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February 14, 2013

Thursday, February 14, 2013 - ,,,, 1 comment

Non-profit Sustainable Preservation Initiative Launching Crowdfunding Campaign for Two Projects in Peru


by Rebekah Junkermeier, Sustainable Preservation Initiative

In two previous guest blog posts in May of 2012, I introduced the unique way the Sustainable Preservation Initiative (SPI), a new 501(c)(3) non-profit organization, approaches the problem of cultural heritage site degradation. Often, this degradation is caused by residents of communities near the site that live far below the poverty line. In an attempt to provide themselves and their family with the essentials, they loot the site or use it for other purposes (grazing animals, growing crops, etc.). SPI fights looting and site devastation by empowering local residents through entrepreneurship. By investing in local businesses whose financial success is tied to preservation of the site, SPI preserves cultural heritage and alleviates poverty in these communities. Eight months later, I’m here not only to report the astounding results of our first two projects at San Jose de Moro, Peru, and Pampas Gramalote, Peru, but also to announce the launch of SPI’s crowdfunding campaign on indiegogo.com to raise money for our two newest projects at Bandurria, Peru, and Chotuna, Peru.

San Jose de Moro
San Jose de Moro is home to one of the most important ancient cemeteries in all of Peru and a ritual center of the ancient Moche civilization, which flourished from 100-800 AD. Excavations have not only uncovered evidence of the Moche’s finely painted ceramics, but also their ritual of human sacrifice. Despite its rich cultural heritage, San Jose de Moro is also home to an impoverished community. Our project there has transformed the lives of local residents, creating over 40 jobs and generating over $16,000 in an impoverished community where the daily wage is only $9.50. Local archaeologists have reported that looting and destructive practices at the site have come to a halt as local residents now view the site as an economic asset.  After just one year of operations, the project is completely economically sustainable, no additional funding needed. 

Our second project at Pampas Gramalote, Peru, is well on its way to the same type of success. It has created 10 permanent jobs through a touristic and artisanal program, with trainees receiving practical lessons on how to carve gourds, their traditional uses in Peru and other countries, and their role at the archaeological site of Pampas Gramalote. It is providing the basis for further nondestructive and sustainable economic development. 2012 year-to-date sales have exceeded $3,000, with over $1,000 of online sales through NOVICA, an online global platform that connects local artisans to customers around the world. With such economic opportunities for local residents, we’re transforming lives in the surrounding community AND preserving its archaeological site.

This week, SPI is launching its first crowdfunding campaign on indiegogo.com to raise the $49,000 needed for our two newest projects in Bandurria and Chotuna, Peru. Both sites are home to poor communities and rich cultural heritage. 

Bandurria Pyramids
Bandurria contains pyramids in Peru older than those of ancient Egypt. Excavations have revealed evidence of the origins of civilzation in the Andes. Chotuna is a 235-acre monumental temple and pyramid complex where several ancient royal tombs have been discovered. Just this past August, archaeologists discovered a remarkable burial over 1,000 years old containing such precious items as pearl and shell beads and gold earspools amongst four corpses -- the face of one covered with a copper sheet. Unlike any other tomb of a revered person in the region, this one was likely built by an ancient water cult and meant to be flooded periodically, perhaps as a means of ensuring the region’s agricultural fertility (see National Geographic article here).

Neither place, however, can afford such basics as running water and electricity or has a sewer system. There are few jobs, little income and no opportunity to escape this cycle of poverty. At Bandurria, our project will construct a communal artisan center where locals can produce their traditional reed weaving handicrafts and train future artisans, creating more local jobs in the community. The project includes a store for the sale of the handicrafts, a snack bar, and clean toilets for tourists. Our project at Chotuna empowers the local textile, gourd carving and other artisans by constructing a facility for artisan training and production as well as a small picnic and sales area for their work near the archaeological site.

By collaborating with local archaeologists, archaeological projects, and the local community, our project aims for nothing short of alleviating poverty and saving these archaeological sites, and we want to give as many people as possible the opportunity to come on board.

Help us save sites and transform lives! Click here to makea tax-deductible contribution at indiegogo.com today and spread the word by liking our campaign on Facebook, retweeting us on Twitter, or pinning our project video on Pinterest!

February 13, 2013

Wednesday, February 13, 2013 - ,,,,,, 1 comment

ARCA Alum Julia Brennan Invited to Speak at the Conference on Protection of Cultural Property in Asia, Feb. 15-18, 2013


Julia Brennan
ARCA Alum (2009) and textile conservator Julia Brennan will be one of the speakers at the Conference on Protection of Cultural Property in Asia in the Kingdom of Bhutan this week.  Ms. Brennan has worked in Bhutan and Thailand for more than a decade. She will be speaking on "Deterring the Illicit Art Trade and Preserving Cultural Heritage: The Essential Role of Collection Care Professionals and Preventive Conservation" on a panel moderated by Professor Wendy Larson, a specialist in East Asian Language and Literature at the University of Oregon.

Here's a link to the final agenda for the conference to be held Feb. 15-18.  Speakers include: Mr. Etienne Clement, Deputy Director, UNESCO, Bangkok, "International Convention on Illicit Traffic in Cultural Objects and other specific action by UNESCO"; Jean-Robert Gisler, Switzerland, "Fight Against Illicit Trafficking in Cultural Property in Switzerland as a Market Country: Organization, Perspective and Institutional Policy"; Karl-Heinz Kind, Germany: "Role of INTERPOL in the Fight Against Illicit Trafficking in Cultural Property"; Tshewang Gyalpo, Bhutan: "Protecting Moveable Cultural Properties in Bhutan"; Martin Finkelnberg, The Netherlands, "Technical Aspects of Protecting Cultural Property - Networking: A case of The Netherlands"; Ann Shaftel, Canada, "Need for Implementing Security Training in Traditional Buddhist Monasteries and Nunneries"; Dr. Iain Shearer, "The Trade in Illicit Afghan Cultural Property in London: The Response of Key British Institutions Since 2006"; Duncan Chappell, Australia and Damien Huffer, "Bringing Them Home: Some Contemporary Australian Perspectives on the Investigation, Prosecution, Seizure and Repatriation of Looted Asian Region Human Remains and Artefacts"; Major Guy Tubiana, France, "Experience of a Police Officer in the Protection of Cultural Property"; and Fabrizio Panone, Italy, "Fight Against Illicit Trafficking of Cultural Heritage: Oppositional Activities at International Level".

February 12, 2013

Tuesday, February 12, 2013 - , No comments

Update on King Tut: From Harvard to Highclere (location of Downton Abbey)

The burial mask of King Tut
Recent DNA analysis indicates King Tut was the son of Nefertiti and her first cousin Akhenaten, French Egyptologist Marc Gabolde told an audience at Harvard's Science Center last week.

Here's a link to Alvin Powell's article in the Harvard Gazette, "A different take on Tut" which also notes that Gabolde told the audience that the tomb discovered in 1922 of the boy king Tutankhamun may have been hurriedly prepared when King Tut suddenly died of infection after breaking a leg.

Other details of Tut’s life, which Gabolde has pieced together from carved images and inscriptions, include a military campaign in Syria, in which he likely didn’t personally take part. Tut also was interested in Nubia, a region in southern Egypt and northern Sudan. Inscriptions on a fan that belonged to Tut showed him hunting ostriches, whose feathers were used to make the fan. In addition, Gabolde said, a staff found in Tut’s tomb had inscriptions that showed it was made of a tall reed, cut by Tut himself in a city on the Nile delta.
Gabolde also traced an ornament that was found with Tut when he was discovered in 1922, but had since disappeared. Gabolde said he believes the golden hawk-head clasp, part of a broad collar worn by Tut, is in a private collection, sold by Tut discoverer Howard Carter to pay for surgery later in his life. The rest of the broad collar was stolen during World War II, Gabolde said.
A tour of King Tut's treasures ended last month in Seattle at the Pacific Science Center.  Here's a link to a video on the Today in 2005 which covered the exhibit before it opened at the Los Angeles County Museum.

The home for King Tut's treasures is at the Egyptian Museum in Cairo.  Here's the link to the Supreme Council of Antiquities.

But for those readers who want to combine a little Downton Abbey field trip with their Egyptian fix, visit the basement exhibition of reproductions at Highclere (where the show is filmed on location).  It was Lord Carnarvon's ancestor who opened King Tut's tomb with Howard Carter.

February 11, 2013

Monday, February 11, 2013 - ,,,, No comments

Paris Match Reports Jean Jacques Fernier's confirmation that found painting belongs to Courbet's "L'Origine du Monde'

Courbet's L'Origine du Monde (1866) on display
in 2009 at Musée d'Orsay in Paris
/Photo by C. Sezgin
The feminist painting L'Origine du Monde in the Musée d'Orsay in Paris now has a face according to Courbet expert Jean Jacques Fernier (he continued the work of his father Robert who published the artist's catalogue raisonné).

In 1866, Courbet painted a woman's torso with her vagina on display and her legs opened for Ottoman diplomat and art collector Khalil-bey who sold the work two years later before becoming ambassador to Vienna. The painting was owned by five private collections before entering the Musée d'Orsay in 1995.  Khalil-bey reportedly contracted syphilis from a prostitute in St. Petersburg and sold the painting in 1868 to settle gambling debts. 


Last week Paris Match posted Fernier's video explaining why the newly discovered painting of a woman's head belongs to the model in L'Origine du Monde. The work was reportedly purchased for 1,400 euros from a Parisian antiques dealer in 2010.  Fernier believes that the unsigned painting was cut off from the canvas of L'Origine du Monde.  The model is believed to be Joanna Hiffernan, an Irish artist's model romantically linked to both Courbet and the American painter James Abbott Whistler. It should be noted that a critic quoted in a competitive media outlet, Le Figaro, disputes the attribution of the painting. 


Here are some thoughts from ARCA Lecturer Tom Flynn on the discussion with a focus on psychoanalysis and the painting.




  

February 8, 2013

Friday, February 08, 2013 - ,,,, No comments

Bosnian Culture Heritage Survived the War but will it Survive the Nation's Peace?


by Lynda Albertson, ARCA's CEO

Bosnia's shuttered national museum in Sarajevo and the Bosnian Commission for Historic Monuments say they cannot loan The Metropolitan Museum of Art its Sarajevo Haggadah, a rare medieval illuminated manuscript that contains the illustrated traditional text of the Passover Haggadah, read during the Jewish Passover Seder.

They say the manuscript cannot be loaned because of the unresolved status of its home.  The 125-year old institution, The National Museum of Bosnia and Herzegovina (Zemaljski Muzej), has been left without funding as a result of the 1995 Bosnian peace agreement.  The signing of the Dayton Accord may have brought an end to the region’s conflict but it also effectively fractured the country into two parts: the Republika Srpska and the Federation of Bosnia and Herzegovina linked by a weakened central government. 

In the war’s aftermath, the crucial priorities of the country’s postwar leadership were rebuilding the economy, resettling an estimated one million refugees and establishing a working government amongst the ethnically mixed populace.  While the accord heralded a much-needed peace, it also created a constitutional vacuum, open to conflicting interpretations over the maintenance of the country’s cultural legacy. 

Within Bosnia and Herzegovina there are those who insist that the situation should be resolved giving responsibility for key cultural institutions to the state.   Others argue that since nothing is mentioned in the country’s constitution, the administration should remain with lower levels of government and its expenses should not fall on the common budget.
 
Many in Sarajevo hope that by rejecting the Met’s lending request, the situation will put pressure on the government to try to step in to resolve the issue, saving the museum and other key cultural institutions facing potential closure due to lack of funding and oversight.

Like with the more recently publicized Arabic manuscripts in Mali, this Sarajevo Haggadah’s preservation history is a testament to the lengths citizens from various countries have gone to protect their cultural heritage during times of conflict.

Handwritten on bleached calfskin and illuminated in copper and gold, the manuscript is believed to have originated in Catalonia in the mid 14th century.  Splashed among the pages are droplets of red wine, a testament to its use, most likely by a Sephardic family.  Historians believe that the manuscript was spirited out of Spain after King Ferdinand decreed that Jews should be expelled in 1492.

During this exodus, many Sephardic Jews relocated first to Provence and later to Venice. The Sarajevo Haggadah surfaced in Venice in 1609, during a period when Jews were prohibited from printing books and restricted to the islet of Cannaregio.  Subject to inspection during the inquisition, where texts perceived as dangerous to the Church were burned, the book was ultimately spared, as witnessed by the handwritten notation on its pages which was signed by the Dominican inquisitor of Giovanni Vistorini, censor of Hebrew texts.

The manuscript made its way eventually to Sarajevo, where it was housed but not displayed publically at the Archaeological Museum, now National Museum in Sarajevo.

During the Second World War the manuscript was hidden from Nazi forces through the ingenuity of the museum’s director, Jozo Petrovic, and Dervis Korkut, an ethnic Albanian Muslim who served as the museum’s chief librarian.  With the help of a Muslim imim in Zenica the Sarajevo Haggadah was hidden in a mosque’s library until after the war.

During the 1992-1995 Bosnian war the manuscript was again subject to great risk. Sarajevo was on the front line and constantly under siege by Bosnian Serb forces.  To keep the text safe from harm or potential looting the director of the Museum, Enver Imamovic under armed guardsequestered the manuscript in an underground vault at the National Bank. Despite being safe, several newspaper articles around the world speculated that the Sarajevo Haggadah  had been secretly sold and used to buy arms to support the ongoing conflict.  This rumor was proved false when the newly instated president of Bosnia presented the manuscript publicly at a community Seder in 1995.

In 2001 Jacques Klein, the head of the U.N. mission in Bosnia along with two international experts examined the Haggadah at the invitation of UNESCO. Through the joint efforts of the UN Mission, which donated $50,000,  Klein himself, the German Embassy in Bosnia and Herzegovina, the World Bank and Bosnia's Jewish community minor repairs were undertaken on the Haggadah, primarily working to conserve its binding.   A space to permanently exhibit the Haggadah was also established and the manuscript at last went on public display in December 2002.

In the last ten years Sarajevo's National Art Gallery, its National Library and the Historical Museum, have joined the National Museum in slow decline due to lack of funding.  Resourceful staffers first tried to squirrel away resources by cutting their heating, then staff salaries or in some cases, opening their doors to the public only a few days per week.  Eventually, failing to find alternative funding solutions, the National Museum was forced to lock its doors.

According to cultureshutdown.net, February 4, 2013 marked the National Museum in Sarajevo’s 125th anniversary.  Wooden planks were nailed over entrance last October despite pleas for civic intervention to save the museum and its collection. At this birthday celebration all well-wishers could do was light 125 candles and lay 125 roses.

The museum's deputy director, Marica Filipovic, said that the institution had survived two world wars and the Bosnian conflict: "But it seems it will not survive the peace.”

Here's a link to a report from Radio Free Europe last April on the Sarajevo Haggadah.

February 7, 2013

Thursday, February 07, 2013 - ,,,,,,,, No comments

Portrait of a Museum Theft Case: The 2007 Robbery of the Museum of Fine Arts in Nice

Jan Brueghel the Elder's
 "Allegorie de la terre"
by Catherine Schofield Sezgin, ARCA Blog Editor-in-Chief

 Last night after looking up stolen snuffboxes on INTERPOL's Works of Art database, I curiously looked up Recovered Items and found a pair of paintings by Brueghel, Allegorie de la terre and Allegorie de l'eau, recovered in Marseille in June 2008. INTERPOL provides thumbnail images of the paintings; descriptions (in this case, for example, exterior scene with figures and animals, not religious); measurements; and the date of recovery. The rest of the information can be found from articles published online:
Brueghel's "Allegorie de l'eau"
On August 5, 2007, at about 1 o'clock on a Sunday afternoon, five masked thieves with weapons entered the Musée des Beaux-Arts in Nice and left five minutes later with the two paintings by Jan Brueghel the Elder and two Impressionist works: Claude Monet’s 1897 “Cliffs Near Dieppe” and Alfred Sisley’s 1890 “Lane of Poplars at Moret-sur-Loing” ("Four Masterpieces Stolen from French Museum", The New York Times, August 7, 2007).

Alfred Sisley's "Lane of Poplars at Moret"
Ten months later, French police recovered the four paintings in Marseilles and detained more than 10 people in Nice and Marseilles ("French police recover stolen art by Monet, Brueghel", Reuters, June 4, 2008).  The sting operation had involved undercover FBI Agent Robert Wittman posing as an American art dealer ready to purchase the stolen art for more than $4 million in cash ("From the Art World to the Underworld", Wall Street Journal, August 22, 2008).  In Wittman's memoir Priceless (Crown Publishers, New York, 2010), the then senior investigator of the FBI's Art Crime Team says that as of March 2007 he had "spent nine painstaking months undercover" as "some sort of shady American art dealer" trying to recover the paintings stolen in 1990 from the Isabella Stewart Gardner Museum in Boston.

In a Factual Proffer (United States v. Bernard Jean Ternus), the defendant, in an effort to cut a deal with prosecutors and avoid a trial, admits that from August 2007 to June 2008 he and his "co-conspirators" "knowing that the Nice paintings had been stolen" "brokered the sale" of the four works to undercover FBI and French National Police agents (the legal statement details those negotiations).  When the Nice paintings were recovered in Marseilles, Ternus was arrested in Florida. On July 8, Ternus pleaded guilty to "conspiring to transport in interstate and foreign commerce four stolen paintings knowing that they were stolen":
According to plea documents, on Jan. 19, 2008, Ternus met in Barcelona with undercover FBI agents and with an unindicted co-conspirator. At the meeting, Ternus and his unindicted co-conspirator negotiated a two-part transaction with the undercover FBI agents. They would sell all four stolen paintings to the undercover agents for a total of 3 million Euros. Two of the paintings would be transferred in exchange for 1.5 million Euros, and the remaining two paintings would be transferred on a separate date for 1.5 million Euros. According to information entered at court, the defendant and his unindicted co-conspirator structured the two-part transaction to retain leverage with law enforcement in the event anyone was arrested upon the sale of the first two paintings. If this occurred, they intended to use the remaining two paintings to bargain for the release of anyone who was arrested. (Department of Justice)
Ternus had a criminal history:
In addition to the conspiracy charge, Ternus also pleaded guilty to a visa fraud charge before U.S. District Court Judge Cecilia A. Altonaga in Miami. During the plea, Ternus admitted that he fraudulently concealed his French criminal history to obtain a U.S. visa, which he then used to enter and remain in the United States. During the plea, Ternus admitted that, prior to applying for his U.S. visa, he had been arrested in France on at least seven separate occasions, and that he had been convicted in France of assault with a deadly weapon. Ternus also admitted that he knew the visa he obtained and used had been procured by falsely claiming to have no French criminal history. (Department of Justice)
In this April 2009 article by Michael J. Mooney of The Broward Palm Beach New Times, "Trail ends in Florida",  the Nice museum thieves are identified as Pierre Noël-Dumarais "an escaped felon with a long record"; a former boxer; an "Armenian drug dealer living in Marseilles"; and two others.  Mooney tells of a fifth painting targeted in the theft but left on the floor when it couldn't fit into the bag for stolen loot.  According to Mooney, Ternus, living in Florida, got involved in brokering the sale of the Nice paintings via the Armenian drug dealer two months after the theft.  Ternus, according to Mooney, came to the dubious art broker from Philadelphia (Wittman) through local drug traffickers involved in selling cocaine from Colombia. In September 2008, Ternus was sentenced to five years in prison at the Federal Detention Center in Miami.

In March 2010, Ternus' conviction was affirmed ("Art thief appeals verdict") by the Eleventh Circuit:
Ternus challenges his conviction, arguing that the foreign commerce element in 18 U.S.C. § 2314 is “jurisdictional.” He contends that the district court lacked subject matter jurisdiction over his case because there was insufficient evidence in the record that he conspired to transport the stolen paintings in foreign commerce. Ternus’ guilty plea waived all non-jurisdictional defects in the proceedings against him.

In November 2011, the seven men on trial in Aix-en-Provenance claimed that the FBI had instructed them to steal the four paintings from the museum in Nice four years earlier.  A few days later, the French court passed out sentences of two to nine years to the guilty (Noël-Dumarais, who had used a weapon in the heist, received the longer term).

February 6, 2013

Wednesday, February 06, 2013 - ,,, No comments

Belgian Police Searching for Snuffboxes Stolen from Residence before New Year's Eve

INTERPOL has issued an alert that Belgian Police are searching for 18th and 19th century snuffboxes and boxes stolen December 30 from a Namur residence in the south of Belgium (INTERPOL added 56 stolen items to its  Works of Art Database).

One of the snuffboxes (dated 1795-1797), pictured to the left, is made of gold, diamonds, and translucent blue enamel.  On the lid is a portrait of Napoleon painted on ivory.  It is signed 'AUGUSTIN'.  The jeweller is identified as Adrien Jean Maximilien Vachette, the French goldsmith.  The snuffbox is engraved with "No. 35.E", the same number handwritten on a sticker inside the case that bears the coat of arms of the emperor.

In September 1979, the Smithsonian Institute reported the theft of a $125,000 gold snuffbox, a gift from the Russian Empress Catherine the Great to one of her lovers, Prince Gregory Orlov.  Three years later, the FBI revealed that the gold box had been stripped of its diamonds and melted down.

February 5, 2013

Tuesday, February 05, 2013 - ,,, No comments

Leila Amineddoleh Quoted in NYTimes Article "Lawyers Fight to Keep Auction Sellers Anonymous"

In the Feb. 3 New York Times article ("Lawyers Fight to Keep Auction Sellers Anonymous") by investigative journalist Tom Mashberg (co-author of Stealing Rembrandts), art lawyer Leila Amineddoleh (ARCA Alum 2010) notes that disclosing the identity of the seller could 'aid with provenance questions and enhance the future value of an item.'

Mashberg reports that an appellate court ruled last October to uphold a state law that requires the names of sellers be given to buyers in post-auction paperwork in order to close the sale.

February 3, 2013

Sunday, February 03, 2013 - ,,,, 1 comment

Cultural Property: Upcoming Conference on the Protection of Cultural Property in Asia

Here's a link to the Conference on the Protection of Cultural Property in Asia to be held February 15-18th in Thimpu Bhutan.  This conference, sponsored by INTERPOL and the Norwegian Minister of Foreign Affairs,  will include a session on the issues of working with INTERPOL in protecting and recovering cultural property in Bhutan.  We'll amend this post to include the final agenda once posted online.

February 1, 2013

Friday, February 01, 2013 - ,,,,,,, No comments

Art Crime in the Media: "Art Cops" Highlights theft of Stradivarius, The Romanoff Heist, and the Art Loss Register's Most Wanted

Here's a link to Art Cops, "A new series dealing with the theft of works of art, antiquities, books and maps from major museums, cultural institutions and collectors" (Twitter), hosted by Burt Wolf, a public television host of Travels & Traditions.

This episode, which aired on September 1, 2012 on Iowa Public Television, tells the story of "The Missing Stradivarius", the 1995 theft of a $3.5 million Stradivarius violin stolen from the New York City Apartment of Erica Morini while the 91-year-old Viennese violinist was dying in the hospital. The rare violin remains missing today.  (You can read more about stolen Stradivarius violins on the website of violinist Joshua Bell in an article by David J. Krajicek for The New York Daily News.  Mr. Wolf interviews Mr. Bell; Christopher Marinello of The Art Loss Register (and a frequent speaker at ARCA's art crime conferences); Dorit Straus, world-wide fine arts manager at Chubb Insurance Company (and an ARCA Lecturer); Bob Wittman, former FBI agent; and Bonnie Magness-Gardiner, head of the FBI's Art Crime Team.

The same episode discusses "The Romanoff Heist" when thieves stole twelve art works by Pop Artists Andy Warhol and Roy Lichtensteins from the residence of Robert Romanoff in Manhattan's Meat Packing District on Thanksgiving weekend in 2010.

Mr. Wolf also identifies three artworks Marinello and The Art Loss Register are "particularly interested in recovering": Pablo Picasso's Portrait of Dona Maar stolen in 1999 from the yacht of a Saudi Prince while anchored for repairs in the harbor at Antibes on the French Riviera; a portrait of Francis Bacon by Lucian Freud stolen when the Tate Gallery of London lent the painting to the Neue Nationalgalerie in Berlin; and the theft of a painting by Gustav Klimt in 1997 from a gallery under renovation in Italy (someone opened the skylight).

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