Lastly the ARCABlog has been designed to be Open Access (OA) meaning ARCA gives readers free unrestricted online access to what it posts.  ARCA's Journal of Art Crime is available by subscription, as the act of publishing research has an intrinsic cost.  Through subscription fees JAC subscribers help facilitate and promote global communication of academic research and discourse in the field of art crime. 

The Journal of Art Crime has been published in print and digital format by the Association for Research into Crimes against Art since Spring 2009.   Published twice per year during the Autumn and Spring,  the JAC is edited by Noah Charney, Marc Balcells and Christos Tsirogiannis. Each issue contains a select mixture of peer-reviewed academic articles, regular columns, editorials, and book reviews from contributors actively involved within the art crime and heritage protection sectors.  

More formal than the ARCAblog, the Journal of Art Crime seeks to identify emerging and under-examined trends related to art crime and to develop strategies that advocate for the responsible stewardship of our collective artistic and archaeological heritage.

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General questions and inquiries about the Journal of Art Crime should be addressed to the JAC's editors. 

Baffled and humiliated, the Norwegian police turned to the one man they believed could help: a half English, half American undercover cop named Charley Hill, the world's greatest art detective... a complicated mix of brilliance, foolhardiness, and charm whose hunt for a purloined treasure would either cap an illustrious career or be the fiasco that would haunt him forever.

The recovery of the Bulmer's stolen paintings again focuses attention on to the increasing role of the private sector in the investigation and recovery of stolen art, antiques and cultural property. With many countries facing a continuing period of austerity cut backs, their law enforcement agencies have seen even fewer police resources being devoted to this area of crime.

In this particular instance, the victims suffered the trauma of a violent robbery at the hands of five masked criminals who bound the house sitter to the stairs where she remained for some 18 hours. The loss was substantial and included jewellery, sculpture ,and a canteen of silver cutlery in addition to the 16 paintings valued together at £2 million.

Whilst the police response to such a violent crime was swift, the investigation was uncertain as to the direction it should take.The lack of understanding of the commodity, stolen fine art and antiques, is common to many law enforcement agencies and not just to those in the UK underlining the lack of training that police receive in this subject.

In 2010, a year after the theft, the victims and their insurers turned to the private sector for help as it was here that they could utilise the services of professional art crime consultants and investigators. 

Working with the police but independently of them, I was able to revitalise an investigation that had lost both direction and police resources. With regular progress reports the police were able to continue to develop their investigation without devoting vast resources to the enquiry, leaving them free to attend to the day to day pressures of policing.

In June 2015, whilst I was lecturing to the ARCA students in Italy, Charley Hill took a telephone call from a friendly journalist and was introduced to her source who was willing to share the information he had. On my return to the UK, Charley introduced me to the intermediary and we were then able to work together to achieve the recovery of the stolen paintings.  

The recovery required working with the insurers, their lawyers and with the police and provides a model of how art recovery in the future will depend far more on the resources and expertise of the private sector working in partnership with law enforcement.

The inside story of the this recovery will form the basis of the lecture on the future of art recovery to be given during the 2016 ARCA course in Amelia, Italy which will also look at the authentication and forensic examination of stolen art.

Heritage Researcher,  Lt. Col. (retired), International Military Cultural Resources Working Group and Senior Researcher, Centre for Cultural Heritage Protection, University of Vienna

The Hague, Netherlands

The world’s shared cultural heritage is under threat. Substantial damage has already been inflicted during armed conflicts that have taken place or are still ongoing, especially in parts of Africa and the Middle East.  To protect the world's heritage, it is important to gain knowledge about key concepts and mechanisms that underpin heritage destruction and protection including new phenomena, stakeholders and concepts such as urbicide (a term which literally translates as "violence against the city."), the military roll in heritage destruction and or preservation and the psychological warfare of heritage destruction.

‘Cultural property’ that is, the legal term used  to describe the world's cultural heritage, is currently not only threatened by time, nature, and man-made development, but increasingly by armed conflicts and upheavals. In this context we see the return of iconoclasm driven and legitimised as an excuse for eliminating perceptions of heresy as well as the ‘’recycling’’ of antique monuments originally built as defence works like the Crusader castle, Krak de Chevaliers, Palmyra’s Fakhr-al-Din al-Ma'ani Castle or the now destroyed Temple of Bel in Palmyra which the Burids transformed into a citadel in 1132.

But Iconoclasm is not only directed at immovable heritage, it also aimed at written heritage making manuscripts and books equally at risk. The majority of today's warring parties are guilty of abuse and destruction whether intentionally or by accident, disregarding that cultural property is ‘’protected’’ under (inter)national laws. To make matters worse there has been an increase in the looting and illicit traffic of artefacts, the revenues of which are used to finance, and thus extend conflicts.

Within this framework, written heritage has a dual status: libraries, archives and manuscripts are material cultural properties but simultaneously carriers of intangible heritage like ideas and by extension, identity. Dualism can be seen too in overlaps between cultural and natural heritage, such as cultural landscapes like Ayers Rock and in ivory that is often smuggled.

In general terms books and documents can be considered to be containers of identity. Simultaneously the material manifestation of a book or manuscript can be an artifact or a sacred and thus religiously sensitive object. Specifically, archives can contain cultural heritage for a national society or smaller community as well as information that makes them strategic targets for the warring parties e.g. working archives can hold tactical information about persons and political issues. Military experts connect this information with military intelligence.  Additionally, libraries and archives themselves can be historic monuments.

Apart from the fragile characteristics there are many more issues within the realms of heritage. They include shifting insights on conservation, restoration, authentication (forgeries) and developments concerning digitization, manipulation, political propaganda, illicit trafficking, and legislation. Current attacks on cultural heritage show elements of psychological warfare, cultural genocide and, as acknowledged by the United Nations, war crimes.

This makes Cultural Property Protection (CPP) a complicated multi-disciplinary topic with stakeholders that include the military, police, diplomats, legal specialists, auctioneers, antique dealers, and religious experts to name a few, all of which represent and defend their own interests. Transnational crime is also present, not to mention collateral damage inflicted during battle.

Considering the complexity and the seriousness of today’s heritage conditions it seems fair to acknowledge that safeguarding issues cannot be taken care of by only as small number of cultural experts or enthusiasts who are not afraid to be pro-active and often need to act as private individuals. The main concern is that there is presently no operational protection concept being implemented based on international cooperation and coordination. Legal obligations and sanctions are not sufficiently implemented and enforced – for instance,  some cultural war crimes could and should be prosecuted by the International Criminal Court.

Although there are moral and legal obligations, funding is not in place for CPP training, education, research, and the deployment of ‘’new’’ stakeholders like the military who are equipped to operate in war zones.  Most contemporary asymmetric conflicts in which (written) heritage is endangered take place in the Muslim World. A lot of the world’s heritage from antiquity is located there but it is also critical to pay special attention to protection and restoration of Islamic heritage before the cultural and historical memory rooted in these regions is erased from the world’s common consciousness and lost to future generations.

To meet some of these challenges, the Islamic Manuscript Association in partnership with the Royal United Services Institute (RUSI) has organised a course this coming October entitled Manuscript Collections in Conflict Zones: Safeguarding Written Heritage. This multidisciplinary course will also gives a general introduction about Cultural Property Protection and destruction in the event of conflict. The course will take place October 5th, 6th, and 7th at the Royal United Services Institute in Whitehall, London.

Confirmed speakers include:

Colonel Matthew Bogdanos,
Assistant District Attorney in Manhattan

Mr. Marco Di Bella,
Freelance Book and Manuscript Conservator and UNESCO Consultant

Mr. Karl von Habsburg-Lothringen,
President of the Association of National Committees of the Blue Shield

Dr. Joris Kila, Chairman,
International Military Cultural Resources Working Group

Professor Roger O’Keefe,
Chair of Public International Law, University College London

Mr András Riedlmayer,
Bibliographer in Islamic Art and Architecture, Harvard University

Professor Franck Salameh,
Associate Professor of Near Eastern Studies, Boston College

Dr Christos Tsirogiannis,
Research Assistant, Trafficking Culture Team, University of Glasgow

Dr Hafed Walda,
(Pending) Deputy Ambassador to the permanent Libyan delegation at UNESCO

Dr James Zeidler,
Associate Director for Cultural Resources, Colorado State University

For information about course lecturers and how to register to attend, please contact the Islamic Manuscript Association linked here. 

Image Credit: SANA

In defiance to the destruction and havoc being wrecked in Palmyra, an imposing statute of Queen Zenobia, the 3rd century queen of Palmyra, has been erected in Damascus at Umayyad Square where it will be on display for the next four days.

The statue represents a component of  the “From Palmyra to Damascus” activity held during the 5th Forum of Arts and Innovation which has been organised by Syria's Ministry of Tourism.  In response to the event's inauguration tourism minister Bisher Yazigi released a press statement regarding the events saying in part that “life in Syria cannot be brought to a standstill despite raging war.”


During the heritage-based forum, the statue of Zenobia will be installed next to another representing Dr.  Khaled al-Asaad, the prominent archeologist who was the director of antiquities and director of the museum in Palmyra for 40 years until his retirement in 2003.  Dr al-Asaad was beheaded August 18, 2015 by Islamic State militants, in front of an assembled crowd, near the ancient ruins he spent his life studying and protecting.  He was 82 years old.

The Forum run through September 9th, and includes the photo exhibition presented in the film below on crimes against Syria’s cultural heritage and historical treasures, documentaries about the Syrian civilization, and a film highlighting the Dr. al-Asaad's work in Palmyra.

Expressionist artist Edvard Munch created four principle versions of Der Schrei der Natur, one of the world's most recognisable works of art.   Known in popular culture as The Scream, the artwork has become an agonised symbol of modern anxiety and alienation.

But how do you tell the differences between four of the world’s most talked about works of art when the dynamic composition and its enigmatic character remain so similar from version to version? Each of the works of art contain minor differences in the spectacular skyline, with figures in the background of a foot path, a prominent wooden railing and a view overlooking the peninsula extending into a fjord with a cityscape beyond.  But what truly sets these celebrity artworks apart from one another is the fact that two versions were stolen from different Norwegian museums in 1994 and 2004 and a third has been the subject of an ownership controversy that dates back to the Second World War. 

On February 12, 1994, two men climbed a ladder and smashed through a window to enter The Nationalgalleriet in Oslo.  Using wire cutters, the art thieves clipped the framed painting free from the wall and made a speedy getaway.

The painting was recovered on May 7, 1994 with the help of an undercover operation by British detectives.  Tony Russell, and Dick Ellis of New Scotland Yard's famed Art and Antiques Squad worked closely with Detective Charles Hill who posed as an American art dealer representing The Getty.

Some individuals argue that this version of The Scream is Munch’s first attempt at rendering his historic image.  Its unfinished elements present as a more preliminary work and is remarkable in that one of the figures in the background appears to be looking out towards the fjord. This version is housed at the Edvard Munch Museet (Munch Museum) of Oslo and is the only one of the four "Screams" to not have had a checkered past. 

Sold for $119,922,500 at Sotheby's on May 2, 2012 billionaire Leon Black's purchase set the record for the highest price ever paid for a work of art at auction. Mr Black is a trustee of MoMA and The Met. 

This version is Munch's most vibrant and some consider it more valuable due to a handwritten inscription the artist wrote on its frame.  

At the time of the sale, Sotheby's listed the seller as Norwegian businessman Petter Olsen, whose father Thomas was Munch's patron and friend.  But the provenance of this painting post-sale is not so clearly black and white. The descendants of the German banker Hugo Simon say that the Jewish collector was likely forced to sell this artwork under Nazi duress.

This version and "Madonna", another of Munch's iconic works, were snatched from the Munch Museet (Munch Museum) by two masked men dressed in black and brandishing guns, who forced museum staff to take the paintings down from the wall and hand them over.

When both artworks were recovered two years later, The Scream was found to have sustained worrisome damages.  Despite the efforts of conservators, who worked tirelessly to repair most of the damage, the bottom-left corner of the painting was left washed out and scarred by a dirty brown watermark. Some say the damage and the artwork's theft only add to its value. 

Perhaps envisioning the success of his artwork or a premonition about their popularity with thieves Munch created approximately thirty Der Schrei der Natur lithographs in 1895, all with black ink, most on either white or cream paper. 

To get an idea of what landscape inspired this iconic painting, one need only read the inscription etched into the frame of the 1895 version.  It reads "I was walking along the road with two friends – the sun was setting – suddenly the sky turned blood red – I paused, feeling exhausted, and leaned on the fence – there was blood and tongues of fire above the blue-black fjord and the city – my friends walked on, and I stood there trembling with anxiety – and I sensed an infinite scream passing through nature. -TM"

Norwegians believe the artist was describing an overlook from a road called "Valhallveien" overlooking Oslo, the Oslofjord and Hovedøya from the vantage of Ekeberg Hill.  If you want to know where that is why not check out pop culture detective Bob Egan's fantastic website.  He has also pinpointed the exact spots where some of the most famous album covers of all time were photographed.

By Lynda Albertson