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August 6, 2011

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Mark Durney, Founder of the website “Art Theft Central” and moderator of Museum Security Network, on “Collection Inventories”

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

Collection Inventories account for works in the event of disaster, transition or conservation treatment and are a proactive effort to protect and secure art collections, Mark Durney, ARCA’s Business and Admissions Director, told the audience at ARCA’s third annual International Art Crime Conference on July 10.

Accurate and well-audited inventories may increase the likelihood of recovering missing items. In 2008, an inventory of Russian museums discovered 242,000 pieces missing of which only 24,500 were officially registered as stolen.

In 1980, the Dutch Institute for Social Policy Research’s Condition Survey reported a backlog of 70,000 “men years” to inventory 16 national museums.

Many collections in Egypt don’t have inventories, Durney told the audience. And when 56 objects were reported missing from Egypt as published by the Supreme Council, the description of such items as a ‘wooden model vase’ were incomplete as to claim or recognize the object.

In France, 2002 legislation required all museums to create inventories of their collections and calls for them to be reviewed every ten years. The Joconde: catalogue des Collections des Musees de France” is an online inventory from 328 museums.

“More information, better results,” Mark Durney said. “Collection inventories hold institutions accountable for objects in the public trust; motivates more accurate theft reporting; and increases likelihood of recovery.”

“Law enforcement claims a recovery rate of 5-10 percent,” Mark Durney said. “But looking at the numbers over a ten year period, only 1.9% of objects registered stolen were recovered. The confidence interval is 95% and you can quote me on that.”

August 5, 2011

Friday, August 05, 2011 - ,,, No comments

Katharyn Hanson on “Looting at Archaeological Sites During Conflict: Iraq’s Cultural Heritage as a Case Study”

by Kirsten Hower, ARCA Intern

Katharyn Hanson is a Ph.D. candidate at the University of Chicago, concentrating her studies in Mesopotamian Archaeology. Her archaeological experience has helped her to examine the dangers that archaeological sites face and what can be done to prevent the looting and destruction of these sites. In her presentation, “Looting at Archaeological Sites During Conflict: Iraq’s Cultural Heritage as a Case Study,” Hanson examined the looting of archaeological sites in Iraq and stressed the tools with which these sites can be protected in the future.

Opening her talk with the devastation of the Iraqi National Museum, Hanson highlighted the difficulties entailed in even knowing how much has been stolen from a museum—let alone from an archaeological site. In addition, the lack of recoveries made is even more depressing than not knowing how much was lost in the first place. After opening with this sad tale, Hanson used the same basis to talk about two archaeological sites in Iraq that have been devastated by looters: Umma and Umm al Aqarib. As she stated in her presentation, “By far, the majority of artifacts stolen from Iraq come from archaeological sites.” Using aerial and satellite photos, she was able to show the extreme addition of looter’s holes to archaeological sites from 2003 to 2008. The result was depressing and mind-numbing, with an increase of nearly 5,000 or more looter’s holes at each site over the course of five years.

Hanson also stressed that certain artifacts had been recovered after being found in the presence of weapons, such as AK-47s—marking a tie between the arms market and the black antiquities market. In a really somber moment, she stated that we do not really know where these works go after they have been dug up: “We don’t have a great answer. I don’t know.” Hanson then stated what measures are out there, legally, for protecting sites, such as CIPA, Customs Enforcement, and the Hague Convention which calls for sites to be protected during wartime. However, it was pointed out that sadly, these are more measures for protecting what is looted from sites in the hopes of recovering them. Hanson brought a very somber topic to the conference, but it was certainly one worth hearing and will, hopefully, advocate more work towards protecting archaeological sites in Iraq and around the world.

August 4, 2011

Thursday, August 04, 2011 - No comments

Art Crime Roundup: Riopelle Statues Recovered

Damaged Riopelle sculptures recovered (Photo by The Canadian Press)
by Catherine Schofield Sezgin, ARCA Editor-in-Chief

VANCOUVER, CANADA - The August 3 edition of Canada's national newspaper, The Globe and Mail, delivered to most hotels, homes and newsstands in "The World's Most Livable City", lead off its Globe Index on the front page highlighting an article on Page 3:
'Those guys were imbeciles' Art gallery owner Simon Blais on the metal thieves who tried to make off with a 1,000-pound bronze sculpture by Canadian artist Jean-Paul Riopelle in Montreal. The artwork was recovered hours later, broken but salvageable.
On Page 3, under the headline "'Dumb thieves' botch Riopelle heist", journalist Ingrid Peritz reported from Montreal:
A trio of hapless thieves who tried to abscond with a $1-million sculpture by famed Canadian artist Jean-Paul Riopelle ended up ditching their treasure instead in the Quebec woods. It was retrieved - broken but salvageable.
You can also read more on art theft in Canada in Jon Hembrey's article, "Global art theft: From Rembrandt to Riopelle", on CBC News online.

Today I will be visiting The Museum of Anthropology, the site of a May 2008 theft where 12 pieces of gold artworks by Bill Reid were stolen and later recovered. You can see Noah Charney's piece on the theft published in 2008 in The National Post here. Since the robbery, the museum has undergone a renovation and expansion.

Thursday, August 04, 2011 - ,,, No comments

Larry Rothfield on What Museums and Archaeological Sites can to do protect themselves during times of upheaval and lessons learned from Cairo

by Jessica Graham Nielsen, ARCA Intern

Larry Rothfield, a writer-in-residence during the ARCA postgraduate program in Art and Crime Studies this year, presented his thoughts on the recent looting during the revolution in Cairo at ARCA’s International Conference in the Study of Art Crime, in Amelia, Italy, on July 10.

"The recent revolution in Egypt provided a natural experiment or stress test of the security system that normally protects antiquities, whether in museums, or on sites or remote storerooms. What can we learn from the looting of the Cairo Museum (and from storerooms and archaeological sites around the country) about how other heritage professionals could and should be planning ahead to cope with similar situations of political instability that might strike their country?"

Rothfield described the failings of security during the recent revolution in Cairo that “allow us to see important things about the structure of heritage protection.” The lack of foresight to establish a contingency plan in the wake of the Tunisian revolution essentially left the Cairo museum unguarded and allowed a mob of one thousand people to break in to the gift shop of the museum, a very few of whom were able to then penetrate the galleries and steal a small number of artifacts. Some of these looters were apprehended by citizens who formed a human chain around the museum to protect it from further thefts.

Rothfield questioned why the “Pharoah of Antiquities,” Zahi Hawass, was not better prepared for the eventuality of the looting, the timeline involving his resignation and subsequent re-instatement after Mubarak’s toppling, the inaccurate reporting on the series of events surrounding the looting, and due to some strange coincidences, whether the thefts could have possibly been an inside job. He went on to list six lessons learned:
1. Contingency plans are needed to assure the safety of museums and cultural heritage sites during times of normal security breakdown.
2. Antiquities ministries are interested in scholarship and excavations and aren’t particularly interested in site security.
3. Well-conserved sites that are not armed are not protected.
4. Sites and museums can be protected by a mobilized public and dedicated civil servants.
5. There is no substitution for police, or militarized police, in general lawlessness.
6. Tourism revenue alone will not provide locals with enough incentive to protect heritage if doing so become too dangerous.
In response to questions regarding the arming of guards he said that he did not believe in simply handing out guns and that a contingency plan, training and an “all hands on deck” approach would have prevented the little looting that did occur. He also stressed that the situation in Cairo was very different than the issues that Donny George at the Baghdad Museum faced during wartime. An article in the Guardian published during the conference discussed Mr. Rothfield’s views in more detail.

Larry Rothfield is Associate Professor of English and Comparative Literature at the University of Chicago, where he co-founded and directed the Cultural Policy Center from 1999-2008. He has published on a wide array of subjects in cultural policy. His last book, The Rape of Mesopotamia (University of Chicago Press, 2009) offers a behind-the-scenes look at the causes for the failure of US forces to secure the Iraq National Museum and the country's archaeological sites from looters in the wake of the 2003 invasion.

August 3, 2011

Wednesday, August 03, 2011 - ,, No comments

Courtney McWhorter on the “Perception of Forgery According to the Role of Art”

by Jessica Graham Nielsen

ARCA welcomed one of the newest scholars to the field, Courtney McWhorter, as she presented her paper on the “Perception of Forgery According to the Role of Art” in the “Fresh Perspectives” panel at ARCA’s International Conference in the Study of Art Crime in Amelia, Italy, on July 10.

McWhorter described the different and changing ways we have valued art over time: from placing a high value on the aesthetic experience; to subsequently valuing its specific place in history; to the current trend of appreciating it more in economic terms. She proposed that as the perceptions of the value of art have changed, so has our acceptance and tolerance for copies and forgeries:
"I will show how art is valued today according to its historicity, rather than its aesthetic capabilities. Such a claim explains why forgeries could have once been acceptable, but now are not because they falsify history."
McWhorter explained that in the Renaissance, art was valued for the aesthetic experience it could impart. Scholars looked to the Ancients for inspiration on how to think about art and embraced Plato and Aristotle’s theories. The Greek philosophers considered art to be a mere copy of the ideal, and that its primary objective should be to evoke a feeling. Thus, when the Duke of Mantua was told that the “Raphael” he had coveted and that had been (reluctantly) given to him by Ottavio de Medici was in reality a copy by Andrea del Sarto, he reportedly said that he “valued it no less than if it were by the hand of Raphael.” In his mind the genius was in Sarto’s perfect copy – an improvement on the original. The copy had artistic merit in its own right.

McWhorter then discussed the 20th century and used Van Meegeren’s “Vermeers” as an example of how the value of art has shifted to one of historicity. Originally esteemed as some of Vermeer’s greatest masterpieces when they were “discovered,” they were disparaged by critics as worthless fakes once Van Meegeren was forced to admit (and prove) that he had actually painted them. The career of the connoisseur who had enthusiastically welcomed them as the long hoped for missing link between Vermeer’s earliest religious work and the small domestic scenes he became associated with later, was ruined. It was the great value placed on art’s historical relevance that Van Meegeren had exploited for the conception and acceptance of his Vermeer pastiches.

Lastly McWhorter turned to the current obsession of valuing art as an economic asset. She showed several images of editorial headlines proclaiming the monetary losses various collectors, including the actor Steve Martin, had suffered by being duped by fakes and forgers such as the “German Ring.” She blamed the auction houses for the current commodification of art and although she did not expand on it, she alluded to a developing phenomenon of fakes becoming just as economically valuable as some of the works they imitate.

Courtney McWhorter is currently completing her final year as an Honors student at Brigham Young University, working towards a Bachelors in Art History.

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

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