by Catherine Schofield Sezgin, ARCA Blog Editor

"Interpol and UNESCO listed art theft as the fourth-largest black market in the world (after drugs, money-laundering, and weapons).  But what did that mean? ... one point was clear: don't look at the Hollywood versions of art theft -- the Myth.  This is a bigger game, with more players, and the legitimate business of art is directly implicated.  A lot of the crimes are hidden in the open.  Stealing art is just the beginning.  Then the art is laundered up into the legitimate market, into private collections, into the world's most renowned museums." -- excerpt from Joshua Knelman's Hot Art

He discussed how poor the security systems were at most of the major cultural institutions and of course at mid-sized and smaller galleries.  That made his job easier.  So there was that angle -- art galleries and museums weren't adequately protecting themselves against pros like him. 

Then he veered in another direction. 

"Okay, this is how it works," he said.  "It's like a big shell game.  All the antique and art dealers, they just pass it around from one to another."  He moved his fingers around the table in circles and then looked up.  "Do you understand?" He looked very intense, as if he had just handed me a top-secret piece of information, but I had no idea what he meant.  What did art dealers have to do with stealing art?  But our meeting was over.

Does the name “Denon” ring a bell? Perhaps it would if you are the sort of Louvre visitor who has gazed up at the inscription “Pavillon Denon” on the Louvre’s façade, or who notices, en route to the “Mona Lisa,” to “The Winged Victory of Samothrace,” and to Michelangelo’s Slave sculptures, that you are walking in the museum’s “Denon Wing”. Or maybe you are a connaisseur of erotic literature who knows about the new dual-language edition of “No Tomorrow,” a work attributed to Denon that has recently garnered attention in literary circles. Just who could this chameleon-like Denon fellow be? 

Known as “Napoleon’s Eye,” as well as a lover of the Empress Josephine and eventual director of the Louvre, Denon was a man of many talents. Writer, artist, collector, adventurer, archeologist, tastemaker, and charming courtier, he could metamorphose into whatever role was required of him. 

Readers of Terence Russell’s scholarly, authoritative text will get to know the colorful Denon as an intrepid artist able to sketch rapidly under fire who was selected to accompany the French troops on their Egyptian campaign. In addition to his drawing skills, however, Denon paints with his words keen observations about the land and culture he encounters. Denon’s illustrated record of what he saw in Egypt is here made available to the non-speaker of French, through Russell’s well-chosen quotes and drawings. Russell’s paraphrasing and commentary, although sometimes more dry than Denon’s own words, add a necessary framework to the story. 

It is thanks to Denon that so many Egyptian artifacts made it safely to Paris, where as a result of his efforts, the wonders of Ancient Egypt began to be known and appreciated. Without Denon, today’s Louvre would not be the treasure house that it is. To those interested in art crime, however, there is another facet to Denon’s far-reaching influence and collecting style. 

As an immensely likeable master courtier, Denon was able to put a positive spin on what amounted to Napoleon’s looting of the art of countries where he waged war. Under Bonaparte, the appropriation of art became standard policy. In praising Napoleon for his heroic efforts to “conserve” great art in the face of “the torment of war,” Denon lauds a policy that would later be copied by Hitler, whose wholesale confiscation of art was touted as an effort to “protect” it. 

Now how does the reader put together the Denon who drew for sixteen hours straight through eyelids bleeding from the windblown sand, with the author of the 30-page erotic classic, “No Tomorrow,” which according to one reader, should be next to “titillating” in the dictionary? Although Denon was known to have talent for pornographic art, it may be quite a leap from that to authoring what Good Reads calls “one of the masterpieces of eighteenth-century literature, a book to set beside Laclos’ ‘Les Liasons Dangereuses.’”

Noah Charney: How frequently do you suspect that fraud takes place in the world of high-priced wines? 

Stuart George: Leaving aside the 1787 Lafite mentioned above in "The Billionaire's Vinegar), I have never knowingly seen a “genuine fake” bottle of fine wine. Nonetheless, merchants’ and auctioneers’ outrage at fake wine is like Claude Rains’ shock at learning that there was gambling at Rick’s place in Casablanca. Anything that is valuable is in danger of being faked. 

More attention is being paid to preventing fraudulent wine than ever before, which suggests that as the Hong Kong/China market has gone supernova, the amount of fakes and forgeries being sold has increased significantly.According to some sources, fake wines flow in and out of Hong Kong like the cheap and illegal Irish reprints of books that allegedly flooded the British market in the eighteenth century. I was told that China’s government officially deplores the country’s inexorable production of fakes but in practice turns a blind eye.

[Eugenio D.] Leo, 30, pleaded guilty to one count of wire fraud and faces five years in prison and a fine of up to $250,000 or twice the loss to the victims.  [Jody L.] Meyer, 46, pleaded guilty to one count of mail fraud and faces a five-year term of probation and a fine of up to $250,000 or twice the loss to the victims.  Both Leo and Meyer, who now reside in Harwood Heights, Illinois, will remain on bond pending sentencing, which is set for June 20, 2012 before Judge Kinkeade [Northern District of Texas].

These loans would be secured by pieces of artwork worth significantly more than the loan value.