Blog Subscription via Follow.it

March 25, 2013

Monday, March 25, 2013 - ,, No comments

Sharon Cohen Levin Wins ARCA's 2013 Art Policing and Recovery Award

Sharon Cohen Levin, Chief of the Asset Forfeiture Unit in the United States Attorney's Office for the Southern District of New York, won ARCA's 2013 Art Policing and Recovery Award.

Past winners: Vernon Rapley (2009), Charlie Hill (2010), Paolo Giorgio Ferri (2011), and Ernst Schöller (2012).
Ms. Levin been instrumental in securing the return of innumerable antiquities and other cultural property to foreign governments, and artworks and other cultural property to the families of Holocaust victims from whom they had been looted or subjected to forced sale by the Nazis.

 In 2010, Ms. Levin's office resolved the case of United States v. Portrait of Wally with the Leopold Museum in Vienna.  This case, involved the Estate of Lea Bondi Jaray and lasted over ten years that resulted in: payment of 19 million dollars to the Estate (reflecting at least the full value of the painting); an exhibit of the painting at the Museum of Jewish Heritage in New York, before it returned to the Leopold Museum, and permanent signage to accompany the painting at the Leopold Museum and anywhere else in the world where it is exhibited, which sets forth in both English and German the true provenance of the painting and the legacy of Lea Bondi Jaray. The Wally case is credited with focusing the world's attention on the problem of Nazi-looted art.

 In the past six years, the Southern District of New York has forfeited nearly $6 billion in crime proceeds. Ms. Levin pioneered the use of federal forfeiture laws to recover and return stolen art and cultural heritage property. The SDNY Asset Forfeiture Unit has initiated dozens of proceedings under the forfeiture laws -- seizing and returning artwork and cultural property to the persons and nations who rightfully own them.  Notable examples include the forfeiture and repatriation of stolen paintings by Lavinia Fontana, Jean Michel Basquiat, Roy Lichtenstein, Serge Poliakoff, Anton Graff and Winslow Homer; drawings by Rembrandt and Duhrer; an Etruscan bronze statute dated circa 490 BC; an antique gold platter dated circa 450 B.C.; a rare Mexican manuscript; a medieval carved wood panel which was originally inside the historic Great Mosque in Dvrigi; an Ancient Hebrew Bible owned by the Jewish Community of Vienna and stolen during the Holocaust and most recently, a Tyrannosaurus Bataar skeleton looted from the Gobi desert in Mongolia.

March 24, 2013

Sunday, March 24, 2013 - ,,,,,,, 2 comments

Kunsthal Rotterdam Art Heist: Looking at the Paintings Stolen from the Triton Foundation (Provenance Information Added)

Lucian Freud, Woman with Eyes Closed
by Catherine Sezgin, ARCA Blog Editor

The seven paintings stolen from the Kunsthal Rotterdam on October 16 remain missing. On January 21, Romanian police arrested three men in connection with the gallery heist. March 4, Dutch police arrested a Romanian woman believed to be an accomplice. On March 13, a German man who arrested for blackmail after an alleged attempt to sell the Triton stolen paintings back to the foundation. The mother of one of the defendants arrested for the theft has claimed that she destroyed two of the paintings.

Last December Yale University published Avant-Gardes 1870 to the Present: The Collection of the Triton Foundation which offers more information on the stolen paintings stolen from the Triton Foundation. This catalogue is written by Sjraar van Heugten, former head of collections at the Van Gogh Museum, Amsterdam, and an independent art historian. Here the catalogue's information on the stolen paintings:

 Lucian Freud: Woman with Eyes Closed (2002), oil on canvas, 30.5 x 25.4 cm. Provenance: Triton Foundation, acquired from the artists, 2002.
Paul Gauguin, La Fiancée 
Paul Gauguin, Woman Before a Window, 'The Fiancée, 1888, an oil on canvas. annotated in the lower right in red paint (damaged) La Fiancée; signed and dated lower right beneath annotation in black paint P Go 88, 33.8 x 41 cm. Provenance: Private collection, England; Kunsthandel (art dealer) Franz Buffa, Amsterdam; collection Allan and Nancy Miller, Solebury, Pennsylvania, 1949; auction Galerie Charpentier, Paris, 17 June 1960, no. 87 (unsold); auction Sotheby's, London, 4 July 1962, no. 75 (unsold); auction Christie's, Tokyo, 27 May 1969, no. 302; collection Samuel Josefowitz, Lausanne, circa 1981; auction Drouot-Montaigne, Paris, 3 April 1990, no. 58; Triton Foundation, 1997.


Matisse's Reading Woman
Matisse's Reading Woman in White and Yellow, 1919 was painted in the South of France in the suburb of Cimiez. The 31 x 33 cm work is "oil on canvas mounted on board" and "signed lower left Henri Matisse". Comment: Certificate of authenticity by Wanda de Guébriant, 12 Mar. 1996. Provenance: Galerie Bernheim-Jeune, Paris, acquired from the artists on 23 June 1919, no. 21624; Bernheim-Jeune Frères, acquired on 20 May 1931; collection Josse and Gaston Bernheim-Jeune, 1931; Bignou Gallery, New York; private collection, New York, 1947; collection Dr. Peter Nathan, Zurich, 1953; collection Emil G. Bührle, Zurich, acquired from the above on 8 December 1953; Foundation Emil G. Bührle Collection, since 1960; Triton Foundation, 1999.

Jacob Meyer De Haan, Self-Portrait

Jacob Meyer De Haan (Amsterdam 1852 - Amsterdam 1895), Self-Portrait against Japonist Background, circa 1889-1891, oil on canvas, 32.4 x 24.5 cm. Provenance: Collection Marie Henry, Le Pouldu; collection Ida Cochennec, daughter of the artists and Marie Henry; auction Cochennec Collection, Hôtel Drouot, Paris, 24 June 1959, no. 77; Marlborough Fine Art Ltd, London; collection Mr. and Mrs Arthur G. Altschul, New York, acquired in July 1961; Triton Foundation, 2002 (on long-term loan to the Van Gogh Museum, Amsterdam, 2002-2004).

Sideways view of Monet's Waterloo Bridge
Claude Monet: Waterloo Bridge, London (1901), pastel on brown laid paper, signed lower right Claude Monet, 30.5 x 48.0 cm. Provenance: Collection Werner Herold, Switzerland, circa 1917; private collection, USA, 1970; Triton Foundation, 1998.

Another sideway's view: Monet's
Charing Cross Bridge, London
Claude Monet's Charing Cross Bridge, London, 1901, pastel on brown gray laid paper, annotated and signed lower right à J. Massé/au jeune chasseur/d'Afrique Claude Monet, 31.0 x 48.5 cm. Provenance: Collection J. Massè, gift from the artist; auction Hôtel des Ventes, Enghien-Les-Bains, 24 Nov. 1985, no. 39; auction Hôtel des Ventes, Enghien-Les-Bains, 18 Mar. 1989, no. 6; private collection, Triton Foundation, 1998.

Picasso's Head of a Harlequin
Painted the year before the artist's death, Picasso's Head of a Harlequin (1971) is in "pen and brush in black ink, colored pencil and pastel on thick brown wove paper" (38 x 29 cm) and is "signed and dated in the lower right Picasso/12.1./71. Provenance: Galerie Louise Leiris, Paris; private collection, Europe; Michelle Rosenfeld Gallery, New York; private collection, USA; Finartis Kunsthandels AG, Zug; private collection, USA, 2004; Triton Foundation, 2009.

March 23, 2013

Saturday, March 23, 2013 - ,,,, No comments

Gardner Heist: Night watchmen Rick Abath Gives Exclusive Television Interview to Randi Kaye in "81 Minutes Inside: The Greatest Art Heist in History" which aired on Anderson Cooper 360 on March 22

Rick Abath, one of the nightwatch men on duty March 18 when two men stole 13 paintings from the Isabella Stewart Gardner Museum in Boston, gave his first television interview to Randi Kaye for her story "81 Minutes Inside: The Greatest Art Heist In History" which aired on Anderson Cooper 360 CNN on March 22.

Rick Abath, who had working at the museum for about a year, began his night shift at 11.30 p.m. He explained that guards took turns walking through the museum and manning the security desk next to the employee entrance. On the night of the theft, Abath's "usual partner had called in sick" "so they paired him with a daytime gallery guard".

Ms. Kaye narrates:

Abath takes the first round which takes longer than usual. The fire alarm goes off for no apparent reason -- so does another alarm on the fourth floor. Then the other gallery guard does the round. It is 1.24 a.m. and Rick is alone at the guard desk. Two men dressed as Boston police officers buzz the side entrance and tell Abath that they are there because there's been a disturbance on the property.
Anthony Amore, Director of Security for the Isabella Stewart Gardner, explains to Ms. Kaye that it was against museum policy for the nightwatchman to let anyone into the museum.

While Abath concedes that this may have been the written policy, Abath says that the "culture" was to let museum employees in at night "at least once a month", including the director of the museum. "So it wasn't unusual for Rick to hear that buzzer go off," Ms. Kaye narrates.

Rick Abath explains that he had no reason to believe the men were not police officers until it was too late to reach the panic button.

The panic button on the guard's desk was not easy to reach. "It was the same kind of panic button at a bank or something," Rick Abath said. "It was up on the underside of the desk. But it was a fairly long desk and the computer that you had to be at to do your job was all the way to your left and it was all the way to the right so it just wasn't within arms reach."

March 22, 2013

Friday, March 22, 2013 - ,,, No comments

Anderson Cooper 360 Features Documentary on Gardner Art Heist

Tonight Anderson Cooper 360 features a documentary, "81 minutes: Inside the Greatest Art Heist in History" at 10 p.m. ET (US). The show claims an exclusive television interview with Richard Abath, the night watchman who admits he was the guard on duty who "buzzed in" the two thieves disguised as police officers.

The segment also includes Anthony Amore, Security Director of the ISGM, walking journalist Randi Kaye through the known events of the 1990 theft in the early morning hours of March 18.

March 21, 2013

Thursday, March 21, 2013 - ,,,,, No comments

The Gardner Heist: Author Ulrich Boser Writing in The New York Times on "Learning from the Gardner Art Theft"

Ulrich Boser, author of The Gardner Heist: The True Story of the World's Largest Unsolved Art Theft (HarperCollins Publishers, 2008), in The New York Times March 21 in "Learning from the Gardner Theft", comments on the long investigation into the paintings stolen from the Isabella Stewart Gardner Museum in 1990:
Twenty-three years may seem like an inordinate amount of time to solve a burglary, but the Gardner case has actually come a long way from the days when it sometimes seemed to sit on the F.B.I.’s investigative back burner — and the robbery has done a lot to change the way that museums protect their art.
Mr. Boser offers his observations in writing about the case:
Over the years, it hasn’t seemed as if federal investigators have always made the case a top priority. When I first started reporting on the theft, for instance, the museum’s director, Anne Hawley, suggested that she had not always been satisfied with the bureau’s commitment to the case. Ms. Hawley, the director since 1989, said that the first agent assigned to the case seemed very green. “Why didn’t the F.B.I. have the capacity to assign a senior-level person?” she asked me in 2007. “Why was it not considered something that needed immediate and high-level attention?”
Mr. Boser also comments on the unnamed thieves the FBI has identified in its investigation:
As for the men who robbed the museum, there’s been some good evidence over the years regarding their identities. In my book on the theft, I pointed the finger at the Boston mobster David Turner. As part of my reporting, I examined F.B.I. files that indicated that Mr. Turner was an early suspect, and he bears a strong resemblance to the composite drawing made of one of the thieves. In a letter to me, Mr. Turner denied any role in the theft, but he also told me that if I were to put his picture on my book’s cover, I would sell more copies. 

More important, there are signs that the paintings may hang on the walls of the museum again. At the news conference on Monday, the F.B.I. announced that in the years after the theft, someone took the stolen Gardner art to Connecticut and Philadelphia and offered it up for sale. This suggests that the canvases might still be in good condition.

March 20, 2013

Wednesday, March 20, 2013 - ,,, No comments

Boston Globe: Tip to Authorities in 2010 Led to Turning Point in Gardner Heist Investigation

Boston Globe: Photo by Steven Senne/AP at FBI conference
The Boston Globe reports that a 2010 tip to authorities led to the identity of the two men who robbed the Isabella Stewart Gardner Museum in 1990, according to today's article "Tips pour in on Gardner Museum art theft" by Milton J. Valencia, Shelley Murphy, and Stephen Kurkjian.
The FBI and the Isabella Stewart Gardner Museum ­received a flood of tips from around the country Tuesday, as new details emerged about the turning point in the investigation of the notorious Gardner Museum heist 23 years ago. 

The latest, exhaustive phase in the inquiry is based on a tip that a caller made to authorities in 2010, according to Anthony Amore, the Gardner Museum’s head of security and chief investigator. 
He said Tuesday that the tip was so fruitful — leading to the announcement that investigators know the identities of the thieves and could trace the art from Boston to Connecticut and Philadelphia — that the FBI has since rededicated significant resources to investigating the heist. 
“That tip, plus thousands of man-hours, led to where we are today,” Amore said.
The Boston Globe article also comes back to Robert Gentile as a suspect:
The latest focus has been on Robert Gentile, a 75-year-old ailing Mafia figure with ties to organized crime in Philadelphia and Boston. His Connecticut home was searched last year in relation to the heist. He was charged with drug dealing and possession of an illegal firearm in what his lawyer called a tactic by the FBI to pressure him to disclose information about the heist. 
Gentile, who pleaded guilty and is slated to be sentenced in May, faces a lengthy prison term. His lawyer, Ryan McGuigan, has maintained that Gentile knows nothing about the heist or the whereabouts of the artwork. 
But investigators seem to have trained their focus on Gentile in the recent phase of the investigation. 
A person with knowledge of the FBI investigation, who asked to remain anonymous ­because of the sensitivity of the inquiry, confirmed Tuesday that investigators found a list of the art stolen from the Gardner, and the estimated value of the works, during the search of Gentile’s home. The discovery of the list was first ­reported by The Hartford ­Courant. 
Gentile also had close ties to organized crime figures in Philadelphia and in Boston, including the late Robert Guarente, who has been tied to almost every­one mentioned as a person of interest in the heist. 
Guarente, for instance, was close with the late Carmello Merlino, who ran an auto body shop in Dorchester and who, according to FBI reports, once tried to negotiate the return of the artworks. No deal ever came to fruition, and Merlino was later convicted in a scheme to rob an armored car depot in Easton. He said that he was set up by informants and that the FBI was pressuring him for ­information regarding the Gardner heist. Merlino died in prison in 2005 at age 71. 
Two other men were also convicted in the armored car depot scheme and received lengthy prison sentences, though they have denied knowledge of the heist or the ­location of the artwork. ­Stephen Rossetti, 54, who is Guarente’s nephew, is slated to be released in 2044, and David Turner, 45, is set to be released in 2025. 
Guarente died in 2004 at age 65. His wife has told authorities in recent years that she saw him give Gentile at least one painting some time around 2003, around the time authorities say some of the art was offered for sale in Philadelphia. The wife, however, did not describe the painting as one of the works taken from the Gardner.

Wednesday, March 20, 2013 - ,,, No comments

ISGM Security Director Anthony Amore Calls Hunt for Stolen Gardner Paintings "an exercise in finding 13 needles in a haystack by making the haystack smaller"

FBI: An empty frame in the Dutch Room of the ISGM
by Catherine Sezgin, ARCA Blog Editor

The FBI and the Isabella Stewart Gardner Museum have offered a $5 million reward for information leading to the return of the paintings.

The day after the FBI announced that they have identified the thieves responsible for the 1990 art heist, ARCA Trustee Anthony Amore, Director of Security for the Gardner Museum, told the ARCA Blog:
"As I have said many times in the past, this investigation is an excuse in finding 13 needles in a haystack by making the haystack smaller. The information we provided at the press conference shows that we continue this work, and that the haystack is smaller than ever."
The Isabella Stewart Gardner Museum and the U. S. Attorney's Office in Massachusetts continue to work on this investigation with the FBI.

You may find more information here on the FBI's website.

And here's a link to an article in Harvard Magazine featuring Anthony Amore.

March 19, 2013

Tuesday, March 19, 2013 - ,,, No comments

Boston Globe Correspondent Stephen Kurkjian Interviews ISGM guard who let in the thieves in 1990; Abath says he's never been ruled out as a suspect by investigators

Boston Globe Correspondent Stephen Kurkjian reported March 10 in "Decades after the Gardner Heist, police focus on guard" who opened the door to the robbers more than 23 years ago in the largest art theft:
Night watchman Richard Abath may have made the most costly mistake in art history on March 18, 1990, when he unlocked the doors of the Isabella Stewart Gardner Museum for two robbers who stole 13 works of art valued at more than $500 million. For years, investigators discounted the hapless Abath’s role in the unsolved crime. But, after 23 years of pursuing dead ends, investigators are focusing on intriguing evidence that suggests Abath might have been in on the crime all along.
According to Kurkjian, investigators blamed Abath's actions on 'his excessive drinking and pot smoking':
But, after 23 years of pursuing dead ends, including a disappointing search of an alleged mobster's home last year, investigators are focusing on intriguing evidence that suggests the former night watchman might have been in on the crime all along -- or at least knows more about it than he has admitted.
Why, they ask, were Abath's footsteps the only ones picked up on motion detectors in a first floor gallery where one of the stolen paintings, by French impressionist Edouard Manet, was taken? And why did he open the side entrance to the museum minutes before the robbers rang the buzzer to get in? Was he signaling to them that he was prepared for the robbery to begin? 
No one publicly calls Abath a suspect, but federal prosecutors grilled him on these issues last fall. And one former prosecutor in the case has written a recently published novel about the Gardner heist in which the night watchman let the thieves into the museum to pay off a large cocaine debt."
Abath insists that he had nothing to do with the heist, Kurkjian writes.
'Abath, then a rock musician moonlighting as a security guard, said he opened the doors that night because he was intimidated by men dressed as police officers who claimed to be investigating a disturbance. His own uniform untucked and wearing a hat, Abath knew he looked more like a suspect than a guard.'
The 46-year-old Abath agreed to speak to The Globe to gain publicity for a book he is writing about the ISGM theft, according to Kurkjian. Abath told Kurkjian that the former security guard 'realized he was under suspicion four years ago when FBI agents asked to meet him at a Brattleboro, Vermont, coffee shop.'
"After years of not hearing a word the people charged with the task of solving the Great Museum Robbery, they popped up; they wanted to talk," Abath wrote in the manuscript he shared. To his surprise, one agent told him, "You know we've never been able to eliminate you as a suspect."
Kurkjian writes that Abath said that on the night of the robbery he had been sober and had just given his two-week notice. James J. McGovern, who worked on the federal investigation for the US attorney's office in 2006, wrote a novel, Artful Deception (2012), portrays a night security guard who was an accomplice in the Gardner heist [Kurkjian].

Tuesday, March 19, 2013 - ,,, No comments

Jennifer Levitz for The Wall Street Journal: FBI Will Begin Media Campaign in Philadelphia to flush out art stolen from Gardner Museum in 1990

In the article "Clearer Picture of Art Heist", Wall Street Journal's Jennifer Levitz outlined the media blitz FBI will understake to flush out art stolen from the Isabella Stewart Gardner Museum in 1990:

Although it doesn't know the current whereabouts of the art, the FBI believes it might still be in the Philadelphia area. So the agency will launch a publicity campaign, soliciting tips using social media and, within a few weeks, putting up digital roadside billboards in and around Philadelphia, where it believes someone may have glimpsed—or even bought—the art without knowing of the tainted origin. The museum is offering a $5 million reward for a tip leading to the recovery. The theft represents the largest property crime in U.S. history, according to the FBI.

Tuesday, March 19, 2013 - , No comments

The Hartford Courant's Edmund H. Mahoney Links Hartford Mobster Robert Gentile to FBI's Latest Press Release

In the Hartford Courant article, "FBI Releases Surprising, New Detail on Gardner Museum Heist", journalist Edmund H. Mahony writes:
In a stunning development in the investigation of the world's richest art heist, law enforcement officials said Monday they know who stole $500 million in master works from Boston's Isabella Stewart Gardner Museum and disclosed new detail about their interest in Hartford mobster Robert Gentile.
"The FBI believes with a high degree of confidence in the years after the theft the art was transported to connecticut and the Philadelphia region and some of the art was taken to Philadelphia where it was offered for sale by those responsible for the theft," said Richard DesLauriers, Special Agent in Charge of the FBI's Boston office. "With that same confidence we have identified the thieves who are members of a criminal organization with a base in the mid-Atlantic states and New England."
In order not to jeopardize the continuing investigation, Mahony writes, that the FBI 'would not answer specific questions about Gentile, a 75-year-old gambler and confidence man long associated with the rackets in Hartford.'
But since 2010, Gentile has been questioned repeatedly about his membership in the Boston branch of a Philadelphia-based criminal organization, as well as leads that place at least some of the stolen paintings in Connecticut and the Philadelphia area.

Subscribe to: Posts (Atom)