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June 13, 2013

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Report from Amelia: ARCA Intern Sophia Kisielewska Writes about Dr. Tom Flynn's "Art & Business" Course

Photo of ARCA Class 2013
by Sophia Kisielewska, ARCA Intern

Art Historian Dr. Tom Flynn led the first course of ARCA's Postgraduate Certificate Program in International Art Crime and Cultural Heritage Protection Studies.

 Dr. Flynn, a London art lecturer and docent, began "The International Art Market and Associated Risk" on Monday by asking the students to consider the question ‘what is the relationship between economic and aesthetic value’.  During the week he went through the history of the art market and explored how ideas of value were initially generated and understood within it.  The class looked at how the fashion for Cabinets of Curiosity stimulated an interest in enlightened thought and then later in the 18th century how the first auction houses in London, Christies and Sotheby’s, stimulated an interest in creating collections of art.  We learned how the desire to form collections of all things Classical and Italian was initiated by the travels made by the young aristocracy that had travelled to Greece and Italy on their ‘Grand Tours’.

With his vast experience in the art market Dr. Flynn guided the class through its complex structure, explaining the contemporary significance and ever-evolving roles of every faction: the auction houses, the art dealers, art collectors, museums and the art media.  He created a very easy atmosphere for debate and discussion and right from the off everyone was keen to contribute knowledge gained from their different experiences of the market. The vibrant mix of nationalities and expertise in the class made for a fascinating arena of discussion and those with specialist areas of knowledge brought valuable insights to share with the class, such as Anna Knutsson who, having worked as a researcher and cataloguer at The Smith Library and former Sales-room assistant at Christies, has had a lot of experience in the market of books and manuscripts.

Students also shared their own cultural/national perspectives.  Mink Boyce, a gallerist and art consultant from Auckland, shared her experiences of working in the New Zealand art market.  She spoke of the complicated ethical issues surrounding the trading of traditional Maori art, and the need for greater cultural sensitivity in the art market when dealing with such works.  This discussion arose from a mention of the recent controversial sale in Paris that auctioned off Native American Hopi and Zuni tribal masks. 

Every day after class, the debates have been transferred with enthusiasm to either Punto di Vino – a sophisticated wine bar just around the corner that welcomes the ARCA students like family -- or Bar Leonardi – a bar placed just outside the gate which offers an authentic Italian bar experience.

On Tuesday morning, Monica Di Stefano (ARCA’s resident Amerino) directed those who had signed up for Italian lessons in their first ciao’s and mi chiamo’s.  Armed with their exercise books, the students moved very speedily through the basics and by Thursday morning could be seen rushing into Caffe Grande before class to confidently test out their new skills on Massimo, everyone’s favorite barista.

On Saturday, at 7.45 a.m., more than 20 students made their way by bus to the beautiful Umbrian town of Orvieto. Monica Di Stefano, the trip’s tour guide, spoke of the city’s history from its inception as a major Etruscan settlement to its interesting relationship to the papacy in the Renaissance period and to being the one-time home of Thomas Aquinas.  The highlight for all the students seems to have been  Luca Signorelli’s astonishing San BrizioChapel in the Duomo, whose powerfully exaggerated nudes are famously thought to have been inspiration for Michelangelo’s ‘Last Judgement’ fresco in the Sistine chapel.  When asked about the trip, ARCA student Georgina Roberts said, ‘A quaint town with astronomical amounts of culture… and great ice cream’.

That evening many ARCA students joined the locals of Amelia in a pizza evening hosted by the ‘Collis’ contrada.  Amelia, like many medieval towns of Italy, such as Siena, is divided into condrade, and these zones of the city compete in various medieval events throughout the year.  The evening was finished off with music and a raffle, where ARCA student Sloane Taliaferro won third prize: a snazzy beach-bag and tights.

By Sunday everyone seemed a bit exhausted. Most people were seen taking it easy in the sun - when it wasn’t raining - but a few were hurriedly finishing their assignments for Dr. Flynn or desperately flicking through Noah Charney’s book Stealing the Mystic Lamb in preparation for Monday’s class.

 Sophia Kisielewska recently finished her MA History of Art degree from the University of Edinburgh , which included a year of study at the Universita' di Roma Tre.

June 7, 2013

Friday, June 07, 2013 - ,,, No comments

Retired Dutch Policemen Dick Steffens and Juul van der LInden's Form Private Detective Agency Missing Art

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

 Two former Dutch policemen, Dick Steffens and Juul van der Linden, have formed Missing Art, a private detective agency dedicated to finding lost or stolen art.

Steffens and van der Linden met in the detective school 1979 for the Amsterdam Police. “In the Netherlands, all policemen start in uniform with the normal police work,” van der Linden explained in an email. “After years you may specialize if you want.”

A few years after helping to ransom the kidnapped Alfred Heineken in 1983, Dick Steffens started his own detective agency, Interludium International BV, specializing in counterfeit clothes and shoes. Two years after Juul van der Linden retired from the Amsterdam police force, he helped Dick Steffens set up Missing Art. Juul van der Linden manages the department of Missing-Art for the Interludium Investigations Group. Here’s a link to their website, www.Missing-Art.com.

“In the Netherlands, there are not many private organization that find lost or stolen art,” van der Linden wrote.

I conducted an interview via email with Mr. van der Linden. 
If I were living in Amsterdam and had my painting stolen, would my first step be to report it to the police? What kind of action would then I then expect from the police?
One of the board members of the Dutch Federatie TMV (www.tmv.nl) once wrote that is was no use to go to the police to make a report when your painting is stolen. This was a statement made a few years ago, but with a lot of truth to it. At this moment I think there is insufficient knowledge of the world of art by the police force in Amsterdam. In the rest of the Netherlands, it is not better, although the Amsterdam police contracted three years ago with Mrs. Godthelp to start a better way to solve art crimes. She will make the first steps to making policemen on the front line aware of art crimes and that will take time.

The Dutch police have a unit working for the whole country, which is called KLPD. Mr Martin Finkelnberg with his team is making art crime visible with a computer.
What services does your private organization offer that the Dutch police cannot provide?
Missing Art can work faster and can in short time contact its network of experts. We also have frequent contact with our clients. We tell them step by step what we are going to do and we will have their support for that.
How does Art-Alert.net work? Is this service just in Europe? Does it have any connection to the Art Alerte in Canada?

Our Art Alert is ready to operate. In the last two years we collected more than 12,000 names of art collectors, auction houses and so on. At this moment we can warn in Belgium, the Netherlands and Luxembourg (BeNeLux). We will like to expand this service to more countries in Europe and perhaps worldwide. We do not have connection to the Art Alerte in Canada.

June 6, 2013

Thursday, June 06, 2013 - , No comments

Report from Amelia: ARCA Intern Summer Kelley-Bell on ARCA Orientation for the 2013 Program

ARCA Interns in Cisterne Amelia
May 28th marked the beginning of the summer adventures for ARCA’s 2013 group of interns. In this year’s batch, we have three student interns: Yasmin Hamed, Summer Kelley-Bell, and Sophia Kisielewska. They are joined by Laura Fanadino, an undergraduate from Wellesley, and Kirsten Hower, ARCA’s 2013 Program Assistant, who is in her third year of working with the program. Each week, this lovely group of ladies is going to be bringing you insight into the program and some of its behind the scenes happenings. To start you off, Hello! My name is Summer Kelley-Bell and I’m from Chattanooga, Tennessee. Now let’s jump straight in to ARCA’s program.

The week started off with a few bumps along the way as the interns were reminded that Italian time runs a bit differently than any other time. Thankfully, we had arrived a bit early in order to work out the kinks and we have quickly adapted to the way a small town runs. Amelia is situated on top of a hill. Through the initial getting to know you stages between the interns, there was also the opportunity to get to know this fascinating town. Each day that we walked through the Porta Romana on our way to the library for work, we were also walking past a section of Roman road that has been paved around. It has been preserved so that future visitors to the city, or in fact its current inhabitants, can appreciate the history of this hilltop town. 

The official arrival day for the students wasn’t until the 31st, so we had a few days to get ourselves situated. We have checked out the grocery stores; sampled the wares at Bar Massimo, a local café; and headed down to Dixie, where Sophia and Laura successfully navigated the purchase of internet keys. These “chiavetti” allow students to plug in a kind of thumb drive to their computers so that they can have internet anywhere there is a signal. All of these things were done in preparation for the arrival of the students. 

Friday the 31st was arrival day and it could have been a hectic day but it turned out quite well. Everyone banded together to navigate getting students from all over the world settled into their various Amerini apartments. Thankfully, the early arrival of the interns and the director, along with the help of Monica Di Stefano, the Amelia-based Social Director and Assistant, helped insure that everyone was safely placed in their homes. We met up later at La Locanda to officially welcome everyone to Amelia and to the program. This local restaurant has played host to ARCA in the past and it never disappoints. A large group of the students even stayed after the welcome cocktail had wound down in order to avail themselves of some of Locanda’s delicious food. 

Despite only being in the town for a brief period of time, students had very little problem finding their ways to the meeting point Saturday and then heading in to one of our classrooms for orientation. We heard speeches from the director and her various assistants, as well as a few words from Crispin Corrado, ARCA’s Acting Academic Director. Then the floor was given over to the students and we had a chance to get to know each other a little bit better. Saturday was given over to the idea of getting to know each other and the town and the interns even took some of the students on an optional walk to show them where to buy groceries and other such necessities.

However, the intern-led walk paled in comparison to Monica Di Stefano’s walk on Sunday. June 2nd marked “Corpus Domini,” a religious festival in Amelia where the streets are decorated with flower petals. Many of the students jumped at the chance to participate in this day and could be seen helping the locals to create rose petal angels and the like. We then had a walk around the city where Monica explained more of its history and grandeur. Monica showed us some of the wonderful little secrets that Amelia has to offer.

This year’s group of students comes from a variety of different backgrounds and places. They have come together from around the world to learn about something that interests each of us in different ways. This diversity is sure to translate into a very interesting program as each person brings their own unique experiences to the classes. I, for one, cannot wait to see where this will lead.

June 3, 2013

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Girl with the Pearl Earring and other Mauritshuis Paintings End San Francisco Visit -- Next Stop Atlanta

Vermeer's Girl with a Pearl Earring, Mauritshuis
By Catherine Schofield Sezgin, ARCA Blog Editor-in-Chief

Johannes Vermeer’s Girl with a Pearl Earring ended its visit to San Francisco’s DeYoung Museum today.

This work was part of an exhibition of thirty-five 17th century Dutch paintings on loan from the Royal Picture Gallery Maurithuis in The Hague. Girl with a Pearl Earring is considered not a portrait but a “tronie”, the study of an anonymous face meant to portray certain characters or types rather than recognizable persons, but this has not stopped viewers from speculating on the sitter’s identity.

In Tracy Chevalier’s 2001 novel titled after the painting, the author speculates that the girl in the painting is a peasant maid employed in the Vermeer household. Art historian Benjamin Binstock proposes in his book Vermeer’s Family Secrets that the model is Johannes Vermeer’s daughter Maria, who helped the family of 11 surviving children (four died young) produce paintings as her father’s unofficial apprentice until her marriage. Vermeer, the artist of The View of Delft and The Astronomer, died at the age of 43. His work went unrecognized for almost two centuries until rehabilitated by the French writer Théophile Thoré in 1866. The Mauritshuis purchased Diana and Her Nymphs in 1876 as a painting by Nicholaes Maes (1634-1693). At an auction in 1881 in The Hague, The Girl with a Pearl Earring sold for “two guilders, plus the buyer’s premium of thirty cents”, according to Quentin Buvelot and Ariane van Suchtelen in the chapter “Girl with a Pearl Earring by Johannes Vermeer: The Dutch Mona Lisa” in the exhibit’s catalogue, Girl with a Pearl Earring: Dutch Paintings from the Mauritshuis:
Over the years Vermeer’s technique became increasingly refined. His talent for using small dots of paint to create an illusion of light playing on the surface of an object is indeed masterly. This “pointillism” was applied to great effect in The Milkmaid, for example, in which countless tiny highlights make the bread rolls and earthenware seen almost palpable. It has often been surmised that this technique indicates the use of optical devices, such as the camera obscura, but there is no proof of this theory.
As for the history of Vermeer’s paintings, Buvelot and Suchtelen wrote:
The inventory of Vermeer’s possessions – drawn up in 1676, three months after his death – records “Two tronies painted in Turkish fashion.” One of these works may well have been Girl with a Pearl Earring, since her striking turban is characteristic of the traditional attire of the Ottoman Empire, to which Turkey once belonged. If so, it means that Vermeer never parted with the painting. 

Twenty years later, on May 16, 1696, twenty-one paintings by Vermeer were sold at auction in Amsterdam from the estate of the Delft printer Jacob Dissius (1653-1976), who owned more than half of what is now Vermeer’s known oeuvre. This impressive collection of Vermeer’s had come from the estate of Dissius’s father-in-law, Pieter van Ruijven (1624-1674), a well-to-do Delft rentier.
The collecting history of Girl with a Pearl Earring is largely unknown:
The provenance of Girl with a Pearl Earring is unclear until 1881, when it was offered at a sale in The Hague, where the collection of a certain Mr. Braams was put up for auction. Victor de Stuers (1843-1916), an important art historian, recognized the quality of the painting and advised his friend Arnoldus des Tombe (1818-1902) to buy it. 

When Des Tombe, a neighbor of the Maritshuis, died in 1902, Girl with a Pearl Earring was one of 12 paintings given to the Royal Picture Gallery. In 1995-1996, the National Gallery of Art in Washington, D.C. displayed this tronie in a Vermeer retrospective.

The next stops on this tour of the Mauritshuis paintings are the High Museum of Artin Atlanta (June 22 through September 29, 2013) and the Frick Collection in New York City (October 22, 2013 through January 14, 2014).

Monday, June 03, 2013 - ,,,,, No comments

The "Other" Dutch Paintings from the Mauritshuis Traveling with Girl with a Pearl Earring from San Francisco to Atlanta to New York City

Rembrandt, Self-Portrait
Germanisches National
 Museum
by Catherine Schofield Sezgin, ARCA Blog Editor-in-Chief

Thirty-four 17th century Dutch paintings accompanied Girl with a Pearl Earring in the exhibition leaving the De Young Museum in San Francisco for the High Museum of Art in Atlanta (June 23 through September 29, 2013). Only 10 of those paintings will visit The Frick Collection in New York (October 22, 2013 through January 19, 2014).

Last year, a larger exhibit of 48 paintings from the Mauritshuis toured two museums in Japan: The Tokyo Metropolitan Museum of Art (TMMA) and the Kobe City Museum.  The Mauritshuis exhibit at TMMA included a second Vermeer painting, Diana and her nymphs (now on display at the Gemeentemuseum Den Haag). After the North American tour, Palazzo Fava in Bologna, Italy, will host 40 paintings from the Mauritshuis while the 17th century palace undergoes an expansion and renovation until mid-2014. More than 100 paintings from the Royal Picture Gallery Mauritshuis have traveled to the Gemeentemuseum in The Hague.

Portrait of Rembrandt
(1606-1669) with a Gorget,
Rembrandt (studio copy)
The Mauritshuis opened as a Dutch state museum on January 1, 1822 as the "Royal Cabinets of Paintings and Curiosities." The catalogue, Girl with a Pearl Earring: Dutch Paintings from the Mauritshuis (Fine Arts Museums of San Francisco, includes "The History of the Mauritshuis and Its Collection" by Lea van der Vinde:
As its new name made clear, the museum did not merely exhibit paintings, for the entire ground floor was filled with a colorful display of "rarities." The art collection hung upstairs, where the walls were covered from floor to ceiling with paintings. Both collections had been formed over the years by various stadtholders; their turbulent history spans more than four centuries.
Rachel Ruysch
Vase with Flowers
1700
Mauritshuis
Half of the paintings at the De Young Mauritshuis show had been acquired by The Hague institution in the 20th century. Provenance information in the catalogue was provided in the section describing the painting and appeared incomplete. Many of the paintings have been restored in recent years. For example, infrared reflectography in the conservation studio in 1998 showed an underdrawing on a Rembrandt painting purchased in 1768, Portrait of Rembrandt (1606-1669) with a Gorget, that indicates it is a studio copy of a self-portrait of Rembrandt at the Germanisches National Museum in Nuremberg. The last painting highlighted in the catalogue is Vase of Flowers (1700) by Rachel Ruysch,  a married woman and mother of 10 children who painted until her death at the age of 84. A recent restoration removed several old layers of varnish.

The ticket to the Mauritshuis paintings at the De Young included entrance to an adjoining exhibition of Rembrandt's (and contemporaries) etchings from the collection of the Fine Arts Museums of San Francisco.

June 2, 2013

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Journalist Tony Wall Interviews Judge Tompkins on His Research Used in Dan Brown's "Inferno"

by Catherine Schofield Sezgin, ARCA blog Editor-in-Chief

A replica of the Four Horses of
St. Mark's sit atop the Arc de Triomphe
 du Carrousel in Paris. 
Here's a link to journalist Tony Wall's story in the Fairfax NZ News, "Judge's Facts Become Work of Blockbusting Fiction", about how novelist Dan Brown appeared to have used the work ARCA Lecturer Arthur Tompkins published on this blog in the Doubleday book Inferno.

Wall writes:
A colleague in Italy emailed Tompkins and told him to check out the book. He popped into a bookshop in Matakana, north of Auckland, and found the relevant page. 
"I went back and looked at the article I wrote in 2011 and there it was, that passage. It's a small feeling of personal satisfaction that some work you've done has been read by someone else and then turned up in a place that I never would have expected to see it." 
Tompkins says Brown gets some of his facts slightly wrong - Brown says Napoleon displayed the horses on top of the Arc de Triomphe, when in fact they were displayed on a smaller arc nearby. 
He is also definitive about where and when the statutes were created, when no-one knows for sure. 
But that doesn't bother Tompkins too much. "He's very clever in the way he creates a feeling that he's revealing important secrets, where none of it's much secret at all. You get the feeling you're on this enormous treasure hunt."


June 1, 2013

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Alberge for The Observer on "Art Detective warns of missing checks that let stolen works go undiscovered"

Dayla Alberge wrote for The Observer on June 1, 2013 in "Art Detective warns of missing checks that let stolen works go undiscovered: Case of 17th-century landscape highlights failure of European auction houses, dealers and collectors to carry out searches" Christopher A. Marinello of the Art Loss Register found a landscape (beach) painting at an Italian auction house.

"We do find a lot of stolen and looted artwork in civil law countries such as Italy, France and Germany. Consigners of tainted works of art often try to hide behind the good-faith purchase laws of these countries while performing little or no due diligence," Marinello told Alberge.

The 1643 work, by 17th century Dutch artist Jan van Goyen, a 'pioneer of naturalistic landscape painting' was, according to the article, stolen from: the home of Paul Mitchell, an antique picture frame specialist in London in 1979:
'The thieves forced open a window to enter his house. Mitchell assumed that the slight noise that he heard from downstairs was the family cat. "Police call these people 'creepers', night-time burglars who specialise in burgling people when they are in their house," Mitchell said. Describing waking to discover the theft, he added: "The anguish is a very long, deep-seated thing which never really goes away. Hardly a day goes by when I haven't thought about it.
'The loss of the pictures was also painful because of their sentimental value [Marinello]. They belonged to his father, but had become so valuable that Mitchell could not afford to insure them for their full worth. Back in 1979, the paintings were valued £5,000 reward for their recovery, placing advertisements in international journals and approaching a specialist art detective. But the trail went cold.
'It surfaced by chance a few weeks ago after a Dutch dealer tried to buy it in Italy. Before paying for it, he decided to check the database of the Art Loss Register (ALR), which tracks down the world's stolen art from its headquarters in London.'
'Negotiations were particularly delicate because, under Italian law, if someone buys a stolen work in good faith the buyer is sometimes entitled to keep it.'

May 31, 2013

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Will the ashes in a stove in Romania prove to be the remains of the seven paintings stolen from the Triton Foundation exhibit at the Kunsthal Rotterdam?

Photograph of the image of the Matisse
painting from the Triton Foundation
 stolen from the Kunsthal Rotterdam
 on October 16, 2012.
by Catherine Schofield Sezgin, ARCA blog Editor 

The prosecutor's office in Romania suspects the seven Triton Foundation paintings stolen from the Kunsthal Rotterdam last October 16 may have been destroyed, Agency France-Presse reported May 29. Art Hostage blogger blames this rumor on the failure to offer a reward for the return of this and other stolen art. Two years ago, reports surfaced that the paintings stolen from the Museé d'Art Moderne de la ville de Paris had been thrown in the trash.

According to AFP, investigators are examining ashes taken from the home of the mother of one of the suspects Kunsthal Rotterdam thieves to determine if they include remains of the stolen paintings, including works by Picasso, Monet and Matisse. Seven Romanians have reportedly been charged with the theft. Destruction of the paintings would eliminate evidence in the even the stolen works could not be sold or ransomed back to the art gallery in The Netherlands.

The Dutch website NU.NL quotes the lawyer for one of the suspects as denying that the ashes are any proof that the paintings were destroyed.

Here is a link to previous posts on the ARCA blog covering the Kunsthal Rotterdam theft, including information about the stolen paintings.

On the blog Art Hostage, Paul "Turbo" Hendry, a self-described former stolen art trafficker, blames destruction of stolen paintings on the lack of financial incentives to recovering or returning stolen art.

May 30, 2013

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Getty Perspectives: James Cuno and Pico Iyer Discussed Travel and Museums above the fray

by Catherine Schofield Sezgin, ARCAblog Editor

Visitors taking the tram up the hill to the Getty Center now listen to a recording by James Cuno, President and CEO of the Getty Trust, welcoming them to visit the galleries and the gardens. Tuesday evening, Cuno, now into his third year at The Getty, joined writer Pico Iyer onstage to discuss travel and museums as part of the Getty Perspectives series.

Iyer, author of a book on his reflections on Graham Greene in The Man Within My Head, was introduced to the audience as someone who "defies classification", as a "resident of LAX", and an essayist on subjects including museums. Cuno, introduced as a man "who has a lot to say about museums" and author of Museums Matter, has spent two years at the Getty emphasizing "critical thinking and integrating digital initiatives".

Cuno spoke with Iyer about his book on Greene; Iyer blaming Greene's intense influence on himself to altitude sickness in La Paz, Bolivia, and a touch of cocoa tea. "I only trust those things you can't explain," Iyer said. In recommending Greene's "The Quiet American" as "still the book to read", describing Greene as the "patron saint of the foreigner alone drifting between uncertainties" and claimed that "travel gives you a privacy you can't get at home."

Travel, like museums, they discussed, can help people understand other parts of the world.

"Museums hold out the promise that museums can introduce people to the complexity of the world," Cuno said, "And open us to tolerance."

Cuno, author of the controversial Who Owns Antiquity?, spoke of the diversity of museum visitors, pointing out that 220 million people live in countries not their own, that a city such as Chicago has a large Greek community that can view objects from Greece in local museums.

"I am very skeptical of governments making claims on individual identities," Cuno said. "My view is that people don't come from governments. Art is not made for a nation. I am suspicious of governments staking claims on a legacy they wish to identify with for grandeur."

Pico noted that when the Taliban destroyed the Buddhas of Bamiyan that they destroyed what belongs to us all.

"We're responsible for what is within our jurisdiction," Cuno said. "The Taliban felt that these objects put their cultural identity at risk."

Pico Iyer described the Getty as the sanctuary next to the rush-hour freeway: "Taking us out of the fray and bringing us back to our better selves."

May 28, 2013

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Dan Brown's fictional Robert Langdon uses the "ARCA Web site" in "Inferno" to research the Horses of St. Mark's in Venice

The Horses of St. Mark's (The Triamphal Quadriga)
by Catherine Schofield Sezgin,
ARCA Blog Editor-in-Chief

In Chapter 17 of Dan Brown's Inferno published May 14 by Doubleday, (and reviewed by Janet Maslin in The New York Times), the fourth book featuring Robert Langdon, the fictional Harvard University professor of religious iconography and symbology, researches the Horses of St. Mark's: 

As it turned out, the powerful bodies of the early Friesian horses had inspired the robust aesthetic of the Horses of St. Mark’s in Venice. According to the Web site, the Horses of St. Mark’s were so beautiful that they had become “history’s most frequently stolen pieces of art.”

Langdon had always believed that this dubious honor belonged to the Ghent Altarpiece and paid a quick visit to the ARCA Web site to confirm his theory. The Association for Research into Crimes Against Art offered no definitive ranking, but they did offer a concise history of the sculptures’ troubled life as a target of pillage and plunder.

This appears to be a reference to the blog post(s) by Judge ArthurTompkins, an ARCA Lecturer, written in June of 2011: The Four Horses of the Basilica San Marco, Venice (Part I); More on the History (Part II); Continued Short History (Part III); and The Four Horses Rest Inside St. Mark's Basilica in Venice After Being Plundered from Constantinople in the 13th Century (Part IV). On the ARCA blog is another post about the "The Triamphal Quadriga" in Paris Diary: Replica of Stolen Art at Arc de Triomphe du Carrousel.

Then Brown is a bit more definitive about what academics would question:

The four copper horses had been cast in the fourth century by an unknown Greek sculptor on the island of Chios, where they remained until Theodosius II whisked them off to Constantinople for display at the Hippodrome. Then, using the Fourth Crusade, when Venetian forces sacked Constantinople, the ruling doge demanded the four precious statues be transported via ship all the way back to Venice, a nearly impossible feat because of their size and weight. The horses arrived in Venice in 1254, and were installed in front of the façade of St. Mark’s Cathedral.

More than half a millennium later, in 1797, Napoleon conquered Venice and took the horses for himself. They were transported to Paris and prominently displayed atop the Arc de Triomphe. Finally, in 1815, following Napoleon’s defeat at Waterloo and his exile, the horses were winched down from the Arc de Triomphe and shipped on a barge back to Venice, where they were reinstalled on the front balcony of St. Mark’s Basilica.

Although Langdon had been fairly familiar with the history of the horses, the ARCA site contained a passage that startled him.

The decorative collars were added to the horses’ necks in 1204 by the Venetians to conceal where the heads had been severed to facilitated their transportation by ship from Constantinople to Venice.

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