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February 20, 2011

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The Journal of Art Crime: Q&A with Martin Finkelnberg, Head of the Dutch Art Crime Team

ARCA's Managing Director Joni Fincham interviews Martin Finkelnberg, Head of the Dutch Art Crime Team, in the fourth issue of The Journal of Art Crime. Mr. Finkelnberg has more than 34 years of experience in policing and investigating firearms, counter terrorism, questioned documents, counterfeit currency, and now, art crime. He leads the Dutch Art Crime Team which is part of The Netherlands Police Agency.

Mr. Finkelnberg discusses art crime in The Netherlands, the role of the Port of Rotterdam, security at the many great art museums in The Netherlands, and to the average day for the Dutch Art Crime Team.

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.

Sunday, February 20, 2011 - ,,,,, No comments

The Detroit Institute of Arts Posts #6 Video on YouTube for "Fakes, Forgeries and Mysteries" about a painting by Frans Pourbus the Younger

by Catherine Schofield Sezgin
(Right: Photo of Wimpole Hall in 1880)

The Detroit Institute of Arts posted its 6th video on Youtube of the series "Fakes, Forgeries and Mysteries." The director of DIA, Graham W. J. Beal, tells of how the museum recognized the beauty and workmanship of a 17th century painting, cleaned it up in the conservation lab, and then had it identified by the Louvre's former director Pierre Rosenberg who told the DIA officials, "I didn't know you had a Franz Pourbus". You can watch the video here.

Pierre Rosenberg, the director of the Louvre between 1994 and 2001, specialized in 17th and 18th century paintings.

Frans Pourbus the Younger (Netherlandish, 1569-1622) painted "A Man" in 1621 when the artist was 52 years old and a year before his death a year later in Paris. The oil on canvas is 31 7/2 x 25 7/8 inches (81.0 x 657.7 cm) and was a gift to the DIA by James E. Scripps. The painting had formerly been owned by the Earl of Hardwicke at Wimpole Hall in Cambridgeshire and sold at auction on June 30, 1888 To G. Smith. A year later, it was given by Mr. Scripps to the Detroit Museum of Arts.

James Edmund Scripps, the American publisher and philanthropist, founded The Detroit News and was the brother of Ellen Browning Scripps who founded Scripps Institute of Oceanography in La Jolla and Scripps College in Claremont, CA.

February 19, 2011

Saturday, February 19, 2011 - ,, No comments

Amelia, Umbria: Porta Romana

by Catherine Schofield Sezgin

Reconstruction of the current Porta Romana began in 1592 and took 47 years. However, the brick sentry box dates from the 14th century. The plaque above the arch honored Santa Maria Assunta in 1703 after a big earthquake left the historic center unharmed and devastated the surrounding area. The town's coat of arms is a blue shield embossed with the letters, APCA, topped by a royal crown, and followed by two braches of faro (also known as spelt). The ancient wood door is closed for a few minutes every August on a Saturday evening during a medieval procession of town members in wool costumes that commemorates the Statuti Amerini which turned this formerly free town into a papal city. Where a drawbridge used to defend the town during the Middle Ages, a ditch is now filled with dirt and plants. A drawing of the town in 1700 shows the drawbridge at the Porta Romana and all the other buildings seen today, including the walls of the garden of the Palazzo Farrattini. Outside the gate today is a round mirror set at an angle for car drivers and pedestrians to see around the corner to pass safely into town.

To the south, the Porta Romana opens onto the Piazza XXI Septembre, the busiest intersection in town with four roads leading to other parts of Umbria such as Orvieto, Terni and Narni, Orte, and as far as Roma. An apartment above the arch of the Porta Romana opens its windows north into the historic center onto the shops lining Via della Repubblica.

Tomorrow I will post my favorite photos of a few of the local men sitting on the wall adjacent to the Porta Romana. They sit in the sun, talk, and watch the world go by. And although they had never smiled at me all the day I ran in and out of the Porta Romana, they smiled for the camera when I asked and I am quite fond of the photo -- and of course, them.

February 18, 2011

Friday, February 18, 2011 - ,,, No comments

Classical Twist Emerged Last Summer While Lawyers Studied Art Crime in Amelia


Last summer in Amelia two students from ARCA's Postgraduate Program found the setting inspirational and formed a new musical group. Classical Twist is a duo of classically trained musicians, proving that lawyers can also be artists.

Leila Amineddoleh (piano) and Daniella Fischetti (violin) were students in ARCA's class of 2010 when they met and discovered that they were not only interested in the same legal fields, but that they were also both musicians. While enjoying an outdoor wine-tasting and dinner, they chatted about music and soon realized that they had mutual admiration for many of the same artists.

Leila, a classical pianist, and Daniella, classical violinist turned bluegrass/jazz fiddler, found common ground in Beethoven and Radiohead and got to work immediately. After five weeks of early morning rehearsals, picking apart a classical sonata and arranging the complexities of modern rock, the duo performed a recital in Palazzo Petrignani. Beneath a veil of frescoes with the sound of church bells echoing across the Umbrian hillside, they presented Beethoven's Fourth Violin and Piano Sonata, Radiohead selections, and a couple of Neapolitan street songs (to the delight of their Italian friends) to their fellow classmates, instructors and residents of Amelia. The recital was a hit, and due to popular request, the duo performed two weeks later in Palazzo Venturelli.

After a fabulous summer of playing music together in beautiful Amelia, the duo was sad to "break up the band." As luck would have it, Daniella and Leila both live in the New York metro area, and they reunited in the US after their summer abroad. The duo has continued to expand their repertoire, and they have a rapidly growing playlist of classical pieces, tango, traditional folk songs, and music by David Bowie, Portishead, the Gotan Project, the Beatles, and many others.

Ironically, one of the most difficult tasks facing the girls was creating a suitable name for the group. After months of debate, Daniella and Leila finally agreed on "Classical Twist," inspired by their classical training, fancy cocktails, and their own personal "twist" that they give songs.

Since returning from Italy, Classical Twist has performed at private parties, holiday functions, and restaurants and have a number of performances lined up this spring. Daniella and Leila look forward to continuing to share their love of music and are working on a number of albums to share with their fans. Playing together reminds the girls of their wonderful summer adventures in Umbria, Italy, a place filled with beautiful art, delicious food, musical memories, and wonderful friends.

To learn more about Classical Twist and hear samples, please visit http://www.myspace.com/classicaltwistmusic, and stay tuned for www.classicaltwistmusic.com- new site coming soon!

Friday, February 18, 2011 - ,, No comments

The Journal of Art Crime: James Charney Reviews "The Billionaire's Vinegar"

In the fourth issue of The Journal of Art Crime, James Charney reviews "The Billionaire's Vinegar" (Three Rivers Press, New York 2009) by Benjamin Wallace. In 1985, Christie's auctioned off a Bordeaux wine alleged to have belonged to Thomas Jefferson to Malcolm Forbes for $156,000. "The Billionaire's Vinegar" is a look at the sale of old wines. The issue, of course, is authentication.

Dr. James Charney is a psychiatrist and advisor at the Yale University Medical School.

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.

Friday, February 18, 2011 - No comments

"Previously Unviewed Monet painting on show in Cologne museum" reports Deutche Well

Monet's "Spring mood in Vetheuil," 1880, Courtesy Wallraf-Richartz Museum

by Catherine Schofield Sezgin, Curious Editor

My ARTINFO email subscription brought another interesting story to my attention yesterday. A German online website, Deutche Well, reported that a woman had donated a painting by Claude Monet more than two decades ago, sworn the curator to secrecy, and wouldn't let the gallery show the work until after her death. This would be the sixth Monet held by the institution and they feel it's authentic; however, does this painting belong to someone else? The Monet is apparently in good condition so why the secrecy? Read both the articles in ARTINFO and Deutsche Welle and be curious with me.

Friday, February 18, 2011 - No comments

Paintings by Rembrandt and Picasso Recovered from Illegal Gambling Den in Moscow

by Catherine Schofield Sezgin, A Note from a Curious Editor

Those of us studying art crime have often wondered if stolen art could be owned by Russian outlaws or other businessmen who profit from illegal activities. ARTINFO.com reported on February 15, 2011 that:
A building in Moscow once used by oligarch-in-exile Boris Berezovsky that housed an illegal gambling syndicate was raided Friday by the Russian Federal Security Service. Along with documents supposedly linked to offshore businesses owned by Berezovsky and his family, investigators discovered artworks by Picasso and Rembrandt said to be worth over $5 million.
Neither ARTINFO, or Bloomberg, or The Moscow Times, the original source of this story, identified the paintings. Investor Brois Berezovsky is an associate of art collector Roman Abramovich. Berezovksy, ARTINFO reports, "no longer uses the Moscow building, however, and hasn't for some time: He fled Russia in 2001 and received political asylum in Britain. Whether the paintings discovered in the illegal den were also being traced back to Berezovsky, or were connected with the gambling operation was not clear from initial reports."
Which paintings were found, where did they come from and how did they get to Moscow? Stolen or purchased? Why would someone leaving the country leave behind a valuable Rembrandt or Picasso artwork? The information here is too vague to make any conclusions but it raises my curiosity.

February 17, 2011

Thursday, February 17, 2011 - ,,,,, No comments

The Journal of Art Crime: Stefano Alessandrini reviews "Ancient Art Works Recovered by the Guardia di Finanza Exhibition"

Photo of Stefano Allessandri by Urska Charney

In the fourth issue of The Journal of Art Crime, Stefano Allessandri reviews "Ancient Art Works Recovered by the Guardia di Finanza Exhibition" in Vittoriano, Rome (14 June - 12 September 2010).

The Guardia di Finanza's Archaeological Heritage Protection Group collaborated with the Ministero dei Bene Culturali (Heritage Ministry) to curate "From the Tomb to the Museum: Stories of Looting and Recoveries" last summer at the Complesso del vittoriano at Piazza Venezia in Rome. Stefano Alessandrini is head of Italy's Archaeological Group and adviser to the Ministry of Culture and the Advocate General of Italy on the recovery of looted antiquities.

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.

February 16, 2011

Wednesday, February 16, 2011 - ,,, 1 comment

Ton Cremers Weighs in on the lawsuit by the St. Louis Art Museum on Keeping the Ka-Nefer-Nefer Mask


by Catherine Schofield Sezgin

Questions have arisen about the legal status of an 3,200 year-old Egyptian mummy mask from a noblewoman at the court of Ramses II that has belonged to the St. Louis Art Museum for more than two decades.

The Ka-Nefer-Nefer mask, with its inlaid glass eyes and shimmering plaster face, has been on display since the museum purchased it in 1998 from a New York art dealer for $499,000, according to Jennifer Mann, reporting for the St. Louis Post-Dispatch on “stltoday.com” in the article “Art museum sues to keep Egyptian mummy mask.”

Ton Cremers, security consultant, and operator of the website news service, Museum Security Network in The Netherlands, is mentioned in the lawsuit that cites numerous emails Mr. Cremers sent to government officials in 2005 and 2006 call for an investigation, according to Mann.

I reached Mr. Cremers in Rome and he, traveling on with an iPad and without his usual computer, referred us to his response today that he posted on the MSN Google Group:
Ton Cremers: There is NO doubt whatsoever that this mask was stolen from a storage in Saqqara. One does not need to be surprised that the infamous Aboutaam brothers were the ones selling this mask. They are 'renowned' for trading in dubious antiquities without any provenance. In this case they just made up a fake provenance: supposedly the mask had been part of a Swiss private collection. Yes, Switzerland again....

Anybody who has read Peter Watson's books, Sotheby's The Inside Story and The Medici Conspiracy, knows that the Swiss route should be distrusted. The Aboutaam fake provenance was very easy to unmask because the Swiss collector mentioned by them in the provenance had never heard about this mask.

According to the ICOM deontological code, no museum should keep stolen objects, no matter any legal context. There is a knack in this case: the Saint Louis Art Museum is not a member of ICOM and apparently does not mind the ICOM ethical code. If they had been an ICOM Member, they should have been thrown out of this organization immediately. It is an outright lie that they performed due diligence when achieving this mask, for they did not.

In my view, Brent Benjamin, the director of the SLAM, is nothing else than an outright buyer of stolen property (yes, I am aware that his predecessor actually bought the mask). His standpoint is that Egypt must prove that the Ka-Nefer-Nefer mask was stolen. That is putting the world upside down. One thing is sure beyond any doubt: The mask was not excavated in Missouri.

The Ka-Nefer-Nefer mask must return to Egypt as quickly as possible.
ARCA blog: Is it appropriate to mention your emails in the lawsuit and how will this impact the Museum Security Network?
Ton Cremers: I really do not know who quoted my 2005 - 2008 messages about the Ka Nefer Nefer mask in the present law suit. As far as I am concerned there is no objection against using my messages since all of these have been sent publicly. Using these messages will not have any impact on the Museum Security Network. At least not any negative impact. It really shows that the MSN is regarded as a very serious factor in the struggle against illicit trade in cultural goods.

Wednesday, February 16, 2011 - ,,,,,, No comments

St. Louis Art Museum Sues the United States to Preclude a Forfeiture

The Ka-Nefer-Nefer Mask, acquired in 1998
 by the St. Louis Art Museum
The St. Louis Art Museum (SLAM) has sued the federal government to preclude it from initiating a forfeiture claim against the Ka-Nefer-Nefer mask. The museum was approached in January by several U.S. attorneys in January, who indicated an intention to bring a forfeiture action against the mask. Civil forfeiture was the legal mechanism under which the Portrait of Wally litigation and subsequent settlement emerged. It is a powerful tool for claimants, which uses the resources of the federal government, and a favorable burden of proof, to pursue claims for objects which may have been looted or stolen.

But in this case, rather than waiting for the forfeiture action, the museum has decided to try to preclude a suit by the U.S. attorneys, arguing that from December-January of 2005-06, the U.S. was a party to several communications regarding questions with respect to the history of the mask. They use as examples, posts and emails sent by Ton Cremers, of the Museum Security Network. He sent at least two emails to Bonnie Magness-Gardiner of the FBI, INTERPOL, as well as James McAndrew at Immigrations and Customs Enforcement (ICE). The Museum's complaint quotes emails from Cremers, which were published on the Museum Security Network:
  1. “So I should think that if the Egyptian Government lodged a complaint or request with the USA Government and the FBI Crime Team (to which I am copying this), then the Museum would be obliged to answer the questions.”
  2. “The FBI is just waiting for Egypt to file a complaint. A [sic] soon as Egypt files a complaint [sic] the FBI is expected to act.”
  3. “Maarten Raven, a Dutch archaeologist, saw the mask in the Saqqara and is VERY positive that the mask in the SLAM [Museum] is the same as . . .the one stolen in Saqqara . . . .
The SLAM argues in the complaint that the relevant U.S. government officials had knowledge of the potential claim over five years ago, and the five-year statute of limitations period has expired under 19 U.S.C. § 1621. A court will decide whether these emails, and queries the Museum sent to INTERPOL in the 1990's about the mask are sufficient to have given the U.S. government actual or constructive knowledge of the potential claim. The Museum seeks a declaratory judgment under the Tariff Act that the action is barred by the statute of limitations.

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