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April 5, 2011

Tuesday, April 05, 2011 - ,,, No comments

ARCA 2009 Student: Michelle Edelman on art crime history and provenance research as an investigative tool

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

Michelle Edelman attended ARCA’s summer program in art crime studies in Amelia, Italy, in 2009. A native of San Francisco, Michelle currently lives in New York City. She speaks French, Spanish and Italian – useful languages in her studies at Northwestern University in European Studies, at University of Oxford studying English and French literature, and at the Courtauld Institute of Art studying the history of art for her master’s degree. She is currently investigating opportunities to work in the insurance industry specializing in art protection.
ARCA blog: Michelle, what is your favorite period of art and how did you get interested in studying art crime?
Ms. Edelman: My favorite period of art is the 19th century and more specifically Victorian painting, which is what I did my masters in. I've always had a passion for art history and a love of mysteries. Studying art crime seemed like a perfect combination of my two interests. I particularly enjoyed learning about Adam Worth, nicknamed the Napoleon of Crime, who was a 19th century art thief famed for stealing Thomas Gainsborough's "Georgina, the Duchess of Devonshire." Adam Worth was an international thief who had both Scotland Yard and the American Pinkertons hot on his trail. It was a classic cat and mouse game between Adam Worth and William Pinkerton. In the end, William Pinkerton recovered the painting. And to put an even neater bow on the story, Adam Worth's son ended up working for the Pinkerton Detective Agency. Ben Macintyre's book "The Napoleon of Crime" was one of the many great art crime books I was exposed to while on the ARCA course.
ARCA blog: What did you find most valuable in your ARCA experience?
Ms. Edelman: Getting to meet with and learn from so many experts in the field was invaluable. Art crime study and investigation is a small and tight knit field but is such an important one to promote because the impact of art crime is wide ranging. From Nazi looted art, to forgeries, to excavation robberies, cultural heritage is being endangered, the black market is being fed, and crime in general is prospering. 
It was such a treat to hear firsthand accounts of art crime and its consequences from the founder of Scotland Yard's Art Crime Squad team, Dick Ellis. He was someone I knew I wanted to keep in touch with from the program. And when I settled in to New York, I was thrilled to learn that I could help Dick Ellis on a case he was currently working on. To me, art history is like a detective novel. But here was an opportunity for me to get involved in a real life case. What was at stake was the authenticity of a work by Jean-Michel Basquiat. My research took me to the National Archives in DC. There was a label on the back of the work that suggested that it had been purchased by a now closed gallery in New York. I poured through their records to discover no such trace of that particular Basquiat piece having passed through the gallery. However, I contacted the gallery owner who authenticated the proof of sale document from the gallery in NYC to a gallery in Germany, but denied ever having the Basquiat work in his gallery. Something was amiss. In the end, the work in question turned out to be a fake. The art market is a slippery snake and this case highlighted the importance of provenance research. A little research goes a long way.
ARCA blog: You speak Italian and were able to travel through parts of Italy. What stood out to you during your travels?
Ms. Edelman: Well I speak French and Spanish fluently. I was therefore able to pick up a bit of Italian. This did make getting around easier. For anyone interested in art history, the Uffizi in Florence is a must. It was interesting going there after our segment on museum security with Anthony Amore. I started to look around for cameras, light sensors, looking at how the pieces were secured to the wall, and observing the museum guards at work. I've been looking at museums in a different way ever since.
ARCA blog: What has led to your interest in art insurance and what kind of career do you want to pursue?
Ms. Edelman: Working on the Basquiat case lit my fire for provenance research. It is something that is essential and too often easily overlooked. Whatever I end up doing in the field, I know that provenance research is something that I will incorporate fully. I love the idea of research and hands on art crime solving. I seriously thought about joining the FBI, but the idea of wielding a gun just didn't feel like the right fit for me, liberal San Franciscan that I am. And I would never be successful undercover because I'm just about the worst liar there is. Art insurance is still a hands on way of getting involved with solving art crime but from a safer, more behind the scenes stand point.

April 4, 2011

Monday, April 04, 2011 - ,, No comments

Provenance & Art Collections: The Huntington's Scandalous Gainsborough Portrait

by Catherine Schofield Sezgin

Provenance research, establishing the history of an artwork, involves studying various art collections and how the art in each collection was funded and selected. Residents of Pasadena have walking access to two prominent art collections, The Norton Simon Museum and The Huntington Library, Art Collections, and Botanical Gardens. A recent item on The Huntington Library's blog provoked interest with the title, "A Lurid Lady and Two Petulant Painters," posted by Thea Page who provided provenance information on the painting by Thomas Gainsborough to the ARCA blog:
Penelope (Pitt), Viscountess Ligonier
1770
Canvas, 94 1/2 x 61 3/4 in. (238.76 x 156.85 cm)
11.29
Provenance:
Painted for the sitter's father, George Pitt, later 1st Baron Rivers, of Stratfield Saye, Hampshire, and Sudeley Castle, Gloucestershire; by descent to Horace, 6th and last Baron Rivers; General Pitt-Rivers of Rushmore, Salisbury, 1880; A.C. Rivers; W. Pitt Rivers; Charles John Wertheimer of Norfolk Street, Park Lane, c. 1908; sold by his trustees to Duveen, 1911; acquired by Henry E. Huntington, 1911
Henry Edwards Huntington inherited a fortune built on the one of the transcontinental American railways and married his uncle's widow, Arabella Huntington.  The Huntingtons provided an endowment and more than 500 acres for the premier collection guided by art dealer Joseph Duveen.

Monday, April 04, 2011 - ,, No comments

George Washington University Capitol Archaeological Institute’s Initiative To Protect Egyptian Antiquities Institute Called on Government and Law Enforcement to Act

Rahotepova tomb/Photo by Martin Frouz, FF UK (http://zpravy.idnes.cz/bohyne-poradku-opustila-egypt-pise-archeolog-barta-z-expedice-p65-/zahranicni.asp?c=A110314_084459_domaci_jw)
by Catherine Schofield Sezgin, ARCA Blog Editor-in-Chief

Two weeks ago, the George Washington University Capitol Archaeological Institute launched an initiative to protect Egyptian antiquities from illicit trade around the world, the institute announced in a press release. The institute identified specific actions that the U.S. government and international law enforcement authorities should take to help prevent the illegal trade of Egyptian antiquities. To view the call for action, and the initial signatories, please visit http://archaeology.columbian.gwu.edu/home/call-for-action-to-protect-egyptian-antiquities/.

“As an Institute located in the heart of our nation’s capital, we have a special responsibility to help ensure that issues and solutions are highlighted for policy and law makers,” said Eric Cline, director of GW’s Capitol Archaeological Institute and associate professor and chair of GW’s Department of Classical and Near Eastern Languages and Civilizations.

Dr. Cline cited international reports of more than 50 antiquities stolen from the Cairo Museum alone since the political uprisings have occurred, including artifacts originally from the tomb of the Egyptian pharaoh Tutankhamun.

The GW Capitol Archaeological Institute’s calls are consistent with U.S. obligations under the 1970 United Nations Educational, Scientific and Cultural Organization (UNESCO) convention on the means of prohibiting and preventing the illicit import, export and transfer of ownership of cultural property. On March 15, 2011, UNESCO called for international mobilization to block cultural artifacts stolen from Egypt. The institute has posted the call to action on its web page and encourages US readers to sign the online version of the petition, which can be found at http://www.gopetition.com/petition/44079.html. In brief, the GW Capitol Archaeological Institute urges the president and U.S. Congress to:
• Direct the Department of Homeland Security and other law enforcement agencies to use their authority to prevent illegal trade in Egyptian cultural objects;
• Direct the Department of State and the U.S. Customs and Border Protection Agency to implement import restrictions on undocumented artifacts from Egypt;
• Direct the FBI, Immigration and Customs Enforcement and Homeland Security Investigations to coordinate with foreign counterparts to initiate targeted law enforcement operations to seize stolen cultural property, arrest criminals and seize and confiscate proceeds; and
• Direct the U.S. Agency for International Development to grant additional funds for protection at archaeological sites. 
In addition, the Institute encourages the: 
• International Criminal Police Organization to use its telecommunications system with respect to possible crimes involving Egyptian cultural property and to identify suspicious financial transactions which can lead to the freezing and confiscation of proceeds; and
• U.S. Congress to designate funds for the protection of Egyptian antiquities as part of its economic aid package.
The mission of the GW Capitol Archaeological Institute includes advancing archaeological research initiatives and cultural heritage development both on land and underwater.
ARCA Blog: Via email, Dr. Cline answered a few questions for this blog. Do you believe today that archaeological sites across Egypt are still largely unprotected? We’ve all seen reports that some of the storerooms with artifacts from these sites have been broken into in the last month with priceless objects stolen.
Dr. Cline: There is no question that it has been a challenge guarding archaeological sites during the events of the last three months. We are hearted by the response of many of the Egyptian people who, on several occasions, have even risked their lives to protect these antiquities. That said, until the regular police returns in full force, combined with strong, armed tourist policy, we expect to see the looting continue.

We continue to receive information about break-ins and attacks. For example, there are reports that armed groups have been digging for ancient artifacts at the Garza archeological site in Fayoum and have broken into a storeroom at the site of Tell ed-Daba’a in the Delta as recently as this week. Here are some links, with pictures:

http://zpravy.idnes.cz/bohyne-poradku-opustila-egypt-pise-archeolog-barta-z-expedice-p65-/zahranicni.asp?c=A110314_084459_domaci_jw

http://www.artsjournal.com/culturegrrl/2011/02/news_flash_detailed_report_abo_1.html

http://www.almasryalyoum.com/en/node/379337

http://luxortimesmagazine.blogspot.com/2011/04/masked-men-attacked-storage-in-delta.html
ARCA Blog: Two weeks ago in Paris UNESCO met to commemorate the 40th anniversary of the 1970 Convention. How effective do you think UNESCO can be in a situation of civil unrest as in Egypt?
Dr. Cline: UNESCO has a very important role in bringing world attention to the looting not only in Egypt, but around the Middle East in this time of unrest. We look to them to play a leadership role in bringing to bear the various financial and law enforcement tools available worldwide to not only halt the looting, but strike at those willing to cooperate with the looters. 
The challenge is that we are facing an emergency situation in Egypt which requires swift and immediate action. We praise the UNESCO for sending out a delegation to examine the situation, but hope that it will bring about real results in the near term. The looting is detrimental to our common cultural heritage, but also harmful to Egypt’s largest source of revenue -- tourism.
ARCA Blog: What has been the response to your initiative from archaeologists and the government agencies named such as Homeland Security and the Department of State?
Dr. Cline: We launched our call to action to try to bring together the various parties who have an ability to halt the looting, and strike at those who might cooperate with the looters. The response from archaeologists, especially the Egyptologists to whom we have reached out, has been overwhelmingly positive. In addition, the US government has been supportive. While they are willing to work cooperatively with the Egyptian government and the archaeologists on this pressing issue, the State Department’s cultural heritage bureau can take official action only after a request from the Egyptian government. Once this occurs, which we hope will take place in the very near term, the State Department will be able to work with Homeland Security and other law enforcement agencies to introduce emergency import restrictions against undocumented artifacts from Egypt.
ARCA Blog: What would you like to see happen in the next few months to secure the archaeological sites in Egypt and to stop the looting of antiquities?
Dr. Cline: Steps need to be taken to secure the archaeological sites and storerooms, and to stop the looting of antiquities as well as to prevent their subsequent sale. We believe that the Egyptian government will make protection of these sites a top priority, even during this time of transition, as it is not only a question of protecting our common heritage, but protecting Egypt’s main source of revenue -- tourism. In addition, we hope that governments around the world will use the various law enforcement tools available -- including import restrictions -- to halt the transport and sale of undocumented antiquities. Given the economic nature of this problem, any economic aid packages to Egypt should include appropriations to help protect these priceless sites. Finally, our goal is to work with the Egyptian government to set up training programs to help Egyptian law enforcement officials and others establish “best practices” in cultural heritage enforcement around the world.
ARCA Blog: What can our readers do to help?
Dr. Cline: We appreciate the wonderful support to date for our call for action. We would like to ask your US readers to sign our petition, http://www.gopetition.com/petition/44079.html, and encourage their local congressional representatives to include antiquities protection in the economic aid package for Egypt. Archaeology students in Egypt could help in assessing damage to sites and storerooms. We also appreciate receiving any information about the looting and other ways to raise public awareness of this critical challenge.

April 1, 2011

Friday, April 01, 2011 - ,,, No comments

Upcoming Book: "Chasing Aphrodite" to be Published by Houghton Mifflin Harcourt on May 24

by Catherine Schofield Sezgin, ARCA Blog Editor

While covering the Getty's relationship with cultural property this week ("The Getty Bronze" and the Region of Marche"), I appreciated the excellent coverage on the same subject in the Los Angeles Times by Jason Felch who, with another journalist, Ralph Frammolino, is publishing a book next month, Chasing Aphrodite, subtitled "The Hunt for Looted Antiquities at the World's Richest Museum". Attitudes toward the collecting of antiquities have evolved in the past four decades since UNESCO's 1970 Convention which asked that museums and governments stop the purchasing of looted antiquities and ask more about the provenance and context of objects, but controversy has always reigned and The Getty, a resourceful and powerful entity, in addition to being a worldwide leader in conservation, has also a murky history in regards to part of its collection which changed its leadership in the past few years.

The book, the product of five years of investigative reporting, which can be pre-ordered now through Amazon.com here, comes out on May 24 from Houghton Mifflin Harcourt. Felch and Frammolino tells the story of how officials of the J. Paul Getty Museum grappled with the question of acquiring looted Greek and Roman antiquities over 30 years, and the eventual indictment of the Getty's antiquities curator in 2005,' according to the press release. [Marion True, the indicted Getty official, had the charges dropped against her last year in Italy as the court case had dragged on for too long.]

Advance praise of the book includes a comment from Ulrich Boser, author of The Gardner Heist: The True Story of the World's Largest Unsolved Art Theft, and Jonathan Harr, author of The Lost Painting: The Quest for a Caravaggio Masterpiece.
"A thrilling, well-researched book that offers readers a glimpse into the back-room dealings of a world-class museum--and the illegal trade of looted antiquities. Chasing Aphrodite should not be missed,” Boser wrote.
“An astonishing and penetrating look into a veiled world where beauty and art are in constant competition with greed and hypocrisy. This engaging book will cast a fresh light on many of those gleaming objects you see in art museums,” Harr wrote.
You may follow the book on Facebook or Twitter.

March 30, 2011

Wednesday, March 30, 2011 - ,,, No comments

A New Exhibition at Rome's Palazzo Farnese and the Pope Behind the Art Collection

Titian's Pope Paul III and his Grandsons (Museo di Capodimonte)
by Catherine Schofield Sezgin, Editor-in-Chief

Today ARTINFO.com published an article by Noah Charney, ARCA's founder, about a special exhibition at the French embassy in Rome, "Rome's Palazzo Farnese Opens Its Doors to Offer a Rare Glimpse of Renaissance Art Marvels"in the family's former Renaissance home.  The Farnese family piqued my interest in 2009 while visiting Napoli's Museo di Capodimonte where paintings by Titian and Raphael depict the life of Alessandro Farnese, cardinal, grandfather, and pope.

Alessandro Farnese, born in 1468, was elected as a cardinal at the age of 25 and fathered four illegitimate children before he was ordained a priest at the age of 51.  Reigning as Pope Paul III from 1534-1549, he opened the Council of Trent in 1545 to discuss church doctrine and correct abuses such as the selling of salvation to parishioners; urged a crusade against the Turks; befriended François I (Leonardo da Vinci's last patron); and was unable to resolve Henry VIII's break with Rome over his numerous divorces.

Napoli is a complex city where civilians honk at the carabinieri cars to drive faster, the trash piles up on the street, the archaeological museum displays erotic art from Pompeii, and art works by Caravaggio, on the run from a murder charge in Rome, decorate the chapel of one of the city's charitable institutions.  On the top of a hill overlooking the Bay of Naples, the Museo di Capodimonte, the former palazzo of Charles of Bourbon displays the Farnese art and antiquities collection inherited when his mother, Elizabeth Farnese, married King Philip II of Spain in 1715.  The second room of the Farnese Gallery has three paintings of Alessandro Farnese: Raphael's Portrait of Alessandro Farnese (1509-1511); Titian's Pope Paul III (1545-46); and Titian's Pope Paul II with his Grandsons (1545 circa).

Alessandro's sister, Giulia, was the mistress of Pope Alexander VI who made her brother cardinal of Santi Cosma e Damiano, an ancient church that included the Temple of Romulus, the best preserved pagan temple of Rome.  In 1513, after discontinuing his relationship with the mother of his children, Alessandro Farnese began the planning and construction of one of the grandest residences in Rome, Palazzo Farnese, built of huge blocks plundered from ancient monuments.  When he was elected pope, he appointed his teenage grandsons cardinals and employed Michelangelo to complete the third story of Palazzo Farnese.  As an art patron, Pope Paul III commissioned Michelangelo for the Last Judgement in the Sistine Chapel; the Conversion of St. Paul and The Crucifixion of St. Peter in his private chapel in the Vatican (the Cappella Paoline), and appointed him architect to the new Saint Peter's Basilica after the death of Antonio da Sangallo.  Titian visited Rome in 1545-6 and painted the family portraits.

Pope Paul III died after his son, the Duke of Parma, was murdered during a period of conflict regarding family control of the papal territories.  He was buried in St. Peter's Basilica in a tomb designed by Michelangelo.  His family continued to amass power and wealth, marrying into nobility and collecting art.  His grandson, Cardinal Alessandro Farnese, spent much of his wealth on artistic projects, including building up the largest collection of antiquities in Rome which today composes much of the archaeological museum in Napoli today.

March 29, 2011

Tuesday, March 29, 2011 - ,, No comments

Press Release Prepared by Lana Rushing on Behalf of the Governor of Marche Region, Italy: "Italy to Getty: We're Not Here to Declare War!"

Governor Spacca at the press conference in Century City
This is the press release prepared by Lana Rushing of Rushing PR on behalf of the Governor of Marche Region, Italy. You may find it as informative as I did.


Italy to Getty: We’re Not Here to Declare War!

Top Italian Official Offers Innovative Peace Treaty to Resolve Long-Raging Battle with World’s Richest Museum; Share Custody of Stolen “Victorious Youth” Bronze Statue - or Risk Losing it to Italy Forever

Governor of antiquities-rich Marche Region Implores Getty: “Act Like a World-Class Cultural Institution and Behave Ethically”

Los Angeles – A senior Italian government official today offered an innovative peace treaty in an historic antiquities battle with the J. Paul Getty Museum, imploring the world’s richest cultural institution to “behave ethically” by returning knowingly looted art to its homeland – or risk losing it forever.

“We have not come to declare war on the Getty,” said Gian Mario Spacca, the Governor of Italy’s Marche Region on the Adriatic Sea – one of the richest sources of archeological antiquities and Renaissance era works of art. “We are here to try to' resolve the dispute in a way that will benefit this great museum, the people of Italy – and, most important, art lovers around the world."

Speaking at a news conference in Los Angeles, the Governor unveiled a novel “cultural exchange” proposal to share custody of the 2,300-year-old bronze statue “Victorious Youth” (also known as the “Athlete of Fano”), a nearly five-foot antiquity sculpted by the Greek artist Lisippo. The antiquity mysteriously arrived at the Getty in 1974 and was displayed to great fanfare. It was showcased as “The Getty Bronze”.

The Bronze is one of several star attractions at the Getty, including the iconic seven-foot marble and limestone “Aphrodite” which Italian police escorted home last week following a long-raging legal fight with the museum. Italy says its rare antiquities had been buried for centuries and discovered by unsuspecting citizens who sold them at a fraction of their worth to art thieves - and then purchased by the prestigious Los Angeles-based museum without legitimate historical ownership credentials. The antiquities were showcased over the past several decades to build the Getty’s reputation as a global cultural force.

The Getty’s previous curator of antiquities, Marion True, was indicted in Italy in 2005 (along with famed art dealer Robert Hecht Jr.) on criminal charges of trafficking in stolen antiquities.

“The Italian people expect a museum as prestigious as the Getty should not be trafficking in illegal art. Further, the Getty should show the world it can act like a world-class cultural institution and behave ethically,” Governor Spacca told reporters today in unveiling his proposal.

Governor Spacca characterized his proposal as a significant proactive effort to break the deadlock in the Getty stolen-art conflict and speed a resolution after decades of failed negotiations and legal wrangling.

In a separate action, the legal dispute is expected to be decided by an Italian high court later this week following multiple failed appeals by the museum, which continues to assert its legal ownership of the “Victorious Youth”. A final ownership ruling favoring Italy, could subject the priceless Bronze to the same fate as “Aphrodite,” which was one of the leading attractions at the Getty until its confiscation by Italy earlier this month.

“The Victorious Youth” by Lisippo is a very important testimonial for the Italian culture. It is of great interest for Marche to have the statue returned to Fano, from where it disappeared years ago,” said Governor Spacca.

The “Victorious Youth” was discovered by fishermen in 1964 and sold for $1600 to an art dealer. The whereabouts of the statue were shrouded in mystery until the Getty purchased it for about $3.9 million and put it on display 37 years ago.

March 28, 2011

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"The Getty Bronze" and the Region of Marche: In the shadow of a pending court case in Italy, officials from Marche visit Los Angeles, meet with the Getty, and hold a press conference to underscore their desire for a 'cultural relationship' between Los Angeles and Marche

by Catherine Schofield Sezgin, Editor

CENTURY CITY - 'Governor' Gian Mario Spacca, president of the Marche region of Italy, held a press conference this morning to discuss his proposal to the Getty Museum for a cultural relationship between the institution which owns the "Getty Bronze" and the region from which it was fished out of the ocean almost six decades ago, weeks before an Italian judge reaches a decision about the status of the 'Victorious Youth', known in the Adriatic region as 'Atleta di Fano.'

Governor Spaaca & "The Athlete of Fano"
Spacca said that the purpose of his trip was not to fight with the Getty Museum, but to establish cooperation 'on universal values such as culture', he said through an interpreter at a conference room in the Intercontinental Hotel in Century City on the westside of Los Angeles, just 12 miles from where the Greek statue resides today in Malibu as it has since 1977 after being purchased for nearly $4 million.

The ancient Greek bronze, the subject of a book by Carol C. Mattush published by the J. Paul Getty Museum, "is one of a very few life-size bronzes from ancient Greece known to exist in the world today," according to The Getty website. "It was found in the sea in international waters," The Getty explains here.

The 'Victorious Youth', which even has its own Facebook page, known as the 'Atleta di Fano', has been a subject of controversy for years. Governor Spacca, as he's identified by his press release, said that he hopes to avoid another ugly 'Morgantina experience" referring to last week's return of the Getty's $18 million Aphrodite to Sicily after years of dispute and revelations of illegal excavation and smuggling, as reported by Jason Felch in The Los Angeles Times ("Getty Ships Aphrodite Statue to Sicily"). You may read further about the Fano Athlete here, here, here, and here.

At the press conference today, Governor Spacca said that 'our goal' is to place it in one of the many museums in either Ancona or Fano in the region of Marche on the Adriatic, a place that was once the "Iron Curtain" between the ancient Roman and Greek cultures. 'Our goal is to give the people the possibility of admiring the statue and of knowing their great cultural heritage,' Governor Spacca said through an interpreter. "Having the statue back would be an extraordinary feeling and going back to ancient identity of the Adriatic culture."

Governor Spacca had met with the Getty Museum who had said that the institute would be waiting for the end of the legal proceedings in Italy before starting to deal with the Italian government. Jason Felch continued his in-depth coverage yesterday here.

"Our proposal is regardless of the judge's ruling," Governor Spacca told the media Monday. "We offer a region rich in cultural and Renaissance heritage."

You may see more about the Region of Marche through the website here.

March 23, 2011

Wednesday, March 23, 2011 - ,,, No comments

UNESCO 1970 Convention Today: Last week's conference

Dr. Jorge Sánchez-Cordero speaking at the public debate.
by Catherine Schofield, Editor

Home from Paris, I will continue coverage of the UNESCO meeting on the commemoration of the 40th anniversary of the 1970 Convention, the still to be ratified by one-third of the signatories of an international effort to stop the illicit trafficking of cultural property, as does the looting of archaeological sites all over the world.

The 1970 Convention, formerly known as the Convention on the Means of Prohibiting and Preventing the Illicit Import, Export and Transfer of Ownership of Cultural Property 1970, can be read here on UNESCO's website.

On March 15, in one of the auditoriums at the UNESCO building in the 7th arrondissement of Paris just a few minutes walk from Napoleon's Tomb, the meeting, "The 1970 Convention: Past and Future", began with a public debate moderated by journalist Louis Laforge. The speakers included Irina Bokova, Director-General, UNESCO; Bernd Rossbach, Director, Specialized Crimes and Analysis, INTERPOL; Dr. Jorge A. Sánchez Cordero, Director of the Mexican Center of Uniform Law; Stéphane Martin, President, Musée du Quai Branly; and Jane Levine, Worldwide Compliance Director and Senior Vice President, Sotheby's Auction House.

One of the scheduled speakers, Dr. Zahi Hawass, Egyptian's brief former Minister of Culture, was 'unable to leave Cairo' to attend the meeting. Instead, he sent a message that said he supported the fight against the illicit theft of cultural property and asked that people help Egypt find the items recently stolen from the Cairo museum.

"The art market is sometimes painted as the enemy," Jane Levine, a former American prosecutor said, after UNESCO's introductor remarks. Her job at Sotheby's, she said, is to train staff on how to ask questions about the provenance of objects. She works with a full-time department of lawyers and admits that her appointment is a change in the market's "new attitude" of focusing on the due diligence aspect of archaeological objects.

Mr. Rossbach told the audience that INTERPOL is a "crucial partner with UNESCO" in fighting the illicit trafficking in art and cultural objects. INTERPOL seeks the cooperation of specialized organizations like UNESCO and stressed the importance of training. INTERPOL released a summary of his statements on the group's website here.

Mr. Sanchez-Cordero said in Spanish, according to UNESCO's English translator, that the 1970 Convention 'has to play a prominent role in the new cultural order'. He said that the convention 'only protects objects placed on an inventory list, a problem in implementing the 'effectiveness' of tackling this problem and one that 'runs counter to archaeological sites and is a problem for countries of origin.' Another shortfall, he said, was that it was just not enough to adopt the international convention. "We shouldn't stop at that but follow-up and give countries of origin (of cultural objects) a system to follow up the convention and to take remedial action.'

Mr. Martin said in French, and I also paraphrase him through UNESCO's English translator, that French museums will not complete collections with objects that unlawfully entered the market. 'Most objects in museums haven't been created to be in a museum,' he said, 'so the wish to place them there doesn't fit in with all cultures, such as placing a religious object outside of a church. What is La Jaconde? Is it an Italian object because Leonardo da Vinci painted it? Or French because François I purchased it? Or is it Japanese because it's viewed by the Japanese?' It's a fascinating and complex issue. Everyone rejects a nationalistic view of the world. It's a cultural issue for everyone and counter to trade.'

UNESCO's Director-General, Madame Irina Bokova, said that she wanted to "ring the bell of the alarm" and find out how to "strengthen and implement" the 1970 Convention, mentioning that there was a "new conscience" in the past 40 years that supports cultural exchange, diversity, knowledge and art, but is against the "pillaging" of archaeological sites, the trafficking of illicit cultural objects which is "robbing" people of their identity, rights, and destroying archaeological sites and excavations. She commended the countries of Belgium, The Netherlands, and Switzerland who recently signed the convention. "Without international cooperation, it would be difficult to curb this trade."

Mr. Laforge asked INTERPOL's Rossbach if there are any major routes for illegal trafficking of cultural objects. "There is always a reaction and an action," Rossback said. "We cannot be fixed on one route. We are working with partners to identify those gaps."

Interpol has opened a new office in Singapore, Laforge asked as translated from French to English, is this indicative of a new market? "Yes," Rossbach answered. "Singapore is a sign."

According to UNESCO:
"The illicit trafficking of antiquities is estimated to be superior to US $6 billion per year, according to research conducted by the United Kingdom's House of Commons on July 2002.  Ten years later, the UN report on transnational crimes calculated that the world traffic in cocaine reached US $72 billion; arms, $52b; heroine, $33b; counterfeiting, $9.8B; and cybercrime, $1,253B.  Together with the trafficking in drugs and arms, the black market of antiquities and culture constitutes one of the most persistent illegal trades in the world."
We'll continue coverage of this UNESCO 1970 Convention meeting tomorrow.

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