Here is the 2014 schedule for ARCA's Postgraduate Certificate Program in Art Crime and Cultural Heritage to be held in Amelia, Umbria:

May 30 - Students arrive in Amelia
May 31 and June 1 - Program Orientation and City Familiarization

Course I – June 2-4 and June 9-11 “Art Policing, Protection and Investigation”
Richard Ellis, Detective and founder of Scotland Yard’s Art and Antiquities Squad (retired), Art Management Group Director

Course II - June 4-6 and June 11-13 “The International Art Market and Associated Risk”
Dr. Tom Flynn, London Art Lecturer, Docent and Art Historian

Course III - June 16-20 “Transnational Organized Crime and Art”
Dr. Edgar Tijhuis, Lawyer and Assistant Professor of Criminology at the VU University in Amsterdam

Course IV - June 23-27 “Art Forgers and Thieves”
Dr. Noah Charney, Founding Director of ARCA - Adjunct Professor of Art History, American University of Rome

June 27-29, Sixth annual ARCA Art Crime Conference weekend 

Course V - June 30-July 2 and July 7-July 9 “Art Crime in War”
Judge Arthur Tompkins, District Court Judge in New Zealand

Course VI – July 2-4 and July 9-11 “Art and Heritage Law”
To Be Announced

Course VII - July 12 -16 “Risk Assessment and Museum Security”
Dick Drent, Corporate Security Manager, Van Gogh Museum, Amsterdam

July 17-22, Program Break for travel

Course VIII - July 23-25 “Insurance Claims and the Art Trade”
Dorit Straus, Vice President and Worldwide Specialty Fine Art Manager for Chubb & Son, a division of Federal Insurance Company (retired) 

Course IX - July 28-30 and August 4-6 “Unravelling the Hidden Market of Illicit Antiquities: Lessons from Greece and Italy”
Dr. Christos Tsirogiannis, Forensic Archaeologist, Illicit antiquities researcher, University of Cambridge

Course X - July 30-August 1 and August 6-8 “Antiquities and Identity”
Dr. Valerie Higgins, Associate Professor and Chair of Archaeology and Classics at the American University of Rome

August 9-15, 2013 August Palio dei Colombi, Notte Bianca and Ferragosto festivities.

For application information and prospectus please write to education@artcrimeresearch.org.
March 1 is the deadline to apply to the program.

"Artworks lost in Nazi era at the heart of the hunt" by Sam Whiting for the San Francisco Chronicle covers the subject of Elizabeth Rynecki's search for Polish artist Moshe Rynecki's artwork:

When Holocaust survivor George Rynecki died in 1992, he left a war memoir in the trunk of his car, bequeathing the family legacy to his only grandchild, Elizabeth. "It was like, 'Whoosh,' " recalls Elizabeth Rynecki, who is still feeling the blowback of 700 paintings by her great-grandfather that went missing after the war. She set out to find them, a search that has now taken 22 years and may take 22 more. To continue reading this story, you will need to be a digital subscriber to SFChronicle.com.

 Here's an update on the search as published in the ARCA blog.

GILDED BUDDHA HEAD DISCOVERED AT MES AYNAK.  COPYRIGHT © BRENT E. HUFFMAN. ALL RIGHTS RESERVED

Will Calhoun: Can you give us some background on Mes Aynak? How is the site significant? 

Huffman: I’ve described it as an ancient city of vast size. It was located at a major crossroad on the Silk Road. There are many layers of material. The top layer that archaeologists have done the most work on is a 2,000-year-old Buddhist site that’s over 500,000 square meters in size, or 98 football fields — so an enormous area. There are over 400 life-size or bigger Buddhist statues, ancient manuscripts, temple structures, just a wealth of discoveries and information. The Buddhists were mining for copper using ancient techniques, so archaeologists are really excited about the ancient mining and smelting that was done. Beneath that Buddhist site is a 5,000-year-old or older Bronze Age site, an enormous area filled with this treasure trove of Bronze Age material. 

Calhoun: When was the site first discovered? 

Huffman: That’s sort of when things get complicated. I’m sure the site was known about before this, but the first written evidence that the site was traveled to was in the 1960s by French archaeologists. I don’t know if there was any significant study of the site at the time. The site was left completely unprotected. No protection or way to visit the site was ever put in place, so Mes Aynak has been heavily looted since the 1960s.

The big irony is that when MCC arrived, they were unaware of the Buddhist site, so they signed the contract without knowing of the existence of the site above the copper deposit. When they came in they destroyed a local village to set up their camp, where they are currently staying. Initially they brought in 1,500 Afghan police officers to guard the mining compound and, in addition to guarding the compound, the officers were guarding the site. The Chinese have basically brought in this force that’s now protecting Mes Aynak really for the first time. Since the site is so famous, it is likely that it would be looted again if the Chinese were to leave, so it’s all quite complicated. 

Calhoun: Who is mainly doing the looting? 

Huffman: I would say that it is people from Pakistan who are crossing over, working with local people in Logar province who are very poor, starving to death, and have little employment. Selling these relics, unfortunately, makes sense for local people who have no other prospects. Looters from Pakistan return to the country and sell the relics. 

Calhoun: How has the Afghan government been involved in efforts to preserve the site, if at all? 

Huffman: In my opinion, the Afghan government has been part of the problem. There is massive corruption in the government, especially in the Ministry of Mines. When the deal was first signed in 2007, the rumor was that the minister of mines received a $30 million bribe from MCC. He denied accepting the bribe, but he did step down from his position. I think it is quite likely that he did accept the bribe. He has since been replaced, but I fear the same sorts of allegations of corruption are true within the new Ministry. Obviously they want mining to begin, and they want it to begin as soon as possible. I think the archaeological findings are a thorn in their side, delaying the time when they can extract copper.

[...]

Calhoun: How can people get involved in efforts to preserve Mes Aynak? 

Huffman: There’s a petition on my Facebook page with almost 70,000 signatures, but I think the best thing would be if a celebrity or politician would speak up and say that the US should work to preserve Mes Aynak. I think that would really rally support. I think if we could get hundreds of thousands of signatures — that would really save the site. The dream situation for me would be to save Mes Aynak and do a proper archaeological dig, save everything, and make it a tourist destination. But I think that will only happen with massive public support for the site, and UNESCO would have to come in and assist archaeologists. Sadly, when the Taliban blew up the Buddhas of Bamiyan, people were horrified and shocked and it really rallied them. However, it was too late. My fear is that the same thing will happen with Mes Aynak, that there will be silence until it is destroyed and then there will be outrage. But yes, people can come to my Facebook page and sign the petition. I’ve given money to the Afghan archaeologists to finally buy them computers and digital cameras.  They had been working for years with neither. The Afghan archaeologists are the unsung heroes in this story — they have been working in terrible and dangerous conditions, so people can also donate to the film to help the archaeologists.

 

Here's a link to the Brent E. Huffman's photographs which accompany the article in Fair Observer. 

Noah Charney is featured in “Hunting Hitler’s Stolen Treasures: the Monuments Men,” the documentary tie-in to The Monuments Men Feature Film (Directed by and starring George Clooney). It will be aired on the National Geographic Channel at 8pm Eastern Standard Time on February 5 in the United States.

NGC presents the true story of an unlikely World War II “band of brothers.” The unsuspecting group of scholars, academics, historians and architects headed to the front lines of the bloodiest war in history to rescue thousands of years' worth of European art and culture from Nazi-occupied Europe. Through extensive archive sources and photographs, journals and letter excerpts, along with the personal accounts from surviving family members, this special sheds light on the remarkable story.

From the show's website:

According to Dr. Noah Charney, "while the soldiers were trying to save Europe physically, the Monuments Men were really charged with saving its soul."

Mariam Rizk for the Associated Press reported yesterday from a news conference that "UNESCO team 'shocked' at Egypt Islamic Museum Loss":

CAIRO (AP) — UNESCO pledged Friday to help restore a renowned museum dedicated to Islamic history in Cairo that was devastated by a bomb last week, with officials expressing "shock" at the scale of the damage. [...] Egypt's Antiquities Minister Mohammed Ibrahim said that 164 of the 1,471 items on display were damaged, of which 90 could be reassembled or restored. Most of the 74 irreparably damaged items were glass and porcelain, smashed to powder. On a tour of the building on Friday, shattered glass littered the floor while fragments and steel slabs from the broken windows lay all over. 

"It was an outstanding museum and to see it now, inside at least, totally destroyed is a big shock for us," Christian Manhart, head of UNESCO's museums sections, said at a news conference. The U.N. cultural agency had already set aside emergency funds of $100,000 on the same day of the blast and said further technical and financial help would follow after detailed reports were filed. Ibrahim said the American government would provide 1 million Egyptian pounds (about $150,000) while a well-known actor, Mohammed Sobhy, said he was giving 50,000 pounds (around $7,200).

Ibrahim said Egypt's National Library and Archives in the same building with the museum was also damaged. In addition, the blast smashed windows and caused other damage to historic mosques in the neighborhood. [...] Friday's visit to the museum was by a joint mission involving UNESCO and two protection and conservation groups, the International Council on Monuments and Sites and the International Committee of the Blue Shield. Manhart said the team will also prepare documents and figures to be presented to potential donors, which he was not authorized to name immediately. [...] Three years of unrest has devastated Egypt's economy, including the vital tourism industry, and the security vacuum has taken a heavy toll on the country's monuments. In one of the worst incidents, looters made away with more than 1,000 artifacts from a museum in the southern city of Malawi as violent clashes roiled the country in August. Ibrahim said Friday that the restoration of the Malawi Museum will be done in six months.

Other museums have also been hit, including the famed Egyptian Museum in Tahrir Square that holds Pharaonic antiquities including the treasures of King Tut. During the 2011 uprising would-be looters damaged mummies and other artifacts before being caught by army soldiers. Some items stolen from museums or archaeological sites have been recovered. The ministry said Friday that 935 stolen Pharaonic artifacts were found in a house in Cairo's twin city of Giza. The pieces included masks, pots, and statues. Security forces said they also confiscated guns and ammunition.

On January 24, the UNESCO World Heritage website had reported "Director-General Condemns Destruction to the Museum of Islamic Art in Cairo, Egypt":

The Director-General of UNESCO, Irina Bokova, today expressed grave concern about the damage to Egypt’s Museum of Islamic Art, following the reported explosion of a car near the Police Security Directorate, which is located at Port Said Street in Cairo, in front of the main entrance of the Museum. “I firmly condemn this attack and the destruction it has caused to the world-renowned Museum of Islamic Art in Cairo, which hosts thousands of invaluable artefacts,” said Irina Bokova. “This raises the danger of irreversible damage to the history and identity of the Egyptian people.” 

The Director-General applauded the Ministry of State for Antiquities, as well as representatives from civil society in Cairo, for their immediate action and efforts to rescue damaged artefacts and take first measures for their conservation. “In the spirit of solidarity, I appeal today to all Member States to support action to rehabilitate the Museum, the galleries and displays,” concluded Irina Bokova. “I pledge today that I will mobilise all of UNESCO’s experience and expertise to rebuilding the Museum and restoring the damage – this is as essential for the people of Egypt as it is for women and men across the world,” declared the Director-General. “This heritage is part of the universal story of humanity, shared by all and we must all do everything to safeguard it.”

WSJ: This Picasso Painting, 'Two Women at a Bar,' is among the works named in Mr. Edelman's court filings. 2014 Estate of Pablo Picasso/Artists Rights Society (ARS), New York/The Gallery Collection/Corbis

New York art collector and dealer Asher Edelman on Friday filed a lawsuit against the Swiss company Artmentum, claiming his art-financing firm was the victim of a fraudulent deal involving the proposed sale of more than 100 works by masters such as Picasso, Monet, van Gogh and Matisse. The lawsuit, filed in New York State Supreme Court and seeking $204 million, alleges that ArtAssure, Mr. Edelman's firm, was wrongly led to believe by Artmentum and its associates last spring that Japan's Hiroshima Art Museum was trying to sell roughly $400 million in art by masters from the late 19th- and early 20th centuries. The complaint alleges the art was never actually for sale, and the financial details provided by Artmentum about the collection—including that the Hiroshima Bank owned the museum works and the Japanese government owned the majority interest in Hiroshima Bank—were false.

[...]

 

The $204 million figure represents the profits ArtAssure would have made in the sale of all the works, Mr. Edelman said, adding that he never actually handed money over to Artmentum for any paintings. In addition, he said he lost "hundreds of thousands of dollars" in staff time spent investigating the deal. Some art lawyers didn't see the sum as realistic. "In my view, the damages which are requested are absurd because I don't see how he was really hurt," said New York art lawyer Peter R. Stern. 

Mr. Edelman, 74 years old, is a former corporate raider who has generated controversy in the past for his defense of his art interests. He entered the field of art finance roughly four years ago after spending decades as an art collector, museum director and gallery owner.

Frank Almond: Lipinski Stradivarius

A $100,000 reward was announced Friday for a priceless 300-year-old Stradivarius violin that was stolen in an armed robbery this week. Milwaukee Symphony Orchestra concertmaster Frank Almond was attacked with a stun gun Monday and robbed of the violin, which has been on indefinite loan to him from its anonymous owners since 2008, a common practice in the music world. The reward will be offered to anyone who can provide information that results in the safe return of the stolen violin. Officials declined to disclose Friday who, or what organization, is financing the reward. 

[...] 

A Milwaukee police spokesman confirmed Friday that Almond reported the robbers were a man and a woman. Investigators are reviewing security footage and following leads in the case, but no further information was available Friday. 

The theft marks at least the second time the "Lipinski Stradivarius" has disappeared from public view. The violin was built in 1715 in Cremona, Italy, by famed violin craftsman Antonio Stradivari. Its first known owner was the virtuoso Giuseppe Tartini (1692-1770), known to listeners for his "Devil's Trill" Sonata. The instrument has also belonged to Polish violinist Karol Lipinski (1790-1861), whose name has stayed attached to it. In 1962, the Lipinski Stradivarius was sold to Richard Anschuetz, a pianist in New York who spent summers in Milwaukee as a child. Anschuetz purchased it for his wife, the Estonian violinist and child prodigy Evi Liivak, with whom he had performed since the 1940s, according to the Milwaukee Symphony Orchestra. The couple performed around the world as a duo until the late 1980s. Once they stopped performing, the Lipinski Stradivarius disappeared from public view for nearly 20 years. The violin had not been heard in public until it was given on loan to Almond in 2008. The current owners, who remain anonymous, have been characterized as people with "strong ties" to Milwaukee.

From Bloomberg Businessweek

The Apollo of Gaza is almost six feet tall and made of bronze. He has finely wrought curly hair, one intact inlaid eye, an outstretched right hand, and a green patina over most of his body, which weighs about 1,000 pounds. His slim limbs are those of a teenager, and he’s so unusually well preserved that his feet are still attached to the rectangular bronze base that kept him upright centuries ago. On the international market, bronzes have become the rarest and most disputed artifacts of antiquity. Few survive today; over the past 2,000 years most have fallen victim to recycling: melted in antiquity for weapons or coins and later for church bells and cannon. The survivors are mostly those saved by mishaps or disasters—sinking in shipwrecks or buried by volcanic ash.

Silver includes a quote from Giacomo Medici on the rarity of the bronze statue:

“A bronze of this size is one of a kind,” says Giacomo Medici, a dealer whose 2004 conviction in Rome for acting as a hub of the global antiquities trade led to the repatriation of works from the world’s biggest museums and richest collectors, including the Getty and New York’s Metropolitan Museum of Art. If the Apollo could be sold, such a statue would bring “20, 30, 40 million euros, maybe more, 100 million for the highest quality,” Medici says, speaking by phone from house arrest at his villa north of the Italian capital. “You could make it a centerpiece of a museum or private collection.”

As for the estimated value, Silver reports:

By way of comparison, an ancient bronze a little more than half the Apollo’s size, depicting the goddess Artemis with a stag, sold for $28.6 million at Sotheby’s (BID) in New York in 2007. “That’s a good guide” for understanding the value of the Gaza bronze, says James Ede, chairman of London-based antiquities dealer Charles Ede. “Of course, it’s worth a lot of money if it can be sold, but it can’t be,” he says. A thicket of issues surrounding the Apollo’s provenance and ownership will make it hard to establish legal title, he says. It doesn’t help that Gaza is governed by Hamas, the Islamist movement considered a terrorist organization by the U.S. and the European Union. Says Ede, “It would be a hell of a furor if they tried to sell it.”

 You can read more of this article through this link to Bloomberg Business week. And you can read more about The Lost Chalice on the publisher's page here.

Mr. Silver presented at the ARCA Conference in Amelia on "Crime Scenes as Archaeological Sites" in 2011.

In Vernon Silver's article "The Apollo of Gaza: Hamas's Ancient Bronze Statue" in Bloomberg Businesweek, Sam Hardy is quoted as to the complications of the discovery:

In the hands of the Hamas government, the bronze is worth more than just money. The most valuable reward would be recognition of any kind by U.S. or European institutions and governments. Even the slightest cooperation, say, over restoration, sale, or loan of the statue, could open the diplomatic door a crack. “This case is fiendishly difficult,” says Sam Hardy, a British archaeologist whose Conflict Antiquities website tracks the use of looted artifacts to fund war. “National and international laws make it difficult to assist the administration in the West Bank, let alone that in the Gaza Strip. Indeed, any sale or leasing of the statue might normalize looting of antiquities as a funding stream for Hamas.”

We've added Hardy's blog "Conflict Antiquities" to ARCA's "Related Blogs" on the right side of our website.