One-day Provenance Research colloquium

Location: 

Zentralinstitut für Kunstgeschichte, Munich Germany

Date:  

30 November 2016

Cost: 

The colloquium is free to the public and registration is not required

Note: 

Language of the colloquium is German and English

The Zentralinstitut für Kunstgeschichte, or ZI for short, in Munich is Germany's only independent art historical research institute. The last panel of the day is worth pondering: is provenance research an academic discipline or an investigative pursuit?

ARCA thinks it is both and for that reason has incorporated a provenance training course into our 2016 postgraduate program lineup.

From the Zentralinstitut für Kunstgeschichte website:

"The ZI was founded in 1946/1947 as an independent research institute in direct connection with the Central Collecting Point (CCP) of the American military government in the former Administrative Building of the National Socialist party. For over 20 years the institute has been researching and publishing its findings on the art history of National Socialism and that of the immediate postwar era. In the specific area of “Provenance Research / Value of Cultural Assets” numerous research, inventory, digitization and database projects have been initiated by the ZI and achieved with various national and international collaborative partners."

A PDF of the day's program can be accessed here.

The event, organized by CAMNES (Center for Ancient Mediterranean and Near Eastern Studies), in collaboration with the Municipality of Florence (UNESCO Office) and the Academy of Arts and Design of Florence, on the occasion of the anniversary of the inscription of the Historic Center of Florence in the UNESCO World Heritage List, which took place on December 17, 1982, is a part of active collaboration between the city of Florence and UNESCO and follows the latest initiatives, such as the third UNESCO Forum on cultural industries in 2014 and the recent global summit of Mayors 'Unity in Diversity 2015', after which the Charter of Florence was signed.

On the basis of what is reported in the Charter of Florence to the points set forth below this event will:

• support the UNESCO campaign #United4Heritage regarding the defense of the cultural heritage; encourage the establishment of scientific committees in support of the "Blue Helmets of Culture" - promoted by the Italian government - and support programs of international cooperation for the preservation and protection of heritage;

• make available to UNESCO and its National Commissions, Governments and local administrations a network of specialists, particularly in the field of conservation and heritage management, in order to activate a protection network of cultural and natural heritage, endangered by conflicts and natural disaster events;

CAMNES and the Municipality of Florence (UNESCO Office) have constituted a Scientific and Organizing Committee, which met in Florence on June 28th with the specific purpose to define and organize this upcoming event. The project behind this conference is based on the fact that the scientific community of archaeologists of the Near East is able to make an active and important contribution in addressing not only academic and field research issues, but most importantly those related to prevention, conservation and enhancement of archaeological and cultural heritage in contexts currently affected by conflicts, more specifically Iraq and Syria.

For these reasons they felt necessary to bring together all the scholars of this discipline – currently active, involved or potentially interested in projects of excavations and research in Syria and Iraq - with the aim of producing concrete proposals and projects based on the following topics:

HERITAGE AT RISK: elements related to specific contexts and issues pertaining to the critical assessment of specialists. Analysis of specific issues regarding archaeological sites, architectural monuments and museums in the affected areas, as well as preventive mode of action.

LOCAL STRATEGIES OF PROTECTION / OPERATIONAL MODELS: identification and development - including a critical approach to the past – of new research and conservation methodologies, which satisfy the changing requirements of action and the necessities imposed by specific contexts. Already implemented best practices/projects to be disseminated and shared in integrated projects developed jointly by various actors. Rules, laws and bureaucracy issues, including questions related to the illicit trafficking in antiquities. 

ARCHAEOLOGIST AS A SOURCE OF INFORMATION IN THE CONTEXT OF CRISIS: archaeology, as a social science, is strongly connected with the contemporary society. Archaeologists as "cultural mediators" – between, on the one hand, cultures of the past and present and, on the other, between the Western culture and those of  host countries - in addition to the official relations with the local authorities, operate completely immersed in the socio-cultural areas in which they operate; archaeologists’ privileged position, rendering them both witnesses and sources of information in times of conflict and crisis.

PUBLIC ARCHAEOLOGY and COMMUNICATION: analysis of critical issues pertinent to the relationship with local communities ("Local perception of cultural heritage") for the protection and enhancement of heritage. Development of communication and dissemination strategies based on activities undertaken and planned by archaeologists on-site.

STAKEHOLDERS: avenues of interaction with the scientific community and institutions in host countries (regarding both excavations and museums). Issues relating to training of the local staff.

For a detailed list of the event's Programme as well as details on the Scientific and Organizing Committee please see the CAMNES website here.

Posted BY:  Summer Clowers

In 1446, Michelangelo Buonarroti sculpted a sleeping cupid out of marble and buried it in "sour" earth. This acidic dirt made the sculpture appear much older than it really was. The cupid was sold as an antiquity through a dealer to Cardinal Raffaelle Riario di San Giorgio. Someone informed the cardinal that he had been duped and he demanded his money back; he gave up an original Michelangelo, which undoubtedly would be worth a fortune today. This cupid ended up in the d'Este collection in Mantua, but unfortunately, is lost today.

Yesterday, at a much talked about media event at the Academy of Architecture in Paris, Bogomila Welsh-Ovcharov, a professor emerita in art history at the University of Toronto presented the findings of her new book, Vincent Van Gogh: The Lost Arles Sketchbook.  The book contains a grouping of sixty-five previously unknown sketches, primarily drawn using a reed pen with brown ink, which the historian asserts is a long-lost sketchbook, made up of drawings done by the artist while he lived in the south of France.  

Historically, there are four confirmed Van Gogh sketchbooks which encompass 150 drawings from the artist's stays in Antwerp, Nuenen, Paris and Auvers-sur-Oise. All four of the previously known sketchbooks are part of the Van Gogh Museum collection in Amsterdam and are meticulously stored in their prints and drawings archive, away from public view due to their sensitivity to light. 

These recognized sketchbooks contain rudimentary sketches and figure studies, with only a few more detailed and elaborate compositions. One of these, a sketchbook with a marbled inside cover, contains some of the artist's first known drawings of people and places. This sketchbook captures the rural life of the artist's stay in Nuenen. 

This pocket-sized sketchbook contains Van Gogh's sketch of the church in Nuenen. This not only dates the sketchbook, but it helps to authenticate the oil on canvas painting he later completed for his mother, Congregation Leaving the Reformed Church at Nuenen which was stolen from the Van Gogh Museum in 2002 and then recovered 14 years later in Italy. 

The newly discovered  40.5 by 26 centimeters sketchbook presented in Paris this month contains among other drawings, a self-portrait as well as portraits of bar-owners Marie and Joseph Ginoux, the artist Paul Gauguin, and a series of landscapes and still lifes.  There are also three sketches of the Yellow House on Place Lamartine in Arles.  Van Gogh rented four rooms in the now famous house on May 1, 1888. 

But the Van Gogh Museum in Amsterdam is not convinced of the sketchbook's authenticity.  On the basis of 56 high-quality photographs sent to the museum for consultation in 2008 and 2012, their experts gave an early opinion on its sketchbook's authenticity – an opinion omitted in this recent publication, most likely at the behest of the owners of the would-be Van Gogh album.

Citing the type of ink represented in the drawings, (Van Gogh used purple and black ink) the state of the paper and deviations in the technical skills and characteristic style of the famous artist's other sketchbooks, experts at the museum do not believe that these drawings are the authentic work of Vincent Van Gogh.  In a harsh rebuttal they stated that "the drawing style of the maker of the drawings in The Lost Arles Sketchbook is, in the opinion of our experts, monotonous, clumsy, and spiritless."

They also voiced serious concerns about the sketch book's provenance. 

The museum's public statement on the purported sketchbook can be read in its entirety here.

But Welsh-Ovcharov stands by her theory that the work is not a fake and has stated "Van Gogh experimented here with the rhythm of the lines and just distribution. Remember: these works are made without [a] perspective frame. And in a very short time. The drawings are not intended as finished compositions. Rather, they are doodles. "

Discovering a new sketchbook, flush with so many previously unknown drawings, 126 years after the artist's death would be highly unusual, but the choice of ink is also an anomaly. 

When Van Gogh sketched, he often favored pen-and-ink, using a quill, steel, or reed pen instead of black chalk, charcoal or pencils.  One of the inks he preferred was crystal violet (CV), a synthetic dye that was first made in 1883, not sepia shellac, as was used in this newly discovered sketchbook. 

Brightly-coloured CV triphenylmethane ink was inexpensive to manufacture and often replaced natural dye inks in works of art during Van Gogh's lifetime.  But the cheap ink came at a high price, one that proved devastating to the Van Gogh's authenticated sketches.  Crystal violet (CV) ink is very UV light sensitive. 

Photodegradation to Vincent's drawings, sketched using the ink, have discolored rapidly.  Some of the artist's drawings using the ink have turned various shades of brown and others have faded almost entirely.  This sorrowful reality can be seen in the contrasting photographs of one of Van Gogh's drawings below.

Time being a cruel master, Van Gogh's CV ink sketches have proven to be so sensitive to ultraviolet light that many of them are virtually unrecognizable.  To protect what remains, the museum's curators at the Van Gogh Museum have stored the bulk of the artist's ink drawings, his letters, and the four authenticated sketchbooks in the museum's archives, away from harmful UV light and of necessity, away from public view.  

Analyzing these historic photographs, we can see an eighty-year time lapse of the ink doing its damage.  The black and white photograph above and to the left is from Jacob Baart de la Faille’s 1928 premier catalogue raisonné des œuvres de Vincent van Gogh. The color photo above and to the right is from the Van Gogh archive. The image today is sadly almost unrecognizable and shows in detail just how severely the artist's purple ink drawing has faded, now just a former brown shadow of its former self.

Curiously, the images in the newly discovered sketchbook, reproduced in this YouTube video, remain crisp and vibrant, now matter how clumsily they were executed.  

By comparison, photographs of Van Gogh's drawings inside his four sketchbooks in the Van Gogh collection show that the artist's own drawings have not fared near as well.  Each of them has been preserved in the following digital collection albums:

98 photographs from the Nuenen Sketchbook, 1884 - 1885

60 photographs from the Nuenen, Antwerp and Paris Sketchbook, 1885 - 1886

80 photographs from the Paris Sketchbook, 1886

94 photographs from the Paris and Auvers-sur-Oise Sketchbook, 1890

Comparing the two, not as a professional curator, which I am not, but as a curious writer, I would ask Professor Welsh-Ovcharov why she thinks that the famous painter would have stopped using purple or black ink, switching to seppia shallac ink in this newly-found sketchbook, only to then revert back to CV ink later?  

I would also ask her why the sketches in the four Van Gogh Museum sketchbooks represent more rudimentary imagery than the more elaborate "doodles" she feels were drawn by Van Gogh this long lost album.

By: Lynda Albertson

 true then it would be the fifth known intact sketchbook Vincent van Gogh. The four previous examples date  and were previously published as a facsimile edition. 

London’s Tate Museum has, at long last, restituted John Constable’s painting, Beaching a Boat, Brighton to its rightful owners. The Tate returned the painting to the heirs of Baron Ferenc Hatvany, a Hungarian Jewish painter and art collector, after it emerged that the work had been looted during the second World War.  The painting was once part of  Baron Hatvany’s larger collection, one of the finest, if not the largest (a distinction belonging to the Herzog’s) art collections in Budapest.  By the early 1940s, his collection comprised of some 750-900 works of art.  

Hatvany was forced to store this, and several other artworks, in a Budapest bank vault against the threat of possible Allied bombing, before ultimately being forced to flee the city when the Nazis arrived. The Russian Army then entered Budapest in 1945 and seized the Hatvany collection, leading to long-standing legal disputes over the property rights of many of the pieces of artwork it contained.

The heirs of Baron Hatvany filed a claim with Britain's eight-member Spoliation Advisory Panel — a panel created by the British government to mediate looting claims on art works in public institutions in 2013—after someone recognized the Constable painting as having been looted whilst visiting the Tate's London collection in 2012. 

The Spoliation Advisory Panel or SAP issued a comprehensive report in 2014 concluding that upon “the moral strength of the Claimants’ case, and the moral obligation on the Tate, [their findings] warrant a recommendation that Beaching a Boat, Brighton, by John Constable, should be returned by the Tate to the Claimants as they desire, in accordance with the provisions of The Holocaust (Return of Cultural Objects) Act 2009 ”. 

In May 2014, at the urging of the SAP, the Tate formally authorized the painting's return to three of Hatvany’s heirs — descendants who live in Paris and Switzerland.  Then, alarmingly, the museum reversed course one week later after officials from the Hungarian Museum of Fine Arts produced an apparent 1946 export license for the painting.

SAP met again in September 2015 to reexamine the original facts in the case, along with the added Hungarian Museum documentation, and in a lengthy 81-page report again concluded that “No link has been established between Baron Hatvany and the two persons named as applying for the export license.” SAP then once again urged the return of the painting to the Baron’s heirs.

Agnes Peresztegi, a lawyer who works for the nonprofit Commission for Art Recovery and represents the three Hatvany heirs, has said that the case illustrated the need for museums to conduct better due diligence when checking the provenance of paintings. “Research,” she stated, must “conform to a higher standard and there is a need for more transparency.”

As is unfortunately often the case when World War II restitutions are eventually made, the Hatvany heirs have decided to put the Constable painting up for sale. The heirs of WWII looted art are often numerous or often, not necessarily wealthy.  Sometimes the only practical solution for dividing the value of inherited artworks is to witness its sale.

Baron Ferenc Hatvany’s Constable painting, Beaching a Boat, Brighton will go on the auction block at Christies in London on December 8th.  It is expected to sell for between GBS £500,000 and GBA £800,000.

By: Summer Clowers

At the urging of the SAP, the Tate formally authorized the painting's return to three heirs — descendants who live in Paris and Switzerland in May 2014.  Then alarmingly the museum reversed course one week later after officials from the Hungarian Museum of Fine Arts produced an apparent 1946 export license for the painting.

The Spoliation Advisory Panel met again in September 2015 and reexamined the facts in the case along with the added documentation and in a length 81 page report again concluded that “No link has been established between Baron Hatvany and the two persons named as applying for the export license.”

Agnes Peresztegi, a lawyer who works for the nonprofit Commission for Art Recovery, who represents the three Hatvany heirs since 2012 has said the case illustrated the need for museums to conduct better due diligence when checking the provenance of paintings. “Research,” she stated, must “conform to a higher standard and there is a need for more transparency.”

As is often the case, when World War II restitutions are eventually made, the Hatvany heirs have decided to put the Constable painting up for sale.  The painting will go on the auction block at Christies in London on December 8th and is expected to sell for between GBS £500,000 and GBA £800,000.

Because the heirs of the looted art are numerous or not necessarily wealthy, sometimes the only practical solution for dividing the value of inherited artwork is to witness its sale. 

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