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July 16, 2013

Sept. 13 deadline for papers for the Authentication in Art in The Hague from May 7-9, 2014

Here's a link to Authentication in Art's call for papers (Sept. 13) for their conference in May 2014 at the to the announcement and call for papers for their conference at the Louwman Museum in The Hague from May 7-9, 2014.
AiA encourages all members of the art market, legal and financial community to attend the 2014 Congress. This will be the primary forum where proponents of standards of best practice in art authentication are able to come together to discuss best practices, share information about trends in the international art world and promote the concept of global standards in art authentication.
Call for Papers: Authentication in Art (AiA) invites submissions of proposals of 500–700 words (up to 3000 characters) for oral presentations, to be given at the conference in The Hague, The Netherlands, 7-9 May, 2014. The deadline for papers is Friday 13th September, 2013. Please go to http://www.authenticationinart.org/call-for-papers/ to learn all about the process and the conditions.
AiA is a not-for-profit organization established in early 2012 for market, legal, and financial professionals interested in developing policies in art authentication. Partners include the Van Gogh Museum, the Frans Hal Museum, Wallraf das Museum, Catalogue Raisonné Scholars Association, Deloitte, Art History Services, and Louwman Museum.

The AiA Foundation board consists of Professor Dr. Nico Schrijver, Chair of Public International Law at Leiden University, and Drs. Ingeborg de Jongh, an art-historian and painting conservator. The Advisory Board includes Dr. Chris Stolwijk, director of the Netherlands Institute for Art History; Professor Dr. Rudi Ekkart, art historian; Professor dr. Martin Kemp, Emeritus Professor in the History of Art at Trinity College, Oxford University; James Roundell, art historian (Cambridge University) and Chairman of The Society of London Art Dealers; and Lawrence M. Shindell, Chairman of ARIS Title Insurance Corporation.

July 15, 2013

BBC's Amanda Ruggeri: Exhibit in Rome showing recovered objects of stolen cultural property on display at Castel Sant'Angelo until November 5

Exhibition banner outside Castel Sant'Angelo
(Photo by Catherine Sezgin)
Here's a link to a BBC article by Amanda Ruggeri ("See the story behind the stolen treasures") on the exhibit at the National Museum of Castel Sant'Angelo in Rome exhibiting objects of stolen cultural property recovered by Italy. Capolavori dell'archaeologia: Recuperi, ritrovamenti, confronti (Masterpieces of archaeology: Recovery, findings, comparisons) will be open until November 5, 2013 (closed every Monday).

Items include large pieces of a 1st Century BC Pompei villa fresco recovered from the J. Paul Getty Museum in Malibu; the head and extremities of a Morgantina acrolith recovered from the University of Virginia's Art Museum; and the Euphronios krater recovered from the Metropolitan Museum of Art. Ms. Ruggeri writes:
The exhibition, which includes dozens of works of art, serves as a sobering reminder of how widespread and damaging looting in Italy has been. One display points out that when an item is looted, the problem isn’t just that it risks disappearing into the hands of a private collector, winding up abroad or being damaged. (One popular way to transport looted vases, for example, is to deliberately break them into shards and reconstruct them later, as fragments are easier to hide and move.) The irreversible loss is the item’s context. Without knowing where the piece was found, at what depth, or near which other objects, it is all but impossible to fully reconstruct the piece’s history, use and meaning.

Monday, July 15, 2013 - ,, No comments

Rome's Greek bronze statue "Boxer at Rest" visiting The Metropolitan Museum of Art through July 15, 2013

Photo from The Met: Boxer at Rest (Greek bronze)
Tomorrow (July 15) is the last day to view the ancient Greek statue, The Boxer, at The Metropolitan Museum of Art as part of 2013 - Year of Italian Culture in the United States, an initiative held under the auspices of the President of the Italian Republic, organized by the Ministry of Foreign Affairs and the embassy of Italy in Washington, D.C., with the support of the Corporate Ambassadors Eni and Intesa Sanpaolo. From The Met's website:
The bronze statue Boxer at Rest was excavated in Rome in 1885 on the south slope of the Quirinal Hill near the ancient Baths of Constantine, where it is thought to have been displayed. The statue was intentionally buried in late antiquity, possibly to preserve it against the barbarian invasions that ravaged Rome in the fifth century A.D.
Scholars have long debated the date of the statue, which is most likely between the late fourth and the second century B.C. The sculpture is an exceptional work in bronze from the Hellenistic period (323-31 B.C.) and is of outstanding artistic value.
The statue was cast using the indirect lost-wax method. It was made in different sections that were then welded together: head, body, genitals, arms above the gloves, forearms, left leg, and middle toes. The top of the head was restored in antiquity. Although the inset eyes are missing, they would have been convincingly rendered, like a pair in the Metropolitan's collection.
The Greek bronze statue resides at the Museo Nazionale Romano-Palazzo Massimo alle Terme in the vicinity of the Termini Station.

The Boxer at Rest at time of discovery (Courtesy The Met)
Here's a link to the article on The Met's blog, Now at the Met, by Seán Hemingway, Curator, Department of Greek and Roman Art, which describes the discovery of the bronze statue and includes the image above. Hemingway quotes the archaeologist Rodolfo Lanciani, an eyewitness present at the statue's excavation:
"I have witnessed, in my long career in the active field of archaeology, many discoveries; I have experienced surprise after surprise; I have sometimes and most unexpectedly met with real masterpieces; but I have never felt such an extraordinary impression as the one created by the sight of this magnificent specimen of a semi-barbaric athlete, coming slowly out of the ground, as if awakening from a long repose after his gallant fights."[1]
Hemingway, Seán. "The Boxer: An Ancient Masterpiece Comes to the Met". New York: The Metropolitan Museum of Art, 2000–. http://www.metmuseum.org/about-the-museum/now-at-the-met/features/2013/the-boxer 
[1] R. Lanciani, Ancient Rome in light of recent discoveries (Rome 1888), pp. 305–306.

July 13, 2013

America's Book of Secrets features segment on the Isabella Stewart Gardner 1990 Theft

Here's the show, America's Book of Secrets on the History Channel, which interviewed ARCA trustee Erik Nemeth (PH.D., Independent Researcher) for an episode aired in June, Lost Treasures.  At around minute 29, the show focuses on the 1990 theft of the Isabella Stewart Gardner Museum in the segment "Bare Walls". Interviews include FBI Special Agent Geoffrey J. Kelly; Robert K. Wittman, former FBI Special Agent; Nemeth; Catherine Williamson, PH.D., Director of Fine Books and Manuscripts, Bonhams; and Chris Isleib, Director of Communications, National Archives.

July 12, 2013

FBI Looking for Owners of Recovered Art (Books and Maps)

The FBI has posted images of 57 rare books and maps in hopes of finding the owners:
After a well-known dealer of rare maps was caught stealing from a Yale University library in 2006, a subsequent FBI investigation revealed that the man had stolen antique maps and other valuable items from institutions around the world. Most of the pilfered material was eventually returned to its rightful owners—but not all of it. 
We are still in possession of 57 rare maps and books—some dating to the 17th century—and we would like to return them. To that end, we are posting pictures and information about the items in the accompanying photo gallery in the hopes that the individuals or institutions who own them will come forward to claim them. 
“These items have been legally forfeited to the U.S. government,” said Bonnie Magness-Gardiner, who manages the FBI’s Art Theft Program. “Technically, they belong to the Bureau now, but we don’t want to keep them. Even though we have tried to find the rightful owners over the years, we are making another attempt.” 
After Edward Forbes Smiley, III was arrested for the Yale library theft, he admitted stealing and selling nearly 100 rare maps from international collections over a period of seven years. With Smiley’s cooperation, we tracked down most of the dealers and collectors who purchased the approximately $3 million worth of stolen material. But returning the maps to their homes proved to be a daunting task. 
In many cases, the maps were cut from books with a razor and trimmed so they didn’t look like they came from books. Some of the maps had different titles—many in Latin—and could have come from several known copies of the same book. To further complicate matters, many libraries weren’t even aware they were missing items until we contacted them. 
“These maps aren’t vehicles with identification numbers stamped on them,” Special Agent Stephen J. Kelleher, who led the 2006 investigation, said at the time. Special Agent Lisa MacNamara, who is working the case now from our New Haven, Connecticut Division, added, “Our hope is that by reaching out to the public in this way, we can get these historical items back to where they belong.” 
The items still in our possession include rare maps such as an 18th century depiction of the United States, a 1683 street plan of Philadelphia, and several antique books. 
If you believe that one of the maps or books shown in the gallery was stolen from your collection, please contact Special Agent MacNamara at (203) 503-5268, or send an e-mail to artwork@ic.fbi.gov. To claim any of the items, you will need to provide evidence of ownership and positively identify the item in question. That might include—but is not limited to—giving a description of special markings or stamps, wear patterns, specific damage, or other detailed information.

July 10, 2013

Fire Damage: 17th century Parisian mansion Hôtel Lambert once owned by the Czartoryski and Rothschild families burns for six hours

by Catherine Sezgin, ARCA Blog Editor

Hazardous materials from renovation work complicated fire fighting efforts to save the Hôtel Lambert on the Île St Louis in Paris early Wednesday morning (Euronews).

Built from 1640-44 for the financier Jean-Baptiste Lambert, the mansion had been purchased in the 19th century by Polish exiles of the Czartoryski family (owners of Leonardo da Vinci's Lady with an Ermine) and purchased from the Rothschild family in 2007 by a Qatar prince. Many politicians, writers (George Sand) and musicians (Chopin) had worked or stayed at Hôtel Lambert.

Angelique Christafis of The Guardian reported more than 140 firefighters and 50 fire engines battled for six hours a blaze believed to have begun on the roof of the 17th century mansion which has been under a controversial renovation. Damage is being assessed:
The Paris fire brigade, which has not yet given a cause for the start of the fire, said work was taking place to establish the extent of fire, smoke and water damage to historic interiors and decorative artwork on walls and ceilings. 
Before the fire, many works inside the building remained in an almost pristine state, including a series of frescos in the gallery of Hercules by Charles Le Brun, the 17th-century French artist who also worked for Louis XIV.
Hôtel Lambert is included in UNESCO's World Heritage Site, "Paris, Banks of the Seine."

In February, the historic Villa Casdagli in Cairo (and former American Embassy) in also suffered extensive fire damage (here's a report by Dr. Joris Kila, Chairman of the International Cultural Resources Working Group).

July 9, 2013

Tuesday, July 09, 2013 - ,, No comments

Northern Israeli archaeological site unveils granite fragment of Egyptian sphinx -- ancient plunder or gift?

Archaeologist Shlomit Blecher discovered part of a granite Egyptian sphynx in Israel in August 2012, raising the question of plunder or gift?

Dr. Blecher, who manages the The Selz Foundation Hazor Excavations in Memory of Yigael Yadin, works at Tel Hazor, the ancient Canaanite and Israelite city located in modern Northern Israel.

Here's a YouTube Video from the AFP news agency showing the site and the size of the fragment in comparison to the person holding the granite claws, forearms and hieroglyphics.
Its discovery also marks the first time ever that researchers have found a statue dedicated to Egyptian ruler Mycerinus who ruled circa 2,500 BC and was builder of one of the three Giza pyramids, an expert said.
How did this object travel north? The AFP offers options:
How, when and why it reached Tel Hazor remains a mystery.
"That it arrived in the days of Mycerinus himself is unlikely, since there were absolutely no relations between Egypt and this part of the world then," said Ben-Tor.
"Egypt maintained relations with Lebanon, especially via the ancient port of Byblos, to import cedar wood via the Mediterranean, so they skipped" today's northern Israel, he said.
Another option is that the statue was part of the plunders of the Canaanites, who in the late 17th and early 16th century BC ruled lower Egypt, the expert said.
"Egyptian records tell us that those foreign rulers... plundered and desecrated the local temples and did all kinds of terrible things, and it is possible that some of this looting included a statue like this one".
But to Ben-Tor the most likely way the sphinx reached Tel Hazor is in the form of a gift sent by a later Egyptian ruler.
"The third option is that it arrived in Hazor some time after the New Kingdom started in 1,550 BC, during which Egypt ruled Canaan, and maintained close relations with the local rulers, who were left on their thrones," he said.
"In such a case it's possible the statue was sent by the Egyptian ruler to king of Hazor, the most important ruler in this region." 

"Cultural Heritage in the Crosshairs: Protecting Cultural Property during Conflict" provides case studies of Cultural Property Protection and the military

Dr. Joris D. Kila, University of Amsterdam, and James A. Zeidler, Colorado State University, edited Cultural Heritage in theCrosshairs: Protecting Cultural Property during Conflict (Brill Publications, May 2013).

Dr. Kila, co-recipient with Karl von Habsburg in 2012 of ARCA’s Art Protection and Security Award, attended the 2013 Art and Cultural Heritage Conference in Amelia last month. He has undertaken cultural rescue missions in Iraq, Macedonia, Egypt and Libya and is affiliated with several heritage organizations. In the Blue Shield Winner Heritage under Siege (Brill, 2012), Dr. Kila considered the practical feasibility of the 1954 Hague Convention. 

Dr. Zeidler is a Senior Research Scientist at Colorado State Univesity where he serves as Associate Director for Cultural Resources in the Center for Environmental Management of Military Lands (CEMMI). He has been involve din Cultural Resource Management on US military installations since 1992 and has provided cultural heritage awareness training to US troops deployed in the Middle East.
The protection of cultural property during times of armed conflict and social unrest has been an on-going challenge for military forces throughout the world even after the ratification and implementation of the 1954 Hague Convention and its two Protocols by participating nations. This volume provides a series of case studies and “lessons learned” to assess the current status of Cultural Property Protection (CPP) and the military, and use that information to rethink the way forward. The contributors are all recognized experts in the field of military CPP or cultural heritage and conflict, and all are actively engaged in developing national and international solutions for the protection and conservation of these non-renewable resources and the intangible cultural values that they represent.
Here’s a list of the chapters (the book can be purchased online; its discounted 25% through 31-12-2013 with the Action Code 50555):

Chapter 1: Introduction by Karl von Habsburg
Chapter 2: "Military involvement in Cultural Property Protection as part of Preventive Conservation" by Joris D. Kila
Chapter 3: "Respecting and Protecting Cultural Heritage in Peace Support Operations – a pragmatic approach" by Colonel Dr. Michael Pesendorfer
Chapter 4: "Cultural Property Protection and the Training Continuum in the US Department of Defense" by James A. Zeidler
Chapter 5: "Developing a Cultural Property Protection Training Program for ROTC: Methodology, Content, and Structure" by John A Valainis
Chapter 6: "Conflicting memory: The use of conflict archaeology sites as training for operational troops" by Richard Osgood
Chapter 7: "Developing a NATO Cultural Property Protection Capability" by CDR Michael Hallett
Chapter 8: "Aiming to Miss: Engaging with the Targeting Process as a means of Cultural Property Protection" by Michael Hallett
Chapter 9: "A Case Study in Cultural Heritage Protection in a Time of War" by CPT Benjamin A. Roberts and LTC Gary B. Roberts (Ret.)
Chapter 10: "Counterinsurgency: A Tool for Cultural Heritage?" by Cheryl White and Tommy Livoti
Chapter 11: "Heritage Destruction and Spikes in Violence: The Case of Iraq" by B. Isakhan
Chapter 12: "A Report on Archaeological Site Stability and Security in Afghanistan: The Lashkari Bazar Survey" by Matthieu J. Murdock and Carrie A. Hritz
Chapter 13: "Holy Places – Contested Heritage: Dealing with Cultural Heritage in the Region of Palestine From the Ottoman Period until Today" by Friedrich T. Schipper
Chapter 14: "Urban cultural heritage and armed conflict: the case of Beirut Central District" by Caroline A. Sandes
Chapter 15: "Antiquity & Conflict: Some Historical Remarks on a Matter of Selection" by Mirjam Hoijtink
Chapter 16: "Plundering Boys: A cultural criminology assessment on the power of cultural heritage as a cause for plunder in armed conflicts along history" by Marc Balcells (ARCA Alum).

July 3, 2013

Elmyr de Hory's friend Mark Forgy Begins Campaign on kickstarter.com to launch play "The Forger's Apprentice" at the 2013 Minnesota Fringe Festival

by Catherine Schofield Sezgin, ARCA blog Editor

Mark Forgy, a friend of the forger Elmyr de Hory, sent out an email today:
Dear Friends,
I’m excited to share a new adventure with you. We’ve launched The Forger’s Apprentice – the new play—on kickstarter.com. This is a website dedicated to helping develop new projects. Please visit  http://www.kickstarter.com/projects/1072981678/the-forgers-apprentice-a-new-play to view a video about our play, interviews with our cast members, and check out our supporter-friendly donor incentive packages. We need and encourage your help in realizing this world premier stage adaptation of my story and life with one of the most remarkable artists of modern times. Mary Abbe, Arts columnist of the Star Tribune called my book “an incredible read.” It’s time to bring this amazing tale to life. Please be a valued part of this creative process. We anticipate a wonderful production. Advance ticket sales are available at: http://www.fringefestival.org/2013/show/?id=2463
Thank you for your help
This theatrical event also has a Facebook page and has five scheduled performances from August 3 through August 11 at the 2013 Minnesota Fringe Festival.

According to Mr. Forgy: "The play dramatizes the complex relationship between Elmyr de Hory and his two apprentices, one who wants to protect him and the other who seeks to destroy him. It is a story that is rich with outrageous humor, tragedy, love and search for the truth as seen through the eyes of his true protégé."
This new play is based on the book The Forger’s Apprentice (a true story) by Mark Forgy. Described by Star Tribune Arts columnist Mary Abbe as “an incredible read,” veteran MN Fringe producers Kevin Bowen (The Red Tureen) and Sara Pilatzki-Warzeha (Thick Chick) bring to the stage a Kafka-meets-Marx Brothers tale of Elmyr (pronounced el-MEER) de Hory a.k.a. the world’s greatest art forger. 
The drama unfolds in a courtroom hearing on 7 December 1976, deciding whether Elmyr will be extradited from Spain to stand trial in France for art crimes based on charges concocted by Fernand Legros, his increasingly menacing dealer bent on destroying him. Elmyr’s young American protégé, Mark, intent on protecting his artist/mentor friend navigates this Dali-esque reality of misplaced trust, half-truths and lies trying to reconcile what’s authentic, what’s not. In the aftermath of a life governed by duplicity Elmyr struggles to shed his image of talented scoundrel; hoping for a reevaluation of his art untainted by reputation but based on artistic merit. While his relationship with Mark achieves a depth neither anticipated, Mark’s innocence blinds him to the threat Fernand Legros poses. During the days before the pending court decision that will determine Elmyr’s fate, he reflects on the ironies of his life, the effects of free but poor choices, the circumstantial nature of morality, the dirty little secrets of the art world, and  events determined not by him, but others. 

In 1973 Orson Welles produced his last feature film: F for Fake, a docu-fantasy on the world of trickery and illusion. De Hory was its focus. Welles adored Elmyr and felt a roguish/artistic kinship with the artist, drawing trompe l’oeil correlations between film and fine art, how artifice and pretense in each domain create a parallel universe more deserving of suspicion than eulogy. While taking some artistic license with this stage adaptation of “The Forger’s Apprentice,” the unreality of the story and characters is eerily close to fact. It is bizarre and wildly entertaining; a piece about which Lewis Carroll might have written, “I wish I had thought of that.”
The Forger's Apprentice was published in July 2012 by CreateSpace Independent Publishing Platform.

San Francisco art critic Jonathan Keats wrote about Elmyr de Hory in his book FORGED: Why Fakes are the Great Art of Our Age (December 2012, Oxford University Press).

July 2, 2013

The New York Times' Tom Mashberg Points Out Turkish Claims over Lydian Bed in Storage at The Getty

Tom Mashberg writing for The New York Times on July 1 reports in "No Quick Answers in Fights Over Art" that quick resolutions over allegedly looted objects are 'rare':
More typical are disputes like one between Turkey and the J. Paul Getty Museum in Los Angeles over a fifth-century bronze bed known as a Lydian kline, which has been an item of contention since 1995.
A PowerPoint Presentation available on the Internet and attributed to Brown University's Joukowsky Institute for Archaeology and the Ancient World describes the bed for a Lydian princess: "This bed is a metallurgical masterpiece as it is made in iron, completely covered with leaded tin bronze and with a copper lattice cast-in." The presentation, who's author is not identified, writes:
Acquired by J. Paul Getty Museum in 1982, this Lydian masterpiece has never been on display. Looted from a tumulus chamber in Lydia in 1979. Identified as the Alahidir tumulus in Turkey, the bed will be reclaimed by the Turkish Authorities, who have visited the bed in the Getty storerooms.
The Metropolitan Museum of Art repatriated the Lydian Hoard in 1993 back to Turkey. Journalist Sharon Waxman wrote about "Chasing the Lydian Hoard" in Smithsonian Magazine in 2008.