On October 16, 2012 Dutch police confirmed that seven paintings had been stolen, shortly after 3 a.m. local time, from the Kunsthal museum in Rotterdam.  The paintings which were taken, Pablo Picasso's Tete d'Arlequin, Henri Matisse's La Liseuse en Blanc et Jaune and Waterloo Bridge, London,  Claude Monet's Charing Cross, London, Paul Gauguin's Femme Devant une Fenêtre Ouverte, dite La Fiancée, Jacob Meyer de Haan's Autoportrait, and Lucian Freud's Woman with Eyes Closed were estimated to be worth millions.  

The stolen art works were part of the museum's Avant Guard Exhibition, which highlighted material on loan from the private Triton Foundation collection. Built over twenty years, by Rotterdam oil and shipping magnate Willem Cordia and his wife Marijke van der Laan, the exhibition, was set to run from 7 October 2012 until 20 January 2013, and was the first time any artwork from the Triton Collection had been exhibited publicly. 

The Triton body of artworks is made up of approximately 250 paintings, drawings and pieces of sculpture belonging to art movements from 1870 through 1970.  The collection includes works by many by the most influential 19th and 20th century artists in the tradition of Impressionism, Expressionism, and Analytical Cubism.  At the time of the theft, the collection was reputed to be one of the 200 most important private collections in the world.  

Shortly after the theft, and as the law enforcement investigation progressed, formal charges were brought against a group of suspects of Romanian origin.   Charges against Radu Dogaru, the ringleader who was found to have orchestrated the heist, his mother, Olga, Eugen Darie and Adrian Procop were all eventually brought.  Around the globe, their trials were closely watched in the hopes that the defendants might shed some light during their testimony on whether or not the seven paintings and drawings remained safe.  Early in the investigation Mr. Dogaru’s mother claimed to have torched the artworks, in order to dispose of the evidence which could be used against her son.

Despite recanting her statement later, experts from Romania's Muzeul Naţional de Istorie a României (National History Museum of Romania - MNIR) provided testimony that seemingly validated Olga Dogaru's grim confession.  Ash and remains analyzed from a stove in her home in the village of Carcaliu in eastern Romania included nails from frames used before the end of the 19th century.  Yet, as pointed out by Maria Vasii, one of the attorney's for the defendants, the only painting with canvas tacks was the one by Lucian Freud.  As that artwork was completed in the year 2000, the nails would not have been made of copper and could not possibly have come from a 19th or 20th century production. Vasii also pointed out that the other paintings which were stolen were canvas glued onto cardboard and had no nails whatsoever. 

Despite the questions remaining as to what had actually become of the stolen artworks, Radu Dogaru and Eugen Darie, pled guilty for their roles in the theft on October 22, 2013. As a result of their confessions, the Third District Court of Romania sentenced Dogaru to 6 years and Eugen Darie to 5 years and 4 months (following sentencing appeals) for their involvement in the crime and for membership in a criminal organisation. 

Alexandru Mihai Bitu also received a sentence - two years for handling stolen goods. Adrian Procop, arrested in Manchester, England and extradited to Bucharest, was sentenced to prison for four years and 10 months for the formation of an organized criminal group and to four years and eight months for theft. Some of his prison time was reduced as the punishments were slated to run concurrently.  

Petre Condrat, involved in trying to find a buyer for the Matisse and the Gauguin, was fined 45,000 Romanian lei, the equivalent of approximately €9642. Dogaru's mother, Olga, was sentenced to two years in prison, convicted of aiding criminal behavior.

Interestingly, during Radu Dogaru's trial he gave a deposition that contradicted his mother's earlier confession to burning the paintings and told the court that his mother made false statements about incinerating the art works under pressure by interrogators. It was believed at the time that Radu may have been motivated by the hope that, along with her recanted testimony, his testimony might help his mother avoid a prison sentence.  

Now, six years later, an anonymous letter has been received by a Dutch writer of Romanian origin, Mira Feticu, the contents of which reportedly stated where one of the seven stolen works of art might be found.

But has the stolen Picasso really been spared the fiery furnace? 

Painted the year before the artist's death, Picasso's Head of a Harlequin (1971) is an art work done in pen and brush in black ink, colored pencil and pastel on thick brown wove paper.  It measures 38 x 29 cm and is "signed and dated in the lower right corner "Picasso/12.1./71". It was purchased by the Triton Foundation in 2009.

Mira Feticu has told reporters that the letter was sent to her at her Hague address because she wrote a book in 2015 about the Kunsthal theft which was also translated into Romanian.  Following the indications spelled out in a few short sentences of Romanian, Feticu and Frank Westerman have stated that they used the letter to guide them to Tulcea County, Romania.  There, they report they were able to identify the spot underneath a tree where the writer of the letter had indicated the missing Picasso could be found. 

Clearing away snow and leaves, the pair told law enforcement that they found the fragile artwork wrapped in plastic.   Photographing it in the car, they then turned the artwork over to the Dutch Embassy in Bucharest. Westerman has since posted video footage of law enforcement authorities examining the work of art on his Facebook page. 

For now, a team of DIICOT prosecutors and police officers of the Criminal Investigation Directorate - IGPR will conduct a follow up investigation.  To determine if the drawing is authentic, or part of an elaborate hoax, it has been sent to the National Museum of Art of Romania located in the Royal Palace Bucharest.  There art historians will work to assist in determining or negating the artwork's authenticity.  

Insured against losses, in September 2013 the Triton Foundation received a $24 million payout for the theft of their seven artworks from their insurance underwriter, Lloyd's of London.  In doing so, the foundation has relinquished the titles to each of the seven stolen works of art, should any of them ever be recovered.  This means, if this "Picasso" is authenticated, (and that's a pretty big if), the insurance firm would be the rightful owner.

Me, I have my doubts.  


Straightening the image presented by Feticu taken in the car, and then comparing it side by side with the original stolen artwork I see numerous points of difference in addition to many color variations. A few of these I have redlined.  I am not an authenticator, nor am I an expert on Picasso's work, or the degradation of paper drawings over time, but to me, it doesn't seem to be the original, as much as it would make me happy if it were.

UPDATE:

Theater makers Yves Degryse and Bart Baele have admitted that the found "Picasso" in Romania is a hoax, part of a publicity stunt for their performance True Copy, which premiered last week. 

By:  Lynda Albertson

An art heist at gunpoint occurred on February 10, 2008 at the private Zürich gallery run by the Foundation E.G. Bührle in Switzerland. Emil Bührle was a German-born industrialist who sold arms to the Nazis during World War II.  The private museum was established by the Bührle family foundation in order to make the Emil Georg Bührle's collection, of mostly European sculptures and paintings more accessible to the public. The art collection is housed in an elegant Zurich villa adjoining Bührle's former residence.

On the day of the heist, three thieves rushed the gallery shortly before its specified closing time.  Brandishing a handgun, the staff on duty were ordered to lay face-down on the floor, after which the thieves removed four late nineteenth century artworks from the wall.  

The artworks taken were:

Blossoming Chestnut Branches, 1890

by Vincent Van Gogh

Oil on canvas 72.0 x 91.0 cm

Completed in Auvers-sur-Oise

Poppies near Vétheuil, 1879

Signed lower right: Claude Monet
Oil on canvas, 73 x 92 cm
Wildenstein 536

Count Lepic and His Daughters, 1871

by Edgar Degas
oil on canvas, 65 x 81 cm
Lemoisne 272

Boy in the Red Waistcoat, 1895

by Paul Cézanne 

oil on canvas: overall: 89.5 x 72.4 cm

On February 18, 2008, eight days after the theft, two of the stolen paintings, Poppies near Vétheuil and Blossoming Chestnut Branches, were found. The artworks were discovered undamaged in the rear seat of the unlocked getaway car  which had been abandoned in the parking area of a nearby Zurich psychiatric hospital a short distance away from the Bührle.

The painting Count Lepic and His Daughters by Edgar Degas, regarded as one of the founders of Impressionism, was recovered four years later in April 2012. Information about its initial recovery was withheld from the public to avoid compromising an ongoing investigation with Swiss and Serbian authorities who were still actively working to recover the final painting by Paul Cézanne.

Cezanne's £68.3 million The Boy in the Red Vest was the last painting to be recovered.  It was located on April 12, 2012 inside a hidden roof car panel inside an automobile belonging to a suspect arrested in Belgrade, Serbia. 

The Golden Sphere, Jardin des Tuileries

Long line waiting for museum to open

Frida goes to Paris where she takes part in the "Mexique" exhibition, organised by Breton and Duchamp at the Galerie REnou & Colle. she meets a number of Surrealist painters, as well as Picasso, but is very disappointed with Parisian intellectual circles. At the end of the year, she and Diego are divorced. [From the exhibit]

When the Water Lilies were inaugurated in 1927, Impressionism was no longer fashionable and the public did not flock to see Monet's masterpiece. Then, after years of neglect, these rooms were the most damaged by shells during the liberation of Paris. Their renovation in the 1960s modified the original design, notably doing away with the anteroom and replacing it with a staircase. But the work undertaken between 2000 and 2006 restored them to their original splendor and they are now as Monet originally imagined them.

Photograph of the image of the Matisse painting from the Triton Foundation  stolen from the Kunsthal Rotterdam  on October 16, 2012.

Lucian Freud, Woman with Eyes Closed

by Catherine Sezgin, ARCA Blog Editor

Jan Brueghel the Elder's  "Allegorie de la terre"

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

Last night after looking up stolen snuffboxes on INTERPOL's Works of Art database, I curiously looked up Recovered Items and found a pair of paintings by Brueghel, Allegorie de la terre and Allegorie de l'eau, recovered in Marseille in June 2008. INTERPOL provides thumbnail images of the paintings; descriptions (in this case, for example, exterior scene with figures and animals, not religious); measurements; and the date of recovery. The rest of the information can be found from articles published online:

Brueghel's "Allegorie de l'eau"

Alfred Sisley's "Lane of Poplars at Moret"

According to plea documents, on Jan. 19, 2008, Ternus met in Barcelona with undercover FBI agents and with an unindicted co-conspirator. At the meeting, Ternus and his unindicted co-conspirator negotiated a two-part transaction with the undercover FBI agents. They would sell all four stolen paintings to the undercover agents for a total of 3 million Euros. Two of the paintings would be transferred in exchange for 1.5 million Euros, and the remaining two paintings would be transferred on a separate date for 1.5 million Euros. According to information entered at court, the defendant and his unindicted co-conspirator structured the two-part transaction to retain leverage with law enforcement in the event anyone was arrested upon the sale of the first two paintings. If this occurred, they intended to use the remaining two paintings to bargain for the release of anyone who was arrested. (Department of Justice)

Ternus had a criminal history:

In addition to the conspiracy charge, Ternus also pleaded guilty to a visa fraud charge before U.S. District Court Judge Cecilia A. Altonaga in Miami. During the plea, Ternus admitted that he fraudulently concealed his French criminal history to obtain a U.S. visa, which he then used to enter and remain in the United States. During the plea, Ternus admitted that, prior to applying for his U.S. visa, he had been arrested in France on at least seven separate occasions, and that he had been convicted in France of assault with a deadly weapon. Ternus also admitted that he knew the visa he obtained and used had been procured by falsely claiming to have no French criminal history. (Department of Justice)

Ternus challenges his conviction, arguing that the foreign commerce element in 18 U.S.C. § 2314 is “jurisdictional.” He contends that the district court lacked subject matter jurisdiction over his case because there was insufficient evidence in the record that he conspired to transport the stolen paintings in foreign commerce. Ternus’ guilty plea waived all non-jurisdictional defects in the proceedings against him.

Investigation following the art theft at the Kunsthal gallery in Rotterdam has shown that the suspects entered through a door at the back of the building. They seized and made off with the paintings in a very short space of time. The collection and examination of camera footage is now in full swing, as is the rest of the criminal investigation. So far no images have been found which are suitable for publication.

Burglars stole seven art works from the Kunsthal at Westzeedijk in the course of the night between Monday and Tuesday. They forced their way into the building at about quarter past three in the morning and were outside again very soon after.

The alarm went off at the security company, whereupon police and security personnel launched an investigation. There were no visible signs of forced entry outside the premises. Nor was anyone present inside the building.

Security personnel only discovered the paintings were gone after they went inside the building.

Forensic detectives made a thorough investigation, carefully securing any clues and evidence both inside the Kunsthal and in the immediate vicinity. They were able to establish how the perpetrators gained access to the building without leaving any sign of forced entry.

The Kunsthal contacted the owner of the works in question. On Tuesday morning the Kunsthal submitted an official report to the police as soon as it was ascertained for certain which paintings were involved. The publication of images attracted world-wide attention to the robbery and the stolen paintings. An international alert was also issued for the pictures.

Apart from images from inside the Kunsthal itself, camera images of the immediate vicinity were also secured. All images are being studied carefully by the detectives. So far no camera images suitable for publication have been found.

The Dutch television programme 'Opsporing Verzocht' also drew attention to the case on Tuesday evening. Images of the stolen paintings were shown during the programme.

Thanks to all the media attention, dozens of tips were received and are being investigated for their usability.

The team spoke to various witnesses. All information is still welcome. The investigators are making a particular appeal to the visitors to the Kunsthal. Did you visit the Kunsthal last week and did you see or hear anything unusual while you were there? Did you take any photos or video pictures? If so you should contact the police on 0900-8844. If you would prefer to speak to the Criminal Information Unit call 079-3458999. We would also like to speak to you if you saw any suspicious vehicles or persons in the vicinity of the Kunsthal in the period immediately leading up to the art theft.

Book cover for a volume Yale Press  is publishing this December

by Lynda Albertson, ARCA CEO

Monet's "Charing Cross Bridge, London" 1901/AP

Monet's "Waterloo Bridge, London" 1901/AP

Gauguin's "Girl in Front of Open Window" 1898

Picasso's "Harlequin Head" 1971

Matisse's 1919 "Reading Girl in White and Yellow"

Meyer de Haan's "Self-Portrait" c. 1890

The Detroit Institute of Arts released its fifth podcast on YouTube, "Hello to Tewkesbury Road" to augment the exhibit, "Fakes, Forgeries, and Mysteries."

by Catherine Schofield Sezgin

The Detroit Institute of Arts' "Fakes, Forgeries, and Mysteries" spotlights museum assets of questionable authenticity and provenance. The ARCA blog gives you links to the exhibition's videos on YouTube, the media coverage, and an interview with the show's curator.

"Most of them that we know of were initially trying to be artists themselves, their original creative works were dismissed at some point in the early part of their career."