Believed to depict Saint Demetrius of Thessaloniki (as a Holy Warrior), the Western Romanesque-styled limestone carving could only come from areas where this specific saint was honoured, i.e. Greece, Bulgaria, or more likely, Galicia–Volyn, the former principality in post-Kyivan Rus whose structures were built in the late twelfth century through the middle of the fourteenth century.  The rural landscape of this area, now predominantly situated in western Ukraine, is speckled with forgotten and deserted Roman Catholic churches (kościoły), poignant relics of bygone settlements that once flourished in the region.

Following a lengthy two year investigation, headed by Viktor Tymchuk of the Volyn Regional Prosecutor's Office and Svitlana Nedumova, the head of criminal proceedings and prosecutor of the Lutsk District Prosecutor's Office, assisted by the inquest section of the Lutsk District Police Department in the Volyn Region, the bas-relief was seized. 

Over the past three years, Ukraine's National Police and its Security Service (SBU), under the procedural guidance of the prosecutor's office, have investigated more than 300 crimes related to the theft, illegal trade, and smuggling of monuments.  

The New Zealand Art Crime Research Trust

Self-Portrait – Rembrandt van Rijn

As the Isabella Stewart Gardner Museum prepares to mark the 34th anniversary of of one of the most infamous art heists in history, the enduring mystery surrounding the disappearance of thirteen invaluable artworks continues to captivate the public imagination.  Despite the passage of time, the mystery surrounding the stolen masterpieces, which include works by Rembrandt van Rijn, Édouard Manet, Johannes Vermeer, Edgar Degas, and Govert Flinck continues to endure, leaving investigators, art enthusiasts, and the museum itself still searching for answers, as well as the artworks. 

Chez Tortoni – Édouard Manet

In the early hours of March 18, 1990, two thieves disguised as police officers gained entry to the renowned museum located in Boston's Fenway-Kenmore neighbourhood. Over the course of 81 minutes, they brazenly stole a select group of paintings and and other valuable artifacts, including works by renowned artists such as Vermeer, Rembrandt, and Degas. The stolen pieces are estimated to be worth over $500 million in total.

The Concert – Johannes Vermeer

The heist not only resulted in significant financial losses but also left an irreplaceable void in the museum's collection and the art world at large. Despite exhaustive investigations and numerous leads over the past three decades, the whereabouts of the stolen artworks still remain unknown.

Storm on the Sea of Galilee – Rembrandt van Rijn

In an effort to keep the memory of the stolen artworks alive and to encourage any new leads, the Isabella Stewart Gardner Museum has been actively engaging with the public. The museum continues to offer a substantial reward of $10 million dollars for information leading directly to the safe return of the stolen works.  In addition to a proportionary share of the reward given in exchange for information leading to the restitution of any portion of the works. There is also a separate reward of $100,000 being offered for the return of the Napoleonic eagle finial. 

A Lady and Gentleman in Black – Rembrandt van Rijn

Despite remaining unsolved, the Isabella Stewart Gardner Museum remains committed to its mission of fostering appreciation for art and maintaining the legacy of its founder, Isabella Stewart Gardner. The museum continues to showcase its extensive collection, which includes works spanning various periods and styles, (as well as the empty frames, and serving as a hub for cultural and educational programs.

Three Mounted Jockeys – Edgar Degas

As the investigation into the 1990 art heist enters its 34th year, authorities and art enthusiasts alike remain hopeful that renewed attention to the case may finally bring closure to one of the most perplexing mysteries in the art world's history.  The FBI believes it has determined where the stolen art was transported in the years after the theft as well as the identity of the thieves.  In a March 18, 2013 press release the Bureau stated “The FBI believes with a high degree of confidence that in the years after the theft, the art was transported to Connecticut and the Philadelphia region, and some of the art was taken to Philadelphia, where it was offered for sale by those responsible for the theft.”

Cortege aux Environs de Florence – Edgar Degas

For now, the artworks remain elusive. However the Isabella Stewart Gardner Museum and its supporters will continue to hold onto hope, awaiting the day when the stolen treasures are finally returned to their rightful home. So be on the lookout for these, and if you see them, please contact the FBI at 1-800-CALL-FBI (1-800-225-5324) or the museum directly or through a third party.  Tips may also be submitted online here.

Landscape with Obelisk – Govert Flinck

La Sortie de Pesage – Edgar Degas

An ancient Chinese Gru

A French Imperial Eagle Finial

Program for an Artistic Soirée 1 – Edgar Degas

Program for an Artistic Soirée 2 – Edgar Degas

Forty-nine jewellery pieces, created by twentieth century sculptor, painter, and Italian partisan, Umberto Mastroianni have disappeared during a burglary between Tuesday and Wednesday night at the house-museum, Vittoriale degli Italiani in Gardone Riviera, which was once home to Italian poet and novelist Gabriele D'Annunzio.  One object was dropped when the thief or thieves departed. All of the pieces had been on temporary loan, as part of an exhibition titled: Come un oro caldo e fluido. Gli ori di Umberto Mastroianni, curated by Alberto Dambruoso, which featured bracelets, pendants, rings, brooches, plates and sculptures created by the artist between the 1950s and 1990s using the 'lost wax' method.  

Up until the 1940s the artist was a classical sculptor in the traditional sense, only later creating the contemporary styles stolen in this heist. With losses currently estimated to be at one million euros, a press conference is scheduled for tomorrow to provide further details regarding the burglary. 

The Amelia Conference: 

Held in the beautiful town of Amelia, Italy, the seat of ARCA’s summer-long Postgraduate Certificate Program in Art Crime and Cultural Heritage Protection, the Association’s 13th annual Amelia Conference will be held the weekend of June 21-23, 2024 with a networking cocktail opening the event for all conference participants.

At the heart of the conference will be two days of panel sessions, on Saturday and Sunday, June 22 and 23, 2024, devoted to presentations selected through this call.  For more information about registering for this year's event, please see our link on the ARCA website here.

Geared towards international organizations, national enforcement agencies, academics, cultural institutions, and private sector professionals in the art and antiquities fields, the Amelia Conference follows a long-established commitment by the Association to examine contemporary issues of common concern in an open, non-combative, multi-disciplinary format in order to promote greater awareness and understanding of the need for better protection of the world’s cultural patrimony.

2024 Call for Presenters: Session Formats and Topics

Given the success of the Amelia Conference over the past decade, it is important to recognise the growing interdisciplinary and international nature of this emerging field, the growing complexity of art and heritage crime, and the disciplines and subject matter experts who follow along and contribute within their areas of speciality.  With that in mind, this year’s conference will build upon topic-specific sessions designed to stimulate discussion and share learning on a series of topics of common concern. Some conference panels may feature more active panel debate about a session topic, or present various and/or contrasting perspectives about a topic. Each panel session will last approximately 75 or 90 minutes and will include a number of oral presentations with some time dedicated for interactive discussion afterward.

ARCA welcomes presentation proposals related to the conference’s art and antiquities crime theme from individuals in relevant fields, including law, policing, security, art history, art authentication, archaeology, or the allied art market.  

Presenters with topics related to the following areas are particularly encouraged to submit a speaking proposal this year highlighting the following issues of common concern:

Strengthening international cooperation in the fight against illicit trafficking.  How have things changed in the last decade in terms of international cooperation?  

Organised crime's footprint on and in art market trade and transactions. 

Recent successes in the field and what we can learn from them collectively.

Peeling back the obstacles: Why is it so hard for museums to proactively address problematic art in their collections and enact restitutions once those problems have been identified. 

Consciousness raising regarding vandalism as a form of climate or world issues protest in museums. 

Digital and technology-facilitated approaches to combatting illicit trafficking.

Recent convictions: Art crime’s bad boys (and girls) and what we can learn from their prosecutions. 

Recent hot topic and dramas in the field of forgery. 

Resolving art disputes in and outside of the courtroom.

Each selected presenter will represent a coherent and clearly focused presentation of 15 to 20 minutes maximum on a topic of common concern, that combined with presentations given by co-panelists, are designed to provide significant insights into the topic or theme and to stimulate thoughtful, not combative or antagonistic, discourse.

We very much look forward to receiving presentation proposals on the aforementioned or alternative art and antiquities crime topics, noting that panels may change or be altered based on speaker availability.

Abstract and CV Submission Deadline: April 15, 2024

Abstract Word Limit: 400 words, excluding abstract title, presenter/co-presenter names and affiliations

Abstract Selection Process

Each submitted abstract must be accompanied by a CV. The abstract review process will be conducted blind, i.e. all author names will be removed before the abstract before being sent out for peer review. The abstract itself will be reviewed and scored by independent reviewers who have expertise in the specific session’s identified subject area.

Peer Reviewers apply the following criteria to judge abstract submissions 

I. Quality and Originality (1 to 5)

Abstracts containing significant new findings or presenting concretised information or new approaches will be given higher scores than those that merely serve as a chronology of, or modifications to, older findings or routine topics of dischord.

II. Importance (1 to 5 pts)

This criterion addresses the importance of the presentation or research in terms of covering new ground and in advancing knowledge in the art crime and cultural heritage protection field.

III. Presentation (1 to 5 pts)                                                                              This criterion addresses how well the specific research question(s) and objectives, methods used, primary results, facts ascertained, etc., are explained, rather than simply titling the topical subject itself. A clearly written abstract follows a logical order (e.g. aims, methods, outcome of investigation or analysis).

FINAL NOTE 

All accepted participants are responsible for their own travel and accommodation expenses, however, accepted conference presenters will have their conference fees waived and will be invited to be ARCA’s guest for the Amelia Conference icebreaker cocktail on 21 June 2024.

In the summer of 2015 thieves entered a five-story building on the Plaza de la Encarnación —an affluent area in the center of Madrid near the Spanish Senate and the Royal Palace.  Once inside, the burglars broke into the residence of banker José Capelo Blanco. 

Entering his apartment without being seen by the doorman or other residents, the raiders quickly disabled the businessman's alarm system and set about stealing five visceral portraits, made by the Irish-born British figurative painter Francis Bacon. The paintings would later be estimated to be worth €30 million. In addition to the high value fine art, the thieves also accessed the homeowner's safe and stole jewellery and a collection of ancient coins valued at €400,000.  Newspapers would later report that the crime was exceedingly professional and left behind few clues.  

By the early autumn, an accomplice, with prior convictions for drug trafficking, began making the first of multiple efforts to try to sell the hot Bacons through market contacts in Spain. One of these involved trying to persuade a distant member of his extended family, who worked in the art world, that he could make a lot of money, if he could help find a buyer. 

Up until this point, images of the paintings had not been shared publicly, as the artworks were gifted by the artist directly to Capelo Blanco and had therefore never appeared in circulation prior.  The fact that images of the Bacons did not appear publically, perhaps emboldened the thieves to make their first mistake. 

In February 2016, the first major break in the case came in when an individual queried the Art Loss Register trying to establish if one of  Capelo Blanco's portraits had been flagged internationally as stolen.  Writing anonymously, the inquirer sent photographs of the painting which could only have been taken by individuals with access to the artworks after the theft in Madrid.

This exchange proved critical to the investigation and the ALR worked with the Spanish National Police turning over the communique which allowed investigators to draw a red circle around their first group of potential suspects. 

In early March 2016 the four individuals were taken into custody:

• Ricardo Barbastro Heras, the alleged organiser of the fencing network

• Antonio Losada de la Rosa 

• José Losada Manzano

• Rafael Heredia González

All were charged with crimes of concealment of robbery with force.

By May 28, 2016 Spanish news sites reported that agents working with the Central Specialized and Violent Crime Unit (UDEV) had arrested another six individuals in Madrid who were also believed to be connected to the 2015 theft in some way. This included:

• Alfredo Cristian Ferriz González, AKA Cristian Ferriz, who has a long police record, eight of them for robbery with force, three for vehicle theft, one for threats and another for drug traffic. 

• Art dealer Cristóbal García

• Agustín González Serrano

• Jorge de las Heras Escámez

• Juan Manuel Marce Gea

• Aquilino Jiménez Bermúdez

 With ten suspects named, two more, unnamed, were added to the list, bringing the total number of suspects to twelve. 

In July 2017 investigators announced the recovery of three of the five Bacon artworks.  By January 2021 Dutch private investigator Arthur Brand tweeted a series of "proof-of-life" images which showed the two portraits which remained missing.  One of these photos depicted one of the Bacon creations lying beside a copy of Spanish newspaper El País dated October 6, 2019.  Another showed the left bottom corner of the one of the painting's verso, which showed the Irish painter's handwriting and signature. 

These are the pictures of the two missing Bacons. Surroundings of the original thieves try to sell them for 4 million Euros. They are in touch with interested buyers. This might stop them. pic.twitter.com/EigMEgsIOc

— Arthur Brand (art detective) (@brand_arthur) January 7, 2021

In various articles Brand indicated that he had received word that underworld buyers were considering the two outstanding stolen paintings, telling journalists that he had been passed the video by an unnamed informant, which seemed to indicate that the two remaining artworks were being shopped by an individual using the name which appeared to be shopped by an individual using the nom de plum, "Jason".  

Accompanying the video was a piece of paper which implied perhaps that the remaining two paintings might still be in Spain, even if the thieves had widened their buyer's net internationally.  Handwritten on the piece of paper which accompanied the video was the contact's alleged name "Jason" noting it was signed at "Starbucks Madrid," on the date of "2020-5-11."

In touch with the Spanish authorities, Brand had announced the contact on his social media channel hoping the unwelcome publicity would serve to dissuade potential purchasers who might be considering the stolen Bacons. Meanwhile Spanish authorities continued to tighten the screws, arresting two more not publicly named individuals, which brought the total number of persons of interest (publicly announced) to twelve. 

Last month, on 29 February 2024 the Historical Heritage Brigade of Spain's National Police arrested two more people in the southern area of ​​Madrid.  The pair are believed to be the persons with physical control of the two outstanding artworks.

Aged 53 and 25, one of the arrestees is named as Rubén Sánchez Hernández.

Considered to be the mastermind behind this robbery, he is also believed to have been involved in the Pink Panther-styled robbery of Ángeles Farga jewelry store, on Ortega y Gasset Street in the capital.  According to Spanish news sites, Sánchez Hernández has connections to Roberto Anaut's gang, the 'Dragonems' and disciple of Ángel Suárez Flores, who was in charge of another outstanding paintings theft involving 17 paintings stolen from the residence of businesswoman and philanthropist Esther María Koplowitz y Romero de Juseu, the 7th Marchioness of Casa Peñalver in August 2001.

The artist Francis Bacon died on April 28, 1992 at the Ruber clinic in Madrid at 82 years of age.  Prior to his death he was reportedly in love with the young Spanish financier to whom gifted the paintings.

For now, the last two paintings remain listed on Interpol's stolen Works of Art database.