Organised by Professor Duncan Chappell,  Dr Saskia Hufnagel and Ms Marissa Marjos.

Date: January 16, 2017

Workshop costs: Free, registration required 

Following the success of the first workshop, this second workshop aims specifically at discussions in the area of art fraud and forgeries. The following (third) workshop will focus on looting and iconoclasm (June 2017, Berlin, Ministry of Finance). 

All workshops will be structured around a number of presentations by prominent actors in the field, but the main parts are discussions around the topic between all participants.   

The aim of the workshop series is to encourage interdisciplinary research, cross-jurisdictional sharing of knowledge and exchange of ideas between academics, practitioners and policy makers. Practitioners will be invited from various backgrounds, such as, police, customs, museums, galleries, auction houses, dealerships, insurance companies, art authenticators, forensic scientists, private security companies etc.  

The proposed network not only aims at bringing the different players together, but also establishes a communication platform that will ensure their engagement beyond the three workshops.  Organisations invited to the 2nd workshop include:

The Association for Research into Crimes against Art (ARCA), Metropolitan Police, German Police (LKA Berlin), Hong Kong Police, Europol, Authenticators and Art Experts, The Art Loss Register, Art Recovery International, Private Policing Sector, Victoria and Albert Museum (Security), National Gallery, Historic England, Artists/Forgers, Insurance Sector, Journalists, Association of Chiefs of Police, MPs, Academics from various disciplines, Art Dealers and many more. 

Workshop 2 will focus specifically on the subject area of art fraud and forgery. In an international art market that is currently reaching record levels of pricing and unprecedented levels of speculative sales and investment the incentives for art fraud and forgery have never been higher. Among questions to be addressed will be: 

1.What is the prevalence of this type of crime? 

2.Who are the principal participants? 

3.To what extent are existing regulatory mechanisms effective? 

4.Is self-regulation of the art market the way forward? 

5.How are forgeries placed on the market? 

6.What scientific measures can be taken to better protect the art market? 

7.How should identified fraudulent works of art be dealt with? 

8.How can the legal and financial risks in authenticating works of art be mitigated? 

9.00 am Registration

9.30 am – 10.00 am

Introduction by Duncan Chappell and Saskia Hufnagel

10:00am – 11.30 am

1.           International Case Studies 

Dr. Noah Charney, founder, Association for Research into Crimes against Art (ARCA)

Rene Allonge – Detective Chief Superintendent, Criminal Investigation Office (State of Berlin) and Seven Weigel – Detective Superintendent, Criminal Investigation Office (State of Berlin)

Saskia Hufnagel, QMUL

Coffee Break 11.30 am – 12.00 pm

12.00 pm – 1.00 pm

Presentation by and Dialogue with John Myatt

1.00pm - 2.00 pm Lunch

Afternoon

2.00 pm – 3.30 pm

2.          International Law Enforcement and Security Perspectives

 Vernon Rapley, Head of Security and Visitor Services at the Victoria & Albert Museum

Toby Bull, Founder, TrackArt - Art Risk Consultancy

Michael Will, Europol

3.30 pm – 4.00 pm Afternoon Tea

4.00 pm – 6.00 pm

3.        Detection, Prosecution and other legal action

Professor Robyn Sloggett, Director, Centre for Cultural Materials Conservation, University of Melbourne

James Ratcliffe, Art Loss Register

National Gallery

Robert A. Kugler – Barrister/Solicitor (Rechtsanwalt), Höly, Rauch & Partner - Lawyers, Berlin

Bonhams has withdrawn the suspect antiquity that was identified by Greek forensic archaeologist and ARCA lecturer Christos Tsirogiannis on November 07, 2016. This (il)licit object had originally been set for auction on November 30, 2016 via the auction house's London division.  

As mentioned in ARCA's earlier report this morning, the antefix is traceable to the confiscated Giacomo Medici archive, a twenty year old repository of dealer records and polaroids that document the trove of antiquities that at one point or another passed through the hands of Giacomo Medici, convicted in 2004 for selling thousands of stolen pieces of Greco-Roman art from Italy and the Mediterranean.

The withdrawal of the object comes with a short statement that reads "This lot has been withdrawn".

For details on Dr. Tsirogiannis' assessment of this antefix, please see ARCA's earlier report of his finding here. 

On November 7, 2016 ARCA was informed by Christos Tsirogiannis that he had identified a new potentially tainted antiquity scheduled to be auctioned by Bonhams auction house in London on November 30, 2016 traceable to the confiscated Giacomo Medici archive.

That item is Lot 14, An Etruscan Terracotta Antefix

A screenshot of the provenance/collection history details are added here:

Etruscan buildings were often decorated with polychrome terracotta elements. Antefixes, such as this one on auction, were placed at the end of the rows of roofing tiles located along the eaves of the roof. Usually made in molds, many took the form of male or female mythological characters. 

Since 2007 Tsirogiannis, a UK-based Greek forensic archaeologist and summer lecturer with ARCA's Postgraduate Program in Art Crime and Cultural Heritage Protection, has sought to identify antiquities of illicit origin in museums, collections, galleries and auction houses that can be traced to the confiscated Giacomo Medici archives and the related Robin Symes-Christos Michaelides and Gianfranco Becchina archives.

Each of these dealer's archives provide insight inside a network of illicit trade in antiquities and, when combined, include thousands of ancient objects from all over the world which have passed through the hands of smugglers, middlemen, and antiquities dealers who "laundered” illicit objects through the licit market.

An expert on terracotta figurines, James Chesterman collected avidly and was the author of Classical Terracotta Figures published by Littlehampton Book Services Ltd, 1974.  In 1984 the Fitzwilliam Museum purchased more than 100 Greek and Roman terracotta figurines from Chesterman's collection, in what is likely to be, in the museum's own words, the last major private collection to enter the Museum.

Who were some of James Chesterman's sources for antiquities?

Conducting a quick search (meaning far from comprehensive) of objects from the Chesterman's collection that have come up on auction tells us a little about some of his sources. 

We know this collector was buying from Jean Mikas, Paris; thence by descent to his nephew, George Krimitsas, Paris in 1982

He also bought from Charles Ede Ltd, London, in 1983

Then he purchased from known trafficker Robin Symes in 1983

Then again from Charles Ede Ltd, London, in July 1985

And again from Charles Ede Ltd, London, in Aug 1988

After the closing of his Rome Gallery, Giacomo Medici entered into partnership with Geneva resident Christian Boursaud and opened Hydra Gallery in Geneva in 1983 (Silver 2009: 139). 

This Swiss gallery then began consigning material supplied by Medici for sale on the London market, predominantly through Sotheby's.  (Silver 2009: 121-2, 139; Watson and Todeschini 2007: 27). Watson and Todeschini estimated that during the period of the 1980's Medici was the source of more consignments to Sotheby’s London than any other vendor (Watson and Todeschini 2007: 27).

If the collection history on the Bonhams Lot is accurate, then Medici's pieces were also appearing on the Paris antiquities market during that same period. If it isn't, then this object is missing a passage from its London history.

Dr. David Gill also has analyzed this new sighting, adding his own research in this Looting Matters blog post. 

Many have argued that Dr. Tsirogiannis tactics of naming potentially looted objects from the archives via ARCA's blog, David Gill's Looting Matters and on occasion Neil Brodie's Market of Mass Destruction, places auction houses at a disadvantage and should be construed as unfair given the market does not have direct access to the photos in these archives.  A valid point, but given the frequency illicit antiquities continue to penetrate the legitimate art market, we hope this will lead auction houses to consider more stringent reporting requirements of their consignors to insure that they do not inadvertently support the illicit antiquities trade. 

In closing,  given the proven lucrative nature of unprovenanced antiquities on the open market, Tsirogiannis has notified Interpol who in turn will notify the Italian authorities of his new identifications. Here's hoping that his continued spotlight, however awkward it is for everyone, will serve as a recurring reminder that we still have a long way to go before the licit art market is cleaned up.

By: Lynda Albertson

----------------------

Bibliography: 

Lindros Wohl Birgitta, Three female Head antefixes from Etruria,

in The Getty Museum Journal, 12, 1984, pp. 114-116.

Pallottino Massimo, Giuseppe Foti, Antonio Frova, Franco Panvini Rosati (sous la dir. de) Art et civilisation des Étrusques, octobre-décembre 1955, cat. adapté et traduit par Jean Charbonneaux et Marie-Françoise Briguet, Paris

Silver Vernon The lost chalice: the real-life chase for one of the world's rarest masterpieces: a priceless 2,500-year-old artifact depicting the fall of Troy

Harper - 2010

Watson Peter and Todeschini Cecilia The Medici conspiracy: the illicit journey of looted antiquities from Italy's tomb raiders to the world's greatest museums

PublicAffairs - 2007

After reviewing photographic documentation provided by Italian authorities, the Cleveland Museum of Art has voluntarily transferred a 14th-century manuscript folio (leaf) from an Italian Antiphonary to the U.S. Immigration and Customs Enforcement’s (ICE) Homeland Security Investigations (HSI) division for its eventual return to Tuscany. 

An antiphonary is a book intended for use by a liturgical choir.  This particular looted page was sliced out of a seven-page songbook that originally belonged to the Church of Saints Ippolito and Biagio of Castelfiorentino.  Its sister pages are preserved at the Museum of Santa Verdiana south west of Florence. The page is believed to have been removed from the antiphonary sometime between 1933 and 1952 when the work was purchased by the museum. 

The antifonary, measures 44.3 x 35.2 cm and is believed to have been created by an artist known as the Master of Dominican Effigies, an important illuminator whose exact name, until now, is unknown.  The illuminated parchment hymnal was produced sometime between 1335 and 1345.  The foglio page being returned has illustrations in ink and tempera and is embellished with gold leafing. 

According to the Cleveland Museum of Art, the foglio was attributed to another illustrator at the time of its purchase.  Curators at the museum became suspicious when a second attributable page from the same antiphonary came up for sale on the Swiss art market. US and Italian law enforcement authorities were notified and an investigation was initiated which has led to this eventual return. 

Collecting single leaves from Medieval and Renaissance illuminated manuscripts while quite in vogue, are activities collectors should approach with a lot of caution and healthy doses of due diligence.  While there has been a historic tradition of biblioclasts, or book breakers — someone who breaks up books and manuscripts for the illustrations or illuminations, there are also way too many instances of more recent thefts commited by individuals with access to little used historic texts who have helped themselves to more than a page or two, creating collection histories to cover their tracks.  

Pier Luigi Cimma and Franca Gatto, two professors who participated in a 1990 inventory of Italian church archives were known to have cut pages from several manuscripts, most of which they sold to a bookseller in Turin, Italy. Thanks to the city of Monza's squad from the Nucleo dei Carabinieri Tutela Patrimonio Culturale, several of these were recovered from Sotheby’s in London. 

A delivery date for the return of the Cleveland Museum foglio to the Italian government is being finalized.

Yesterday's local news in Italy reported that a painting, commissioned by Pope Urban VII, has disappeared following the earthquake that struck the Church of Santo Stefano, located in the zone of Nottoria, 13 km from Norcia in central Italy. 

The large altar painting, "Pardon of Assisi" is 193 x 142 cm in dimension and was painted by the French painter Jean L'homme in 1631. The first publicized images of the artwork related to the possible theft were posted by Professor Alberto D'Atanasio on Facebook October 06, 2016.   

The incident is currently being investigated by the Perugia division of Italy's Carabinieri del Nucleo Tutela del Patrimonio.  Initial reports seemed to indicate that perhaps there was a possibility that the artwork had been moved elsewhere for safekeeping, albeit without stellar coordination.  This morning however, Italian newspaper La Repubblica quoted Don. Marco Rufini, the priest responsible for the church as saying he thinks the work was stolen by professionals.  The priest is quoted in the newspaper's article as saying:

"Lo hanno staccato dal supporto, lo hanno messo in terra, quindi hanno tagliato lateralmente la tela per separarla dalla cornice", riferisce il parroco di Norcia." [“They have taken the painting down from its support, putting it on the ground, then they have cut the canvas to separate it from the frame.”]

While cutting a painting from the frame doesn't necessarily indicate the work of professionals, (many stolen paintings taken from bumbling as well as professional thieves have suffered similar destructive fates), the current notification seems to suggest an actual theft may have occurred and that perhaps the artwork was not merely removed for safekeeping.

Italians have an interesting word for thieves that opportunistically loot during miseries of others.  They are called "gli sciacalli" "the jackals" an apropos name for anyone who would stoop so low as to destroy what mother nature itself hasn't already destroyed. 

Video taken during this RAI3 interview with Don. Marco Rufini clearly shows the church's level of destruction following the October earthquakes and the fact that there appears to have been, at the time of this filming, at least one additional artwork still on exhibition and potentially exposed to the elements inside the severely damaged church.  This situation lends support to the fact that the painting was likely accessible to opportunistic looters, now it will be up to law enforcement to discover who they were.

If the painting has in fact been stolen, the thief, or thieves, could be prosecuted article 624bis of the Italian Penal Code, and under Article 61 and 625 of the Criminal Code.

By:  Lynda Albertson

In recent developments on the Van Gogh recovery in Italy case, the newspaper La Repubblica has announced that Italian prosecutors have been contacted by the office of Sylvain Bellenger, Director of the Museo di Capodimonte about the possibility of holding an exhibition in Naples of the two Vincent Van Gogh paintings recovered during an asset seizure warrant executed in the Bay of Naples involving alleged-drug kingpin Raffaele Imperiale.  

The two paintings, View of the Sea at Scheveningen, 1882 and Congregation Leaving the Reformed Church in Nuenen 1884 - 1885 were stolen from the Van Gogh Museum in Amsterdam during a brazen robbery on December 7, 2002 and were recovered in late September 2016.  The paintings were found in inside property occupied by Imperiale's parents located in the Annunziatella fraction just off of Via Pozzillo in Castellammare di Stabia.

At present, both paintings are being held under high security as evidence in the criminal case against 14 indicted defendants, 12 in custody and two with outstanding extradition warrants. How long the paintings will remain in Italy while the lengthy court case proceeds remains unclear. 

Since ARCA reported on the initial stages of the Van Gogh paintings recovery, witness testimony and written statements have now been made public which shed more light onto what law enforcement officers and prosecutors know about this cocaine syndicate's "acquisition" of the stolen Van Gogh artworks. 

One time partner and indicted associate Mario Cerrone informed Italian authorities that Raffaele Imperiale purchased the paintings with illicit proceeds from the Amato-Pagano clan's coffers. The Amato-Pagano clan, is a organized crime network once affiliated with the Secondigliano-based Di Lauro clan. This organized crime group is known to have supplied the Bay of Naples area with a steady stream of cocaine distributed by dealers working with the Camorra crime syndicate.

In testimony given as state's evidence, Cerrone indicated that Imperiale purchased the two stolen Van Gogh paintings shortly after the time of their theft in the Netherlands, sometime between the Autumn of 2002 and the first months of 2003. Considering the purchases as investment, Imperiale probably believed he could launder clan funds buying the paintings, then resell the Van Goghs for more than his initial purchase price once the case had grown cold.  Cerrone estimated that the Amato-Pagano clan accumulated USD $15 million annually in illegal crime proceeds meaning that the paintings were a significant investment. 

As most of ARCA's regular blog readers understand, selling stolen masterpieces on the licit art market is virtually impossible. From this we can hypothesize that Imperiale may have held onto the paintings following the arrest of the two thieves in the Netherlands, while planning how to use the artworks as a bargaining chip in replacement for illicit revenue.  

Given the artworks inestimable value, the paintings could have been used as collateral for the purchase of drugs, weapons, counterfeit goods or other clan-needed commodities, or for reducing the amount of liquid capital the clan would need to transfer during any given transaction making them a good substitute for reducing the clans exposure and risk.  As a final alternative, the paintings represented a bargaining tool with prosecutors for if and when members of the clan who knew about them, were arrested. 

Ironically, Raffaele Imperiale himself has now added more information to the puzzle by writing a six page written statement/confession/memoir which he sent from Dubai to the Naples prosecutors, Vincenza Marra, Stefania Castaldi and Maurizio De Marco, who along with the deputy prosecutor Filippo Beatrice and the prosecutor of the National Anti-Mafia Directorate Maria Vittoria De Simone coordinated the investigations conducted by law enforcement.  In his statement, the unrepentant Imperiale informed prosecutors that he has selected two lawyers to represent him, Maurizio Frizzi and Giovanni Ricco. Both Genovese attorneys have relationships with the Amato-Pagano clan.

In addition to naming his lawyers, and perhaps in consideration of lighter sentencing if convicted, Imperiale's statement went on to outline various aspects of his organization's illicit operation.  A direct quote from the clan leader's autobiographical confession, in which he implicates himself in organized crime and drug trafficking, is translated here:

"If I don't remember badly it was in 2002 that I met Cesare Pagano, he was introduced to me by Raffaele Amato [head of the Scissionisti di Secondigliano, a Camorra clan from Naples], as his brother in law. With him I had an intense relationship similar to the one I had with Raffaele Amato.  I had an even closer relationship with his brother Domenico Pagano, with whom I personally have sold, for at least two to three years, between 1999 and 2002, sixty/eighty pounds of marijuana per month.

Close to the time of the splintering between Di Lauro and the those loyal to Amato [October 2004] Pagano asked me on behalf of Raffaele if the split-up would threaten our relationship, but I said that I was completely indifferent because, despite having once had close ties between Amato and the Di Lauro clan, the relationships I have had had been with them first.”

Left - Raffaele Amato 

Top Right- Paolo de Lauro 

Middle Right - Mario Cerrone 

Bottom Right - Cesare Pagano

Imperiale went on to say that he had decided to collaborate with justice by giving his seized "treasure" to the state.  Some of the seized property include thirteen terraced villas in Terracina as well as twelve villas in Giugliano, five of which are ironically, subleased out to NATO under a shell corporation.  In addition to the real estate Imperial also plans to leave the Italian state a fleet of expensive cars  "to be allocated to law enforcement agencies for the fight against organized crime."

When speaking in relation to the stolen Van Gogh paintings, Imperiale indicated that he had purchased (without explaining from whom) "some goods", not simply the two Van Gogh paintings, paying five installments of one million euros each for a total of €10 million for both paintings.   

Imperiale is currently still a fugitive, believed to be living in an undisclosed location in Dubai.  To date, the United Arab has responded negatively to requests for extradition, citing repeated technicalities in paperwork emanating from the Italian court system.

By: Lynda Albertson

According to some statistics, less than 20 percent of the value of Jewish assets stolen by the Nazis and their collaborators has been restored.

ARCA highlights the lifespan of one.

Painted Crucifix

Collection History/Provenance 

Possibly Achillito Chiesa, Esq. of Milan collection, 

Frederick Muller, Amsterdam 

Enrico Testa

13 July 1940  - the artwork is transferred to Carinhall by Walter Hofer for Hermann Göring (inv. no. 392).

Museum and exhibition labels from the reverse side of the panel painting

Photo of Jacques Goudstikker from RKDarchives.

Afterwards, the panel painting was recovered by the "Monuments Men", a group of men and women from thirteen nations, most of whom volunteered for service in the newly created Monuments, Fine Arts, and Archives (“MFAA") section under the auspices of the Civil Affairs and Military Government Sections of the Allied Armies during World War II.  The recovered artwork was then forwarded to the Munich Central Collecting Point (inv. no. 6294) on August 2, 1945. 

Image from Moratti Fine Art’s Facebook Page https://www.facebook.com/morettifineart/

And the clack of an auctioneer's hammer continues.

Ancient peoples first occupied Bandera County, Texas from the end of the Pleistocene (Ice Age), until the early 18th century. Some of the flint points highlighted in Mike Leggett's recently published article in the Statesman, filed ironically under the category "Sports", appear to be from Archaic cultures.  Flint points like these varied in shape over time and analyzing these points against those from other archaeological sites could be useful in pinpointing the period when the article's dig site was in use by cultures of the past.

But that won't be possible when 11,500 years of stratigraphy are gouged out of the ground with a tractor or backhoe for sport.

Even more painful to read Leggett's statement:

"And there’s nothing wrong with organizing and orchestrating a dig such as this. There are no burial grounds to be disturbed here and no unknown artifacts that might offer some sudden insight into Native American life and culture."

"Nothing wrong" is a pretty broad term.

But is it illegal? 

On private property in Texas, no.  Under specific conditions, it is perfectly legal (unfortunately) to dig on private lands where middens and ancient historical objects can be found.

In Texas, the presence of an archaeologically significant site on private property does not restrict the property rights of the individual landowner.  In fact, these sites and their contents actually belong to landowner who can manage their property in the manner they choose within certain restrictions.  Some choose to use their sites as moneymaking ventures as some flint points are worth a few dollars, while rarer ones can be valued anywhere from between $7,000 and $12,000 each. 

On public property in Texas and under specific conditions, yes it is illegal. 

• The Antiquities Act of 1906 (34 Stat. 225, 16 U.S.C. 431-433, as amended) prohibits the excavation or disturbance of “any object of antiquity” that is situated on lands owned or controlled by the federal government.

the passage of the Archeological Resources Protection Act of 1979 (Public Law 96–95, 16 U.S.C. 470aa–mm, as amended). The collection of artifacts or digging on archeological sites is illegal without a permit. Only qualified professional archeologists are eligible to receive these permits.

• The principal goal of the Native American Graves Protection and Repatriation Act (NAGPRA) of 1990 (Public Law 101-601, 25 U.S.C. 3001 et seq., as amended) is to return human remains and the artifacts found with them to the appropriate Indian tribes. Trafficking in Native American human remains and cultural items obtained in violation of this act also is prohibited.

• The Antiquities Code of Texas (Natural Resources Code, Title 9, Chapter 191, as amended), passed in 1969, forbids the collection or excavation of artifacts on state and political subdivision lands without a permit. Permits are issued only to qualified professional archeologists. This law also contains provisions for the protection of designated State Archeological Landmarks on private property.

But having said all that, what we know of the nomadic prehistoric people who populated the region is quite limited so it's a pity when hobbyists with artifact obsessions see the territory only as their own personal treasure trove of pointy objects. 

In 2005 Thomas Hester presented a paper on there area where he said: 

“Although this broad outline of Bandera County prehistory can be sketched, the area remains one of the most poorly studied counties in the entire region. Very little scientific archaeology has been done (Simons and Moore 1997 ), and less than 200 of the county's thousands of prehistoric and historic archaeological sites have been documented for future generations.”

Unfortunately for history, it looks as if the flintheads have the upper hand. Archeological sites will continue to be mined for profit in the Southwest as long as artifacts have sentimental and monetary value on the national and international ancient art markets. 

But what does it really mean when hobbyists take historical memories out of the ground like this, permanently sifting the land grain of sand by grain of sand until nothing is left.  

Collectors in some states can buy history, but preservationists know you can't buy culture.

Texas Pay Dig Site https://www.facebook.com/photo.php?fbid=225196834190127&set=pb.100000994364174.-2207520000.1478073733.&type=3&theater

Texas Pay Dig Site https://www.facebook.com/photo.php?fbid=423127471063728&set=pb.100000994364174.-2207520000.1478073302.&type=3&theater

Texas Pay Dig Site https://www.facebook.com/photo.php?fbid=331002800276196&set=pb.100000994364174.-2207520000.1478073437.&type=3&theater

Texas Pay Dig Site https://www.facebook.com/photo.php?fbid=230146937028450&set=pb.100000994364174.-2207520000.1478073573.&type=3&theater

By: Lynda Albertson

Italian authorities announced last week that they have recovered a stolen Medieval manuscript, titled Pallastrelli 43 or Matricula et Statuta paratici fabrorum ferrariorum, a historical document related to the economic exchange and work of blacksmiths from the city of Piacenza. 

The calf-skin parchment, which dates from the fifteenth century and is made up of 34 finely-detailed vellum pages inscribed in neatly-written red and black ink, was carefully bound between two wooden manuscript boards that serve to form the front and back covers of the book. Spotted on an online auction website for €600, an honorary inspector in Lazio reported his identifications to the the city of Piacenza's archive authorities, who in turn contacted the Carabinieri that one of the library's manuscripts had been spotted.  

The stolen manuscript was one of 145 texts, dating from the 14th to the 17th century, that were stolen in 1985 from the Biblioteca Passerini-Landi in Piacenza during a period when the library had to be shuttered for restoration and renovation work.  The theft is believed to have occurred sometime during repair works on the roof of Palazzo San Pietro which had been damaged due to heavy snows over the winter. 

When the theft was discovered, each of the well-inventoried books were reconciled and a list compiled was given to the the Carabinieri where they were listed in the unit's stolen art Leonardo database system. Between 1986 and 2013 a total of 72 volumes were recovered due to the watchful eyes of investigators and those familiar with the collection. Some volumes were recovered in Germany, some in Switzerland and some in Italy.  A portion of the stolen manuscripts were traced to auction house catalogues in Europe which is why these are heavily monitored by the Italian authorities. 

Then alas, the trail apparently went cold, that is until October 2016.

The Biblioteca Passerini-Landi was created in 1791 to house the merger of the Royal Library, established by Ferdinand of Bourbon with books donated by the Jesuits, along with the collection of the Library Passerini. The Library contains a distinguished collection of medieval and Renaissance manuscripts, any of which, still circulating in the illicit market would be highly prized by antiquarian collectors.  

In addition to the Biblioteca Passerini-Landi, other important libraries, such as the Girolamini Library in Naples, the Library of the Abbey of Montecassino, the Biblioteca dei Servi di Milano, the National Library of Sweden, the Danish Royal Library in Copenhagen and the Bibliothèque Nationale de France in Paris have each suffered thefts that serve to sustain the illicit market in stolen books and manuscripts.

During the city's press conference Captain Francesco Provenza of the Comando dei Carabinieri per la Tutela del Patrimonio Culturale (TPC) of Monza reminded the audience that "the market for archival literary heritage might be a niche market but it is a flourishing one." He further stated that "some collectors are willing to pay huge sums for these works. Even the supply chain is well-established: the thief, if he doesn't list the work for sale on his own, already knows what channels are out there for finding potential customers." 

Italian authorities have charged three individuals living outside Milan for complicity, for helping or encouraging another individual to commit a crime in collection with this theft. It is hoped that their identification will open the door a bit wider on where the other half of the stolen Passerini-Landi books and manuscripts are. 

Since 1996, thousands of specialist antiquarian bookdealers worldwide have used the internet to offer rare art books online. Some antiquarian bookdealers are part of larger trade associations, like the Italian Antiquarian Booksellers’ Association (ILAI), the International League of Antiquarian Booksellers (ILAB) or the International Online Booksellers Association (IOBA). But there are also numerous independent booksellers who sell their books independently or who offer similar association services.

To combat the sale of illicit material, the ILAB maintains a stolen book database that contains a listing of stolen books, manuscripts and maps beginning with thefts that have occurred from June 15, 2010 onward.  With this database buyers can check (for free) to see if a book they have been offered has been reported as stolen.  Some data in their database is available for older thefts, but this data tends to be limited and less comprehensive. 

But even with these safeguards, dealing with members of bookseller-organizations or professional booksellers - rather than private individuals selling secondhand art books on eBay or elsewhere - does not guarantee quality of descriptions, fair trade, or clean provenance, despite the official wrappings of membership.  It merely means that there is an organizational structure where book dealers can be found, oftentimes honest, but sometimes dishonest.  

Rare book connoisseurs need to exercise caution when purchasing ancient manuscripts from dealers and individual sellers, especially when they see an appealing centuries-old book or manuscript that doesn't come with a clear collection history.  They should also raise their eyebrows to books and documents with strategic tears or missing portions of the book's pages as libraries often place stamps at the beginning or the end of a book or manuscript and these tell-tale signs of theft are often torn away so as to allow the seller the opportunity to plead ignorance as to the book's illicit origin. 

Speaking in relation to the Girolamini Library theft, Giovanni Melillo, the then Deputy Prosecutor of the Naples Tribunal, who lead the library theft's prosecution, said at a 2013 presentation I attended at the ISPAC meeting in Courmayeur “The rule ‘don’t ask, don’t tell’ is what governs the rare-book market.”

Buyer beware.

By Lynda Albertson   

The Gyeongju Declaration, was drafted, revised, discussed and ratified, paragraph by paragraph, by all participants at the 6th International Conference of Experts on the Return of Cultural Property which took place in Gyeongju, the Republic of Korea, from October 17-19, 2016.

Hosted by the Ministry of Foreign Affairs and the Cultural Heritage Administration of the Republic of Korea and organized by the Overseas Korean Cultural Heritage Foundation and the Cultural Property Return Campaign Center, with sponsorship from the Gyeongsangbuk-do Provincial Government, the City of Gyeongju, and the Korean National Commission for UNESCO the conference set about to make recommendations that they believe will work to deter the illicit trafficking of cultural property and build capacity and cooperation between countries, restitution experts and civil society.

The recommendations have been printed below in their entirety.

As Mark Masurovsky, an expert presenter attending the meeting and co-founder of the Holocaust Art Restitution Project (HARP) said, recommendations 3 and 4 should be duly noted. 

The Gyeongju Recommendation

We, the participants of the “6th International Conference of Experts on the Return of Cultural Property," held in Gyeongju, Republic of Korea, from 17 to 19 October 2016,

Expressing our sincere gratitude to our hosts, the Ministry of Foreign Affairs and the Cultural Heritage Administration of the Republic of Korea, to our organizers, the Overseas Korean Cultural Heritage Foundation and the Cultural Property Return Campaign Center, and last but not least to our sponsors, Gyeongsangbuk-do Provincial Government, the City of Gyeongju, and the Korean National Commission for UNESCO, for their outstanding efforts and dedication,

Recognizing that the International Conference of Experts on the Return of Cultural Property, which was first proposed by the Republic of Korea in 2011 and whose first session was held in Seoul in the same year, with the second session in Seoul in 2012, third session in Ancient Olympia, Greece in 2013, fourth session in Dunhuang, China in 2014, fifth session in Nevsehir, Turkey in 2015, and sixth session here in Gyeongju, the Republic of Korea this year, has provided precious opportunities for the international community to share its experiences and knowledge on the return of cultural property and join the fight against the illicit trade in cultural property,

Welcoming the U.N. Resolution A/70/76, unanimously adopted in its December 9, 2015 General Assembly meeting and especially the operative paragraph 7 of this Resolution, where for the first time the recent institution of International Conference of Experts on the Return of Cultural Property as well as their concluding documents were recognized,

Recalling the Seoul Declaration (2011), the Seoul Recommendation (2012), the Ancient Olympia Recommendation (2013), the Dunhuang Recommendation (2014), and the Cappadocia Recommendation (2015) adopted by the previous International Conferences of Experts on the Return of Cultural Property.

Noting that international legal instruments, including the Hague Convention for the Protection of Cultural Property in the Event of Armed Conflict (1954) and its two protocols (1954 and 1999), the Convention on the Means of Prohibiting and Preventing the Illicit Import, Export, and Transfer of Ownership of Cultural Property (1970), and the UNIDROIT Convention on Stolen or Illicitly Exported Cultural Objects (1995), as well as the devoted efforts and subsequently-adopted resolutions of the United Nations (UN) and legal instruments of the United Nations Educational, Scientific and Cultural Organization (UNESCO), have contributed to the prevention of the illicit trade in cultural property and its return to countries of origin,

Acknowledging that not only international non-governmental organizations, such as the International Council of Museums (ICOM), but also public and private institutions, including museums, libraries, and religious organizations, as well as the general public and local communities, have ever-increasing roles to play in the struggle against the illicit trade in cultural property,

Commending, in particular, that the amicable efforts by Korean civil society and religious organizations to recover illicitly exported cultural property by means of dialogue and mutual exchange cooperating with other foreign institutions in possession thereof have set a positive precedent that can be emulated by numerous states which have similarly suffered from the illicit export of their cultural property,

Observing greater need for administrative and judicial mutual assistance between countries and closer cooperation from auction houses, museums, and libraries in each country to prevent new means of illicit trade in cultural property in the art market, including online sales,

Condemning any uncivilized acts of vandalism directed against cultural property, including the recent destruction and illegal removal of cultural property in the conflict-ridden Middle East and the rest of the world,

Recommend that:

1. Each State should closely cooperate with other States for the return or restitution of illegally exported cultural property and the prevention of the illicit export of cultural property, and reinforce existing networks among public and private organizations, as well as individuals to share and exchange information concerning stolen or illicitly exported cultural property and its restitution;

2. Each State should continue to update the existing inventory of state owned and privately owned cultural property, as well as the databases of stolen or illicitly exported cultural property, and share actively such information with governments, relevant institutions, and non-governmental organizations of other States aiming to establish a common publicly available international platform;

3. Each State should continuously monitor the art market, including online markets, to control the illicit trade in cultural property, raise awareness of the legal and ethical duties of due diligence for participants of such markets, and impose administrative and judicial sanctions, when appropriate;

4. Each State should allocate resources to encourage provenance research, to facilitate licit trade in cultural property, and develop and implement educational programs to share and disseminate the outcomes of such research, thereby improving the capacity of those who work in the area.

5. Museums, libraries, and other public and private organizations that hold cultural property and collections are encouraged to: a) Take appropriate action to facilitate the rapid return of human remains and sacred cultural property when they receive a request for the return of such property, taking into account the wishes of the departed, the interests and beliefs of the members of the community, ethnic group or religious society from whom the property was taken; b) Make every effort before acquisition, in compliance with Article 4.4 of the 1995 UNIDROIT Convention, to ensure that any cultural property offered for purchase, donation, or any other transfer thereof, has clear title, c) Provide their directors, personnel, and volunteers with periodic training and educational sessions to raise awareness of illicit trade in cultural property and endeavor to ensure that the ICOM Code of Ethics for Museums is fully complied with;

And also,

6. Auction houses, museums and art dealers should accept for consignment, acquire or trade in cultural property only when they are satisfied that a valid title is held and should make public all available provenance-related information on cultural property;

7. Governmental organizations, non-governmental organizations, the general public and local communities, private research institutes, museums, libraries, international academic institutions etc. should continue their efforts to further promote the purpose and spirit of this Conference which has been held annually in the Republic of Korea, Greece, China, and Turkey since 2011, respectively, for prohibiting and preventing illicit trade in cultural property and promoting return or restitution of illicitly exported or stolen cultural property.

ARCA would like to thank all of the participants for their participation and contribution to this process.