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July 27, 2013

Saturday, July 27, 2013 - ,,, 9 comments

Daniel Silva Launches "English Girl" Featuring Art Restorer Gabriel Allon at the Sixth & I Historic Synagogue

by Tanya K. Lervik, ARCA Alum

WASHINGTON, D.C. - Wednesday night, New York Times bestselling author Daniel Silva endured lighthearted ribbing and a gentle grilling by his wife, veteran journalist Jamie Gangel at the Sixth & I Historic Synagogue.  The event celebrated the launch of Silva's latest novel, "The English Girl."  The hero of Silva's series, Gabriel Allon, an art restorer turned Mossad covert agent, is drawn once again into a complex adventure - this time an attempt to rescue the kidnapped secret mistress of the British Prime Minister.  The packed audience welcomed several prominent guests including the Israeli Ambassador Michael Oren; Newt and Callista Gingrich; and celebrated CNN  journalist Bernard Shaw.

Daniel Silva explained how his background as a journalist, first at UPI, and then as a writer at CNN helped prepare him to create his popular series of novels.  One audience member asked about how he dealt with "writer's block".  Mr. Silva replied that, though he might not always be pleased with his writing, he does not have difficulty in writing the 1000 words per day required to complete a novel.  He credits his time as a reporter with that discipline because there was no time for hesitation.  Stories had to be written to a tight deadline.

Interestingly, Daniel Silva described how his main character, Gabriel Allon, was never meant to be the main focus of his first book.  Mr. Silva does not outline his novels in advance, and they evolve as he writes. He described the character as "just taking over" as he wrote, which is fortunate for his fans now enjoying the thirteenth installment in the series.

Research plays an important role in the process, according to Daniel Silva, including library research, expert interviews, and travel.  One memorable experience Mr. Silva described was visiting with the Vatican's expert restorers.  By chance, as he walked through the workshop, he noticed an unfinished work by Leonardo da Vinci, unframed and awaiting repairs.  Astonished, Silva was treated to an up close inspection of the masterpiece by the Vatican specialist.

He said the idea for this current book coalesced as he was standing in St. Peter's in Rome.   As he stood there, he kept hearing a piece of scripture resonating in his head, "And the house which Solomon made for the Lord was sixty cubits long, twenty cubits wide and thirty cubits high."   Silva said, "Of course it wasn't my voice I heard saying it.  It was Bernie's (Bernard Shaw),"  which brought chuckles from the audience in acknowledgment of the broadcaster's famous baritone. 

Though the character, Gabriel Allon, has aged into his sixties, Silva has no plans to retire the series anytime soon.  When asked whether the series might someday make the leap to film, Silva said he had been in negotiations, but that he was very concerned about keeping control of the end product. Regardless, the future seems bright for the author and his novels with their unlikely fusion of fine art and spy-craft.

July 26, 2013

Friday, July 26, 2013 - ,, No comments

Royal Library of Sweden celebrates the return of two rare manuscripts stolen by Anders Burius and recovered by Baltimore-based book dealer Stephan Loewentheil

by A. M. C. Knutsson, ARCA Student 2013

On Wednesday the 24th of July, the second return ceremony for books stolen from the Royal Library of Sweden took place in the office of the New York District Attorney.  Last year the Wytfliet Atlas was the first to be returned to the Royal Library after it was identified in the possession of a New York-based dealer who had purchased it in 2003 from Sotheby’s, who reimbursed the dealer before returning it to the Library.

The two new returns are the ‘Das illustrirte Mississippithal’ by Henry Lewis, which was the first book to be discovered missing from the Royal Library and a 1683 French book by Louis Hennepin on the Louisiana territory.  A full list of the books that remain missing can be found here. Both of these books were purchased by Baltimore-based dealer Stephan Loewentheil from Ketterer Kunst, a German auction house where many of the stolen books had been sold. Learning about the thefts, Loewentheil, who in turn had sold the books, bought them back and returned them to the Royal Library at his own expense. Loewentheil explained his actions in the following words, "Although as a bona fide purchaser, I didn't have any legal liability, from a moral standpoint it bothered me.”

The head librarian and CEO of the Royal Library, Gunilla Herdenberg commented on the return, saying that the return means a lot to the Library as well as the Swedish cultural heritage. It is important, she asserts, to show that these types of thefts can be resolved.

The thefts from the Royal Library took place between 1995 and 2004. They were conducted by Anders Burius, the head of the Manuscript Department, who at discovery committed suicide. More than 50 books remain missing, but it is believed that the increased publicity with the return of the resurfaced books in conjunction with further effort at identification both by the Library and the FBI might prove fruitful.

The juridical representative of the Royal Library has ensured that the Library is constantly working to localize the missing books. The economic value is irrelevant when it comes to the damage conducted to the Library and the cultural heritage of Sweden.  These books are intended for the enlightenment of mankind and the return of the books is the only right thing to do from an ethical standpoint.

Steven D. Feldman, from Herrick, Feinstein LLP, representing the Royal Library stated, “Stephan Loewentheil’s decision to return these two cultural treasures to the Royal Library of Sweden should serve as an example for ethical book dealers and collectors in the United States and around the world.  As Mr. Loewentheil demonstrated, these stolen books should be returned to the people of Sweden and the Royal Library, their true owner, and made available to the public.  They should not be secreted away in private collections.”

In the words of Stephan Loewentheil, “Our clients love books and people who love books tend to want to do the right thing, so they were happy to sell the books back to me.”

Anyone who holds any information regarding the missing books (a complete list is available at www.wytflietatlas.com) is encouraged to contact Jerker Rydén at the Royal Library of Sweden.

For more information:
Patricia Cohen - New York Times

Elina Perdahl - Sveriges Radio

July 25, 2013

Thursday, July 25, 2013 - ,,,, No comments

Report from Amelia: Erik Nemeth lectures on Cultural Security at ARCA's Postgraduate Certificate Program


by Yasmin Hamed, ARCA Intern

Week Seven of ARCA's Postgraduate Certificate Program got off to an unusual start with most of this year’s students off-site. Monday and Tuesday saw the remnants of the long weekend break where many of the students travelled both within and beyond Italy. Students enjoyed the sights around Italy such as Bari, Matera, Venice, Milan and Florence in addition to other locations beyond the borders such as Switzerland, Serbia, Marrakech and Malta.

Our slower than usual return to classes on Wednesday afternoon began our first day of a new module on Cultural Security led by Dr. Erik Nemeth. With a brief segue from art crime, our first encounter focused on the interdisciplinary nature of Cultural Security and the interactions of each discipline very thoroughly represented in our class from the three areas of physical, political and economic spheres.

With our first full day of classes we further examined the dimensions of cultural security during three main temporal spheres: the Second World War, the Cold War, and the Post-Cold War periods. The dynamics between cultural security and cultural intelligence opened up a discussion on the problems and solutions currently at play on the international field. Again, each student offered insights from their own fields. Dr. Nemeth’s presentations offered a view of cultural security through a series of well-known case studies such as the infamous destruction of the Bamiyan Buddhasin Afghanistan in 2001 and of the Samarra Mosque in Iraq in 2006.

A discussion of the great losses to cultural property could only be followed with the counter-active measures: cultural intelligence services. Dr. Nemeth’s scientific approach to this subject brought about a new way of attacking our studies through the use of statistical analysis. This data may be used to predict threatened cultural heritage sites worldwide by organizations who are tasked with the protection of cultural property in areas of conflict.

As we are getting further and further into the course, an interesting dynamic begins to arise. Having covered such significant areas such as bi-lateral agreements previously in our class on Art Crime in War with Judge Arthur Tompkins, in addition to during our class on Art and Heritage Law, we are now garnering a view of intricate subject areas such as this from a number of viewpoints. This multi-disciplinary approach to major issues within the area of art crime research is creating a solid foundation in our knowledge of this area with every new module. 

Coming off the hectic travel during the long weekend, and with no formally arranged class trips, most students took advantage of last weekend to relax. A fantastic birthday party for one of the students at the top of Amelia beside the duomo offered astounding panoramic views of Amelia. As Week Seven came to a close, some of our students even benefited from a poolside reading of Dorit Straus’ article on “Insurance Claims and the Art Market” in preparation for Week Eight in ARCA’s 2013 Postgraduate Program.

Thursday, July 25, 2013 - ,,,,, No comments

Kunsthal Rotterdam Art Theft: The New Yorker blogs on Claim that Mother of Suspect Burned Stolen Paintings from the Triton Foundation

Now on blog of The New Yorker writer Betsy Morais has weighed in today with "How to Catch an Art Thief When the Evidence Has Been Torched" by quoting a chemist on the type of "screening process" likely to be used to analyzed the charred remains of what may turn out to be the seven paintings stolen from the Triton Foundation while on display at the Kunsthal Rotterdam on October 16, 2012.
Upon arrival at a crime scene, if investigators were to find nothing more than black ash, analyzing any of it would be impossible. “But fortunately, that’s never really the case,” Tague said. “If things are charred, then you can typically identify which artist would have generated the art.” 
It’s a delicate process. The eye can only see something as small as seventy-five microns, or about the width of a strand of hair. “You’re looking for particles much smaller than that,” Tague said. “So it’s tedious, really tedious. And you don’t want to disturb a crime scene. So it could take weeks or months just to recover the particles.” Even just two or three microns of dust could be the key to identifying the signature of Picasso.
Ms. Morais reported that the director of Romania's Natural History Museum, Ernest Oberlander-Tarnoveanu, 'told me by email that they also found "fragments of paintings with imprints of the canvas".'

July 23, 2013

Tuesday, July 23, 2013 - ,,,, No comments

Work of textile conservator Julia Brennan (ARCA '09) featured in new book on "The Turkish Ambassador's Residence and the Cultural History of Washington, D.C."

WASHINGTON, D.C. -- The work of textile conservator Julia Brennan (ARCA '09) is one of the many features in the recently published book by Istanbul Kültür University, The Turkish Ambassador's Residence and the Cultural History of Washington, D.C., authored by Skip Moskey, Caroline Mesrobian Hickman, and John Edward Hasse.

Here are link's to Ms. Brennan's posts in 2011 on the Everett's House Ottoman-style wall fabrics in the ballroom and the project to conserve them.

The residence of the Turkish Ambassador in the American capital is a early 20th century mansion (1910-1915) buildt by Ohio-industrialist Edward Hamlin Everett (1851-1929) and designed by George Oakley Totten, Jr. The Turkish government purchased the home during the Great Depression and undertook a restoration of the residence between 2001 and 2007 under the direction of interior designer Aniko Gaal Schott and architect Belinda Reeder.

Mr. Skip Moskey writes on the 'intersection of politics, architecture, and social structure in the early history of Washington' and used primary research materials to write about Edward Hamlin Everett. Ms. Caroline Hickman wrote about the architect Totten and the interior decoration of the house using diplomatic records in the national Archives. John Edward Hasse documents the musical history of the residence, once the childhood home of the co-founder of Atlantic Records:
An important chapter in the history of the house was the decade between 1934 and 1944, when the sons of Ambassador and Mrs. Mehmet Münir Ertegün, Ahmet and Nesuhi, brought noted African-American musicians home for jazz sessions in the Embassy. There they broke racial barriers and enriched Washington's music scene through their passion for African-American music.
Ms. Brennan worked on the cleaning and conservation of the embroidered and appliqué silk architectural textiles that decorate the upper sections of the ballroom walls, as she describes here:
an extraordinary complex technique of appliqué of silk sateen cutouts (think matisse) on top of contrasting silk sateen ground, with each motif outlined with a cording that was stitched and glued on. The pattern, an architectural niche containing a tall bulbous 'vase' shape, alternates the red and gold silk, so the eye moves along as if following a series of decorative windows.
YouTube has a series of videos on the book launching at the Turkish residence in early July, including a discussion by Ms. Caroline Mesrobian Hickman.  

Tuesday, July 23, 2013 - ,, No comments

Kunsthal Rotterdam: Mother of Suspected Art Thief Denies Destroying Paintings to Judges in Budapest Court

The mother of a suspected art thief denied in court that she destroyed paintings stolen from the Kunsthal Rotterdam last October, according to Andrew Higgins reporting from Bucharest, Romania, in The New York Times on July 22 ("Romanian Denies Burning Art"):
Olga Dogaru, the Romanian woman who told investigators that she had incinerated seven works of art by Matisse, Picasso and other modern masters in an effort to protect her son, denied in court on Monday that she had burned the works. 
Standing alongside her son, Radu, 29, who has admitted stealing the paintings in October from the Kunsthal museum in Rotterdam, Mrs. Dogaru, 50, told a panel of three judges that her earlier account of destroyed the works in a stove at her house in the tiny village of Carcaliu was untrue. "I did not burn them," she said in a soft voice.
Here's a link to a description of the stolen paintings. Here's a link to last week's reports on the ongoing police investigation into the ashes found in Mrs. Dogaru's stove.

And here's a link to an "exclusive" article published in Reuters by Radu Marinas, "Romanian expert believes three artworks from Dutch heist destroyed":
"We gathered overwhelming evidence that three (of the seven) paintings were destroyed by fire," said Gheorghe Niculescu, head of the team from Romania's National Research Investigation Center in Physics and Chemistry, which has been examining ashes found in the police investigation. 
However, he could not say which of the seven paintings had been destroyed and did not explain how he was certain that the remains originated from works stolen from Rotterdam's Kunsthal museum last October, rather than other paintings.
Marinas reported:
Until Niculescu spoke to Reuters on Monday, none of the experts involved in examining the ashes had given a firm view on whether any of the paintings had been destroyed.
Niculescu said he was now sufficiently confident that three had been destroyed that his department, a unit of the culture ministry, would be submitting a detailed report to prosecutors this week.
NAILS IN THE ASHES
He said nails used to fasten the canvases to their wooden frames, recovered from the ashes in Dogaru's house, had been a crucial piece of evidence. "Their shape, the way in which they were manually manufactured and the metals they were made of, lead us to our conclusions," he said.
"We used X-ray fluorescence, X-Ray diffraction techniques, electronic and optical microscopy. I also got the best opinion of the national arts museum expert and there's no doubt here."
"Also Prussian Blue, a paint pigment discovered around 1715 and used on a large scale by painters from around 1750 ... which we found in very small traces of canvas, supports the case," Niculescu told Reuters. 

July 20, 2013

Saturday, July 20, 2013 - ,,,,, No comments

Report from ARCA in Amelia: Dick Drent on Museum Security and Integrated Risk Management for Cultural Heritage

Le pont d'Argenteuil
by Claude Monet - damaged in 2007 by intruders
by Sophia Kisielewska, ARCA Intern

This past week, our course was taught by Dick Drent, the Corporate Security Manager and former Director of Security at the Van Gogh Museum in Amsterdam, who led us through the ins and outs of museum security and risk management for cultural heritage. Mr. Drent offered up his vast and unparalleled knowledge from the practical side of art crime detection and prevention -- knowledge he has gained through his eight years heading the security team at the Van Gogh Museum and 25 years working in the field of Law Enforcement in the Netherlands.  We learnt about how, during his time as Security Director at the Van Gogh Museum, he has changed and refined the security procedures of the museum to meet a standard that is truly fitting for the treasure trove that it holds.

Through the week we identified the many threats that face any art institution: theft, vandalism, violent acts, natural disasters, fire, and environmental hazards and learned the practical approaches for protecting against these.  Mr. Drent guided us through the museum security training methods he devised with some of his former colleagues from Dutch law enforcement. He has spent several years promoting this method in museums and galleries around the world and in doing so has become a leading figure in an international movement calling for greater security for cultural property.  The training focuses on the detection of risks upfront in order to minimize actual threats, his mantra being that a museum must have a proactive stance in the protection of its art works rather than a reactive one. This, he emphasizes, need not be reliant on fancy and expensive equipment, rather a shift of attitude from the management level to the floor level on the training of security personnel and museum staff.  This includes training in how to properly observe and recognize deviant behavior and the regular analysis and revaluation of risks to the museum on a daily basis, followed by assessments on the best ways to intervene if such an event were to occur.


The highlight of Dick Drent’s course was undoubtedly the field class that he led in Rome. We rose early on Monday to take a coach bus into the capital where we spent the day surveying some of Rome's greatest collections of Western European art not merely as tourists but through the eyes of a security director. Through a series of group exercises, we gained an understanding of the complexity of securing a museum while keeping the collection available to visitors.


As my classmates talked amongst themselves during the field class, walking among collections, and even on the bus ride back to Amelia, we began to realize the complex field in which a modern-day museum security director works.  His or her job requires them to not only know what is best for their particular museum and their particular collection but to also convey that information to a broad group of interested parties and decision-makers.  It is one thing to talk among colleagues from the security field about what is needed, but it is quite another thing to articulate those same concerns to a museum director, its Board of Trustees, a finance review board, or a museum's curators and conservators.

Having survived a two-week stretch of intensive studying without a pausa, we were treated to a six-day holiday. Most students decided to venture away from Amelia and the chosen destinations ranged from Rome, Sienna, Florence, and Venice to Serbia, Basel, Switzerland, Amsterdam, and Marrakesh.  During the break, many of Europe’s great galleries were visited and no doubt many of us looked vaguely suspicious as we unconsciously carried out security audits of the collections.  During my own trip to Castel S. Angelo in Rome, it became apparent to me that visits to cultural institutions will never be the same again thanks to Dick Drent’s full on and rigorous museum security training.

July 19, 2013

Friday, July 19, 2013 - ,,, No comments

When is restitution a bad thing? The case of Melanesian wood carvings


Portrait of Adele Bloch-Bauer I
 by Gustav Klimt. (1907).
 Neue Galerie, New York.
Source: Verity Algar

by Verity Algar, co-posting with Plundered Art

The Holocaust Art Restitution Project and other organisations aiming to restitute Holocaust-looted art to its rightful owners justifiably propose restitution to be a positive thing in this context. However, my research has shown that not all cultural groups want to re-possess their cultural heritage.

I recently spoke at the Association of Research into Crimes Against Art’s 5th Annual Conference, where I compared these two objects: the Portrait of Adele Bloch-Bauer I by Gustav Klimt. (1907) and Malanggan from Northern New Ireland, Papua New Guinea (collected in 1890).

Malanggan, from Northern New Ireland,
Papua New Guinea. Collected in 1890.
 Museum of Archaeology & Anthropology,
 Cambridge
Source: Verity Algar
Why would I compare a twentieth-century European painting with a nineteenth-century wood carving from Melanesia, I hear you say?! Well, by comparing these different objects, I wanted to point out that their original owners take vastly different approaches to the restitution of these objects. Let me explain.

In Jewish communities, generally, the original owners of the cultural objects and/or their heirs, feel the need to re-claim their objects in order to gain a sense of closure on a traumatic past. As the following excerpts demonstrate, the language of restitution claims suggest that the Holocaust is not truly over until looted art objects have been restituted:

“The return of stolen art may be one of the last acts of the Shoah”
(Dellheim 2000 cited in Glass 2004: 117)

“museums … are dealing with the unfinished business of the Holocaust”
(editorial, Seattle Times 16 June 1999)

“Austria will move closer to closing the book on a somber chapter in 20th-century history”
(Czernin 1998 cited in Glass 2004: 118)

The people of New Ireland in Papua New Guinea, on the other hand, do not wish for the malanggan which they themselves created, to be returned to them, despite malanggan being essential to their culture. This may initially seem puzzling because they can often take more than three months to carve (Küchler 2002: 1). Yet they are not made to be displayed, treasured and revered as much of the art confiscated by the Nazis was. Malanggan are displayed for a few hours during mortuary ceremonies, before being left to the elements to decompose (Küchler and Melion 1991: 29). As money became increasingly important in New Ireland, the sale of malanggan to Western collectors became an attractive alternative (Küchler and Melion 1991: 29). More than five thousand malanggan have been collected by Western museums (Küchler and Melion 1991: 27).  As other indigenous groups began to claim the objects that constituted their cultural memory from Western museums, the museums considered restituting the malanggan too.

This illustrates a fundamental misunderstanding of the significance of malanggan to Melanesian culture.  During the carving process, the sculpture is imbued with life force, which is “symbolically killed” when ownership of the malanggan is transferred from the deceased’s family to related kin in exchange for money (Küchler and Melion 1991: 32). The image of the malanggan, however, is preserved as cultural memory and is reproduced in future sculptures (Küchler and Melion 1991: 32). Susanne Küchler and Walter Melion refer to the conflicting status of memory surrounding malanggan practice as “strategic remembering and deliberate forgetting” (1991: 30). To restitute these objects to the people of New Ireland would be to rekindle a specific aspect of their cultural memory, thus interfering with the process of “deliberate forgetting”.

Whilst it is fundamentally important that organisations such as ARCA and HARP continue to support research into Holocaust-era looted art, it is equally important that we understand why restitution can be incredibly problematic for some groups of people. Far from interrupting or countering my pro-restitution tendency, the argument against the restitution of malanggan can run alongside this tendency. As a concept, restitution is neither good nor bad. Rather, decisions about whether or not to restitute cultural objects need to be made on a culture-specific basis.

Verity Algar is a second year BA in History of Art student at University College London, where she minors in Anthropology. She recently spoke on ‘Cultural memory and the restitution of cultural property: Comparing Nazi-looted art and Melanesian malanggan’ at the Association of Research into Crimes Against Art’s 5th Annual Conference. She is hoping to complete the ARCA Postgraduate Certificate before working in a field relating to cultural heritage protection.

July 17, 2013

Wednesday, July 17, 2013 - ,,, No comments

SMU Announces Dick Ellis and Virginia Curry in "The World of Art and the Fine Art of Crime" at Southern Methodist University from October 14-18, 2013

Richard Ellis
Art crime investigators Richard "Dick" Ellis and Virginia Curry will present another seminar in "The World of Art and the Fine Art of Crime" at the Meadows School of the Arts at Southern Methodist University from October 14 - 18, 2013.
The seminar will be presented by two internationally noted art crime investigators. Richard “Dick” Ellis is a former detective with New Scotland Yard, where he founded and led the Art & Antiques Squad for more than a decade. Virginia Curry is a former FBI undercover agent and Art Crime Team member whose high-profile cases have been chronicled in such books as Chasing Aphrodite and The Medici Conspiracy (see full bios at end of release). 
Topics to be covered include the following: 
• Museums: A lecture on museum operations will be followed by a trip to a regional art museum, where participants will visit with professionals regarding exhibit curation, conservation, security and provenance issues. 
Virginia Curry
• Auction houses: A talk about the auction business is followed by a visit to an auction house, discussion with staff, preview of an upcoming auction and participation in a mock bidding experience. 
• Art galleries: A lecture on galleries’ roles in identifying tastes, finding clients and working with them to build collections is followed by visits to local galleries and meetings with owners and artists’ representatives to discuss current collecting trends in contemporary and traditional art. 
• Art crime and looted cultural heritage: From Egyptian antiquities to Native American art to Nazi thefts during World War II, issues of rightful ownership, provenance and repatriation of art works continue to challenge art organizations and governments worldwide. Current cases will be discussed by international experts.
Last summer, Mr. Ellis and Ms. Curry presented their symposium at Stonehill College.

Mr. Ellis is also a lecturer at ARCA's Postgraduate Certificate Program in Art Crime and Cultural Heritage Protection. Ms. Curry presented at ARCA's International Art Crime Conference in 2009.

Here a link to this event on the SMU website for additional information about registering for the seminar.

Wednesday, July 17, 2013 - ,,,, No comments

Kunsthal Rotterdam Art Heist: Six People to be tried in Budapest for stealing 18 million Euros of art; DIOCT denies making any conclusions about the destruction of the stolen paintings

On Monday, July 15, Romanian authorities under the umbrella of "DICOT" will be prosecuting six people in a court in Bucharest for the theft of seven paintings from the Kunsthal Rotterdam on October 16, 2012, according to Mediafax.ro.

DIOCT is the Directorate for Investigating Organized Crime and Terrorism, within the Public Ministry/Romanian Police, with 280 prosecutors and another 200 administrators and 40 specialists to combat and prevent organized crime. According to a statement issued on July 17 by DIOCT related to the Kunsthal Rotterdam theft indicates (based upon a Google translation from Romanian to English) that the DIOCT is not confirming or approving any conclusions regarding the stolen paintings (alluding to the question of whether or not the paintings have been destroyed).

The DIOCT's press release dated July 15, 2013 (loosely translated by Google from Romanian into English) announces the indictment of defendants Radu Dogaru; Adrian Procop (în lipså); Eugen Darie;  Alexandru Mihai Bitu; Olga Dogaru; and Petre Condrat (still at large). The prosecutor claims to have evidence that the defendants acted as a criminal group to steal seven works of art stolen from the Kunstal Rotterdam on October 16, 2012, worth an estimated 18 million Euros. One of the defendants (Bitu) is accused of trying to sell the artworks stolen by three of the defendants (Dogaru, Darie and Procop). Condrat is accused of knowingly handling two of the stolen artworks. Defendant Olga Dogaru (mother of one of the suspects) is accused of transporting and concealing the stolen art. The trial will be held in Bucharest.

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