller forfeiture

Image Credit : FBI
When US law enforcement agents raided the rural Rush county home of Don Miller in Indiana four years ago, the execution of that search warrant resulted in the largest single recovery of cultural property in FBI history. 

Since that time, the Bureau’s Art Crime division has been tasked with identifying just who are the rightful owners of more than 7,000 objects from around the globe that were found in the now-deceased collector's main residence.  The objects once filled the house where Miller resided with his wife, his basement, a second, unoccupied residence on the property; and several outbuildings, accessible via a tunnel which connected the house to the adjoining buildings. 

Prior to the Federal seizure Miller had made no secret that he was an avid collector, even going so far as to have area schoolchildren over for tours of his amateur museum.   Much of his collection was displayed inside carefully labeled glass showcases or spread out on folding tables.   An individual well-known in his community, Miller was also profiled in local papers who wrote articles about his artifacts, about his service during World War II and about his connection to the Manhattan Project where he helped build the world's first atomic bomb. 

Cooperating throughout the investigation, Miller voluntarily waived his title to all of the seized objects prior to his death at 91 in 2015.  As part of that cooperation, he relinquished the artefacts that he had acquired in violation of state and federal law and international treaties. 

Some of the anthropological and archaeological Miller collected over his lifetime included:

Native American arrowheads, points and projectiles from throughout the western United States
fossils
40 pre-Columbian artifacts
hundreds of terracotta vases
two fossilized eggs
an Egyptian sarcophagus
500 sets of human remains looted largely from Native American burial grounds
a life-size Chinese terracotta figurine
an Italian mosaic
a South American dugout canoe
a bear skin rug
carved boomerangs
coins
an 1873 Winchester carbine purportedly fired by a Lakota Indian at the Battle of Little Big Horn;
a Tibetan bell
jade, purportedly form the Ming Dynasty
bullet casings detected by a metal detector at Civil War battlefields
axes;
a chunk of concrete that Miller purportedly claimed was from the bunker in which Adolf Hitler committed suicide.


The task of returning the forfeited objects to their rightful owners is not an easy one.  Nor is it easy to determine which artefacts crossed the line from legal to illegal or were the result of outright looting.  Additionally no single art historian or archaeologist can singularly provide the US government authorities with sufficient expertise about the origins of every object that Miller had in his possession as the collection itself was extremely varied.

Image Credit: FBI
To adjust for this, the FBI has reached out to tribal authorities, academic experts, archaeologists and anthropologists for assistance in identifying the material.  Assisted by museum studies students, the objects were carefully documented, preserved and curated into what would later become an invitation-only digital archive, where the relinquished cultural artefacts can be viewed by experts working towards their restitution. 

Screen Capture:  FBI digital archive, Via FBI.
To help with the identification of human and archaeological remains from North America, the FBI also contacted all of the federally recognised Native American tribes, some 600 in total, for their assistance in determining material of their tribal origin. The authorities also hope to gain further assistance from governments around the world as well as from the indigenous tribes from outside North America.



January 12, 2018

$10 million reward offered by the Isabella Stewart Gardner Museum extended indefinitely.


The empty frames still hang on the walls of the Isabella Stewart Gardner Museum.  A reminder of the March 18, 1990 theft, where, in 81 minutes, thieves posing as police officers tied up two security guards and made off with 13 works of art. 

The artworks have not been recovered, despite the healthy reward of $10 million dollars originally set to expire at midnight December 31, 2017.

The following are the thirteen stolen works of art which are still missing:

Landscape with an Obelisk by Govert Teuniszoon Flinck (1638)

Cortege aux Environs de Florence by Hilaire German Edgar Degas (c. 1857–1860)

La Sortie de Pesage by Hilaire German Edgar Degas (date unknown)

Program for an Artistic Soirée 1 by Hilaire German Edgar Degas (1884)

Program for an Artistic Soirée 2 by Hilaire German Edgar Degas (1884)

Three Mounted Jockeys by Hilaire German Edgar Degas (c. 1885–1888)

Chez Tortoni by Édouard Manet (c. 1878–1880)

A Lady and Gentleman in Black by Rembrandt Harmenszoon van Rijn (1633)

Self-Portrait by Rembrandt Harmenszoon van Rijn (c. 1634)

The Storm on the Sea of Galilee by Rembrandt Harmenszoon van Rijn  (1633)

The Concert by Johannes Vermeer (c. 1664–1666)

A bronze eagle finial (c. 1813–1814)

An ancient Chinese gu (c. 1200–1100 BCE)
This week, Steve Kidder, President of the Isabella Stewart Gardner Museum board of trustees, announced that the board has approved an indefinite extension  to the $10 million dollar reward for information leading to the recovery of all 13 works in good condition.



For details on the theft please see the history given at the museum located here.

Anyone with information about the stolen artworks or the investigation should contact the Gardner Museum's Director of Security, Anthony Amore directly at +1.617.278.5114  or write to the museum at:

theft [insert at sign] gardnermuseum.org

Confidentiality and anonymity is guaranteed.  







August 7, 2015

Ames Stradivarius owned by Roman Totenberg Recovered 35 years after theft


by Judge Arthur Tompkins

The New York Times reported August 6 (http://www.nytimes.com/2015/08/07/arts/music/roman-totenbergs-stolen-stradivarius-is-found-after-35-years.html) that a Stradivarius violin stolen back in 1980 was recovered in June this year, and has been returned to the family of the original owner.

The Ames Stradivarius recovered by the F.B.I. in June.
(Credit Federal Bureau of Investigation, via Associated Press)


The ‘Ames Stradivarius’ was created by the legendary Italian violin-maker Antonio  Stradivarius in 1734. By 1980 it had been owned and played by Roman Totenberg, a well-known violin player and teacher, and director of the Longy School of Music in Cambridge, Mass., for nearly 40 years.  At the time of the theft, which happened during a reception following a concert, the violin was said to be valued at $250,000.

Saratoga Herald-Tribune, Friday May 16, 1980, page 5-A.
Michael Cooper reported in The NYT that the violin re-appeared earlier this year after an unnamed woman, who recounted that she had inherited the violin from her late ex-husband, sought advice from an appraiser. The appraiser immediately recognised both that it was a genuine Stradivarius, and that it was the stolen Ames Stradivarius.  The appraiser contacted the FBI’s Art Theft team, who immediately verified the identity of the instrument and took possession of it.

As noted in The NYT, it seems that the now deceased ex-husband was suspected of the theft by Mr Totenberg (who died in 2012) right from the start:
Ms. Totenberg [Roman Totenberg’s daughter] said that the woman had inherited the violin from the man Ms. Totenberg’s father had suspected all along of stealing the instrument. The man had been seen in the vicinity of his office at Longy near the time of the theft, and a woman once visited Mr. Totenberg and told him that she believed that the man had stolen his violin. But to the family’s frustration, investigators at the time apparently did not believe that the tip was sufficient for them to obtain a search warrant.
The family had received an insurance pay-out at the time of the theft. That has now been repaid, and the instrument will be restored and sold:
“[The family are] going to make sure that it’s in the hands of another great artist who will play it in concert halls all over the world,” she said. “All of us feel very strongly that the voice has been stilled for too long.”

March 29, 2015

Indystar Reports Death of Don Miller, 91-year-old man whose private collection of artifacts the FBI seized last year

by Catherine Schofield Sezgin, ARCA Blog Editor

Jill Disis reported March 26 for Gannet's Indystar that Indiana resident and electrical engineer Don Miller died at the age of 91, one year after the FBI seized his collection of antiquities and artifacts:
News reports in the aftermath of the government seizure were awash with tales from those who had seen his collection, which reportedly included Aztec figurines, Ming Dynasty jade and an Egyptian sarcophagus. Miller never faced any charges related to his collection. No lawsuits were filed against him in the year since the seizure. In his final months, townsfolk told The Indianapolis Star he had disappeared from public life. And even after his death, progress of the federal investigation remains shrouded in mystery. FBI Special Agent Drew Northern declined to comment about the case Tuesday night. Officials from the Indiana University-Purdue University Indianapolis anthropology department, which is assisting the FBI in identifying and preserving the artifacts, also would not comment. But a legal expert told The Star it could take years, if not decades, before experts can sort out the legalities of the thousands of objects seized by the government.
Here's a link to the ARCA Blog's earlier post on the FBI seizure (along with a perspective by retired FBI Agent Virginia Curry and anthropologist Kathleen Whitaker).

February 14, 2015

Raul Espinoza sentenced to more than four years in state prison for receiving art stolen from Encino home in 2008

Raul Espinoza
by Catherine Schofield Sezgin, ARCA Blog Editor-in-Chief

Brian Melley reported in the Associated Press Feb. 13 ("Man who tried to sell stolen Encino art gets 4 years in state prison") that Raul Espinoza was 'sentenced Friday to more than four years in state prison' when he 'pleaded no contest to one count of receiving property stolen in 2008 from the Encino home of Susan and Anton Roland:
He [Espinoza] was asking $700,000 for works he said were worth $5 million, though the paintings have since been valued for as much as $23 million, said Ricardo Santiago, a spokesman for the Los Angeles district attorney.
Melley/AP wrote that Espinoza's restitution hearing is scheduled for March 25.

(CNN also identified the owners of the art collection here).

Veronica Rocha for The Los Angeles Times reported that Espinoza's sentence was "four years and four months".

In May 2012, Mash Leo for The Jewish Daily reported that Susan and Anton Roland donated 15 works of art (including a Francis Bacon triptych worth $75 million) to the Tel Aviv Museum of Art:
This collection was accumulated over a lifetime by Susan Roland and her husband, the late Anton Roland. A teary-eyed George Roland paid tribute to his parents’ passion for art collecting: “Father was born in Carpathia [Czechoslovakia]. Mother was born in Hungary. They married in Budapest. In 1946 they moved to Paris and dreamt of owning paintings…. In 1949 they bought a Chagall in Israel [and] kept on buying paintings all over Europe. When [Dad] bought the Francis Bacon painting, his wife remarked that it was immoral to pay so much money [for it]. He pacified her by saying that it would eventually go to the Tel Aviv Museum…. It was their greatest wish to have a collection and to donate it after our passing, to share it with the Israeli people.’”

A catalogue on the donation from the Rolands to the Israeli art gallery can be purchased on Amazon.

An online article in "15 Minutes Magazine" quoted George Roland on his parents:
"My parents were opposites," George said. His mother came from Hungary and father from the Carpathians. Dad studied in a yeshiva in Prague when the war broke out.
He found his future wife on the street wearing a Jewish star. "Why are you wearing that?"
"They told me to."
"Just because they told you to do it doesn’t mean you do it."

He ripped the star off her coat and took her to the underground where he was working as a forger for the resistance against the Nazis. They stayed together ever since.
Related ARCA blog posts:




December 19, 2014

Stolen Art Recovered: FBI and LAPD undercover operation recovers 3/4 of art stolen from Encino residence in 2008

by Catherine Schofield Sezgin, ARCA Blog Editor-in-Chief

Los Angeles, California -- Journalist Matt Hamilton reported December 17 in the Los Angeles Times ("Detectives crack huge L.A. heist; 9 paintings recovered") that two months ago an undercover operation between the Federal Bureau of Investigation (FBI) and the Los Angeles Police Department (LAPD) recovered three-quarters of the paintings stolen six years ago from an Encino residence.

Hamilton's article included a copy of the search warrant Detective Don Hrycyk filed on Dec. 2 to continue the investigation. Hrycyk wrote of the original crime and the recovery:
On August 24, 2008, I received a crime report (DR #08-1025695) of a hot prowl residential burglary during which $10 million in fine art was stolen from the home of XXX and XXX (see Attachment B) who were both elderly invalids. The art was taken during the day while they were in their bedrooms during a brief window of opportunity lasting less than an hour during which no caregivers or employees were in the house. Twelve paintings were taken including works by artists such as Marc Chagall, Diego Rivera, Chaim Soutine and others. 
The art remained missing for six years. Then on 9/2/14, I became aware that a man named "Darko" in Europe was trying to find a buyer for the nine stolen paintings listed in the XXX crime alert (see Attachment C). He indicated that he was merely a middleman for an unknown person in possession of the art in California. 
I contacted Special Agent Elizabeth Rivas who works the FBI's Art Crime Team in Los Angeles. An undercover operation was an implemented to recover the stolen art. FBI undercover agents posing as potential buyers set up a meeting at a hotel in West Los Angeles for the purpose of buying the nine stolen paintings valued at over $10 million for $700,000 in cash. 
On 10/23/14, a man identified as Raul Espinoza (aka: Jorge Lara) tried to sell the paintings to the undercover agents and was subsequently arrested and the nine artworks recovered. He is being prosecuted under state charges of 496(a) PC (Receiving Stolen Property) with various special allegations. During the undercover operation, I heard Espinoza offering to sell three additional artworks. He described the paintings, one of which matches the description of an Endre Szasz painting owned by the victims that is still missing. 
Special Agent Rivas told me she interviewed Darko who told her he spoke to the person in possession of the stolen art at least fifty times by cellphone and received cellphone photos of the stolen art in the same manner. During the undercover buy with FBI agents, I viewed and heard the operation taking place through the use of hidden camera in the hotel room and observed Espinoza using his cellphone to call confederates to signal them during the operation. In addition, I believe the original burglary could not have been accomplished without the assistance of inside help from one of the employees who worked for the victims at the time of the crime and I believe this person is known to Espinoza. 
Espinoza's cellphone was seized and booked evidence at the time of his arrest. I request authorization to have his cellphone undergo forensic examination to determine if it contains phone numbers, contacts, photos, emails, text messages, and other information showing his involvement in the crime of receiving stolen property as well as his contacts with Darko and other accomplices in selling, transporting, or storing the art. I believed this information may result in the recovery of three additional paintings in the possession of Espinoza that were stolen from the victims during the burglary in 2008 and may reveal the identity of persons involved in the burglary in 2008 and may reveal the identity of persons involved in the original burglary in 2008.
Here's a link to an interview with Detective Hrycyk about the LAPD Art Theft Detail.