I kept the money in a bank vault in Austria, as an insurance fund against damages, resulting from a period where I used a particular oil paint that after a few years began to “melt” and slide down the canvas on a variety of pictures that had been sold.

My impression is that the district court thinks Nerdrum lacks credibility and instead must prove his innocence, says Staff.

Two years in prison and I lose my visa to the United States. Now I cannot be a guest teacher at Maryland Institute College of Art, the Pennsylvania Academy of Fine Art or New York Academy of Art, says Nerdrum.

Christie’s online catalogue describes “A Roman Marble Portrait Head of Germanicus”, dated circa 10-19 AD, as:

His head inclined to the right, with strong features, prominent chin and aquiline nose, his narrow lips bowed, his hair spiraling from the crown and falling onto his forehead in thick pincered waves. 12¾ in. (32.4 cm.) high

Marie Ghiringelli collection, Monte Carlo, 1920s-1950s; thence by descent to Mr. G. Huguenin, Switzerland, 1955.

Germanicus Julius Caesar, (15 B.C.-A.D. 19) was the son of Drusus Major and Antonia Minor and the brother of Claudius, who later became emperor. Tiberius (reigned A.D. 14-37) was his uncle and adoptive father. Germanicus' military career was distinguished; he commanded the eight Roman legions on the Rhine frontier, recovering two of the legionary standards lost after a military disaster in the Teutoberg forest (A.D. 9). He became immensely popular among the people of Rome, who celebrated his military victories. The Roman biographer Suetonius in hisLife of Caligula, III, describes Germanicus' "... unexampled kindliness, and a remarkable desire and capacity for winning men's regard and inspiring their affection." Following his untimely death through illness at Antioch at the age of thirty-four, he was elevated to god-like status. 

This portrait was probably set up high and near a wall or in a niche because of the low relief carving of the locks of hair at the back of the head. Based on the fringe over the forehead and physiognomy, the present portrait is likely to belong to a group of portraits known as the Beziers type which originate with a head from Beziers, now in Toulouse. Cf. F. Johansen, Roman Portraits I, Ny Carlsberg Glyptotek, Copenhagen, 1994, pp. 126-7, no. 51. For the typology, cf. H. Jucker, Die Prinzen auf dem Augustus-relief in Ravenna. Mélanges d'histoire ancienne et d'archéologie offerts à Paul Collart, Lausanne, 1976, p. 254, no. 91.

The most expensive item that did sell at Christie’s London October 6 auction was “A Roman Bronze Portrait Head of a Man”, circa second quarter of the 3rd century AD, for 457,250 British pounds (US$705,080). The stated “Provenance” of this object is from a private collection in Germany in the 1980 and acquired by the current owner in 2001. This information might not satisfy a buyer’s question as to whether or not this item had been smuggled out of Italy or possibly even Bubon in southwestern Turkey.   The “Lot Notes” on this item, which sold for almost $1 million, does not indicate where this object came from, only that it was from the period of the Soldier Emperors (235-284 AD).

Özgen Acar publishes an article in one of Turkey's largest newspapers on a subject he's covered for decades.

I’m very happy to learn that, following my discovery of the stolen Weary Heracles and related articles in 1990, yet another part of Turkey's historical heritage will be returned to Turkey. 

When my story was first published by Connoisseur Magazine, Cornelius Vermeule III [curator at Boston's Museum of Fine Arts], had made fun of me in his interview in the New York Times. 

He had said, "How can a statue have two navels?" 

He also said, that there were many Roman copies of the same type of Weary Heracles.

He added that the upper section was in the market in the mid 1950’s.

He lied twice.

 A) He had come to see the bottom piece in Antalya as a tourist; he knew the both pieces very well.

 B) He knew that the upper part had been brought to the Shelby White and Leon Levy couple in the early 1980’s.

I am not an archeologist but an investigative journalist. As the result of my investigation for many years, “The Lydian Hoard” (King Croesus Treasure), “The Elmali Hoard” (The Hoard of the Century) and many treasures were returned to Turkey.

Foreign collectors and museum officials have to respect the historical, cultural and religious heritage of every country. They belong, not only to Turkey, but to all mankind. History is beautiful where it belongs.

"In 1980 Jale Inan, director of excavations at the ancient city of Perge, northeast of Antalya, heard rumors that something important had been stolen from the site.  Later that summer, while excavating a Roman villa, Inan discovered the bottom half of the Herakles statue, as well as several other sculptures that were complete.  By 1981 the top half of the Herakles had been acquired by Levy, who gave a half-interest in the sculpture to the Boston museum.  The statue was displayed at the Metropolitan from late 1990 through early 1991 in an exhibition of White and Levy's collection titled Glories of the Past.  Turkey learned of the Levy-White Herakles from the exhibition catalogue (for which Boston's curator Cornelius Vermeule had written an entry on the statue) and from a photograph that was faxed to the Antalya Museum.  Articles in Connoisseur magazine and The New York Times showed the upper and lower halves of the statue photographically rejoined."

"Looters are reducing countless ancient sites to rubble in their search for buried treasures to sell on the international market. The trafficking of these and other stolen cultural objects has developed into a criminal industry that spans the globe. For numerous reasons, the small Southeast Asian nation of Cambodia presents an opportunity to ground this illicit trade in reality. This paper supplements previous studies that have detailed the pillaging of the country’s archaeological sites, and aims to better comprehend the trafficking of its artifacts, through an investigation of their final destination: the international art market. Of course, the global market for Cambodian art is wide, but Sotheby’s Auction House provides an excellent sample. For over 20 years, its Department of Indian and Southeast Asian Art in New York City has held regular sales of Cambodian antiquities, which have been well published in print catalogues and on the web. These records indicate that Sotheby’s has placed 377 Khmer pieces on the block since 1988—when those auctions began—and 2010. An analysis of these sales presents two major findings. Seventy-one percent of the antiquities had no published provenance, or ownership history, meaning they could not be traced to previous collections, exhibitions, sales, or publications. Most of the provenances were weak, such as anonymous private collections, or even prior Sotheby’s sales. None established that any of the artifacts had entered the market legally, that is, that they initially came from archaeological excavations, colonial collections, or the Cambodian state and its institutions. While these statistics are alarming, in and of themselves, fluctuations in the sale of the unprovenanced pieces can also be linked to events that would affect the number of looted antiquities exiting Cambodia and entering the United States. This correlation suggests an illegal origin for much of the Khmer material put on the auction block by Sotheby’s."

"Sotheby’s has repeatedly been caught auctioning stolen art and looted antiquities, including pieces from Cambodia. For example, Sotheby’s repatriated two sandstone heads and a statuette to Cambodia after they were published by Looting in Angkor: One Hundred Missing Objects, a 1993 report of UNESCO’s International Council of Museums (ICOM), which pleaded for the return of 100 valuable antiquities stolen from the Conservation d’Angkor in the 1980s and early 1990s. In his exposé Sotheby’s: The Inside Story (1997), journalist Peter Watson uncovered that sculptures from Angkor Wat had been smuggled into Sotheby’s London offices disguised as “dolls” and “stone torsos,” on at least two separate occasions."

A shady, nouveau-riche Neapolitan collector, Baretta, who earned his fortune selling Italian salami, is in the news for having purchased, for a princely sum, what many believe to be a "fake Van Gogh." Seeking to burnish his image through buying expensive art, Baretta pays a visit to the renowned expert, S, who he hopes will authenticate, or at least not challenge, the authenticity of his Van Gogh. S is also a newcomer to Parisian grand society, who has come a long way from his poor Turkish roots. Despite their equally modest backgrounds, however, Baretta and S have very different approaches to the exchange value of art. Among the themes of this richly suspenseful story are an obsession with authenticity in art and in cultural origins, and the valorization of the aesthetic object.