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August 2, 2011

Tuesday, August 02, 2011 - ,, 2 comments

Michelle D’Ippolito on “Discrepancies in Data: The Role of Museums in Recovering Stolen Works of Art”

By Mark Durney, Founder of Art Theft Central

Aspiring art crime researcher, Michelle D’Ippolito, who currently is completing her undergraduate degree at the University of Maryland at College Park, discussed the role museums play in reporting and recovering stolen art. Many museums are reluctant to report art thefts due to their “concern for their public image and a persistent lack of funding.” According to D’Ippolito, the public’s opinion of a museum greatly affects its ability to attract visitors and donations, which in turn impacts its likelihood of receiving government grants. Unfortunately, in the event of a theft, the media frequently focuses its headlines on museums’ security shortcomings rather than on the possible factors that may have contributed to its loss. For example, after it was reported that 1,800 historic artifacts were missing from Pennsylvania’s state collections, the media published headlines, such as “PA. Auditor Says State Has Lost Treasure Trove of Artifacts” and “Audit: Pennsylvania museums’ artifacts ‘likely lost forever.’”

Alternatively, the media could have examined how the Pennsylvania State Historical and Museum Commission’s recent budget cuts and staff reductions may have contributed to its ability to accurately account for its collections. Funding is critical to a museum’s basic operations and its effort to preserve and protect cultural heritage. For example, it enables a museum to purchase current collections management software, which streamlines the inventory process, and it provides financing for the specialized training of museum personnel.

D’Ippolito continued her panel lecture with a discussion of the variety of national, international, and private stolen art databases available to art theft victims. While such databases are helpful to ensuring a quicker recovery of stolen art, their true potential has not yet been realized. Many countries do not consistently report museum theft due to their inability to register accurate statistics. According to D’Ippolito, this element coupled with the fact that many museums are reluctant to report theft has given rise to a situation that has little effect on deterrence.

In conclusion, D’Ippolito offered a few tactics in order to increase the reporting and recovery of stolen art. She identified eliminating discrepancies in the information required to report a theft; interfacing the current databases; creating a database related to the objects recovered with details of the investigation; and increasing museums’ participation in reporting theft.

August 1, 2011

Monday, August 01, 2011 - ,, No comments

Sarah Zimmer on “The Investigation of Object TH 1988.18: Rembrandt’s 100 Guilder Print”

By Kirsten Hower, ARCA Intern

Sarah Zimmer is a part-time faculty member at the Art Institute of Michigan’s Photography department and teaches both art history and studio art. Her experience ranges from fine art exhibitions to art history to museum work, on which her presentation, “The Investigation of Object TH 1988.18: Rembrandt’s 100 Guilder Print,” is based. While working in the archive of a museum, Zimmer discovered that an etching by Rembrandt was missing and then proceeded to investigate its disappearance. Her investigation, which included emailing former directors of the museum and anyone that may have an idea of where the print disappeared to, led to an interesting turn when she was asked to halt all investigation into this mystery.

Rather than completely forgetting the project, Zimmer was driven to investigate the value of this particular print and the value of works to museums. A contemporary artist with no prior knowledge of Rembrandt’s “worth,” she was intrigued by the question of: “What is the value of this museum protecting this secret when the value of the work may be minimal?” Using her artistic training, Zimmer delved into the realms of forgery to recreate the Rembrandt print along with provenance documents for an exhibition examining the value of a work and where the value lies. “I’m attempting to understand the value of the work, whether it’s monetary value or assigned value. Whether it’s the name that counts or the functional value of depicting a story.” Zimmer’s exhibition was shown at the Museum of Contemporary Art in Detroit in 2010 and also in Chicago.

Not inclined to completely let go of the project, Zimmer is still interested in examining the value that museums place on works and what value society places on works of art, such as “How we’ve made Rembrandt, the name, a commodity.” Though she no longer works for the museum, from which this print went missing, Sarah stated that, “the true crime was the institution depriving us of information and not allowing us to continue our investigation.” Of the multiple missing works that Zimmer investigated while working at this museum, the Rembrandt is the only one that raised the attention of the institution to cease research into its whereabouts. Zimmer is still pursuing research into the value that is placed on works by museums and the art community.

July 31, 2011

Sunday, July 31, 2011 - ,,, No comments

Leila Amineddoleh on “The Pillaging of the Abandoned Spanish Countryside”

Leila Amineddoleh
By Molly Cotter, ARCA Intern

Leila Amineddoleh, a 2010 alumnus of ARCA’s postgraduate program and Boston College Law School, presented her latest research titled “The Pillaging of the Abandoned Spanish Countryside” on the panel “Fresh Perspectives on Art and Heritage Crime”.

Many towns in the Spanish countryside have been abandoned. Since the towns operate on tax dollars and people have fled to bigger, more industrial cities, rural houses and churches become vulnerable to pillaging. Leila’s presentation even included an astonishing ad in a Spanish newspaper that advertised for an entire “Town for Sale” for 189,000 Euro.

One very unfortunate issue with these depopulated cities is the fate of the art and cultural objects left behind. Though some construction companies have permission to remove Roman ruins and Visigoth remnants from the abandoned homes and churches, much of the forgotten art is eventually ripped from its context and sold.

Unbeknownst to many Spanish citizens, the hidden works have incredible cultural and historical value for the nation’s identity. Municipalities receive 1% of tax revenue for art restoration but in many cases without a sufficient number of people in the town paying taxes, there is little money for protection.

Leila strongly believes that for Spain to protect its patrimony it must create an extensive catalogue that encompasses both State and Church property. She believes working with a database modeled after the Italian ICCD catalogue, which receives donations and revenue, would be ideal for keeping track of and protecting Spain’s cultural treasures.

July 30, 2011

Saturday, July 30, 2011 - ,,,, No comments

Author and Historian Peter Watson Discussed What He Called “Some Unpublished and Un-pulishable Details about Recent Art Crimes”

Peter Watson (Photo by Urska Charney)
by Catherine Schofield Sezgin

Peter Watson, author of numerous books including “The Medici Conspiracy” and “Sotheby’s the Inside Story”, leaned back in his chair in front of the audience and like an practiced storyteller, said that he would talk about “some unpublished and unpublishable” details about recent art crimes.

He asked the audience to question about how much they knew about the truth of art theft. “Museums lie about provenance and experts are not experts,” he said.

Watson spoke about the stories in his books, of how the priest with the Vatican’s mission trafficked in stolen paintings, pleaded for mercy on the court, and after the judge suspended his sentence, went on to trafficking in drugs.

John Drew, the forger, was once suspected of burning down a house that killed a Hungarian lodger and two months ago was sentenced for defrauding a widow.

When Robin Symes partner Kristos died, Symes went to jail. The judge changed the case from a civil to a criminal case. Symes was sentenced to two years in jail and only served 10 months. He made enemies with Kristo’s family. A month after Robin came out of jail, a BMW was deliberately set on fire and a yacht went up in flames. “Nothing was ever proved, but this is underlining the idea that we are not dealing with nice people,” Watson said.

In regards to the Sevso silver, a strange murder in the late 1970s in a wine cellar showed three sets of footprints going into the wine cellar, and two going away. People accused of these crimes are “too dangerous”, Watson said. His friend Charley Hill, who recovered one of the Munch paintings while working for Scotland Yard, said that his children were threatened in a case.

“This is a very unpleasant world so watch where you’re going,” Watson told the audience.

July 28, 2011

Thursday, July 28, 2011 - ,,,, No comments

Art Crime Writer Fabio Isman on "The Biggest Looting: an awful story that will never end" and his latest book "Il predatori dell’arte perduta: il saccheggio dell'archeologia in Italia"

Fabio Isman (Photo by Urska Charney)
by Jessica Graham Nielsen, ARCA Intern

Fabio Isman, a celebrated investigative journalist in Rome, who contributes to The Art Newspaper and writes regular columns for Il Messaggero and Arte e Dossier, took part in ARCA’s International Conference in the Study of Art Crime, in Amelia, Italy, July 9. Through an English-speaking interpreter, Mr. Isman talked passionately about the immense scope of illegal excavations, the illicit trade in Italian antiquities, and the yet unpunished main characters in a drama of tomb robbers, dealers, antiquities collectors, auction houses and the world’s major museums.

In his presentation, which he called: “The Biggest Looting: an awful story that will never end,” he shared pictures and information he found while researching his book, Il predatori dell’arte perduta: il saccheggio dell'archeologia in Italia (Raiders of the Lost Art: the Looting of Archaeology in Italy), which is the first written on the subject in Italian. He described his book as following Peter Watson’s fundamental work in The Medici Conspiracy, thanked him, and added that the depth of the issue has not been discovered until recently.
I will talk of a phenomenon: one million antiquities shipped from Italian soil from 1970 on, the most important [of which] was sold to the world’s greatest museums and big collectors…I wrote it because Italy is a great source of antiquities and I realized that few [here] are aware…
He went on to describe a story of 10,000 people, involved in the systematic looting and sale of one million illicit objects sold to 36 museums and 12 private collectors through specialist dealers from 1970 to 2004 in a business that is still ongoing – items having just come up at auction a few months ago.

Isman traced the beginning of the Grande Razzia to the Metropolitan Museum’s purchase of the illegally excavated Euphronius Krater for $1,000,000 in 1972, which made the market and established a record for an ancient object. As the market hungered for more objects, it was fed by looter/dealers Giacomo Medici and his secret depositories discovered in Geneva in 1995; four rooms filled with vases and recently excavated objects and 4,000 polaroid pictures of artifacts, some of which were already in major museum’s collections, and Gianfranco Becchina’s four warehouses discovered in Basel in 2001 containing more than $6 billion worth of antiquities. He referred to these men and other nefarious characters as “murderers of antiquities” who had scattered important objects around the world, leaving them out of context and thus “destroyed.” He underscored his words with images of a villa excavated in an unknown location at Pompei, its frescoes buried yet still intact, and those same frescoes cut into pieces so that they could be taken to Medici’s storehouses.

Isman thanked the State, and particularly Prosecutor Ferri and the Carabinieri (which increased from 16 personnel to 300 during that period) for helping to curb the flood of antiquities leaving Italy and helping many find their way back home. But he lamented that “no police dog is at the airport sniffing for ancient vases and [that] one-third of the people in prison have something to do with drugs and not one [of them is there] for illegal art.”

Mr. Isman has published 24 books, 18 of which are dedicated to art and culture in Italy.

July 27, 2011

Wednesday, July 27, 2011 - ,,, No comments

Neil Brodie Awarded the Eleanor and Anthony Vallombroso Award for Art Crime Scholarship

Neil Brodie receiving his award
by Mark Durney, Founder of Art Theft Central

At ARCA’s third annual international art crime conference, Neil Brodie was awarded the Eleanor and Anthony Vallombroso Award for Art Crime Scholarship. Brodie is an archaeologist and former director of the Illicit Antiquities Research Centre at the University of Cambridge. Brodie has studied and written extensively on the illicit antiquities trade. His publications include Stealing History: the Illicit Trade in Cultural Material (Cambridge: McDonald Institute, 2000), Trade in Illicit Antiquities: the Destruction of the World's Archaeological Heritage (Cambridge: McDonald Institute, 2001), Illicit Antiquities: the Theft of Culture and the Extinction of Archaeology (London: Routledge, 2002), and Archaeology, Cultural Heritage, and the Antiquities Trade (Gainesville: University Press of Florida, 2006) among over thirty other academic papers. In January 2008, Brodie received a Saving Antiquities For Everyone (SAFE) Beacon Award for his significant role in raising awareness of illicit antiquities.

During his acceptance speech, Brodie offered his thanks to Noah Charney for developing an organization that educates students in the many issues related to art crime. Through its conference, academic program, and various publications, ARCA continues to inspire new research and projects aimed at combatting the growing problem. Brodie served as a writer-in-residence during the first six weeks of ARCA’s international art crime and heritage protection studies program.

July 26, 2011

Tuesday, July 26, 2011 - ,,, No comments

South African Lawyer Specializing in art law, shares his experiences with conferences in Milan and Amelia

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

The ARCA blog has been running a series of posts about the speakers who presented at ARCA's third annual Art Crime Conference on July 9th and 10th. Toby Orford, a lawyer specializing in art law in South Africa, attended ARCA's conference in Amelia this year. He also attended a conference in Milan. We decided to share his experiences with readers of our blog. During the conference, Mr. Orford stayed at Palazzo Farrattini, a Renaissance building within the walls of this medieval town.

ARCA Blog: Toby, what conference did you attend in Milan and what was your perception?
Toby: Speakers at Christie's Holocaust Art Looting and Restitution Symposium included eminent international lawyers, academics and activists. The choice of Milan was deliberate. Italy's inconsistent track record of restitution "requires a more extensive explanation" and some of the speakers - notably Charles Goldstein from the Commission for Art Recovery - pointed out inter alia that missing art works taken from Italian Jews is probably still in Italian museums, institutions and private collections. The lack of serious research or restitution in Italy (and indeed instances where restitution has been revoked and export licenses blocked) is in contrast to Italy's recent campaigns for the recovery of its own cultural property. Other countries have made greater efforts. Norman Palmer spoke about the work of the UK's restitution commission - the Spoliation Advisory Panel. He and the other experts highlighted the on-going and unresolved moral and legal aspects of restitution - as well as changes in government policy and (post the Washington Conference) the development of changing legal principles and claims procedures. All in all the Milan conference was a thought-provoking precursor to ARCA's Amelia conference.
ARCA Blog: This is the first time you attended the ARCA art crime conference. What had you expected and did the conference meet your expectations?
Toby: The focus of ARCA goes beyond World War II restitution. The conference dealt with all kinds of present-day threats to cultural property, including looting, theft, fraud and destruction. Not surprisingly, as a lawyer I appreciated the legal discussions. I think that there is scope for some more "law" next time - with reference to the achievements noted during the Milan conference. But the other disciplines created new insights into the practical and theoretical aspects of heritage protection. The more academic topics were usefully balanced at the end of the proceedings by Chris Maranello's matter-of-fact talk on the day to day work of the Art Loss Register. He reminded us that it is vital to translate words into action. So, yes, the conference met all of my expectations and expanded my understanding considerably. I am also finding the ARCA blog's talk summaries very useful.
ARCA Blog: What do you think will most be carried back with you to South Africa as far as knowledge and experience?
Toby: Restitution is much talked about in Africa but in a confused and undisciplined way. This is mostly due to misunderstanding and misinformation. And, thanks to colonial complications, frustration. The hard won and piecemeal progress, and the on-going challenges in other parts of the world, explain the nature and scope of the problem - and identify some of the solutions. And so both of these disciplined and focused conferences - in their different ways - helped me to understand what has happened, and what still must happen. Others should benefit too and, for example, I am recommending the work of ARCA to the South African Heritage Resources Agency (SAHRA). Perhaps ARCA will benefit from closer ties with similar agencies in other countries?

July 25, 2011

Monday, July 25, 2011 - ,, No comments

ARCA Award for Art Policing & Recovery Given to Paolo Ferri at International Art Crime Conference

Paolo Ferri and Noah Charney (Photo by Urska Charney)
By Catherine Schofield Sezgin

Paolo Giorgio Ferri received ARCA’s Award for Art Policing and Recovery for his work as a former Italian State Prosecutor and his role in the return of many looted antiquities from North American public and private collections. He was the lead attorney in Italy’s cases against The Getty Museum, Marion True, and other American museums for the return of looted antiquities. He now serves as an expert in international relations and recovery of works of art for the Italian Culture Ministry.

Dr. Ferri told the audience, in Italian and through the use of an English translator, that he was delighted to receive the ARCA award, his first major award recognizing his professional accomplishments.

Years ago, Ferri said, exporting of looted antiquities was a fiscal misdemeanor and assisted by the ease with which the items could be cleared through Switzerland. He credited the work of Peter Watson, the author of The Medici Conspiracy, for his investigation into Giacomo Medici that enabled the return of many objects. In addition, the subsequent media coverage increased awareness of the problem of selling cultural heritage.

Regarding resolution of these matters of allegations of stolen antiquities, Dr. Ferri would prefer an international court that would provide more uniform judgments. “This court could possibly be under the offices of UNESCO which recently started offices for mediation and restitution,” Dr. Ferri told the audience.

He proposes that arbitration would expedite these matters and that inexpensive working groups in each state could provide spontaneous information that could ease the return of cultural objects. “The Washington Agreement should help people who hold title in ‘good faith’ and return objects to the original state,” Dr. Ferri said. “The necessity of proof should come from the buyer of good faith.”

The object should be returned to the country of origin who claims it if there is any doubt, Dr. Ferri said. “Cooperation in marco-regions is of extreme importance,” he said.

July 24, 2011

Sunday, July 24, 2011 - ,,, No comments

Elena Franchi on “Under the Protection of the Holy See: The Florentine Works of Art and Their Moving to Alto Adige in 1944”

Elena Franchi
Update: This is post has been republished with corrections.

On July 9, at ARCA's International Art Crime Conference, Elena Franchi presented her latest research on the protection of art in Florence during the Second World War, "Under the protection of the Holy See": the Florentine works of art and their moving to Alto Adige in 1944."

Ms. Franchi is the author of two books on the protection Italian cultural heritage during the Second World War: I viaggi dell’Assunta: La protezione del patrimonio artistico veneziano durante i conflitti mondiali, and Arte in assetto di guerra: Protezione e distruzione del patrimonio artistico a Pisa durante la seconda guerra mondiale. She has also been involved in a project on the study of the “Kunstschutz” unit. In 2009 she was nominated for an Emmy Award – “Research” for the American documentary The Rape of Europa, 2006, on the spoils of works of art in Europe during the Second World War.

"In Italy, at the beginning of the war in 1940, the movable works of art were subdivided into three classes of importance and sent to castles and villas in the countryside to protect them from the only danger to be expected: the air raids," Ms. Franchi told the audience. "The most important Florentine works of art were gathered in three deposits: Villa reale in Poggio a Caiano sheltered masterpieces from the Uffizi Gallery and Palazzo Pitti; Villa reale della Petraia housed precious sculptures; and Palazzo Pretorio in Scarperia protected the main works of art coming from churches and private collections."

At the end of the first year of the war, Ms. Franchi said, Poggio a Caiano was filled up and other deposit sites needed to be set up to shelter the important works. By 1943, Florence's mobile patrimony resided protectively in more than 20 storage sites.

On July 10, 1943, the Allied Forces landed in Sicily in "Operation Husky", and launched the Italian Campaign. "A frenetic moving of works of art from one deposit to another suddenly started, under heavy bombardment, even though fuel and means of transportation were hard to find," Ms. Franchi said.

Fifteen days later, Benito Mussolini was dismissed and Marshal Pietro Badoglio was appointed to head the government in his place. After the Armistice declared on September 8th between Italy and the Allied armed forces, the situation of the deposits became increasingly risky, Ms. Franchi said. In those days two military units began to operate in Italy for the protection of cultural property: the Monuments, Fine Arts and Archives Sub-Commission (MFAA) by the Allied Commission for Italy and the German Kunstschutz. Frederick Hartt, responsible for the MFAA in Tuscany, declared at the end of the war: "Italian authorities had done almost everything possible to protect their country's treasure against bombardment."

According to Franchi, and contrary to what many believe, the Nazis did not always steal the art work around them. Franchi argued that in the case of Florence, the Kunstschutz unit, the German military unit created to protect cultural property, worked with Italians Carlo Anti, the General Arts Director in the Ministry of Education, and Carlo Alberti Biggini, the Minister of Education, to move as much as possible to the north of Italy (controlled by the Italian Social Republic with Mussolini and the German occupation).

In June 1944, Biggini ordered to move the main works of art of Florence and Siena to the north of Italy, far from the battle line. But the difficulties of his journey made it clear that it was impossible to carry such precious shipment to the north.

Despite this order, at the beginning of July, the German Army evacuated the precious works of art belonging to Florentine Galleries from the deposit of Montagnana, since the battle line was approaching. The German Army also evacuated the deposit of Oliveto, unbeknownst to the Kunstschutz, the Italian Ministry and the Superintendency.

Kunstschutz got on the trail of the missing works of art and removed the works of art from the deposit of Poggio a Caiano, that was under the protection of the Holy See.

At the end, the Florentine works of art removed by German Army and Kunstschutz were all moved to two deposits to Alto Adige, that were entrusted to the local Superintendent and to German Kunstschutz until the arrival of the Allies in 1945.

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