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March 5, 2013

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ARCA Trustee Erik Nemeth on the Political Economy of Cultural Property and A Gap in Cultural Intelligence

ARCA Trustee Erik Nemeth (and a lecturer on Cultural Security during the summer program in Amelia) published two articles on the political economics of cultural property and cultural intelligence last month.

"Alternative Power: Political Economy of Cultural Property" in Columbia's Journal of International Affairs begins:
Last May, The Scream by Edvard Munch set a record for the most expensive painting sold at auction. The $120 million sale at Sotheby’s in New York illustrated a trend in record prices for artworks at auction and in private sales. At the same time, members of the al Qaeda-linked group Ansar Dine started to target mausoleums of Sufi saints in Timbuktu, Mali, and conflict in Syria continued to compromise cultural heritage with the looting of the well preserved Crusader castle, Krak des Chevaliers. The purchase of The Scream and the destruction of the historic monuments represent extremes that derive from the perceived value of art and the strategic value of cultural heritage.
"A gap in cultural intelligence" in The Providence Journal begins:
What the heck happened to cultural sensibilities last year?
 
While collectors bid up record prices for artworks at auction--Edvard Munch's "The Scream" went for $120 million in May--they were criticized for a lack of aesthetic judgment, especially at the premier U.S. fair, Art Basel Miami Beach. And cultural heritage took a turn for the worse as well. Cooperation on repatriation of antiquities was overshadowed by grim reports of wanton destruction of historic sites in Mali and Syria. With both contemporary and ancient art, the desire to collect and possess seemed to outstrip cultural appreciation.
 
High-end collectors and cultural-heritage abusers alike would benefit from a boost in cultural intelligence, or "CQ," to grasp the interrelation of art, culture, economic development, and human rights..
You may follow his studies on the blog Art World Intelligence through the online newspaper Cultural Security News.

March 2, 2013

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Continued coverage of the Conference on Protection of Cultural Property in Asia

Textile conservator Julia M. Brennan continues coverage of last month's conference.

The conference was structured into 3 thematic working sessions: Policy and Institutional Framework and Capacity Building (Session 1);  Technical Aspects of Protecting Cultural Heritage Property: Networking with INTERPOL and the International Community (Session 2); and Recovery of Cultural Property, post Theft or Disaster (Session 3).  Here are highlights of a few of the talks: 

Session 1 presentations dovetailed, making a strong case for the use of preventative measures to protect cultural heritage.

Mr. Etienne Clement, Deputy Director of UNESCO, Bangkok gave the opening talk for Session 1 covering national and international laws, international conventions such as the Hague Convention for the Protection of Cultural Property in the Event of Armed Conflict; 1970 UNESCO Convention on Illicit Trafficking, and the UNIDROIT. He made a compelling argument for nation states to adopt and use these conventions; teach cultural heritage personnel and police about them; and use them as a foundation tool for combatting the illicit trade in antiquities and art.

Mr. Tshewang Gyalpo, Chief of Bhutan’s Department of Culture, spoke about the country’s national database of heritage; defined Bhutanese heritage; outlined the role of the conservation department and regional cultural officers and the trainings in place to better secure sacred sites.

Mr. Karl-Heinz Kind, INTERPOL, provided an overview of the important and active role that his agency performs, advocating member states to join and participate. The effectiveness of  INTERPOL's stolen works of art database and Project PSCHE (designed to utilize the Italian Carabinieri for the Protection of Cultural Heritage's help in modernizing the database). He emphasized that investigations and recovery are only supported by nations’ involvement and called for greater involvement by nations to make protection of cultural heritage a priority.

Julia Brennan (left) and Fiona MacAlister (right) with
 Dasho Dorjee Tshering, Secretary of Home and Culture
Ms. Fiona Macalister, a disaster preparedness expert from the UK, and I, a textile conservator and consultant for preventative conservation, made the case for employing preventative measures at the front end to protect cultural heritage. Fiona provided a clear blueprint for risk management and disaster planning, outlining different disaster scenarios in the event of  fire, flood, earthquake, and theft and provided standards, checklists, and constructive methods of training. I outlined methods adopted from conservation including secure storage, good protective housings, training of local caretakers and cultural heritage staffs, the importance of detailed and updated documentation, analysis, collaborating with and training of law enforcement, raising public awareness and ownership through media outlets, and engagement of community based groups and tourist infrastructure.

Session 2 featured talks specifically focused on law enforcement efforts to combat the illicit trade. Among the presentators were:

Mr. Gaspare Cilluffo, Customs, Italy, provided an introduction to the law enforcement real time platforms of ARCHEO and COLOSSEUM. He provided clear how-to-use steps for these programs, for both customs and police, in an effort to broaden the international communications and work in real time. He emphasized the goals of sharing information about seizures and new trends, background profiles, best practices, and official consulting experts.

Ms. Silvilie Karfeld, from the German Police, provided extremely useful and creative methods to combat the illicit trade across uncontrolled borders. From the macro of international law enforcement efforts, collaboration between nations, to micro solutions such as neighborhood watch programs, physically marking artifacts as ID, registration of artifacts with cut off dates, pressuring and working with major online sales sites and insurance industry. Like Clement and Brennan, she advocated enhancing the awareness by common people, utilizing the media, and encouraging source countries to take action and monitor the art markets themselves.

Both Mr. Martin Finkelberg, Art Crime Police, The Netherlands, and Mr. Iain Shearer, formerly with the UK Police, gave inspirational and personal talks about investigations and seizures, and the importance of networking. Iain outlined some British successes in seizing illicit Afghan antiquities since 2006. Both an archeologist and police officer, his talk was a lively history of ancient sites and their importance, how they are pillaged, and arrive in the end market. Martin used several case studies to show the success of having informants, a strong prosecutor, utilizing databases, to solve heritage thefts.

Session 3 focused on recovery and methods employed.

Professor Duncan Chappell from Australia outlined several recovery cases in the market country Australia of SEA artifacts and human remains blatantly for sale by BC Gallery:  While some artifacts were recovered or pressure was brought to bear to remove artifacts from sale, the Australian laws are toothless and do not support timely prosecution or seizure. As with many countries, the little slap of the hand does nothing to stem the trade, Professor Chappell said, and called for greater funding for research, investigation and cross border collaboration in the Asian Pacific region.

Major Guy Tubiana, Chief of Security for France’s Museums and Cultural Sites, provided some sound and simple tips for securing sites and training staff. He emphasized the sixth sense of police and security experts, and the constantly changing landscape of theft and trafficking.

Brigadier Kipchu Namgyel, Chief of Royal Bhutan Police, gave an excellent talk about the state of cultural heritage protection in Bhutan, the locations of highest thefts, the incentives and investigation methods employed, and some creative, if not controversial solutions to the problem of chorten vandalism.

The conference concluded with strategic working sessions on each of the three themes. Each group provided a set of recommendations for improving nation’s capacity building, and better protection of cultural heritage though the implementation of specific tasks, many adopted from the three days of presentations.

At the end of three days, attendees took away the strong message that as a global community, we must partner, deploy all the tools possible, engage and maintain strong active relationships across borders, and promote both loss and success more effectively through the media. It also underlined the greater need for the development of stronger Asian participation in law enforcement, liaison with INTERPOL and international customs, and prioritizing the protection of cultural heritage by Asian governments.

This conference was a good first step for combatting the illicit trade in Asia. And, to maintain the momentum, we need to follow up quickly, with additional sessions in Thailand, Singapore, and China, (at the very least), with a focused attempt to identify and bring key law enforcement and cultural heritage professionals to the table. In addition, we could strategically reinforce the message with post conference trainings of law enforcement, customs, and rural caretakers in methods of investigation, analysis, better security, filing stolen art, and monitoring of art sales. Too many major Asian players were missing in Bhutan, but there is a lot of opportunity ahead.  

Website of conference: www.mohca.gov.bt/conference

Published papers forthcoming in 2013

Julia M. Brennan is a Conservator and Cultural Heritage Protection Consultant www.caringfortextiles.com.

March 1, 2013

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Coverage of the first Conference on Protection of Cultural Property in Asia (15-18 February 2013, Thimphu, Bhutan)


Snowy entrance to convention center in Thimphu, Bhutan
By Julia Brennan, ARCA Alum 2009

Part I

The Royal Government of Bhutan graciously hosted the first Asian-based cultural security conference, under the auspices of the Ministry of Home and Cultural Affairs (MoHCa), and funded by Interpol and the Norwegian Department of Foreign Affairs. It was the first attempt to bring together professionals in the culture protection and law enforcement sectors to begin to develop networks and alliances in this region. In funding this convening, Interpol’s goal is to launch stronger initiatives with member states in Asia—promoting engagement and information exchange; regular posting on the stolen art database; and sustainable relationships with Asian country law enforcement and customs agencies.

The Royal Government of Bhutan was a gracious and generous host. For many attendees, it was a first visit to this remarkable and beautiful Kingdom.  This gathering was unlike most conferences where attendees are ‘on their own’ for most evenings and free days.  Instead, the foreign guests were treated to well-organized cultural tours of sacred monasteries and museums, and feted with rich local meals, cultural dance programs, comfortable hotels, hot stone baths, and quick shopping sprees - a rich and generous welcome and introduction to Bhutan. Everyone was humbled by the kindness and all-inclusiveness of our hosts.

The marchang, a traditional Bhutanese ceremony, performed.
Opening day began at the National Convention Center started with the marchang, a traditional Bhutanese ceremony performed to promote an auspicious start to a new endeavor. That night, a deep snow fell blanketing the country – an auspicious sign for our forum to protect cultural heritage. We were profusely thanked and blessed, as indeed the deities were pleased with our conference; the much-needed snow heralded a good start to the new year of the Water Snake, a robust harvest, and an end to the forest fires.

In attendance were about 30 international participants and 60 Bhutanese. The Bhutanese representation included the Cultural Officer and local police chief from each of the 20 national districts, as well as professionals from the Ministry of Home and Culture, local museums, and monasteries. Foreign participants came from Germany, Switzerland, France, Italy, The Netherlands, UK, USA, Korea, Australia, Vietnam, China and India. The strongest law enforcement sector heralded from Europe, with the Executive Director of Police Services of Interpol, M. Jean-Michel Louboutin as the Honorable Chief Guest. European police, investigators, criminologists, and customs agents made up the strongest component of the conference.

Interpol's Jean-Michel Louboutin with Brigadier Kipchu Namgyel, Chief of Police Royal Bhutan Police
The 20 presenters, chiefly non-Asian, laid out sound instruments, platforms, and methodologies for combatting the illicit trade and retrieving lost cultural heritage. It was a powerful tool kit that we began with.  It covered national and international laws, conventions, inventories and object ID databases, and international joint customs operations.  Presenters reviewed platforms such as ARCHEO, COLOSEUM, ICOM’s Red List and INTERPOL’s stolen art database.  Additional information was provided about museum security measures; investigations by police and criminologists; the role of prosecutors; the importance of preventative measures adopted from the conservation practice; and grass roots initiatives in culturally-rich areas.  The content-rich agenda even covered liaison with tourist and local infrastructure; use of the media to build awareness and participation; development of emergency and disaster preparedness; and the role of market versus source countries in the fight to protect cultural property.

Sadly, there was little police representation from most Asian countries. Noticeably lacking at this first Asian-based conference were law enforcement, customs, or Ministry of Culture personnel from Thailand, India, Nepal, China, Vietnam, Cambodia, Laos, Myanmar, Sri Lanka, Indonesia, Singapore or Malaysia. Several of these countries - Thailand, China, and Singapore, for example - play major roles in international trafficking and trans-shipment.  Others, such as Cambodia, Laos, Myanmar, and Indonesia, are victims of ongoing looting and theft of their cultural property. The Bhutanese may have benefited the most from this conference, with a strong and broad-based attendance, with several presentations focused on illicit trafficking and theft cases in Bhutan.

There was a paucity of dialogue about other Asian countries, with no mention or discussion of the ever-growing Asian-based market for antiquities. Singapore and Bangkok are both active illicit hubs, with China and Vietnam’s growing population of individuals with purchasing power creating renewed demand for antiquities globally.  Thus, it felt like a missed opportunity to not explore these newly emerging markets and laundering sites. At the same time, perhaps now that the first such gathering is complete, it’s possible that future gatherings will begin to address these major threats to regional cultural heritage.

Bhutan emerged as the star player in this conference and in the protection of their cultural property. A preview of this strong role was the large sign at the national airport customs picturing Bhutanese artifacts and stating “Help Us Protect our Culture and Heritage” (along with caveats, guidelines, and penal consequences). Bhutan is an active member of INTERPOL, with regular communications and postings to INTERPOL’s stolen art database. It also has a sound and growing national database (both written and photographed) of their cultural heritage; training and posting of cultural officers in all the districts widely distributed and culturally-aware police force, and a strong base of nationalism and religious beliefs by the population at large. Bhutan is actively engaged in the protection of their religious heritage and presented several compelling talks focused on the theft and loss, recovery and preventative methods in place.

Bhutanese speakers included: The Minister of Home and Culture, H.E. Lyonpo Minjur Dorji; Mr. Dorjee Tshering, Director General of the Department of Culture; Mr. Tshewant Gyalpo, Director of Department of Culture; and Brigadier Kipchu Namgyel, Chief of Police Royal Bhutan Police.  All gave clear overviews of the current state of cultural property protection, regional statistics of loss, including case studies of the on-going vandalism of remote chortens or stupas. These religious sites are primarily targeted for the possible snatching of the valuable dzi bead, or cat’s eye agates. Since these relic beads are greatly sought after by Taiwanese and Chinese willing to pay tens of thousands of dollars for a stunning example, the thefts continue, perhaps by hire, and certainly executed by a well-greased international smuggling ring. The violation of these sacred protective sites deeply pains the Bhutanese, and steps are being taken to stem the on-going vandalism. Several law enforcement experts from Europe, as well as the deputy director of UNESCO, met with Bhutanese officials to discuss the urgency of this problem, and launch of a strategy and programs to end these thefts.

Ms. Brennan's coverage of the conference will continue tomorrow.

February 28, 2013

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Boston's MFA's Provenance Curator Victoria Reed Lecturing Tonight at The Getty Center "Tales from an Art Detective: The Eventful Lives of Art Objects"

Victoria Reed, Monica S. Adler Assistant Curator for Provenance at the Museum of Fine Arts, Boston, is speaking tonight at the Getty Center in Los Angeles on her work examining the ownership history of objects and the art-museum's policy and practice today.

Ms. Reed has been featured on the ARCA Blog previously: here in April 2011 as a panelist at a World War II Provenance Research Seminar; here in June 2011 regarding the MFA's settlement to keep Eglon van der Neer's painting, Portrait of a Man and a Woman; and here last summer in a post by Virginia Curry regarding a lecture to students at the Stonehill Art Symposium.

February 21, 2013

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Jonathan Keats' FORGED: Eric Hebborn (1934-1996)

ARCA Blog Editor Catherine Sezgin continues her look at Jonathan Keats book FORGED. [Here's a link to a 45-minute documentary on the art forger Eric Hebborn on YouTube.]

What is History? Eric Hebborn (1934-1996)

The number of works by Eric Hebborn in public collections will never be certain.  Between the 1960s and his death in 1996, Hebborn created an estimated thousand drawings in the manner of various old masters, artfully mixed in with thousands more of legitimate origin that he handled as a dealer.  Though dozens of the fakes have been detected by curators, and more were revealed by Hebborn himself in his notoriously mischievous 1991 autobiography, Drawn to Trouble, the vast majority remain in circulation under names other than his own.

In his chapter on Eric Hebborn, Keats describes the forger’s schooling (which ended when Hebborn set the school cloakroom on fire) and artistic training. After earning numerous prizes and ‘had establishment credentials that were impeccable – and that would have ensured him a sterling career a century earlier, before modernism supplanted academic acumen with avant-garde innovation,’ Hebborn work for art restorers allegedly led to opportunities for fraud. Hebborn would never be convicted of forgery or any other crime – his punishment was a fatal blow to the back of his head at the age of 61. The forger, who even published a handbook on his techniques, blamed experts for the false attributions of his works.

Hebborn distinguished his operation from one blatantly out to make money by subscribing to a “moral code”: “Never sell to a person who was not a recognized expert, or acting on expert advice,” he vowed. “Never make a description or attribution unless a recognized expert has been consulted; in which case the description or attribution would in reality be the expert’s. Hebborn’s job was to create artwork that would silently telegraph the attribution he intended. To succeed, he needed to absorb not only the nuances of how the master drew or painted but also the intricacies of how the connoisseur reasoned.

In 1978 the Colnaghi & Co. in London recalled some Old Master drawings brought to them by Hebborn. Keats examines the possibility that Hebborn exaggerated his forgeries and his effect on the history of art.

Of course, his reputation as a fraud was what gave his confabulation credibility. He didn’t need to make five hundred forgeries after the Colnaghi affair; simply claiming to have done so was enough to throw art history into turmoil.  In fact, faking his fakery may have been his masterstroke, since no amount of sleuthing could detect forgeries that never existed.

We can imagine that any drawing lacking certain provenance is by Eric Hebborn, or by the school of Hebborn established with the publication of his Art Forger’s Handbook. By extension, we can see all art of any age as contemporary, eternally current, and perpetually relevant. Historians may fret, and philosophers may quibble. But for the artists who made the work, whoever they may be, forgery is immortality.

February 20, 2013

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Jonathan Keats' FORGED: Han van Meegeren (1889-1947)



Han van Meegeren's "Supper at Emmaus"
Review excerpt by Catherine Schofield Sezgin, ARCA Blog Editor-in-chief

Forged: Why Fakes Are The Great Art of Our Age
Jonathon Keats
Oxford University Press 2013 ($19.95, 197 pages)

What is Authority? Han van Meegeren (1889-1947)

In Jonathan Keats' book on art forgers, the San Francisco art critic recounts how in 1917 art critics loved Han van Meegeren’s first exhibit of his paintings; however, five years later critics panned van Meegeren’s exhibit of biblical paintings (personally I blame Cézanne for modernism in art).  Keats writes:
Though the gallery found buyers for van Meegeren’s virtuoso depictions of the young Christ teaching in the Temple and the supper at Emmaus, his earnings could hardly compensate for the injury to his reputation.
Van Meegeren would revisit the subjects of these paintings in two pivotal moments of his life.  He created and sold Supper at Emmaus as a Vermeer, then, after accused of collaborating with the Nazis by selling a Dutch masterpiece to Goering, he confessed to his forgeries. Had van Meegeren forged art to mock art experts or did he just want to make more money? After all, Keats writes:
Van Meegeren was well compensated for this work [‘flattering portraits of the upper crust’], generating an income that many avant-garde artists would have envied.  But in the early 20th century, no modern painter could command prices comparable to the old masters.  Picasso earned approximately $5,000 for a major canvas in the ‘20s.  By comparison, The Laughing Cavalier by Frans Hals sold for approximately three times that amount – and it was a counterfeit.  The painter? Han van Meegeren.
The counterfeit Laughing Cavalier was painted in 1922, two years before van Meegeren’s second exhibit met the disdain of art critics and years before he sold five Vermeer paintings. In a 1937 issue of the Burlington Magazine for Connoisseurs, Abraham Bredius, the former director of The Hague’s Mauritshuis Museum, praised [van Meegeren’s] the newly discovered Supper at Emmaus as the ‘masterpiece of Johannes Vermeer of Delft.’ Keats writes of van Meegeren’s forgery success:
On the strength of the laudatory text, and the author’s eminence, the Museum Boijmans in Rotterdam acquired the painting for 520,000 guilders – approximately $3.9 million today – and made The Supper at Emmaus the centerpiece of a blockbuster exhibition on the golden age.
Conversation Piece, The Smiling Girl, Lace Maker, and a Portrait of a Girl with a Blue Bow were four paintings made by van Meegeren and sold as Vermeer paintings.  Art dealer Joseph Duveen sold The Lace Maker and The Smiling Girl to Andrew Mellon.  Keats writes about how the forger fooled the art experts:
In other words, the connoisseurship exploited by van Meegeren was the very basis of Vermeer’s art historical resurrection.  The authority he abused may have been venal and vainglorious – and jealously hostile to scientific verification – but there was no substitute for it.  Gullibility was the underside of open-mindedness.
Keats recounts the van Meegeren’s arrest for collaborating with the Nazis, how he subsequently diverted attention from his work for Hitler to confessing that the paintings allegedly sold to Nazis had been counterfeit Vermeers. He then participated in performance art by spending months in the former Goudstikker Gallery creating another forgery, The Young Christ Teaching in the Temple, to show off his ability. The Dutch public was led to believe that van Meegeren’s forgeries had resisted Nazi authority. The convicted forger died before beginning his prison sentence.  Keats writes:
For the experts and critics, the verdict and consequences were more ambiguous. Conveniently deceased before the trial, Abraham Bredius was universally condemned as a fool, while the few experts who had not been tricked took the opportunity to gloat.  Most noisily, the Duveen agent Edward Fowles publicly released a telegram he’d secretly cable to Joseph Duveen after seeing Emmaus in 1937: PICTURE A ROTTEN FAKE. When the New York Herald Tribune picked up his story, no mention was made of the suspect Vermeers that Duveen had sold Andrew Mellon. 
On the other hand, Dirk Hannema refused to accept that Emmaus was a fake and spent the rest of his life trying to establish its authenticity with funding from Daniël van Beuningen. Though no credible scholars took Hannema’s research seriously and he no longer had an official position at the museum, The Supper at Emmaus remained on exhibit at the Boijmans – with no mention of who’d painted it – until Hannema’s death in 1984.

The unlabeled Emmaus was a fitting tribute for Han van Meegeren, who’d shattered the authority that made him without fostering alternatives.
Van Gogh's Le Blute-fin Windmill and Dirk Hannema (AP)
However, Dirk Hannema's reputation did not end with his misidentification of van Meegeren's Vermeer forgery. Here's a link to a video about the controversial museum director's life in art connoisseurship and collecting (now at the Museum de Fundatie). Hannema spent years claiming that a painting of a windmill he'd purchased for 6,500 francs from a Parisian dealer was by Van Gogh -- and 25 years after his death the Van Gogh Museum authenticated Le Blute-fin Windmill.

The Boijmans exhibited Van Meegeren's Fake Vermeers in 2010.

February 19, 2013

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Dr. Joris Kila Reports on Feb. 1 Fire that Damaged the former American Embassy at the Historic Villa Casdagli in Cairo


Old interior picture of Villa Casdagli Hall
and Chapel. Photo by Jeremy Young.
This is a report from Dr. Joris Kila, Chairman of the International Cultural Resources Working Group (IMCuRWG) and adviser to the Austrian Committee of the Blue Shield and the Association of the National Committees of the Blue Shield (ANCBS).

Dr. Peter Lacovara, a US Egyptologist working in Luxor, sent out an alarm early this month after vandals torched the former American Embassy, the Villa Casdagli, in Cairo on February 1. Alerted by the Lawyers Committee for Cultural Heritage Preservation, Corine Wegener, president of U.S. Blue Shield, contacted Dr. Kila who was spending a week in Cairo to report on the damage. The fire set on Friday night was not extinguished until early Saturday morning.  

Fire damaged Villa Casdagli on Feb. 9Photo by Dr. Joris Kila
Villa Casdagli on the Midan Simon Bolivar is very close to the Tahrir Square. It was reported that later several adolescents had set fire to the interior of the villa and were were chased away by casual passer-by’s.

According to Dr. Lacovara's message on 4 February 2013, the Cairo fire department needed the security forces to clear Tahrir Square of demonstrators who were doing everything possible to stop the fire department from putting out the fire at the villa. As of 4.30 in the afternoon on February 4, fire was still smoldering in the upper floors and smoke was coming out through the windows. Plunderers were ripping out anything of value inside the villa. Dr. Lacovara had asked the fire department to revisit the premises, but they refused to do so as there was no roaring fire apparent, and they didn’t want to venture out and possibly cause another violent demonstration. The firefighters believed they would need protection to undertake this job but security forces were disinclined to break the calm that prevailed in the area.

Villa Casdagli's 2nd floor (Photo by Dr. Kila)
One week after the fire on Saturday Feb. 9, Dr. Joris Kila and Tilly Mulder, an advocate for Blue Shield in Egypt, went to the Midan Simon Bolivar. Most of the antique fence and that gate to the Villa Casdagli had been stolen, leaving the building unprotected and still vulnerable to looters. Kila and Mulder, joined by Egyptian architectural researcher Ahmad Al-Bindari, went inside and saw the devastation. The Byzantine hall in which Saint George was so well depicted in both the celestial ceiling and the hall’s extraordinary cloister (chapel) is severely damaged. The monumental staircase is completely destroyed by fire. Marble ornaments and fireplaces are broken with pieces scattered around. Everywhere in the building, useable parts are stripped and stolen. The second floor was found completely burned and ravaged.

Hall and chapel on Feb. 9 (Photo by Dr. Kila)
The team tried to get more information about who created this destruction and looting but this was difficult. The Villa is close to the Tahrir Square and more or less in a sort of riot zone. There is no police so everything is left unguarded. Unconfirmed rumors blame criminal elements who are also kept responsible for looting and damaging the lobby of the nearby Intercontinental Hotel. The website Egy.com states: "the solitary winner here is the villa's latest owner who will no doubt sell this prime real estate to Qatar or replace it with a lucrative high rise’’.

The fact that the Casdagli Villa was an official monument did not make much difference. Last year another Cairo monument, the luxuriously furnished villa of Kevork Ispenian on the Pyramids Road, was looted and destroyed despite being on Egypt’s heritage list.

Back ground of the Villa Casdagli
The Villa Casdagli is a listed historic monument. It is an irreplaceable architectural landmark with distinguished architecture, European-style paintings, mosaics and special inlays. It was built during the first decade of the 20th century by Austrian architect Edward Matasek (1867-1912). According to the Casdagli family,  Emanuel Casdagli [a British educated Levantine family of Georgian-Central Caucasia origins dealing in the lucrative Manchester trade] purchased the building in 1911 after the British High Commander Sir Eldon Gorst moved to a 'more stately home.' One of Villa Casdagli's pre World War II tenants was the American Embassy. The building is situated next to the plot where the current US embassy is located.

The Villa Casdagli later became a school for girls named after Sudanese revolutionary "Ali Abdelatif". In 2006, the Supreme Council of Antiquities (SCA), now the Ministry of State for Antiquities (MSA), placed the villa on Egypt's heritage list as an Islamic monument. In 2008, the SCA, in collaboration with the United States Agency for International Development (USAID) and the American Research Centre in Cairo (ARCE), developed a comprehensive restoration project for the building. The project was funded by the US Department of State's Ambassadors Fund for Cultural Preservation with a $5 million grant. After restoration the monument would become a new Institute of Museology, established by the Ministry of State for Antiquities Affairs to train curators on modern technology as used in world renowned museums. Courses would include museum presentation and exhibition design, restoration, museum studies and heritage management and the institute would offer MA and PhD programs.

On February 10 Dr. Kila and Ms. Mulder attended a meeting of the so-called ‘’Friends of Manial Palace Museum”. This NGO has good relations with the Antiquities Ministry (formerly Supreme Council of Antiquities) -- proof of this is that the meeting was held in the premises of this Ministry in Zamalek. During the meeting, it was understood that the ownership of the Villa Casdagli had been transferred from the Ministry of Education to the Antiquities Ministry which makes real-estate speculation less likely.

According to an article in Al Ahram online published 13 February and on the occasion of a symposium on the "Islamic view on cultural heritage", the Egyptian Ministry of Antiquities, the Organization of Islamic Cooperation (OIC), and the Research Centre for Islamic History, Art and Culture" (IRCICA) issued the "International Declaration of Cairo", which protects Islamic as well as Pre-Islamic heritage. Among the participants were the Grand Mufti of Egypt, the Sheikh d'Al-Azhar and the Minister of Waqfs. The Grand Mufti announced that he is going to publish a book on short notice that collects all fatwas on the protection of heritage. The use of Fatwa’s to prevent abuse and destruction of Cultural Property which also happened in Iraq. In May 2003, just after the American invasion of Iraq had begun Grand Ayatollah Ali al-Sistani was asked by the archaeology inspector of Dhi Qar province in southern Iraq to announce a fatwa. The request was granted and Al-Sistani proclaimed that digging for antiquities is illegal; that both Islamic and pre-Islamic artefacts are part of Iraqi heritage; and that people with antiquities in their possession should return them to the museum in Baghdad or Nasiriya. Copies of the fatwa were distributed widely in the south, and published in the Iraqi press. As a result some of the looting stopped. Islamic leaders can have a major positive impact on protecting cultural heritage.

Sources:

Email correspondence with Dr. Thomas Schuler Disaster Relief Task Force (DRTF) of ICOM, Cori Wegener USBS, Dr. Peter Lacovara.


Publications: Kila, Joris, “Can white men sing the blues? Cultural Property Protection in times of armed conflict deploying military experts,” in Laurie Rush
(ed.), Archaeology, Cultural Property and the Military, Woodbridge 2010, pp. 41–59


Kila, Joris. Heritage under Siege. Military Implementation of Cultural Property Protection following the 1954 (Heritage and Identity, 1). Leiden-Boston 2012.

Ahram online,Saturday, 16 February 2013 http://www.egy.com/gardencity/97-02-08.php

Looters smash jewel of Cairo’s colonial past | The Sunday Times Sara Hashash, Cairo Published: 10 February 2013

Al-Ahram Weekly On-line | Heritage | Back to school for museum staff, 19 - 25 May 2011, Issue No. 1048

Tuesday, February 19, 2013 - ,,,, No comments

Jonathan Keats' FORGED: Alceo Dossena (1878-1937)

Madonna and Child, marble
Alceo Dossena, 1930
San Diego Museum of Art

Artist and critic Jonathan Keats highlighted Italian forger Alceo Dossena in his book, FORGED: Why Fakes Are the Great Art of Our Age. A version of the chapter on Dossena was previously published in Art & Antiques Magazine ("Almost Too Good") in November 2011.

In 1925, the Cleveland Museum of Art paid $18,000 for a painted wood statue of a life-size Madonna and Child from a convent chapel in the town of Montefiascone near Lake Bosena north of Rome. Two years later, a series of X-rays revealed that the sculpture was not by Giovanni Pisano or any known Renaissance or medieval artist due to the presence of 20-th century nails used in the construction.  The Ohio museum returned the work to Europe before paying $120,000 for an ancient marble statue of Athena.  In 1928 AlceoDossena, angry that his fraudulent associates had made significantly more money than they had paid him for his forgeries, confessed he had made both works in his studio in Rome.

In his hometown of Cremona in Lombardy, Dossena learned painting and sculpture at a trade school then apprenticed for art restorers in Cremona and Milan, which gave him ‘practice in the traditional crafts, as well as a thorough knowledge of how to artificially age materials. Equally important, it put him in physical contact with the work of masters from Pisano to Mino da Fiesole to Simone Martini (Dossena would later create works that he would attribute to these artists).

Madonna and Child, wood, early 20th century
Alceo Dossena, Boston Museum of Fine Arts
Dossena, who later claimed not to have intended to defraud anyone with his creations, was peddling artificially aged works in dive bars during World War I when he met two antique and art dealers who set him up in a studio after the war. It’s estimated that Dossena operated in his forgery studio from 1918 to 1928, providing product worth $2 million on the art market. Keats writes:

They benefited from the harsh economic conditions following World War I, which fostered a black market in genuine masterpieces illicitly sold by impoverished European institutions to the wealthy patrons of ambitious American museums.  Rumors were rife and alluring.  Even the Vatican was said to be furtively selling off hidden treasures.

In addition to the wooden Madonna in the style of Pisano, Dossena created dozens of works: an Annunciation in marble (Simone Martini) sold to Helen Clay Frick for $225,000; a marble sarcophagus (Mino da Fiesole) sold to the Museum of Fine Arts in Boston for $100,000; and the Metropolitan Museum of Art purchased ‘a genuine piece of archaic Greek sculpture’ that went straight to the basement.

Immediately after Dossena exposed his work as forgeries in 1928, the Cleveland Art Museum called Dossena “among the greatest sculptors of the day” (this institution does not include any works by this artist in their collection online") . But when Dossena’s works were sold under his own name at auction in New York City in 1933, 39 pieces sold for a total of $9,125.  Critics then dismissed Dossena’s artistic talent in the seven years before his death. Keats writes:

The schism in Dossena’s reputation reflects the problem presented by his art, that it cannot adequately be categorized as true or false.  Neither the praise he garnered in the 1920s nor the condemnation that followed does his work justice.  He was an original and he was a copyist, and the compulsion to take sides merely reflects society’s categorical literal-mindedness.  Modern viewers deem authenticity a prerequisite for an artifact to be a work of art.  Dossena presented people with an authentic paradox.

February 18, 2013

Monday, February 18, 2013 - ,,, No comments

Jonathan Keats' FORGED: What Is Belief? Lothar Malskat (1913-1988)

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

The artist who copyrighted his mind in 2003, Jonathan Keats, questions the concept of originality in his new book, FORGED: Why Fakes Are the Great Art of Our Age (December 2012, Oxford University Press).
‘We need to examine the anxieties that forgeries elicit in us now.  We need to compare the shock of getting duped to the cultivated angst evoked by legitimate art, and we need to recognize what the art establishment will never acknowledge: No authentic modern masterpiece is as provocative as a great forgery.  Forgers are the foremost artists of our age.’
I will leave it to our readers with a background in art history and visual arts to agree or disagree with Keats' premise (which he elaborates on in an introductory essay). What I particularly enjoyed were the chapters devoted to six 20th century forgers. Keats nicely sums up the works of these forgers, their explanations for breaking the law (or not), and discusses the impact these forgeries have had on the art market. Here on the blog this week I'll showcase each of these forgers and add a bit of online research that I couldn't refrain myself from doing as I read FORGED.

Keats highlights Lothar Malskat, a German restorer, who faked a mural in a damaged 14th century church after World War II; Alceo Dossena, an Italian sculptor, who created antiqued marbles in the 1920s; Han van Meegeren, a successful Dutch portrait artist, who forged six paintings by Vermeer and sold a couple of paintings to the Nazis; Eric Hebborn, forger of old master drawings from the 1960s until his murder in 1996; Elmyr de Hory who forged out of his studio in Ibiza until his suicide in 1976; and Tom Keating, former housepainter and restorer, who called his forgery work in the 1950s and 60s an act of socialism.

What is Belief? Lothar Malskat (1913-1988)

In May 1952, Lothar Malskat walked into a police station in Lübeck to report that he had forged the  supposedly restored murals in Marienkirche (the Lutheran St. Mary’s church).  Eight months earlier, the 13th and 14th century frescoes had been celebrated at the church’s 700th anniversary. In 1942, the fires from the Allied bombing of Lübeck on Palm Sunday had ‘peeled five centuries of whitewash off the walls, exposing enormous Gothic frescoes painted when the building was erected.  Dubbed “the miracle of Marienkirche,” the discovery was sheltered under improvised roofing until the war ended and structural repairs could begin.” In 1948, Lothar and his boss, Dietrich Fey, had been commissioned to restore the murals.

Lothar claimed that ‘He’d faked the medieval paintings on Fey’s orders, he said, and he was confessing because “that crook Fey” had treated him unfairly.’ Neither the police nor the media believed him. He hired an attorney and confessed to making phony Picassos and Rembrandts. The police searched his house and found evidence that led to an investigation commission and a trial.  Lothar and Fey were sentenced to eighteen months and twenty months, respectively, in jail.

At Marienkirche, the forged murals in the choir were plastered over but the forgeries in the nave – which Malskat had quickly repainted on the reprimed brick surface – are referred to in guidebooks as Goth frescoes with no mention of Malskat or the forgery conviction.

As for Malskat, before he could serve his jail sentence he fled to Sweden for a few years. Keats writes:
He decorated Stockholm's Tre Kroner Restaurant in the 14th-century Gothic style and recycled his Schleswig turkeys in ersatz murals for the Royal Tennis Court. Extradited to Germany in late 1956, he served his jail term and then faded into obscurity, eking out a living as a self-styled expressionist for his remaining thirty-two years.
Keats adds in a footnote:
Obscurity, not anonymity. A couple of years before Malskat died, the German author Günter Grass (a Lübeck resident) revisited the Marienkirche scandal in a novel called The Rat.
Book reviewer Malcolm Boyd for the Los Angeles Times in 1987 describes Grass' character Malskat as 'an honest man who forged cathedral artworks.'

FORGED was published two months ago by Oxford University Press. I purchased my copy from City Lights Books of San Francisco where Keats spoke in January. You can also read Keats on this subject in Art & Antiques here.

February 17, 2013

Sunday, February 17, 2013 - ,,, No comments

Cambodia Says Sotheby's Jane A. Levine Should Leave Culture Panel

Cambodia's minister of culture and fine arts protested the inclusion of Jane A. Levine, senior vice president and worldwide compliance director for Sotheby's, on the U.S. Cultural Property Advisor Committee, according to a letter written to the U. S. State Department last fall (Tom Mashberg, "Cambodia See Ethical Conflict in Import Panel", New York Times, Feb. 15).

The panel is scheduled to discuss the regulation of Cambodian and Khmer Empire cultural artifacts, Mashberg reports, but Sotheby's says that due to a scheduling conflict Levine will not attend the meeting next month. Mashberg re-accounts the current legal dispute:

Sotheby’s and the office of the United States Attorney for the Southern District of New York are currently awaiting a judge’s ruling on whether to permit a lawsuit over a 10th-century Khmer statue, valued at $3 million, to go to trial. 
At Cambodia’s request, the American government sought last April to seize the hulking sandstone sculpture, depicting a mythic Hindu warrior, from Sotheby’s. Cambodia said the statue was looted in the 1970s from a crumbling temple in an ancient complex called Koh Ker. 
Sotheby’s has said that there is no proof that the statue was removed from Cambodia after 1970, and that its Belgian consignor’s husband, now deceased, had bought it in good faith from a London antiquities dealer in 1975.

Here's a blog post from October 2011 regarding Sotheby's sales history of objects from Cambodia based upon the work of Tess Davis of Heritage Watch.

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