by Catherine Schofield Sezgin

Ms. Cattey: The most expensive part of investing in photomacrographs for works of art would be the purchasing the photographic equipment (digital SLR camera, macro lens, tripod, computer). However, since most museums have the equipment already, it would be a matter of labor costs.

ARCA blog: You write that photomacrography simply refers to a technique used to photograph a subject at life-size or larger – actually up to forty times its actual size. Is special equipment involved? And how would these images be stored?

Ms. Cattey: Special equipment is needed. As mentioned previously, a digital single-lens reflex (SLR) camera, macro lens, tripod, wireless shutter release and a computer with plenty of storage space. I would recommend backing up your images on an external hard drive or burning them to CDs for safe keeping.

ARCA blog: In your article, you discuss the work done at the J. Paul Getty Museum, could you elaborate here for our readers?

ARCA blog: In your article, you discuss a company, Art Access and Research, that uses photomacrography as an alternative security method, using cracks and brushstrokes of a painting as an ‘internal barcode’. You are suggesting that this can prevent a forgery from being passed off as an original. Could this be applied to all paintings?

Ms. Cattey: Yes, but it shouldn’t be limited to just paintings. It can be applied to prints, sketches, sculptures, etc. High resolution imaging captures features of the work of art that do not change, without damaging the original work. By having magnified images of the craquelure pattern, brushstrokes, signature or any unique identifier of that work of art not only deters forgery, but also helps in identification and proof of ownership disputes.

ARCA blog: How do you suggest that the art world begin using photomacrography to its fullest potential?

Ms. Cattey: To start, whether you are a museum, private institution, or private collector, having photographic records as an inventory list is essential. That way, if any misfortune does occur, the photographs will not only prove what you own, but will also help the insurance company, appraiser, restorer or police department do their jobs. It also adds to provenance, encouraging owners to take an interest in keeping track of the history for that work of art and their entire collections.

To seek out this piece, and many others, consider a subscription to the Journal of Art Crime—the first peer-reviewed academic journal covering art and heritage crime. ARCA publishes two volumes annually in the Spring and Fall. Individual, Institutional, electronic and printed versions are all available, with subscriptions as low as 30 Euros. All proceeds go to ARCA's nonprofit research and education initiatives. Please see the publications page for more information.

This Corot painting was not listed on Interpol's Stolen Art Database as one of the 16 Corot paintings reported stolen between 1972 and 2008 from Canada, Italy, France, the Czech Republic, Germany, and Slovenia. The retrieved Corot landscape was once part of the Kelvingrove Art Gallery and Museum which features French Impressionists and 17th-century Dutch and Flemish Paintings. The Kelvingrove Art Gallery and Museum in Glasgow was closed for renovation from 2003 to 2006.

The article speculates that a member of the Glasgow City Council may have been involved in selling art from the Glasgow Museums due to the poor inventory controls. The investigation continues.

In addition to theft, Corot's art is one of the "most faked," according to Freemanart Consultancy which advertises itself as an expert in the fine art of authentication. Corot himself signed many faked and copied works by either his pupils or those of his artistic friends who needed money, according to Freemanart Consultancy.

Photos: Young Girl Leaning on Left Elbow (top) and Girl Musing by a Fountain (bottom), as titled in Interpol's Stolen Art Database, were two paintings by Corot taken from the Montreal Museum of Fine Arts in 1972 and remain missing.

Cover Design and Illustration: Urska Charney

By Therese Veier

Munch is one of a few Norwegian artists that have a global market of buyers and collectors. The value and prices for his art have increased, coinciding with an increase in thefts.

On February 23, 1988, in the middle of the night, the Munch painting “Vampyr” was stolen. The thief climbed into the Munch Museum through an open window. With no alarms attached, it was easy to steal the world-famous painting. This was not a planned theft, rather an act of impulse triggered by the open window. Iconic art such as “Vampyr” is impossible to sell, and not knowing what to do with the painting, the thief decided to return it. In August, he walked straight into the police station, carrying “Vampyr” under his arm, hoping this would lead to a milder sentence for a big jewellery theft he had committed in June. The thieves were convicted and sentenced to four years in prison.

Unfortunately, the National Museum in Oslo was not that lucky in 1993 when Munch’s "Portrett studie" a portrait of his sister, was taken from the walls during the museum’s opening hours. The painting has never been recovered. The experience of art crime investigators is often that if stolen art is not found shortly after the theft, it can disappear into the black market for years.

A year after this, in 1994, a few hours before the grand opening ceremony for the Lillehammer-Olympic Games, the National Museum in Oslo was again victim of a Munch theft. This time the museum’s version of "Skrik" (The Scream) was stolen. Knowing that most of the police force would be occupied with security at the Olympics, the confidant thieves planned and executed a theft they knew would take all media attention away from the Olympics and ridicule Norway. The thieves entered the museum using a ladder, smashed a window, climbed inside and stole “Skrik”. They pinned an art postcard on the empty museum wall with the words, “Thanks for the poor security”. The theft took 50 seconds. An inexperienced guard did not react correctly to the museum alarm, and camera images were poor. The theft created headlines worldwide. How could this happen? Was it really that easy to steal a national treasure? With the professional aid of Scotland Yard and Charley Hill, who managed to convince the thieves that the Getty Museum wanted to buy the work back, “Skrik” was recovered. It turned out that the brains behind this brazen theft was Pål Enger, who previously stole “Vampyr” from the Munch Museum. Enger was sentenced to six years in prison for this theft and other petty crimes, his companion, got three years. Museum security was declared a national issue that should be taken serious.

After a few quiet years the Munch Museum experienced Norway’s most brutal art theft so far. On the 22nd of August 2004, both “Skrik” and “Madonna” were stolen by armed robbers during the museum’s opening hours. Shortly after the theft a student at the art academy in Oslo, Malo (Hammaya Rashid), solicited a stunt claiming the thieves had burnt the artworks in fear of getting caught, and given him the ashes from which he had created a new work, “Munch masks”. Lars Fr. Svendsen, a philosophy professor, called the idea brilliant. If the masks really contained the ashes from “Skrik” and “Madonna” this would make Malo’s work one of the most important artworks in the 21 century, and even if they don’t it is still a very interesting and provocative work. Criminality as an art form has never really been explored, but will probably increase in the future, Svendsen stated to the press. Hopefully the majority do not share his views, and tests showed that Malo’s “Munch masks” did not stem from the stolen works.

Later investigation revealed that the theft was a diversion to get the police occupied searching for the paintings while the thieves could execute the largest money theft in Norway (57,4 million Norwegian kroner), the NOKAS robbery. When the NOKAS case came on hearing David Toska, the leader, offered to return the stolen Munch works if certain demands were met, like more frequent visits from his girlfriend. His demands where never granted. Toska and his gang were sentenced for the NOKAS robbery, but Toska was never tried for the museum theft. In May 2006, three men were convicted and sentenced for the Munch robbery, but the artworks remained lost. Two years and nine days after “Skrik” and “Madonna” were stolen from the museum the police found the artworks in Oslo. They were damaged, but could be restored. No reward was paid for the recovery of the works, and no new convictions issued.

To summarize, my impression is that thieves view art thefts as easy, a prank to get media attention, to brag about or as a cover up for their “real” theft. The thieves are tough criminals. Of course museums cannot always prevent art from being stolen, but research and knowledge about art crime, correct security measures and special art crime investigators is necessary.

Databases to register stolen art is an important tool; unfortunately, Norway does not yet have a national database for stolen art.

“The only possible action towards armed robbers is to create enough time delay so that the police can get there in time,” says Monica Solem, project manager in DNV Consulting. She adds: “At the time of the robbery, there were hardly any barriers to overcome in the museum.”

The Munch museum also contacted other museums to enquire about security measures, and the company ABM-utvikling, that specializes in active and strategic development to strengthen archives, libraries and museums role as cultural and social institutions, according to Sture Portvik.

The museum radically altered their security. Visitors today are reminded of airport security checks when entering the museum, a long wall of bulletproof glass is in front of several art works and guards are placed throughout. Museums face a difficult task in how to best maximize security, be cost-efficient, care for the art works, and still keep the art available for the public.

In the fall of 2010, the Munch Museum hired a new director, Stein Olav Henrichsen. He told the press that the museum still faces big challenges that will have to be solved before the museum is scheduled to move in 2014 into a new building (nicknamed Lambda) by architect Juan Herreros. However opinion is split about whether a new museum should be built by the sea where it might be humid and no room for expansion, or if it is better to keep the present location and renovate the old building at Tøyen. On 17th of January 2011 the council issued a final hearing for the three cultural institutions, the Munch Museum, Stenersen Museum, and Deichmanske Main Library, that are planned to relocate to Bjørvika. The deadline for a final decision is set to the 28th of February.

The museum employees have asked for financial aid because 200-300 paintings badly need technical conservation before they can be moved. Several of the paintings suffer from discoloration and peeling, and they are especially fragile because of Munch’s experiments with technique and material, and his often rough way of handling his art. He would sometimes expose artworks to the elements of nature and let the result be part of his artistic expression.

In September 2010, the council decided to give the museum 26 million Norwegian kroner for conservation.

“The Department is facing a new major challenge: preparing all the works of art to be moved to the new museum building in Bjørvika in Oslo. The emergency conservation project started in the end of September. Project leader is P.hd painting conservator Biljana Topalova Casadiego. Emergency conservation of the Stenersen Collection is soon completed.”

Just before Christmas in December 2010, during a cold period in Oslo (minus 18-20 degrees Celsius), the museum had to close several exhibition rooms, including the main exhibition room. Water ran down the inside of the museum walls, other walls where extremely humid, and the air-conditioner and heating system malfunctioned. The director informed the press that the museum had been struggling for a long time with the task of trying to provide a safe environment for the art in an inadequate building with a bad infrastructure. Several problems are due to lack of maintenance and technical insufficiencies. It is very hard to maintain stable temperatures inside the building, especially when the weather outside is cold, and condensation increases in rooms with outer walls. He compares the climate inside to a sauna, it is humid and lacks oxygen. To prevent permanent damage several artworks were put in storage, and employees took turns wiping the walls with cloths to try and keep them dry.

These problems have now been repaired. On Friday 7th of January the rehabilitation of the main exhibition room was finished, the outer walls of the museum had been isolated, and the damaged surfaces inside fixed and painted, according to Sture Portvik.

On January 21st, 2011, a new exhibition with the title “eMunch.no Text and image” opened. The exhibition is accompanied by an online publication of Munch’s texts and is intended to be used as a digital search archive. The museum also plans to make all correspondence to Munch available online as well. In 2008, a catalogue raisonné was published, and senior curator Gerd Woll at the Munch Museum is currently working on a catalogue about Munch’s prints that will be released in both Norwegian and English, according to Sture Portvik.

The museum is currently working on a strategy to make Munch’s art more available and to increase the number of visitors as well as encourage more research, with longer opening hours, lectures, concerts, new digitalized material, English translations and a new museum shop, Stein Olav Henrichsen told the press.

It seems that the museum is on the right track with a new director that has the ambition and will to care properly for Munch’s inheritance. I hope he will have the means. He is dependent on financial support from the council, because there is little private art sponsoring in Norway.

by Catherine Schofield Sezgin

Dorit Straus, Vice President and Worldwide Specialty Fine Art Manager for Chubb & Son, a division of Federal Insurance Company, will again teach the course, Investigation, Insurance and the Art Trade, in Amelia at ARCA’s 2011 Postgraduate Program in International Art Crime and Cultural Heritage Protection Studies program. Straus’ course discusses fine art insurance; the role of the insurance company, the agent and the broker; the insurance contract; risk analysis and selection; losses and claims; theft losses; and interaction with police and law enforcement.

Ms. Straus published an article, “Implications of Art Theft in the Fine Art Insurance Industry”, in Art & Crime: Exploring the Dark Side of the Art World (Edited by Noah Charney) that explains the relationship between insurance and art theft. She has also written a chapter on insuring art in a book by Diane McManus Jensen, Valerie Ann Leeds, and Ralph Toporoff, The Art of Collecting: An Intimate Tour Inside Private Art Collections with Advice on Starting Your Own (Antique Collectors’ Club Ltd, 2010).

Ms. Straus, the Worldwide Fine Art Specialty manager for Chubb Personal Insurance, joined Chubb in 1982. Prior to Chubb, she studied archaeology at Hebrew University in Jerusalem, Israel, lectured on Biblical Archeology and worked at several museums (The Jewish Museum, The Peabody Museum of Ethnography at Harvard University, and the Museum of Contemporary Craft in New York, now known as the Museum of Art and Design). She has underwriting experience in Property, Casualty, and Entertainment as well as fine art. She was a key member of OBJECT ID of the Getty Institute, which established universal criteria for describing works of art. She speaks on art and insurance at international venues including seminars on risk management for museums and cultural institutions at Shanghai University. She was the keynote speaker at a fine art risk management seminar sponsored by the government of Taiwan; a featured speaker at a conference at Dresden, Germany; and a panelist at a seminar on art theft at Cambridge University, United Kingdom, where she met Noah Charney, ARCA’s founder.

ARCA blog: You’ve been quoted in the press that the most common art insurance claim stems not from theft, but from damage done while the art work is in transit.

ARCA blog: You’ve also said that when a museum purchases insurance to protect its collection, the insurance companies follow up with security inspections and risk management recommendations such as how to protect the art against damage from fire.

ARCA blog: It’s too expensive for museums to insure their entire art collection. Do they select a blanket limit up to a certain amount that would cover any paintings stolen from the collection? And do insurance companies get nervous when there’s a rare painting by van Gogh, Vermeer, Rembrandt or any other artist that seems to attract thieves?

Ms. Straus: We have been going through terrible economic times, so I am concerned about moral hazard either by fraudulent insurance claims or from dealers who are stealing from their clients.

I am also particularly concerned about the trend of art as investment and regarding art as an asset class. I don’t want to generalize, but when you start thinking about art as a commodity rather than as an object that expresses our humanity and our culture, it loses its importance and it becomes interchangeable solely as a money exchange. Maybe I am naïve, but when you value something for more than its monetary value you have a personal stake in it along with making sure that you invest in protecting it properly.

by Catherine Schofield Sezgin

While studying in Amelia at ARCA's Postgraduate Program in Art Crime Studies in 2009, I looked forward to July 21, the release date for another book in Daniel Silva's series on Gabriel Allon, art restorer, spy and assassin. Downloading the book from Audible.com would allow me to listen to The Defector on my iPhone although I was in a medieval town in the middle of Umbria. And although I had been looking forward to this book since Silva had signed my copy of Moscow Rules in 2008, I would not be able to listen to the book until midnight.

That day, a Tuesday, Monica Di Stefano, Italian teacher extraordinaire and gracious Umbrian host, guided a group of students and attending family members through Narni, visiting a church, the duomo, and a stage theatre. We lunched on curried chicken, pesto trofilo, and meatloaf with mashed potatoes at a cucina off a side street. Desserts, baked there, included a flourless chocolate torte, a fruit crumble, and a crème brulee.

We explored Narni underground, an area discovered by some children in 1979 when they climbed into the vegetable garden of an old man who asked them to explore an area from where he could feel fresh air. Inside the opening, they discovered an old church used by the Dominicans from the 12th century and beyond that Inquisition torture chambers. A prisoner in 1759 had left carvings on his cell wall explaining his name, his military rank of corporeal, and signs related to Christianity and masonry. The man was likely a leader of the guards for the Inquisition chambers and had been put in prison for 13 years because he had tried to save another guard from torture. Another prisoner of the Inquisition was accused of having two wives -- something awful in Italy because two wives meant two mother-in-laws -- and when he killed a guard and escaped, he ended up in L'Aquila, outside the protected walls of the papal empire. The hidden chamber also revealed two skeletons, including one of a tall woman with a full set of teeth and clothing tied by ribbons at the sleeves, not sown, putting her in the 19th century.

After this field trip, we returned to Amelia, prepared for the next day's lecture and not until midnight did I insert earphones to listen to The Defector. Minutes later I heard: "Chapter Four, Amelia, Umbria."

Silva's Gabriel Allon describes the town:

"Amelia, the oldest of the Umbria's cities, had seen the last outbreak of Black Death and, in all likelihood, every one before it. Founded by Umbrian tribesmen long before the dawn of the Common Era, it had been conquered by Etruscans, Romans, Goths, and Lombards before finally being placed under the dominion of the popes. Its dun-colored walls were more than ten feet thick, and many of its ancient streets were navigable only on foot... It's main street, Via Rimembranze, was the place where most Amelians passed their ample amounts of free time. In late afternoon, they strolled the pavements and congregated on street corners, trading in gossip and watching the traffic heading down the valley toward Orvieto."

Allon enters Pasticceria Massimo and orders a cappuccino and a selection of pastries.

So the next day, after waking at 9 a.m., breakfasting at 10, ironing at 11 and getting dressed at noon, my family and I followed Gabriel Allon's path into Pasticceria Massimo to try the cappuccino and cream puffs. Massimo, the owner, and a woman wearing eyeglasses behind the counter -- possibly the model for the girl who had served Gabriel Allon in the book -- did not know of Daniel Silva or his books but were pleased to learn of the connection.

The Illy espresso was delicious, the foam smooth, and the service gracious. We later learned of Massimo's great tiramisu cakes and added Pasticceria Massimo to our daily routine. We were able to share our story with Daniel Silva and his wife Jamie Gangel who sent a signed bookplate to "the girl who presided over the gleaming glass counter of Pasticceria Massimo" as Daniel Silva wrote in his book. In exchange, the woman in the eyeglass at Massimo's, of course her name was Daniela, sent a memento of Amelia to Daniel Silva and is waiting for The Defector to be translated into Italian.

My first visit to Massimo's was followed by a two-hour Italian class with Monica Di Stefano and then a lecturer by Diane Charney, a French Literature Professor at Yale University, on the heroic work of Rose Valland who copied the negatives of looted art works processed through the Jeu du Paume in Paris during World War II.

That evening, after a trip to the fromaggerie for fresh yogurt and cardinale cheese in the afternoon, a group of us dined on pizza at Porcelli's Taverne and then two of us walked Diane Charney to her guest apartment on Via della Repubblica until Richard Ellis, founder of Scotland Yard's Art Crime and Antiquities Squad, joined us on the street. When I introduced myself, he said that he had already met my husband and children earlier that day. The four of us chatted long enough for his wife to call and wonder what had happened to him when he went to park the car.

Without the aid of my journal, I would not have remembered that finding Amelia mentioned in Daniel Silva's 2009 novel was sandwiched in between Narni underground's Inquisition torture chambers and meeting Scotland Yard's Richard Ellis. But I have recalled those two days here for those potential candidates considering the program who wonder about the consequences of enrolling in ARCA's Art Crime and Cultural Heritage Protection Studies. It was not a summer of lectures and assigned readings I had anticipated -- the rest of the summer could fill another novel!

Photo: Daniela Grillini, Pasticceria Massimo, possibly the model for Daniel Silva's character who "presided over the gleaming glass counter."

Pasticceria Massimo

Via delle Rimembranze, 8

Amelia (Tr)

Chiuso il lunedi/Closed on Monday

Zachariah Mattheus will be part of ARCA's 2011 summer program in art crime studies and cultural heritage protection. He is an independent art director and graphic designer working in branding, print and web design. HIs professional collaborations over the past ten years with Warner Music Group, Rhino Records, Kerouac Films, Bloomberg, Conde Nast, Envirosell, Vox Guitars, The New York City Ballet and Jordache exhibit his penchant for the telling of great stories. His work can be seen at www.zachmattheus.com.

ARCA Blog: What is your academic background and how did you come to commit to a summer in Umbria studying art crime?

ARCA Blog: Have you traveled or lived in Italy and what would you like to do there when you are not attending lectures?

ARCA Blog: The program culminates in the writing of a publishable article. What area of art crime or cultural protection would you like to research?

Mr. Ellis: I use Michel van Rijn to illustrate not only the importance of "informants" to the criminal investigator, but also the problems that "informants" can create for an investigator and hence the care that must be used when dealing with such individuals. I play an interview that I recorded with Michel in 2004 at the request of the Dutch Government, which was played to an EU conference to illustrate how criminals fabricate provenance and the difficulties that this presents for all those involved in cultural property. I am still in contact with Michel, which provides me with a constant insight in to the darker side of the art market. Michel will of course help the authorities if it is in his interest to do so and this is another reason why I introduce him to the students. Understanding why people become informants is essential to being able to use them and the information that they provide safely and legally and this is another part of the scope of my course. Understanding why people become involved in cultural property crimes, their motives and expectations will assist the investigator in reaching a successful outcome to a case.

Mr. Ellis: The past three decades has been interesting in respect of the response to cultural property crime by the police in many countries. At the start of the 1980's there was little interest in this area of crime with the exception of Italy, who throughout this time have devoted considerable resources to protecting their cultural property and investigating those responsible for the theft of it. In 1984 the art squad at Scotland Yard was actually closed and its 14 detectives were dispersed on to other crime squads. In the USA the FBI had no dedicated team and only in the police departments in New York and Los Angeles was there any recognition that art and antique crime posed a problem. It was largely due to the restructuring of the art market during the 1980's and the rapid increase in prices that this generated that criminals recognised the potential in art crime. The resulting increase in crime forced law enforcement to adjust and review the situation.

By the end of the 1980's I had reformed the art squad at New Scotland Yard, the FBI in New York were handling an increasing number of international requests through one dedicated office and in Los Angeles an art detail was put in place run by a detective Bill Martin who was later appointed to the President's advisory panel on cultural property crime. During the 1990's more countries recognised cultural property crime as a problem and with the end of the cold war and the opening of international borders the trafficking of cultural property crime grew rapidly becoming a major concern.

The introduction of computer systems during this period, which recorded and made accessible information on stolen objects was a major step forward and Interpol has been able to provide a central record of at least the most important stolen cultural property. France, Italy, the USA and a handful of other countries developed their own databases of stolen cultural property supported by dedicated investigators. UNESCO developed a programme of workshops through which it was able to raise awareness of cultural property crime and by utilising the help of specialist police officers such as myself, it delivered a programme designed to assist countries in protecting their cultural heritage.

There followed a number of high profile cases which illustrated how with the cooperation of these dedicated national squads successful prosecutions could be achieved such as the recovery of the Scream and the prosecution of Tokeley Parry and Fred Schultz to name but two of my own cases. However, as we entered the new millennium, other international crimes overtook cultural property crime in importance for law enforcement. Drug trafficking, people trafficking and terrorism now occupy the top three positions and with the global economic crisis financial fraud has also moved above cultural property crime in importance and I fear that we shall see a gradual reduction in the number of specialist officers dedicated to cultural property crimes. This makes the work of ARCA all the more important as the private sector will now be required to handle the many crimes and disputes left untouched by law enforcement and only through some serious academic research to demonstrate the true scale of the problem that cultural property posses will governments and law enforcement agencies be persuaded to direct more of their limited resources to it. The internet offers a fantastic tool for the investigator in terms of information about objects and where they are appearing on the market for sale. It does not however replace the need to actually talk to victims of crime or to interview those in possession of disputed items in order to reach some kind of resolution to a dispute. These are skills that you can only gain by actually doing the job and no amount of internet research will give you those skills.

Finally and in answer to the last part of your first question, "How can students best prepare for your class?" I would suggest that they cover as many art thefts and investigations as they can find in books and on the internet. To keep an open mind on who has committed the crime and not to be influenced by the often ill-informed opinions of the journalists. To read "The Irish Game" by Mathew Hart, which sets out probably the most thoroughly investigated art thefts of a single collection and gives a good insight in to who commits such crimes and how the criminal has arrived at the routes to market available to them for iconic works of art. A topic to be covered in my class.