TEFAF Maastricht 2022 Image Credit: ARCA

Earlier this week, ARCA published an article building on an announcement made by Spain's Ministry of the Interior which involved the identification of a looted Egyptian object.  This investigation involved the Policía Nacional in collaboration with the Dutch Politie, and the expertise of forensic scholars, as well as the assistance of cooperating dealers and the support of art fair personnel.  These combined efforts resulted in the voluntary handover of the trafficked artefact in the Netherlands, and later, the reported arrest of a Barcelona-based ancient art dealer who, although unnamed by the authorities, was stated to have been charged with money laundering, smuggling, and document falsification.  

ARCA's article touched on its own research into the circulation of this suspect antiquity and to the object's identified Spanish handler.  In it, I named the dealer whom I (too) had ascertained as having been in possession of this piece after it arrived to Spain from Bangkok before being sold onward to other ancient art dealers in Germany and Switzerland.  

Shortly following the Spanish announcement, the bulk of the reporting by mainstream media covered this investigation by simply regurgitating the Spanish  government's official press release.  ARCA, being a research-based organisation which specifically examines (and sometimes reports on) forensic crimes that impact art and artefacts, opted to provide more detail.  To do so we discussed both the object itself and named its first seller, while also ensuring that in doing so we haven't compromised the work of international police forces.

Too frequently, trafficked artefact reporting becomes routinely formulaic, giving readers cursory information on an object's country of origin, value, age, and the names of involved agencies responsible for that object's recovery.  In this type of reportage, the artefacts themselves take second stage, often reduced to photo opportunities, where they are frequently overshadowed by fancy diplomatic handshakes. Whereas the story of the piece itself, its trafficking journey, its good faith and bad faith handlers and its place in history are often unconsidered, or left to vague statements and assumptions, much in the same way, archaeologists and art historians lament the loss of context when an artefact is extracted from its find spot and the object's history is lost during a clandestine excavation.  

Basic shapes of block statues

Likewise, when describing this partial 18th Dynasty Egyptian block statue most of the published news articles reduced the artefact to its period of creation, i.e., "a stolen Egyptian sculpture dated from 1450 BCE" or spoke to its rudimentary aesthetic characteristic, referring to the piece as simply as "an Egyptian head".  Smuggled clandestinely, often over great distances and hidden in shipments through multiple transit countries, by the time such looted antiquities appear on the ancient art market, where they are displayed in glittering European art galleries and art fairs, the pieces are no longer intact.  

In this case, the less informed buyer, might appreciate this sculpture's beautiful depiction of the head of an Egyptian male.  I, on the other hand, see its decapitated form as evidence of a crime scene.  I question whether or not this anonymous severed head, had likely been hacked off its body, or deliberately broken at the shoulders for ease of transport and smuggling, knowing that unfortunately this once complete representation of a man, is now absent the rest of his body.  

During Egypt's Eighteenth Dynasty, the artisan who sculpted this black-granite representation of a once-living human would have worked the hard stone with care and precision.  The focus of his efforts would have been to respectfully express the belief that the deceased person's Ka, his eternal life force, when separated from his earthly body at death, would be travelling between the worlds of the living and the dead and would need to find his eternal home inside this single memorial block statue, created expressly for this purpose.  Carved to represent the likeness of the deceased and placed inside a sanctuary, had this head remained with the rest of its body, we might also have learned, through inscriptions, the name of the esteemed person the sculptor sought to portray when he had creating this memorial artwork.  

But why the need for a second article? 

Over the past several days there has been scattered chatter via various social media sites where the veracity of my statements regarding who the arrested Spanish dealer was have been the subject of discussion.  

Art News journalist Karen Ho, doing her best to report the news and remain impartial to the contentious subject, wrote: 

...the Association for Research into Crimes Against Art, has claimed in a blog post that the individual in question is Jaume Bagot Peix, operator of the J. Bagot Arqueología gallery in Barcelona, Spain.

Art lawyer Justine Philippart, when pointed to ARCA's original blog article, stated on LinkedIn:

This article is fake news. Nothing is true. Thus, for example, Mr. Bagot was not arrested.

TEFAF Maastricht 2020 Image Credit: ARCA

According to Spain's Ministry of the Interior, following an investigation begun in 2023, the Policía Nacional have arrested a Barcelona gallery owner (Jaume Bagot Peix, operator of J. Bagot Arqueología) for allegedly committing the crimes of money laundering, smuggling, and document falsification in relation to this black granite head of a funerary monument for a high ranking official from the reign of Hatshepsut or Tuthmosis III in Egypt. 

TEFAF Maastricht 2022 Image Credit: ARCA

Valued at 190,000 euros, the circa 1504-1450 BCE artefact had been acquired by the Barcelona ancient art dealer in July 2015 via an intermediary in Bangkok, Thailand.  ARCA notes that this partial statue was documented on social media sites and up for sale through a Swiss-based art dealer during the short-lived European Fine Art Fair in 2020 and again with this same dealer when the fair reopened post-Covid in 2022.  

Having been the subject of a joint-European policing initiative which resulted in law enforcement authorities with the Dutch Politie in the Netherlands sharing evidence with their Spanish counterparts, police in Spain were able to concretised that this Egyptian artefact was illicit, despite it having been in free circulation for seven years through several sales passages occurring via dealers in Spain, Germany, and Switzerland.  Prior to these transactions, the object had traveled though the transit county of Thailand via an intermediary in Bangkok. 

The 18th Dynasty head depicts its patron wearing a short wig revealing the ears as well as defined almond-shaped eyes and prominent eyebrows.  In its complete and original form, the head would have once been attached at the shoulders to the rest of its memorial block statue representing a seated non-royal person.  

The Swiss gallery that had purchased the artwork via another ancient art dealer in Germany, freely relinquished the artefact to the Dutch authorities once it was determined that the piece was suspect and had been acquired via the Spanish gallery owner, who had already been linked to the illicit trade in antiquities in conflict zones such as North Africa and the Middle East. 

To circulate this illicit artefact, the Spanish gallerist provided his trusting buyer, with a document that substituted collected information relating to several archaeological pieces belonging to a Spanish collection from the 70s making it appear as though the head had been part of a legitimate and documented collection prior to Egypt's antiquities laws tightening in 1983.  A not uncommon technique, suspect dealers have often attempted to "whiten" freshly looted material, by substituting, reusing, or outright fabricating documents of ownership, which, if not carefully explored, cosmetically appear to provide a legitimate "pedigree" to an antiquity which in reality is more recent plunder from an illicit excavation.  

It is for this reason, that the dealer who has been arrested has been charged not only with smuggling and money laundering, but also with document falsification of the object's provenance record. 

Point of reference in 2018, Frédéric Loore revealed in Paris Match that Jaume Bagot's network used various smuggling routes, notably via Egypt and Jordan to the United Arab Emirates, before returning to Catalonia after transiting through Germany or Thailand.

By:  Lynda Albertson

NB: For now, the Spanish authorities have elected to publish their arrest announcement withholding the name of the charged ancient art dealer.  

Image Credit: Archaeology IN - Libya

Following the order of the Central Court of Investigation number 6 of Madrid on 24 November 2023, it was announced last week that Spain had provisionally delivered a grouping of antiquities including four marble sculptures and eight mosaics, recovered during Operación Harmakis to the Libyan authorities at the country's  embassy in Spain.  

Hardly covered in the English speaking press, the pieces were formally transferred at a ceremony held at the Intercontinental Hotel in Madrid, the pieces were delivered to Mohamed Alfaloos, the general director of Museums and Archeology of Libya, and representatives of the ministries of Culture and Foreign Affairs.  Seized during investigations conducted by Spain's law enforcement authorities, each of the artefacts has been earmarked by the Court as having been looted in the North African country, coming from Balagrae (modern day al-Bayda), Apollonia (modern day Marsa-Susa), and the UNESCO World Heritage site of Cyrene (near modern day Shahhat).   They will remain at the Libyan embassy in Madrid, in the custody of the Libyan ambassador to Spain, Walid Abu Abdulla, as per the court's ruling, until the legal case surrounding them has concluded. 

The recovery of these artefacts dates back to late March 2018, when, after three years of investigations involving some fifty law enforcement officers, including the Spanish Policía Nacional, the UDEV Central de la Comisaría General de Policía Judicial and the UCIE de la Comisaría General de Información formal charges were brought against ancient art dealer Jaume Bagot and his partner Oriol Carreras Palomar.  During which, the pair were taken into custody under suspicion for their alleged participation in a crime of financing terrorism, belonging to a criminal organisation, concealment of contraband and use of forgery for their roles in facilitating the sale of illicit antiquities.

During the 2018 Harmakis action, five property searches were conducted, three in Barcelona and two in Argentona, with police inspecting a restoration studio, a deposit/warehouse where the artworks were stored, Bagot's residence and his Barcelona art gallery and the home of Oriol Carreras Palomar.  During the execution of these search warrants, artefacts from multiple countries and circulation documentation were retained by police as evidence in a criminal investigation. 

On March 28th of that same year, the Policía Nacional in Barcelona released a video which depicts part of the searches in which some of the objects sequestered during their investigation can be identified. In this opensource video, some of the mosaics handed over to the Libyan authorities can be seen beginning at 0.38 seconds into the video.  In addition, the marble head of Demeter is depicted from 0.58 until its boxing at 1.11 and the Roman togatus can be seen at 1.19. 

Answering to the charges in Spain, Jaume Bagot and Oriel Carreras appeared before Judicial Magistrate Diego de Egea of the Central Court of Instruction Number 6 of the National Court on March 26, 2018 where each were formally informed of the allegations and charges pending against them.  During the hearing the magistrate granted both men release pending trial, while imposing a financial surety (bond) of €12000 and a series of pretrial release conditions which include the forfeiture of their passports, a mandate to remain within the territory of Spain, and biweekly court appearances as conditions of their release while awaiting trial.

Standing by the all too familiar, I didn't know approach, which has, for so long, contributed to some of the challenges of prosecuting individuals for the illegal trafficking of cultural objects,  Bagot pleaded his innocence in handling blood antiquities in an March 30, 2018 interview with Crónica Global Media.  When asked the carefully-worded question --Do you claim not to have bought any objects from sellers in Iraq, Libya or Syria?  The Spanish dealer responds cleverly:

Never in life. What they intend in the Civil Guard report - to which I have not had access because it is confidential - is to make the judge see that I transported these objects or that I was in charge, through third parties, of moving them from a country. in a conflict zone to another country where there is legality to buy them legally in order to justify the operation.

The police say that I have expressly arranged to buy an object in Libya, take it to Dubai and sell it in Spain. But this is not the case, I don't know any people from Libya, nor do I have any contacts in Libya or anything.

What the Barcelona dealer failed to acknowledge in his interview was that he has bought artefacts coming from conflict and post conflict countries, via intermediary sellers, in multiple countries, who are known for brokering the sales of ancient objects from countries plagued with political and civil upheaval including, in this case, funerary sculptures of Cyrene in Libya.  This demonstartes, once again, that the routes laundered "blood antiquities" travel can be circuitous and that the international flow patterns conflict, and post conflict, antiquities travel often involve intermediary countries with willing middlemen.  This allows bad acting dealers in market country galleries to profess their purchases to these third-parties were made in good faith.  That is, until officers leading investigations gather evidence which proves definitively otherwise. 

Let's not forget that the 10th section of the Rome court in Italy sentenced Jaume Peix Bagot to 4.5 years of incarceration for his handling & laundering of the second-century headless Roman sculpture depicting the Muse Calliope which had been stolen from actor Roberto Benigni's villa in 2010.  That sculpture was identified in Spain with the dealer in April 2019 and was identified as part of a multinational investigation conducted by the Spanish authorities and Italy's Comando Carabinieri per la Tutela del Patrimonio Culturale who also recovered another sculpture in  the posession of another Spanish dealer that had been stolen from Villa Borghese.

ARCA would like to close this blog post with a reminder to its collecting readers that the market for illicit antiquities operates within the framework of basic economic principles, where the scarcity of authentic material and supply and demand dynamics play a pivotal role in incentivising the clandestine trade in ancient artefacts.  As the demand for antiquities by collectors, private investors, and museums increases, this buying power in turn stimulates profiteering individuals to acquire more and more material, sometimes sourcing artefacts through individuals who engage in, or turn a blind eye to, where, or who, a sellable object comes from.

Collectors of ancient art who acquire archaeological material without conducting thorough scrutiny of the sellers, especially when encountering seemingly too-good-to-be-true items like a Hellenistic Greek marble head from a war torn country, inadvertently fuel a perpetuating cycle of illegal activities. Unchecked acquisitions also contribute to the ongoing destruction of archaeological sites, posing a threat to the preservation of our historical record. 

A more conscientious approach involves diligent research into the provenance and legal status of what a collector or museum are purchasing, accompanied by a proactive "Know Your Seller" strategy. This not only shields the purchaser from potential legal complications but also plays a pivotal role in disrupting the demand side of the illicit supply chain for cultural goods, particularly antiquities from conflict-ridden regions. 

Responsible acquisition practices can and does empower collectors to contribute actively to the protection of global cultural heritage. By prioritising the preservation of our shared human history over profit, collectors wield significant influence in fostering an art market characterized by ethical values and a genuine commitment to cultural preservation.

By:  Lynda Albertson

"part of the trend now dubbed “zombie statistics”—that is, pieces of information that are frequently cited by experts and institutions, despite having no basis in research or reality."

"a “belief” held by some experts—but gave no evidence to support that belief."

• $39,747 multiplied by 1500 kilos = $59,620,500

• $43,527 multiplied by 1500 kilos = $65,290,500

• $44,083 multiplied by 1500 kilos = $66,126,000 

The street value price point in Spain for cocaine is $67 per gram.  

• $67 per gram multiplied by 1000 grams (1 kilo) multiplied by 1500 = $100,500,000

The street value price point in Italy for cocaine is $92 per gram.

• $92 per gram multiplied by 1000 grams (1 kilo) multiplied by 1500 = $138,000,000

And finally, by some weird quirk, the street value price point averaged out across the all reporting EU countries for cocaine is slightly lower, at $84 per gram.

• $84 per gram multiplied by 1000 grams (1 kilo) multiplied by 1500 = $126,000,000

Which dollar value do you use?  Well, if you are law enforcement and want to validate the investigative successes of your detectives, you may elect to use the numbers related to your particular country.  If you are a politician coming up for reelection who wants to show a drop in crime during your administration, he/she may want to use the data that reflect the lowest dollar amount possible (to show a downturn in crime) or the highest number possible (to solidify a get tough on crime stance).  Lastly, if you are a journalist, well, bigger is always sexier right?  

Now imagine asking every law enforcement agency where drugs are seized which numbers they used when they gave their estimate to their governments, to news journalists, or to research academics.  And when asked to generate numbers on multiple seizures, confirming if anyone has bothered to specify which numbers they used or how they derived the figure. 

I can tell you form experience, many people are satisfied with just having any measurable number without exploring further where the statistical data was derived. 

All this to say that even with an illicit drug, which at least has a quantifiable price, and a finite weight, to determine a financial value, does not always give you a uniform formula for interpreting that data when left unspecified.

Heck, even with something as simple as counting the dead in the COVID-19 pandemic can give you skewed data, as some countries are keeping statistics which only count confirmed (i.e. tested) coronavirus deaths and leave out all the people who died before they could be tested.

But let's switch back to trying to establish financial numbers related to art crimes.  

Winding the clock back to September 2016 when two Van Gogh paintings, which were stolen from the Van Gogh Museum, were recovered in Italy.  

According to the New York Times, at the time of the theft, the estimated value of Vincent Van Gogh's “Seascape at Scheveningen” (1882) and “Congregation Leaving the Reformed Church in Nuenen” (1884/85), was 4 million euros, or about $4.5 million, according to Adriaan Dönszelmann, the managing director of the Van Gogh Museum. 

The UK's newspaper the Telegraph estimated that the two paintings were worth a total €100 million despite giving no explanation as to how they arrived at this exaggerated number.  

The Van Gogh Museum's administration at the time of the recovery gave no numbers whatsoever.  They stated only that the "art historical value of the paintings for the collection is "huge". 

And lastly, given that the paintings were never actually up for sale in the first place, nor would they ever appear on the licit market auction block, others argued that the works of art were "priceless".  

What quantitative financial figure do you give to a "priceless" work of art? 

So how would you quantify that one single theft when trying to create a total value of art thefts from museums for example?

In making a financial accounting of not-for-sale plundered antiquities accessioned into museum collections, what value would you put on the Getty Bronze?  The price the museum originally paid for it?  The sales price, plus the price for restoring and maintaining it?  All of the above plus the cummulative years of attorney fees spent to litigate over and over again for its return?  Or would this statue also simply be referred to as "priceless".  

Now quantify the "damages" to heritage originating from conflict countries.  What price can you put on undermining the cultural identity of the local communities, the sometimes absolute destruction of their cultural and religious monuments, or the theft of private property (as in World War II related claims) and national collections?  What price do you put on art as it relates to its tactical value, for insurgencies and terrorist groups, when they destroy art as a means of displaying control, and loot the objects of their perceived opponents for financial gain in an asymmetrical conflict?

Better still, try quantifying the smaller, portable artefacts deliberately stolen from archaeological sites, temples and museums which are on the market now.  Here we COULD in theory at least give a market value based on searching out the individual sales prices of confirmed suspect artefacts, but that type of drilled down research isn't being done comprehensively and it sure isn't being funded by countries or academic institutions, let alone by the market itself.    

So there you have it.  A total standoff, between the market making excuses for its own provenance opacity, standing behind the convenient loophole that data protection rules prevent full disclosure without consent, and the traditionally clandestine nature of the art market in and of itself, each of which pose further challenges to putting financial figures together to concretely assess "the cost" of looting and trafficking in an easily digestible, and truly accurate way. 

What we do know is that the illicit market in movable cultural property motivates looting in developing nations.  On a transnational level, it is indisputable the trade in illicit art has been proven to put money in the hands of everyone, from gallery dealers, an unemployed workman, farmers, petty criminals, organised crime syndicates and on some occasions military insurgencies and terrorist groups. 

I will close by saying, I too question statistics frequently.  But I do look at facts, even in isolation.  Facts which clearly illustrate that the problem of illicit art being bought and sold on the licit art market still presently exists and it is real.  

I am also open to admitting the difficulties of data and its inherent fallibility, but I'd like to also see a similar openness from the art market's dealer associations openly addressing that there are still problems among some of their stakeholders that they should be taking an active role in addressing, instead of merely downplaying the research of others while putting their collective heads in the sand that there is real work to be done in order to clean up the art market. 

If the Confédération Internationale des Négociants en Œuvres d’Art (CINOA) wants to critically judge the research efforts of ILLICID, then let them do so, but they should also turn a critical eye to the concrete proofs that there is an ongoing problem with tainted artworks circulating in the art market amongst some of their membership, despite old and new legislation and conventions.  In doing so they should also be more forthcoming with acknowledging that some of the market's current problems can be traced to individuals directly affiliated with their member associations.

I have yet to read a statement by a member of CINOA management which seeks to address what stance CINOA has taken towards dealers-members like Jaume Bagot Peix, under investigation in Spain, or Jürgen Haering who has been listed in the sales of an oinochoe, a lekythos, and an attic cup all tied to disgraced dealer Gianfranco Becchina.    

Nor has CINOA openly addressed the fact that suspect objects for sale or on consignment with some of its association members are (still) being seized in connection with law enforcement investigations; some as recently as TEFAF Maastricht 2018, TEFAF New York 2018, BRAFA 2020, and TEFAF Maastricht 2020.  

Those seizures may not always make for irrefutable, pretty bar graph with an eye-popping stats, but they happen with enough frequently that both BRAFA and TEFAF have clauses written into their Terms and Conditions documents which specify that the fairs cannot prevent and are not responsible for any legal seizure and/or custody of works of art. 

By:  Lynda Albertson