Blog Subscription via Follow.it

Showing posts with label Germany. Show all posts
Showing posts with label Germany. Show all posts

December 3, 2023

Claiming Legacies: Italy, Germany, and the Post-WWII Ownership Battle for the Discobolus

Image Credit: Exhibition Arte Liberata 1937-1947: Masterpieces Saved from War.

This past week Italy's Corriere della Sera newspaper stirred up a long-standing dispute between Italy's National Roman Museum and Germany's Antikensammlungen state antiquities collection regarding who is the rightful owner of the Discobolus Lancellotti, also known as the Discobolus Palombara.  Frozen in a moment of dynamic tension, much like the ownership debate, the marble depiction of an athlete stands as a remarkable example of the classical aesthetics that characterised the ancient world. 

Believed to be a 2nd Century CE marble copy modelled after the original bronze Greek masterpiece created by Myron of Eleutherae around 450 BCE, the Roman version has endured through the centuries and offers its viewers a fascinating glimpse into the Roman's appreciation for the athletes and artistry of the Greeks, as well as the contentious nature of provenance.  The statue depicts the sportsman frozen in a moment of athletic intensity, poised like a coiled spring wound in high tension, to intricately render the disk thrower's musculature and balance. 

The anatomy of the discobolus,
as drawn by the talented @PaulCarneyArts

Rediscovered on the Esquiline Hill in Rome on March 14, 1781 during an excavation carried out by workmen working for the Marquise Barbara Savelli Palombara (1750–1826) and her husband Papal postmaster Camillo Francesco Massimo (1730–1801), the statue was unearthed on the grounds of the 17th century Villa Palombara sull'Esquilino.  There, the accidental archaeology of the diggers unearthed what would turn out to be an extraordinary collection of ancient artistic masterpieces, only one of which was the life-size, 156 centimetre-tall Discobolus.  

The ancient Villa Palombara in a map engraved by
Giovanni Battista Falda (1676).

Initially cleaned in the 18th century by Giuseppe Angelini, it was Italian soon-to-be  archaeologists Giovanni Battista Visconti and Filippo Waquier De La Barthe who first published on the the marble sculpture as a Roma copy of Muron's bronze original in 1801, augmenting their research with an illustration by Carlo Fea. 

Depicting an athlete who competed in Greek agones (athletic competitions), the sculpture's popularity became uniquely recognisable, even to non art historians.  Its discovery also provided us with a fascinating glimpse into the artistic preferences and lavish lifestyles of ancient Rome's elites, and marked a seminal moment in what we now know and understand about artistic preferences in the classical period.   

Having reattached his right arm and left foot, the Discobolus sculpture was taken by the Massimo (later Lancellotti) family to Palazzo Massimo alle Colonne, the site of the family's ancestral properties, located on Via Papalis (now Corso Vittorio Emanuele II).  There it was given its own private viewing room on the palazzo's piano nobile or main floor.  Later, it would it be installed by Prince Filippo Massimo Lancellotti and Princess Elisabetta Borghese Aldobrandini at the Palazzo Massimo Lancellotti.

By January 1937 the Lancellotti family was actively shopping the sculpture for a new owner.  Following the 25 January 1937 death of Princess Elisabetta Borghese Aldobrandini, we can document a 29 January 1937 letter written by Gisela Richter to The Metropolitan Museum of Art's director, Herbert E. Winlock, where the US museum director was alerted to the fact that the Discobolus had been shopped by “the very difficult old lady at the head of the house” to foreign museums. 

Yet despite the Met's rather healthy and hastily-gathered purchase budget, capped at $300,000 including export fees, and with Joseph Brummer acting as the museum's purchasing agent through Roman antiquities’ dealers, Ettore and Augusto Jandolo, the Met moved too slowly and the marble sculpture was sold to the German state.  As a consolation prize, the Met was still able to acquire a marquetry studiolo from Federico da Montefeltro’s palace in Gubbio which was sold by the Lancellotti family in 1937 to Adolph (Adolpho) Loewi, a German-Jewish art and antiquities dealer who flipped the piece to the Met before leaving Italy in 1939. 

Germany's fascination with the Discobolus 

Even before its purchase, the discobolus was firmly cemented in the hearts of Germans.  More so when held up as the ideal in the rhetoric, propaganda, art, and architecture of National Socialism.  This fascination can be seen in the evocative prologue of the 1936 film directed by Leni Riefenstahl Olympia – Festival of Nations which documented that summer's Olympics, held in the Olympic Stadium in Berlin during the Nazi period. 

Released in Germany on Hitler’s birthday on 20 April 1938, one month shy of the Nazis’ purchase of the statue, the film begins with a fanciful recreation of the ruins of the Acropolis of Athens, focusing in, with short clips, on a varying group of Greek statues before the montage concludes with a clearer image of the Discobolus as it gradually morphs into the ideal German athlete, Erwin Huber, who competed in the men's decathlon. His transformation was meant to illustrate the 'Vigour and beauty' of ancient Greece reborn in the athleticism and perfect physical form of modern Germany.

But back to the sale of the Discobolus

Bear in mind that in 1937 when Adolf Hitler first expressed interest in the Discobolus, Italy's cultural property was already protected by Law No. 364/1909, commonly referred to as the 'Rosadi-Rava Law.  This law, approved by the Italian parliament, stated that when a good owned by an individual or a private entity is classified as cultural property, the owner remained under an obligation to preserve its integrity (Article 20(1)(a) of the CHC). Furthermore, an authorisation by the Ministry of Education was required before such objects could be moved from their current location, for example, for a showing at an exhibition (Article 20(1)(b) of the CHC)3 or for restoration (Article 20(4) of the CHC).  

In the case of sale, a privately owned antiquity, classified as cultural property, might be sold, but the seller has an obligation to notify the contract to the Italian State within 30 days of the date of the sale.  In case of sale, the State has a pre-emption right, to be exercised within 60 days of the date of receipt of the sale notice (Article 59 of the CHC), all this to say that cultural property of a historic interest to the stated should not have been exported from the national territory on a permanent basis. 

Despite this, Benito Mussolini forced the hand of his then-Minister of Education, Giuseppe Bottai, by tacitly approving an export waiver to Adolf Hitler and not stepping in to deny the statue's export. On 18 May 1938 Galeazzo Ciano, Mussolini’s son in law and the Foreign Minister of Fascist Italy from 1936 to 1943, completed the sales transaction for the Discobolus.  The selling price was five million lire, ($252,000, as calculated later by the US Office of Military Government [OMGUS]), paid out over the protests of Giuseppe Bottai, Minister of Education, and the scholarly community. The German government then paid an additional 1,485,000 lire in export tax to complete the acquisition. 

On 29 June 1938 the Discobolus was shipped by train to Germany and was put on display at the Munich Glyptothek, with Hitler in attendance for its opening premiere on by 10 July 1938.  Some say Hitler opted for the Munich museum over the Staatliche Museen zu Berlin as a technique of oneupmanship.  One hundred years earlier, Ludwig I, the King of Bavaria, had sought to purchase the famous statue for his own collections. 

Adolf Hitler in the Munich Glyptothek with the Lancellotti Discobolus,
10 July 1938 - Image Credit US Library of Congress

The Lancellotti Discobolus then spent a decade in Germany, enduring the tumultuous period of World War II and escaping the heavy damage to the Glyptothek in the summer of 1944, when the museum was badly hit by Allied bombing raids. Thankfully, the bulk of the Glyptothek collection of sculptures and works of art had previously been brought to safety in monasteries. What had to be left behind, and not immediately destroyed by the bombing, suffered severe damage in the waning years before its restoration, as the cultural heritage institution was left without a roof. 

The remains of the Roman Hall of the Munich Glyptothek in 1945
.
After the war, the Discobolus was ordered to be returned to Italy, as part of a broader repatriation effort termed the “Exceptional Return of Works of Art” by Allied authorities.  Rodolfo Siviero, Italy's postwar representative dedicated to repatriating art taken from the country since 1937, was known to have played a pivotal role in advocating for the return of the marble statue and other contentious works of art. These pieces, all acquired by the National Socialist government, were contested on the grounds that the export permits were illegal, and in violation of the law of 1909. 

But the return of the Discobolus was not without its controversies. On Germany's side, letters of protest were sent to the U.S. Secretary of State, as well as to President Truman.  One of these was signed by thirty-six German staff members working at the Munich Central Collecting Point (CCP).  Another letter of protest, organised by a professor at the University of Munich, was signed by eighty-eight German officials.  

Calls for the decision's repeal were subsequently directed to the colonial authority known as the Office of Military Government, United States, (OMGUS) in Berlin and ultimately culminated in the resignation of Herbert S. Leonard, in November 1948, from his position as director of the Munich Central Collecting Point (CCP).  Leonard having resigned in opposition to OMGUS's fixed decision to return seventeen paintings and the sculpture to the Italian government.

The Italian authorities have always maintained that the collection was seized by Fascist leaders and gifted to the Nazis. While Leonard and others working on the provenance of objects held at the collecting point pointed to the fact that sculpture had been purchased by Nazi Germany in 1938 after Mussolini declared an "axis" between Germany and Italy on 1 November 1936 and prior to the start of World War II on 31 August 1939 and was therefore not an under duress sale.

Once back in Italy, in 1948, the Discobolus became part of the collection of the National Roman Museum at Palazzo Massimo.  More recently it has been part of an exhibition at the Scuderie del Quirinale titled Arte Liberata 1937-1947: Capolavori Salvati dalla Guerra dedicated to the theme of cultural heritage at risk during World War II.  Afterwards, following a major reorganisation which is anticipated to take three years, the statue is expected to be moved permanently to Palazzo Altemps, close to Piazza Navona.   As for whose property the statue is, well I will leave that debate to the lawyers. 



By: Lynda Albertson


January 22, 2023

Four confessions to a museum burglary all started with a photo of the Green Diamond

This month, has proved an interesting month in the ongoing trial of six burglars, believed to be responsible for the theft of 18th-century jewels stolen from the Green Vault (Grünes Gewölbe in German) museum within the Dresden Castle in Saxony.  This week, four out of six members of the large Remmo family, brothers Wissam and Mohamed, and cousins Rabieh and Bashir Remmo entered formal confessions before the district court in Dresden, in hopes of receiving lighter sentences for their cooperation. 

Family members Abdul Majed and Ahmed Remmo have seemingly been exonerated by the confessions of the others. 

Family members who have confessed to active roles in the museum burglary, stated that they orchestrated the theft after Mohamed Remmo, twin brother to Abdul Majed Remmo, received a photo from an unnamed person who had visited the museum during a school outing. That photo was apparently of the Dresden Green Diamond. 

Set in a hat clasp, this dramatic 41-carat, 8.2 gram natural green diamond, from the mines of India, is the largest green diamond in the world.  Too well guarded, the team of would-be burglars turned their sights to other jewels which they believed would be easier to access.

Abdul Majed Remmo's role, had been stated as having been to gather supplies used for the theft, though his family members on trial downplayed his role, saying he performed inadequately, purchased inferior tools, and wasn't present on the day of the heist. 

After scouting the building in a lead up to the November 25th 2019 theft, Rabieh Remmo, caught on CCTV footage with a flashlight, entering the closed museum shortly before 5 a.m.  He admitted that he is the thief depicted in video footage and to smashing the display case, struck an estimated 56 times in less than 30 seconds.  Rabieh also admitted to filling a sack with €113.8m. worth of pieces from the Green Room's historic jewellery collection.

Pieces stolen during the theft include:

  • a Hutkrempe der Diamantrosengarnitur by Christian August and August Goffhelf Globig, Dresden, 1782-1789;
  • a Shoulder loop (epaulette) (diamond rose set) (part available) by 
  • Christian August Globig and August Gotthelf Globig. Dresden 1782-1789;
  • Christian August and August Gotthelf Globig's Sword (diamond rose), 1782-1789, inv. no. VIII 16 with a diamond-studded hilt containing nine large and 770 smaller diamonds as well as its scabbard;
  • the Jewel of the Polish Order of the White Eagle (diamond rose set) by Christian August and August Gotthelf Globig, Dresden, 1782-89
  • Breast Star of the Polish Order of the White Eagle (set of brilliants) Jean-Jacques Pallard. Geneva/Vienna between 1746 and 1749;
  • Queen Amalie Auguste's Great Pectoral Bow by Christian August Globig, Dresden 1782, 51 large and 611 small diamonds, silver;
  • Necklace of 177 Saxon River Pearls, obtained from Vogtland waters before 1734, lined up in 1805;
  • 10 Rock Buttons from the Diamond Rose Set (each preserved)
  • Jean Jacques Pallard, Geneva 1753, inv. no. VIII 9/1-10;
  • Two arched shoe buckles from the Diamond Rose Set, workshop of Christian August Globig, Dresden 1782-1789, inv. no. VIII 12/ a,b;
  • Large Diamond Rose (Diamond Rose Set)inventory no. VIII 15;
  • Piece of jewelery in the form of palmettes (set of diamonds)
  • Jean Jacques Pallard, Vienna, 1746-1746;
  • Epaulette with the so-called "Saxon White" from the diamond set
  • Franz Diespach; Christian August or August Gotthelf Globig; Jean-Jacques or André Jacques Pallard; 1782-1789;
  • Hat decoration, so-called heron tail from the diamond set
  • August Gotthelf Globig, Dresden between 1782 and 1807, inv. no. VIII 26; 
  • Part of a muff hook, workshop of Jean Jacques Pallard, Geneva/Vienna 1746 and 1749, inv. no. VIII 34;
  • Queen Amalie Auguste's diamond necklace (preserved in parts), 
  • Ignaz Konrad Plödterl, Dresden 1824, inv. no. VIII 38;
  • Aigrette for the hair in the shape of a sun by August Gotthelf Globig, Dresden, 1782-1807;
  • Aigrette for the hair in the shape of a crescent moon (The diamond jewelry and the pearls of the queens)
  • August Goffhelf Globig, Dresden, 1782-1807;

Wissam and Mohamed Remmo informed the court, through their lawyers, that they too were immediately involved in the heist. Wassim copped to having cut the bars on a window in the vault prior to the burglary and also to standing guard outside of the museum to receive the stolen items and tools used in the break-in.  Mohamed Remmo admitted, through his lawyer, to being outside the museum on the morning of the theft and to to receive the stolen items.

In a later than the others admission, Bashir Remmo, through his lawyers, told the court on Friday, that he had not been initially involved in the preparations for the burglary, but admitted to standing guard on the morning of the theft and to receiving the stolen items.

The thieves involved then made their getaway in an Audi A6 which they set fire to some four kilometers away from the palace in an underground car park, in Dresden-Pieschen, hoping by doing so, to any destroy evidence they may have theft behind.  They then proceeded back to Berlin in a Mercedes disguised as a taxi.

In an early Christmas present to Dresden, German authorities have been able to retrieve 31 of the jewellery pieces stolen in the 2019 robbery between December 16th and 17th.  Several of the most valuable pieces are still unaccounted for. 

Conservators testified during the trial that several of the recovered diamond-encrusted jewellery pieces had been broken and all bear traces of a whitish substance. This could be discharge residue from the fire extinguisher that the burglar discharged in an attempt to destroy traces of the team's DNA.  Some of the recovered diamonds also appear to have been damaged and it is believed that they were submerged in water for an extended period of time.

All of these confessions were spurred by efforts to lower time in prison, where the maximum period of incarceration could be up to 15 years for the museum theft and the accompanying charge of aggravated arson in the underground car park. 


December 17, 2022

Recovered: (Some) of the Jewels Stolen in the November 25, 2019 Green Vault Burglary at Dresden's Residenzschloss.


On 25 November 2019, burglars entered the Green Vault (Grünes Gewölbe in German) museum within Dresden Castle in Saxony, Germany and smashed open exhibition cases using an axe. In only a few minutes, the precision coordinated team of thieves slipped away with an outstanding cache of jewellery, including the 49-carat Dresden White Diamond, the diamond-laden breast star of the Polish Order of the White Eagle, a 16-carat diamond hat clasp, a diamond epaulet, and a diamond-studded hilt containing nine large and 770 smaller diamonds, as well as its jewel-encrusted scabbard.  

Despite having torching the motor vehicle used in the getaway to any destroy evidence they may have theft behind in its interior, clues surrounding the spectacular art theft, lead German authorities to investigate the purchase of SIM cards by members of a clan known to have been involved in a series of criminal offenses which eventually resulted in the arrest of several members of the Remmo clan, one of the grandfamilies of Lebanese-Kurdish descent who immigrated to Germany during Lebanon's 1975-1990 civil war. 

Members of this clan have been criminally conspicuous, gaining reputations for trafficking, racketeering and robbery, some of which have been spectacular in their execution. Their complicated family ties and property ownership structures, have made it possible for the tightly knit groups to launder money - and sometimes, but not in this case, have made it considerably more difficult for investigators to entangle who is involved and in what capacity. 

Today, during a press conference held by the Ministry of the Interior of Saxony, jointly with the Dresden Public Prosecutor's Office and Police, German officials announced that between December 16th and 17th, the Dresden public prosecutor, Soko Epaulette and the LKA Sachsen seized 31 of the stolen Green Vault jewels in Berlin  Several of the pieces appeared to be complete including the hat decoration (heron tail) and the breast star of the Polish Order of the White Eagle from the diamond set. 

The items recovered will now go before specialists from the Dresden State Art Collections to ensure their authenticity and completeness.  The epaulette with the "Saxon White" that was damaged during the theft and the large breast bow of Queen Amalie Auguste remain missing.

On September 2, 2021, six members of the Remmo family were formally indicted in Dresden for serious gang theft and arson for their alleged involvement in the 25 November 2019 burglary of the Green Vault (Grünes Gewölbe in German) museum within Dresden Castle in Saxony.

Wissam Remmo, Rabih Remmo, and Bashir Remmo, were arrested in 2020.  Wassim was arrested in his car in Berlin while Rabih and Bashir were picked up when police stormed apartments in the densely populated suburbs of Neukölln and Berlin-Kreuzberg. 

On 14 December 2020 and 18 May 2021 twin cousins Mohamed Remmo and Abdul Majed Remmo were also placed in handcuffs.  Later that summer, law enforcement officers in Saxony arrested the sixth suspect, Ahmed Remmo on 19 August 2021 at an apartment in Berlin-Treptow.  

German authorities have stated that the jewellery was recovered following ongoing negotiations with defence counsel for members of the Remmo clan. While information pertaining to what plea deal, if any, has been agreed upon regarding the charges faced by the six defendants, a followup hearing  is scheduled for Tuesday, December 20th, 2022. 

Previously, members of the Remmo clan were charged and sentenced in another audacious heist, which took place at the Bode Museum.  In that theft, the thieves made off with a 100 kilo gold coin on 27 March 2017 which has never been recovered and is believed to have been melted down

In July 2018 the Berlin public prosecutor's office and the state criminal police provisionally seized 77 properties, including apartments, houses and land belonging to members of the "Lebanese" Kurdish extended family "Remmo" worth an estimated 9.3 million euros.  These seizures were based on evidence that the properties was likely purchased with proceeds from crime using new rules under the German Criminal Code (StGB) and Criminal Procedural Order (StPO) enacted 1 July 2017.  Modelled after Italy's own organised crime laws on property seizure,  where the state may order the seizure of property that a person of interest is able to dispose of when the value of the property is disproportionate to the person’s declared income or economic activity, Germany's new law regulates the recovery of criminal proceeds and serves to effectively confiscate illegal proceeds from offenders or third beneficiaries who can be tied to proceeds from criminal transactions. 

According to an earlier article by Der Spiegel it is estimated that while that clans make up just four percent of Berlin's inhabitants, 20 percent of suspects in organized crime cases belong to one of the city's well-known clan groups.  The trio arrested this week have been charged with serious gang theft and arson.  

To learn more about the structure of the Berlin clan groups, German readers can read Ralph Ghadban's Arabische Clans: Die unterschätzte Gefahr.  Ghadban, who has spoken out about the criminal machinations of the Arabische Großfamilie clans which dominate Berlin's underworld, is now under permanent police protection, for his criticism of the clans and the power of the Lebanese mafia in Europe. 





September 3, 2021

Six members of the Remmo family are formally indicted in Dresden for connection to the 2019 Grünes Gewölbe burglary


Yesterday an indictment was filed at the state court in Dresden, Germany formally charging six individuals, aged 22-27 with serious gang theft and arson for their alleged involvement in the 25 November 2019 burglary of the Green Vault (Grünes Gewölbe in German) museum within Dresden Castle in Saxony. In that dramatic incident, a precision coordinated team of thieves pried open iron bars to access the museum through a window and smashed open exhibition cases using an axe to make off with an outstanding cache of historic jewellery.  Objects taken during the theft  include the 49-carat Dresden White Diamond, the diamond-laden breast star of the Polish Order of the White Eagle, a 16-carat diamond hat clasp, a diamond epaulette, and a diamond-studded hilt containing nine large and 770 smaller diamonds, as well as its jewel-encrusted scabbard.  The historic pieces have been valued at almost 113.8 million euros.

Three suspects, from the Remmo Arabische Großfamilie clan, Wissam Remmo, Rabih Remmo, and Bashir Remmo, were arrested during a raid last Autumn which proved almost as sensational as the theft itself.   Carried out on 17 November 2020, special forces from the federal government and the states of Baden-Württemberg, Berlin, Brandenburg, Lower Saxony, North Rhine-Westphalia, Saxony-Anhalt and Thuringia spread out to search some 18 properties in several districts, arresting the three suspects and hoping to recover all or part of the stolen jewels.  Wassim was arrested in his car in Berlin while Rabih and Bashir were picked up when police stormed apartments in the densely populated suburbs of Neukölln and Berlin-Kreuzberg. While cell phones, computers, clothing and some drugs were seized during the massive manhunt, none of the stolen museum's stolen jewellery was recovered.

On 14 December 2020 and 18 May 2021 twin cousins Mohamed Remmo and Abdul Majed Remmo were also placed in handcuffs.  By summer, law enforcement officers in Saxony also arrested a sixth suspect, Ahmed Remmo on 19 August 2021 at an apartment in Berlin-Treptow.  

Two of the six men accused in the break-in into the Green Vault, Wissam Remmo and Ahmed Remmo, are the same perpetrators who had already been convicted for their roles in the 27 March 2017 Bode Museum theft.  In that incident, members of the same crime family and an unrelated accomplice orchestrated and carried out the theft of a 100-kilogram gold coin called the "Big Maple Leaf" valued at 3.75 million euros.  Despite having been sentenced to 54 months and fined €3.3 million for that theft, Wissam Remmo and Ahmed Remmo had remained at liberty in the German capital while they appealed their sentences.

Ironically, two days following the breaking at the Green Vault, Wassim Remmo had been stopped while driving to the Erlangen district court.  Inside the vehicle, inspection officers noted balaclavas, gloves, a crowbar and a hammer drill.  For now, four other suspects are still wanted for questioning related to aiding and abetting, as CCTV footage seems to indicate that the individuals may have been spying on the museum in the lead-up to the November 2019 break-in.

If convicted in the Dresden Regional Court, the six suspects face prison sentences ranging from 10 or 15 years, given that two of the suspects were 22 years old at the time of their alleged involvement in the museum burglary. 

Meanwhile, another court case also got underway for another member of the Remmo clan. Muhamed Remo (31), father of three and nephew of clan boss Issa Remmo (55) was in court yesterday answering to charges related to the February 2021 armed robbery and assault on a money transport vehicle.  In that case, four men posing as garbage workers made off with 648,500 euros.  Muhamed was arrested when his DNA was matched to evidence left on a witness's sweater.  Since his arrest, he has confessed to his role in the heist admitting that his cut for the robbery was 70,000 euros and that his drippy nose, which proved his undoing, stemmed from his cocaine consumption. 

December 19, 2020

Unsolved string of incidents at multiple museums, vandalising more than 100 objects, in Germany

Last October the museum world was shocked by mysterious vandalism of sixty objects in four hours at three prominent German museums on Berlin's Museumsinsel (Museum Island), the Pergamon Museum, Alte Nationalgalerie, and the Neues Museum.  On October 3rd of this year, the artefacts were splashed with an oily liquid.  Nothing more about the substance of the liquid has been shared with the media and it is unknown at what time the widespread vandalisation occurred. 

News of the attacks was not made public for more than two weeks after the damage was identified and a police report on the incidents was not published until October 21st, the results of which were brief and gave few little details:

“Unknown perpetrators attacked numerous works of art and artifacts in several museums on Berlin's Museum Island from 10 a.m. to 6 p.m. on October 3. The strangers applied a liquid to the objects and thus caused damage that cannot yet be quantified. The responsible commissioner for art offences in the Berlin State Criminal Police Office has taken over the investigation. In order not to jeopardize the investigations and research, the investigators decided, in coordination with the Prussian Cultural Heritage Foundation, not to comment publicly on the event for reasons of tactical investigations and only now to address the public with a call to witnesses.” 

The vandalism occurred on German Unity Day, a public holiday which commemorates German reunification in 1990 when the Federal Republic of Germany and the German Democratic Republic were unified. It is, however, unclear whether the motivation behind the attack was political, as the incidents are believed to have occurred on the first day that the Pergamon and other museums reopened following a shutdown related to the Covid-19 pandemic restrictions earlier this year. 

Image Credit: Markus Schreiber-AP.  Friederike Seyfried, director of Antique Egyptian Department of the Neues Museum in Berlin, shows media a stain from the liquid on the Sarcophagus of the prophet Ahmose on Wednesday.

The criminal director at the State Criminal Police Office, Carsten Pfohl, has commented that they would not “engage in speculation” about motives behind these incidents as they have not been able to identify any of the perpetrators on the security footage.  No link has been found between the damaged artefacts at the three museums, and a full accounting of which objects were affected has not been made public, although it is believed to include an Egyptian sarcophagi, some stone sculptures, and painting frames.  

Image Credit: Markus Schreiber-AP News

The lack of concrete information regarding the motivations of the perpetrator(s) has led some in the German media to speculate about why the museums' artworks were targeted.  While the true motives of the culprit(s) remain to be determined, one theory proffered places blame for the damage on having been inspired by conspiracy theorist Attila Klaus Peter Hildmann.

Hildmann, a best-selling cookbook author, turned QAnon follower, has been wildly outspoken regarding Covid-19 who sees the coronavirus in connection with the planned introduction of a so-called “ New World Order. ”  He has also been vocal in his criticism of the Pergamon museum, launching protests and accusations denouncing it as “the throne of Satan.”  Hildmann has also made wild claims about night-time practices surrounding the use of the museum's reconstructed Pergamon altar, a Hellenistic Period (c. 200-150 BCE) altar to the Greek gods Zeus and Athena which was created in Pergamon, Turkey.

Calling the museum a "centre of global satanists and Corona criminals" he has implied that the alter (currently closed for restorations, has been used for human sacrifice.   In one of his accusations he referenced Revelations 2:12-13 which reads:

“To the angel of the church in Pergamum write:  These are the words of him who has the sharp, double-edged sword.  I know where you live—where Satan has his throne. Yet you remain true to my name. You did not renounce your faith in me, not even in the days of Antipas, my faithful witness, who was put to death in your city—where Satan lives.” 

While Hildmann has made no comment regarding his involvement in the museums' vandalism, he has tweeted links to articles which reference his potential involvement.  Hildmann has also made comments in the past encouraging his supporters to take action against the museum, encouraging them to storm the museum in August.  The deputy director of the museum, Christina Haak, commented that there had been many acts of vandalism over the summer, mostly limited to the exterior of the museum and involving either graffiti or torn posters.  

On October 21st the Prussian Cultural Heritage Foundation held a press conference and questions were asked regarding the potential involvement of Hildmann or his supporters.  Pfohl commented that the police suspect a single perpetrator but could not rule out the involvement of multiple people at this time.  He also commented that the participation of Hildmann supporters could neither be excluded, nor confirmed, at the moment.  

Image Credit: Markus Mayer, Flickr

As a result of the vandalism, an offer of aid in the restoration of the objects has come in from the Ernst von Siemens Art Foundation which has said that it will provide €100,000 to assist the museums. A spokesperson for the Berlin State Museums, who spoke with Artnet News  said that they were “very pleased about the fast and unbureaucratic support.”  The costs of the damage have not been assessed, but the funds will undoubtedly be needed. 

In November the German daily newspaper, Frankfurter Rundschau, based in Frankfurt am Main reported additional attacks at the Wewelsburg district museum in North Rhine-Westphalia and an attack in the Cecilienhof Palace in Potsdam, as well as an earlier Mid July attack at the Wewelsburg district museum over the summer.  In the latter incident and similar to the attack in Berlin, employees discovered 50 objects which had also been damaged by an oily substance.  According to that newspaper, the liquid used in Potsdam and Berlin tested as being vegetable-based. 


By:  Lynnette Turnblom


Bibliography

Brown, Kate. 2020. “An Art Foundation Has Pledged €100,000 in Aid to a Group of German Museums Attacked by Vandals.” Artnet News. October 22, 2020. https://news.artnet.com/art-world/berlin-museum-vandalism-security-1917316.

Eddy, Melissa. 2020. “Vandals Deface Dozens of Artworks in Berlin Museums.” The New York Times, October 21, 2020, sec. Arts. https://www.nytimes.com/2020/10/21/arts/design/berlin-museums-vandalism.html.

Koldehoff, Stefan, and Tobias Timm. 2020. “ZEIT ONLINE | Lesen Sie Zeit.de Mit Werbung Oder Im PUR-Abo. Sie Haben Die Wahl.” Www.Zeit.De. October 20, 2020. https://www.zeit.de/kultur/2020-10/kunst-vandalismus-berlin-museumsinsel-recherche.

Kurianowicz, Tomasz. 2020. “Attila Hildmann: Pergamonmuseum Beherbergt „Thron Satans“.” Berliner Zeitung. October 21, 2020. https://www.berliner-zeitung.de/kultur-vergnuegen/attila-hildmann-pergamonmuseum-beherbergt-thron-des-satans-zerstoerung-museumsinsel-berlin-li.112933.

Morris, Loveday, and Luisa Beck. 2020. “Dozens of Artifacts Vandalized in Three Berlin Museums.” Washington Post, October 21, 2020. https://www.washingtonpost.com/world/europe/berlin-museum-vandalism-germany/2020/10/21/2cb1e194-1383-11eb-a258-614acf2b906d_story.html.

Nicholson, Esme. 2020. “Dozens Of Artifacts Apparently Vandalized At Berlin’s Museums.” NPR.Org. October 21, 2020. https://www.npr.org/2020/10/21/926200421/nearly-70-artifacts-apparently-vandalized-at-berlins-museums?t=1603358606430.

Oltermann, Philip. 2020. “Berlin: Vandalism of Museum Artefacts ‘Linked to Conspiracy Theorists.’” The Guardian, October 20, 2020, sec. World news. https://www.theguardian.com/world/2020/oct/21/berlin-vandalism-of-museum-artefacts-linked-to-conspiracy-theorists.

“Weiteres Museum von Attacken betroffen” The Frankfurter Rundschau, November 20, 2020. https://www.fr.de/ratgeber/medien/weiteres-museum-von-attacken-betroffen-zr-90107022.html

“Zahlreiche Kunstwerke Mit Flüssigkeit Angegriffen – Zeugen Gesucht.” 2020. Www.Berlin.De. October 21, 2020. https://www.berlin.de/polizei/polizeimeldungen/pressemitteilung.1006830.php.


November 17, 2020

Three suspects in the burglary theft at the Green Vault have been arrested in Berlin.

Image Credit: Saxony Police

One year ago, on 25 November 2019, burglars entered the Green Vault (Grünes Gewölbe in German) museum within Dresden Castle in Saxony, Germany and smashed open exhibition cases using an axe. In only a few minutes, the precision coordinated team of thieves slipped away, having made off with an outstanding cache of jewellery, including the 49-carat Dresden White Diamond, the diamond-laden breast star of the Polish Order of the White Eagle, a 16-carat diamond hat clasp, a diamond epaulet, and a diamond-studded hilt containing nine large and 770 smaller diamonds, as well as its jewel-encrusted scabbard.  The thieves then fled by car, torching the motor vehicle used in the getaway to any destroy evidence they may have theft behind in its interior. 

Nine months after the burglary, clues surrounding the spectacular art theft, lead German authorities to investigate the purchase of SIM cards by members of a clan known to have been involved in a series of criminal offenses.  This week, authorities announced the arrest of three individuals from the Remmo clan, as law enforcement from  Saxony, as well as special forces from the federal government and the states of Baden-Württemberg, Berlin, Brandenburg, Lower Saxony, North Rhine-Westphalia, Saxony-Anhalt and Thuringia spread out to search some 18 properties in several districts. Officers focused much of their search in and around Neukölln, Kreuzberg and Gesundbrunnen, areas which are home to the fourth-largest ethnic minority group in Berlin. 

The Remmo Clan is made up of members of one of the grandfamilies of Lebanese-Kurdish descent who immigrated to Germany during Lebanon's 1975-1990 civil war. Many moved to immigrant neighborhoods in Kreuzberg, Wedding, and Neukölln where this week's raids took place.  Some of these families originate with the Mhallami community, a cultural community with origins in the Mardin Province of Southeastern Turkey which had previously lived in Beirut, Tripoli, and the Beqaa Valley.

Members of this clan have been criminally conspicuous, gaining reputations for trafficking, racketeering and robbery, some of which have been spectacular in their execution. Their complicated family ties and property ownership structures, have made it possible for the tightly knit groups to launder money - and sometimes, but not in this case, have made it considerably more difficult for investigators to entangle who is involved and in what capacity. 

Previously, members of the Remmo clan were charged and sentenced in another audacious heist, which took place at the Bode Museum.  In that theft, the thieves made off with a 100 kilo gold coin on 27 March 2017 which has never been recovered and is believed to have been melted down

In July 2018 the Berlin public prosecutor's office and the state criminal police provisionally seized 77 properties, including apartments, houses and land belonging to members of the "Lebanese" Kurdish extended family "Remmo" worth an estimated 9.3 million euros.  These seizures were based on evidence that the properties was likely purchased with proceeds from crime using new rules under the German Criminal Code (StGB) and Criminal Procedural Order (StPO) enacted 1 July 2017.  Modelled after Italy's own organised crime laws on property seizure,  where the state may order the seizure of property that a person of interest is able to dispose of when the value of the property is disproportionate to the person’s declared income or economic activity, Germany's new law regulates the recovery of criminal proceeds and serves to effectively confiscate illegal proceeds from offenders or third beneficiaries who can be tied to proceeds from criminal transactions. 

According to an earlier article by Der Spiegel it is estimated that while that clans make up just four percent of Berlin's inhabitants, 20 percent of suspects in organized crime cases belong to one of the city's well-known clan groups.  The trio arrested this week have been charged with serious gang theft and arson.  

To learn more about the structure of the Berlin clan groups, German readers can read Ralph Ghadban's Arabische Clans: Die unterschätzte Gefahr.  Ghadban, who has spoken out about the criminal machinations of the Arabische Großfamilie clans which dominate Berlin's underworld, is now under permanent police protection, for his criticism of the clans and the power of the Lebanese mafia in Europe. 

For the moment Saxony police have not named the individuals arrested, nor indicated that any of the stolen jewelry, pictured below, has been recovered.  


Update: 

Newspaper Bild has named 23-year-old Wissam Remmo as one of the arrestees in  connection to the Green Vault burglary.  Well known to the authorities, he has already been convicted of robbery twice. Most recently in February 2020 in relation to the Bode Museum theft.  In that offense Wissam Remmo and his brother Ahmad were sentenced to four and a half years in prison for theft.  In that investigation, a search of Wissam Remmo's smart phone showed an app used to calculate gold prices as well as recent searches on how to melt down chunks of gold. Given this, authorities have surmised that the €3.75 million coin was hacked up into smaller bits, melted down, and the proceeds distributed among an unknown or unnamed number of affiliates. 

Der Spiegal lists the other arrestees as Rabih Remmo and Bashir Remmo.






By:  Lynda Albertson

July 16, 2020

When a church loses its Madonna can cultural diplomacy help her find her way back home?

On 9 July 1985 the Parish Church of San Felice Martire, located in S. Felice a Cancello, Italy suffered a horrendous loss.  Their gilded wooden statue, depicting the Madonna covered with a golden mantle and with the royal diadem on her head, holding the baby Jesus who is giving a blessing, was stolen.  Then in the copy put in her place was also stolen.

The original fourteenth-century ecclesiastical treasure, venerated by the Sanfelicians, soon found its way into the international underground and was smuggled out of Italy.  A short while later, in 1988 it popped up on the German art market. Yet, like thousands of other stolen Italian treasures, retrieving stolen art in Germany is no easy task, especially once that artwork has been laundered into the hands of a private individual as the country's laws try to balance the interests of the victim of theft of art and the interests of the good-faith acquirer.

Despite international letters rogatory, Italy's claim was rejected as inadmissible by the German authorities and, in 2000, Interpol Wiesbaden confirmed to the Italians that the current holder had bought the work in good faith, closing the door to the possibility of restitution.

According to the Bürgerliches Gesetzbuch, abbreviated BGB, which is the civil code of Germany § 935 there is no good-faith acquisition of title for stolen bewegliche cache ("movable property") as the owner (in this case the church) has not parted with his direct possession deliberately, so that the third person (thief) shall not have the benefit of the appearance of entitlement through possession under such circumstances.  However, anyone who acquires said property in good faith and has maintained this work in his or her possession for at least 10 years, while continuing to be in good faith, automatically acquires valid title. 

Likewise in Germany if the thief, upon his or her death was not in good faith but his heirs "inherit" the stolen property unknowingly and in good faith, the heir also can also acquire legal title after 10 years from the point of inheritance.  Legal title of a stolen work of art can also transfer to the good-faith acquirer if the work of art is sold in public auction (section 935(2), CC).

All this to say that the push by Italy's parliamentarians Margherita Corrado, Vilma Moronese, Luisa Angrisani, Danila De Lucia, Bianca Laura Granato, Vincenzo Presutto and Orietta Vanin made in April to Dario Franceschini,  Italy's Minister for Cultural Goods and Activities and Tourism (MiBact), encouraging him to engage directly with Monika Grütters, Germany's Commissioner for Culture and the Media, to honor the request of the patrons of church of San Felice Martyr,  is, for now, purely an exercise in cultural diplomacy.  Whether or not this soft parliamentary request will go farther than the transnational judicial one did remains to be seen.  

February 25, 2020

Mild prison sentences handed down in organized crime-related theft at the Bode Museum in Berlin


When a giant gold coin, weighing 100 kilos was stolen from room 243 of the Bode Museum and carted off without a hitch in the early morning hours of March 27, 2017 it wasn't long before the German authorities pinpointed a likely group of culprits.  Taking only 16 minutes to carry out the crime, complete with carbon-fiber-reinforced ax used to break the extremely heavy security glass, and with the help of a strategically placed roller and wheelbarrow, it was obvious that the museum's burglary was not a random smash and grab.  All clues pointed to inside help, especially as the culprits had walked straight passed higher value, but less liquidatable works of art.

Raids carried out by authorities in Neukölln, Berlin’s most impoverished district, in July 2017 turned up an interesting wrinkle; three of the four men taken into custody for questioning, Wayci Remmo (now 24) Ahmed Remmo (now 20), and Wissam Remmo (now 22) all appeared to have ties to one of Germany’s burgeoning ethnic crime syndicates.  Now headed by brothers Issa and Ashraf Remmo, the clan's defacto patriarchs, the Remmo clan includes an estimated 500 family members people, many of whom originate from Mardin, and immigrated first to Lebanon, and later to Germany.  

Der Spiegel estimates that while that clans make up just four percent of Berlin's inhabitants, 20 percent of suspects in organized crime cases belong to one of the well-known clans.  For decades it is believed that male members of this and similar ethnic family clans, have been associated with extortion, drugs, laundering criminal proceeds, theft and robbery.  The complicated family ties and ownership structures developed by the clans' membership make it possible for the tightly knit groups to launder money - and sometimes, but not in this case, make it considerably more difficult for investigators to work. 

In this case, it was the fourth suspect, Denis Wilhelm's friendship with Ahmed's which helped unravel the case.  Wilhelm had conveniently been hired as a subcontractor for night shift security at the Bode Museum the same month as the theft.

After lengthy hearings, cousins Ahmed and Wissam Remmo, both German citizens were convicted as having orchestrated the job with the help of their German friend, after evidence obtained during the search of 17 residences and related property tied the men to the scene of the crime. During these searches, police found clothing which to matched security footage from the theft as well as gold particles of the same purity as the mammoth coin and shards of glass similar to that of the protective casing which was smashed to access the coin at the museum.  

A search of Wissam Remmo's smart phone also showed an app used to calculate gold prices as well as recent searches on how to melt down chunks of gold. Given this, authorities have surmised that the €3.75 million coin was hacked up into smaller bits, melted down, and the proceeds distributed among an unknown or unnamed number of affiliates. 

Sentenced lightly, given the offense took place while they were juveniles, Ahmed and Wissam Remmo were each given just 54 months in prison.  Their heavist punishment appears to be the fine they were adjudicated, totalling €3.3 million , the estimated total loss of the stolen coin.  

Wissam Remmo's sentence comes on top of an earlier conviction where DNA at a crime scene tied him to another property theft.  In that criminal case he was recently sentenced to two years and six months in prison via the district court of Erlangen. 

Their inside-man accomplice, Denis Wilhelm, was given a sentence of 40 months and was fined fine of €100,000. The fourth defendant, Wayci Remmo, a cousin of the two brothers, was acquitted of all charges as the court found the evidence insufficient to convict. 

To learn more about the structure of these groups, German readers can read 
Ralph Ghadban's Arabische Clans: Die unterschätzte Gefahr.  Ghadban, who has spoken out about the criminal machinations of the Arabische Großfamilie clans which dominate Berlin's underworld, is now under permanent police protection, for his criticism of the clans and the power of the Lebanese mafia in Europe. 

January 21, 2020

Five Masters Paintings, representing the GDR's largest art theft are finally coming home, but where they have been for 40 years and who was responsible for stealing them remains a mystery


With their authenticity confirmed, five old masters paintings, "Portrait of an Old Man" from the Rembrandt workshop (probably Ferdinand Bol), "Country Road with Farm Carts and Cows" by Jan Brueghel the Elder, the "Half-length Portrait of an Unknown Man with a Hat and Gloves" by Frans Hals, "Saint Catherine" by Hans Holbein the Elder, and "Self-portrait with Sunflower" by Anthonis van Dyck, will each go back on display in Gotha, Germany, at the end of January.  The artworks were stolen from the Friedenstein Palace exactly four decades ago. .  

Window where thieves accessed the gallery at the Friedenstein Palace in Gotha
Image credit: Mitteldeutscher Rundfunk
The Dutch master works were stolen on a rainy evening between 13-14 December 1979.  During the burglary, which coincided conveniently with the yet untested installation of a new security system, a thief, or thieves, accessed the west wing of the historic palace using some type of crampons, to climb up a rain gutter attached to the side of the building.  

Gaining entry via a second floor window, ten meters up the palace walls, the culprit(s) then are believed to have hand picked specific paintings, (having left other more valuable works behind) and then lowered the paintings back down the side of the building, before descending themselves and making their getaway through Gothaer Park where the baroque palace is located.   By the time the Gotha Volkspolizei (the city's People's Police) were alerted to the theft at 07:10 on the 14 December 1979, the perpetrators and the paintings were long gone. 

But the crime scene is a puzzle.

While exploring the grounds of the palace, the park and the nearby surrounds, detectives found one crampon of the estimated 12-13 that were likely put into service to scale the building.  Made of a steel alloy that was only used in the West, questions abounded as to why the culprits would methodically removed all the other supportive devices, each weighing approximately 5 kilos,  which would have made carrying the 5 paintings all that more difficult. Was this left evidence meant to lead investigators astray by making it appear that the culprits who planned the theft were outside the GDR (German Democratic Republic)?  Likewise, the broken pane of glass in the entry window was broken in such a way as to have made it highly improbable that the thieves would have gained entry by reaching through the hole created.  There were also no scrapings from the paintings frames in the immediate area near the window and the crime scene appeared to mimic three earlier attempts to break into the museum in a very similar fashion. 

Whatever the motivation, the one successful Gotha art robbery resulted in the largest art crime investigations in the history of the GDR.  Yet, despite the involvement of more than 100 detective officers as well as interviews with more than 1,000 people who lived and worked near the scene of the crime and the surveillance of individuals with connections to the Friedenstein Palace nothing was resolved.  Speculation abounded regarding whether the Stasi were involved and if the artworks had been transported to West Berlin via a truck from a nearby slaughterhouse.

Despite the seemingly thorough dragnet, and with little else to go on, the paintings were eventually listed in the loss catalog of the Schloss Friedenstein Foundation, and added to German the Lost Art database, the INTERPOL database of stolen works of art as well as the Art Loss Register.  But despite the widespread attention and extensive police investigations, the greatest art theft in the history of the GDR remained unsolved. 

Fast Forward to 2018

First reported on December 6, 2019. The paintings popped back on the world's radar in July 2018 when a broker, purporting to be acting on behalf of a group of anonymous heirs, contacted the German politician Knut Kreuch, Lord Mayor of Gotha, and then chairman of the Foundation Schloss Friedenstein Gotha.  Hoping to arrange a buyback for €5.25 million, the intermediary presented the mayor with an implausible story of the artworks' acquisition by the persons he represented.  Despite this, he piqued the mayor's interest when, during a meeting at city hall, he backed his story up by laying out a series of colored photographs depicting the front and the back of the paintings.  As all of previous images taken of the artworks were in black and white, this was the first genuine "proof of life" that the paintings still existed and might still be grouped together in spite of the decades that had passed since their original theft. 

While his negotiations continued, the Mayor contacted the Ernst von Siemens Art Foundation. In keeping with the will of that foundation's founder, the Ernst von Siemens Art Foundation, serves as a partner to German museums which promotes acquisitions, restorations and exhibitions, as well as with the the return of confiscated works of art to help making them available to the public.   In the past the Ernst von Siemens Art Foundation had facilitated the successful return of a still life painting by Balthasar van der Ast (1628) that the Suermondt Ludwig Museum in Aachen lost in the post-war turmoil and an ivory tankard from the Castle Museum. 

It should be noted that the Ernst von Siemens Art Foundation never purchases pieces directly from thieves, and in negotiating agreements the Holder has to reveal how they have come to be in possession of the artwork. 

At this point, the EvS began working with the mayor and the holders of the paintings towards an agreement in which the "interim owners" would receive a "moderate allowance or a finder's fee," but if, and only if, the art works of art could be authenticated by the German authorities with the understanding that those who possess purchased goods in good faith (i.e. who don't know that it has been stolen) and that can be reclaimed on the basis of a right in rem (e.g. ownership) of a third party, are afforded protection against claims for return after a 30 year time period.  To date, no information was given publicly as to what the sum of that fee might have been,  and whether or not the fee was delivered. 

After nearly two years of negotiations, on 30 September 2019, the paintings were relinquished voluntarily for authenticity  testing at the Rathgen Research Laboratory at the Staatlichen Museen (State Museums) in Berlin in cooperation with the Berlin State Office of Criminal Investigation.  Meanwhile, while prosecution against the original thief or thieves was time-barred, the Berlin public prosecutor's office began to apply alternative pressure.  

The State Criminal Police Office (LKA) in Berlin, in cooperation with the federal state agencies concerned, opened an investigation into two individuals from Heidelberg and Jena, then aged 54 and 46, on suspicion of extortion. Given their ages, the two suspects, if found culpable, would only have been intermediaries after the fact, as they would have been too young at the time of the original crime to have been directly involved in the art theft.  Search warrants were also executed by the police on 5 December 2019 at the offices and apartments of three witnesses and two suspects including a lawyer from southern Germany and the residence of a doctor from East Frisia, perhaps looking for evidence which could demonstrate direct collaboration between the thieves and any subsequent handlers.  

What can be ascertained is that the handlers, who alleged they had the pictures in their possession, could not rely on a simple defense of having acquired the artworks in good faith.  The theft of these paintings, as well as the Friedenstein Palace as their legitimate owner, were too well known.

The paintings will formally go back on public display at the Friedenstein Palace on Friday. 

By: Lynda Albertson

When fakes and false provenance go hand in hand.

At the end of this month a German dentist from Neuss will answer to allegations of fraud in the Düsseldorf District Court for allegedly trying to pass off twenty paintings as original works by the artist Pablo Picasso (1881-1973).  According to German news, the defendant, is alleged to have arranged meetings with art authenticators at the NH Düsseldorf Königsallee hotel, located in one of the main shopping streets and next to the tourist sites in the western german city. 

At that meeting it is alleged that the defendant presented photographs of the artworks to advisors of auction houses, along with fake certificates of authenticity from the Picasso estate.  It is also claimed that he indicated that handwritten notes, attached to the back of the paintings, were purportedly from the artist's son. 

In Germany, the crime of forgery is not charged unless the forgery (in this case the artworks themselves or the letters attached to their backings) were done with the intent to deceive or with the intent to commit an attempted fraud or larceny.  As no sales transactions occurred at the time of the meeting, the dentist most likely cannot be convicted of fraud under the German Criminal Code (Strafgesetzbuch).  For § 263 (Fraud) and/or § 267 (Forgery) to be applicable the public prosecutor would need to prove that the dentist deceived someone with the intent of obtaining for himself or a third person an unlawful material benefit and to prove fraud, specific intent directed at enriching oneself or a third party is required.   Since the meeting was not in furtherance of conducting a sale this would be difficult to prove. 

That said, should it be determined that the dentist knowingly understood the paintings to be fake, and still electively sought appraisals for the misattributed artwork, using another person's personal data, the court may find him guilty of unauthorized exploitation of copyrighted works and/or for the (intentional) use of fake documents. 

October 25, 2019

Arrested and released for health reasons, German Dealer Michael Schultz is accused of having deceived clients with false documentation.


For more than 30 years, Michael Schultz operated one of Berlin's most prestigious galleries, focusing on contemporary European and Asian art and selling paintings and sculpture to Germany's rich and famous.  He also was associated with two other galleries, one in Beijing and another in Seoul and is known to have regularly participates at international art fairs in Cologne, Paris, Berlin, Madrid, Miami Beach, and New York,

But his future in the art market was thrown into jeopardy following his arrest by Germany's State Criminal Police Office or Landeskriminalamt (LKA) on October 17, 2019.  Standing accused of fraud, Shultz who was arrested at home, was released pending trial by the German magistrate due to his poor state of health. 

At the heart of the investigation is a forged work of art purportedly by the renowned German visual artist Gerhard Richter.  

Original Richter
"Abstract Picture" (Catalogue Raisonné: 706-2)
painted in 1989.
The forged artwork, put up for auction at Christie's in New York, was given to a collector by Shultz as a repayment for an outstanding debt, when Shultz could not repay the original loan. The collector in turn consigned the painting for auction to Christies. 

As part of the auction house's due diligence, they in turn contacted the Gerhard Richter Archive of the Staatliche Kunstsammlungen Dresden for information about the painting and from there things ultimately began to unravel.   The original artwork by Gerhard Richter, Catalogue Raisonné: 706-2, failed to match the artwork the collector had readied for auction. 

What prompted Shultz to pawn a forged work of art so easily verified through a digital online catalogue Raisonné is curious. Richter has long been known as the "Man Behind the Squeegee" and his highly crafted abstract minimalist artworks bring top dollar on the contemporary art market as they are highly sought after.  

To create his original works Richter first applies paint in scrims, then uses a length of perspex encased in wood, which he then moves left to right, or top to bottom to create textured smears of the many layers of the still-wet thickened paint.  A faux Richter, could never (conceivably) smear in quite the same way as an original. The forger would not only need to know exactly where and in what quantity the artist had placed the starting paint layers on the artwork but he/she would also have to employ the exact same squeegee sluices, using precisely the same motion and pressure to come anywhere close to replicating the work. 


What drove Shultz to perpetuate this fraud is unknown.  Perhaps it was driven by long-standing debts, as the dealer is known to have closed his gallery on Mommsenstraße, opened in 1986 in the rich district of Charlottenburg, center of the former west Berlin.  He also opened preliminary insolvency proceedings in September through the District Court of Charlottenburg. 

Interestingly, his bad luck with Gerhard Richter didn't just start now.  In 2015 Shultz had to answer to embezzlement charges Tiergarten district court when he sold a Richter he held as collateral for another art dealer who conversely, in this instance, borrowed money from him.  When that borrower defaulted, Shultz sold the other dealer's Richter for €300,000.  Given that the sold painting was actually the property of the second dealer's wife, (and therefore not the dealer's to use as a guarantee for debt, Schultz then claimed the painting had disappeared from his gallery. When the artwork was ultimately recovered, Richter was fined €15,000.