Recovered: Astrolabe (Photo by ALR) Martinus Weiler, silvered brass  diameter 170 nm, depth mm

It has been a good year from Swedish Museums. A few months after recovering Matisse's "Le Jardin" for Stockholm's Museum of Modern Art, Christopher Marinello, a lawyer who specializes in recovery stolen artwork, is returning to Sweden with a 16th century astrolabe stolen from a castle museum in 1999. 

The astrolabe, signed by Martinus Weiler and dated 1590, can be classified as an early "astronomical computer" used to tell time and to map celestial objects. It is valued at over $400,000. The astrolabe was stolen from Skokloster Castle, one of the world's greatest baroque castles near Arlandal, Sweden. In the late 1990's and early 2000's the museum suffered a series of thefts of small objects including a rare book. The thefts were reported to INTERPOL and the Art Loss Register in London but no one was ever arrested for the crime. 

Authorities suspect the notorious "KB man", a former head of the rare books department at Sweden's Royal Library, who admitted stealing millions of dollars worth of rare books and manuscripts from Swedish museums from 1986-2004. At the time of his arrest in 2004, KB told police that he quickly sold the stolen items to support his lifestyle of Armani suits, Cuban cigars, and Mercedes Benzes. A few weeks after his arrest and subsequent divorce, KB man committed suicide by cutting the gas line in his apartment, slitting his wrists, and then igniting the gas. The resulting explosion blew out the walls of his apartment forcing evacuation of his neighbours and causing a dozen serious injuries. 

Mr. Marinello works closely with law enforcement and the Art Loss Register, a database of stolen objects based in London. 

The astrolabe was being searched by a collector from Italy who had intended to offer it for sale in London. Once located, Marinello negotiated the return of the astrolabe with the lawyer for the Italian collector. He expects to return the work to Skokloster Castle later this week. 

Stolen inclimometer (ALR)

"While a 16th Century astrolabe may not be as 'sexy' as a major Picasso or Matisse, for a geek like me, recovering such an important planespheric and horological instrument is just as gratifying," said Marinello. 

Bengt Kylsberg, the Museum's Curator commented, "Skokloster Castle is very grateful to Christopher Marinello and The Art Loss Register for their fantastic work. This instrument is an important part of our collection and has been at Skokloster Castle for more than 300 years. With this recovery, our scientific and rare instrument collection is nearly as complete as it was when Gustaf Wrangel, the founder of Skokloster Castle, died in 1676." 

STOLEN 

A gilt brass inclinometer signed by Johann Freidrich Franck and dated 1643 was also stolen from the castle and remains missing. Anyone with information on the whereabouts of this object is urged to contact: 

Bengt Kylsberg, Curator, Skokloster Castle

+46 (0)8-402 30 74

Christopher A. Marinello, The Art Loss Register

+44 (0)7702 206 913

For the past seven years, Amore has also served as the museum’s chief investigator into the 1990 theft of 13 priceless works of art from the museum. 

Author of “Stealing Rembrandts: The Untold Stories of Notorious Art Heists” with investigative reporter Tom Mashberg, Amore discussed some of the most infamous art heists of the 20th century, involving works valued $1 billion in total. 

Chief among the heists involved one at the at the Isabella Stewart Gardner Museum, which alone resulted in the loss of $500 million worth in paintings, etching and other works that have yet to be recovered. 

In that case, two men posing as Boston police officers were buzzed into the museum on March 18, 1990, after saying they were responding to a disturbance. They handcuffed the two night guards who were on duty and took them into the basement, where they were secured to pipes and their hands, feet and heads were duct taped. 

Amore described how the thieves made off with priceless works like Rembrandt’s Storm on the Sea of Galilee, A Lady and Gentleman in Black and a Self Portrait, Vermeer’s The Concert and Edouard Manet’s Chez Tortoni, according to the museum’s website. 

Not all art thieves, however, were so clever. Amore also regaled the audience with stories of robbers with more bravado than brains — among them Myles Connor, a notorious Boston art thief who unwittingly tried to sell works by Andrew Wyeth and NC Wyeth to an undercover FBI agent. He and several accomplices stole the paintings — along with several other famous paintings — from the Woolworth Estate in Monmouth, Maine, in the early 1970s. 

“When you steal these highly recognizable paintings, there’s no market for them. There’s no one out there who’s going to buy a painting that everyone knows is stolen. Especially when, even if you’re paying pennies on the dollar, you’re paying millions of dollars. It doesn’t take a genius to figure out that people don’t spend lots of money on things they can never show anyone. 

“Myles found that out, he couldn’t find a buyer for these Wyeth paintings,” Amore said. “He looked and looked and looked and couldn’t find one. Then all of a sudden, he gets lucky and he comes across a guy named Bernie Murphy who wants to buy these paintings from him.” 

Murphy arranged to meet Connor in the parking lot of a Cape Cod IGA store to discuss a deal. 

“Myles is elated,” Amore said. “They go, they park next to each other, Myles opens his trunk and shows him the Wyeth paintings.” Unfortunately for Connor, the supposed buyer reaches into his pocket and pulls out his FBI badge.

... Its grain-levy shall not be taken, its straw shall not be taxed, its water (let) none drain off into another channel; boundary and boundary-stone let (none) destroy; the increase of cattle and sheep let (none) seize; on the people dwelling there in, let (non) impose feudal dues or taskwork; let none send out any other man to be over them, let none impose military service upon them...

Puzur-Ishtar, governor of Mari

Mari was located in Mesopotamia (just inside the border of modern Syria) on the site of Tell Hariri on the west bank of the Euphrates - the most northerly of all the Sumerian city states. Thought to have been inhabited since the fifth millennium BC, the inhabitants of Mari were Semitic, probably part of the Eblaite and Akkadian migration. Their village became a flourishing city state from about 2900 BC until circa 1760 BC as a strategic stronghold between Sumer and the city states of Syria and northern Mesopotamia. It was destroyed in the 24th century BC and only revived when the Amorites succeeded the Sumerians. Hammurabi's Babylonian empire eventually conquered and sacked it in the eighteenth century BC.

Face of Puzur-Ishtar

Like a lot of Classicists, I was fascinated by the legacy of Alexander the Great and the Greek culture that persisted in Central Asia for centuries after him. Years ago, I was staying at my grandmother's house (after her death), and was sifting through the antiques and knick-knacks she obsessively collected. I found a samovar, and discovered that it was from Kandahar in 1881, during the Second Afghan War. Later I made friends with someone who was in charge of clearing mines in Afghanistan and he persuaded me to celebrate my 40th birthday by visiting the country.

It remains a terrible tragedy that they were destroyed. What I hadn't realized before doing the research is what an immensely rich history that they had and what very significant monuments they had been for a variety of cultures. ... they were a wonder for three separate cultures, the Buddhists that created them, the Islamic peoples who followed, and then, in the 19th and 20th centuries, for the Western world. The 19th century, when British and European travelers and spies rediscovered the statues, is a particularly fascinating period of history. The best way to compensate for an artistic crime is to fill in the proper meaning of these monuments.

This is one of four works stolen with an estimated value of more than 1 million euros. Last Wednesday a bag containing two of the other three remaining stolen artworks was delivered to the police headquarters in Amsterdam. The defendant, against whom an investigation was related to the work of art offered at auction, was immediately arrested and the bag with the two works confiscated. The suspect was surrounded and taken into police custody. The two works of art in the bag are probably also from the hand of Jan van Schoonhoven and almost certainly  from the theft in Venlo. The authenticity of these reliefs is yet to be determined. Detectives from the serious crime department worked under the supervision of the Amsterdam prosecutor. The Amsterdam detectives researched the theft of the paintings and the police unit in Limburg investigated the burglary and theft. The suspect will be brought before the magistrate on Friday, August 16.

Art investigator Arthur Brand reported on Twitter that he had returned two stolen artworks to the Amsterdam police. Dagblad de Limburger reported that the man who was arrested was in the presence of Arthur Brand. The police do not want to discuss the role of Brand who deals in tracking stolen and forged art. Amsterdam Police had been tracking the paintings before they were returned. The authenticity of the works has yet to be determined, but they are probably the three stolen works by the Dutch artists Jan Schoonhoven. The fourth work stolen from the Collection of Tomas Manders, is still missing. Together the works  have a total insured value of 1.1 million euros.

Janet Ulph and Ian Smith write, mainly from a legal point of view, about the illicit trade in art and antiquities, the criminal and civil liability derived from these kind of cases, and the efforts regarding international recovery. The goal of the text is to focus upon the extent to which laws can protect vulnerable countries, while considering what further steps could be taken in the future. Therefore, the book deals with this particular topic from a double perspective: an international point of view, on the one hand; on the other, drawing from the experience of the authors (Mrs. Ulph is a solicitor and a professor in Commercial Law at the University of Leicester, and Mr. Smith is a barrister in London), it uses many cases from English law.

The book covers, in a logical and ordered structure, the different topics mentioned above. The first chapter deals generally with the trade in art and antiquities: concepts and broad topics are defined, such as the legal right to claim, good faith purchasers, or the global market in art and antiquities. The situation in Iraq is used as a study case, to illustrate the patters of this form of illicit trade. 

The second chapter talks about international initiatives, to focus on the major international conventions and other legal instruments which, objectively, have an impact upon the illicit trade in art and antiquities. The scope of this chapter is truly amazing, going beyond the UNESCO and UNIDROIT conventions, and analyzing such legal dispositions as the Vienna or Palermo conventions, among others.

We criminologists teach a particular theory: neutralization techniques, named by its authors, Matza and Sykes. In a nutshell, the theory states that committing crimes is illogical, and offenders need to rationalize it. Analyzing the perpetrator's discourse, from the perspective of this theory, will pour forth a chain of excuses/rationalizations that convert his or her actions into something rational and logical: something he can live with. 

This was the recurring theoretical framework that came to my mind while reading the life of art thief Erik el Belga, the nickname behind René Alphonse Ghislain Vanden Berghe, a Belgian citizen, long established in the south of Spain who, alongside his wife, has published his memories, in Spanish. 

To date this book has not been translated, so the practical question for the potential reader is: should he or she invest his or her time in this text, if not well-versed in Cervantes' mother tongue? It depends. Of course, if one is interested in reading the memories of an art thief, it is, indeed worth turning to. But if not, I seriously think this is not a book to recommend, outside of those specifically interested in the subject. The first edition had no fewer than 683 pages, which makes the reading a quite daunting task. 

At the outbreak of the Second World War, my great-grandfather, Moshe Rynecki (1881-1943), took his oeuvre of work (about 800 paintings depicting the Jewish community) and divided them into bundles to be hidden in and around the city of Warsaw, Poland. He gave a list of the locations where works were hidden to his wife, son, and daughter, in hopes that after the war the family would retrieve the bundles. Unfortunately, Moshe was deported from the Warsaw Ghetto, my family believes to Majdanek, where he perished. His daughter, Bronislawa, was murdered in June 1943 at the entrance to a slum house on Nalewki Street in the Warsaw ghetto. His wife Perla, his son George, and George’s wife Stella and their young son Alex survived the war.

Moshe Rynecki, Krasinski Park, 1930. Oil on Cardboard

After the war, my great-grandmother Perla and her cousin went to see if any of the bundles of the paintings survived. They weren’t very hopeful because of the enormous devastation in and around Warsaw. They found just a single package in the Pragash district, across the river Vistula. The package was in the cellar of a home. As my grandfather George recalls in his memoir: 

The people were away, and the paintings, all on paper or parchment, fairly small, were strewn on the basement floor in the cellar. Some damaged, some cut in half with scenes missing. They seemed to have gone through the same fate as the Jewish people – massacred and destroyed. About 12-15 percent of Jews survived the Holocaust. So did my father’s paintings. One hundred and twenty were found out of a count of close to eight hundred works. (G. Rynecki 94) 

M. Rynecki, The Water Carriers, 1930. Oil on Parchment.

In 1949 my grandfather, grandmother, father, and the paintings left Europe and came to America to start life anew. In his new country, my grandfather treasured those paintings as a physical link both to his father and to a world and way of life that had been destroyed. He proudly repaired those paintings that had been damaged, framed the collection, and displayed them prominently on the walls of his home.