At the core of its operations lies a commitment to investigative, informational, and analytical functions aimed at combatting the illicit trafficking of cultural artefacts. Central to its success is the utilisation of the Leonardo Database of illicitly stolen cultural heritage, the largest repository of its kind globally. This database, containing comprehensive information on assets, primarily of Italian origin, and serves as a powerful tool in the ongoing efforts to locate and repatriate stolen treasures.

Moreover, the Carabinieri Command for the Protection of Cultural Heritage extends its expertise and support to other law enforcement agencies, fostering collaboration and synergy in the fight against cultural crime. Its partnership with the Ministero della Cultura ensures a comprehensive and coordinated approach to preserving Italy's cultural legacy for future generations.

As we commemorate their milestone, we salute the men and women of the TPC for their tireless efforts in protecting their country's cultural heritage. Their dedication serves as a model in the ongoing battle against the illicit trade in cultural property and affirms Italy's commitment to preserving its cultural identity.

Image Credit: S. King

The J. Paul Getty Trust

Megan Brody Chernin

James Bash Cuno

Bruce Wall Dunlevie

Catharine Drew Dilpin Faust

Frances Daly Fergusson

Maria Denise Hummer-Tuttle

Pamela Joyner

Paul Omer Leclerc

David Li Lee 

Robert Whitney Lovelace

Thelma Esther Melendez de Santa Ana

Neil Leon Rudenstine

Ronald Paul Spogli

Marko Bošnjak, President

Alena Poláčková, 

Krzysztof Wojtyczek, 

Lətif Hüseynov,

Ivana Jelić,

Gilberto Felici, 

Raffaele Sabato, 

and Ilse Freiwirth, Section Registrar,

Yesterday Bakur Abuladze, First Deputy Prosecutor General of Georgia announced the arrest of four individuals in the Eastern European country on charges of stealing rare 19th century books from national and university libraries in the Czech Republic, Germany, Estonia , France, Latvia, Lithuania, Poland, and Switzerland.    The arrests were born out of transnational crime group operation involving law enforcement officers from France, Germany, Lithuania and Switzerland, with coordination assistance via Europol and Eurojust.  Searching aparments and places of sale a large amount of cash and hundreds of books, many with their library watermarks evident,  were recovered, including a 19th-century French-language book allegedly stolen from the National Library of Paris

According to yesterday's announcements, between 2022 and 2023 this network of  accomplices visited libraries across Europe, gaining access to collections using fake IDs with fictitious names and surnames.  Having obtained access to collection material, they then exchanged rare book editions, primarily centring on Russian classics, in particular, books by Alexander Pushkin and Nikolai Gogol which they then substituted with makeshift counterfeits selling the books onward in Russia. 

Along with the financial motive for the crime,  journalists have speculated on a  political motive, where in the large-scale operation was incentivised by buyers seeking to return literary relics to Russia.  For now this theory is just that. 

Photo Credit ANP

Once upon a time, the individual pictured above, Jan-Dirk Paarlberg had a prominent place in the Quote 500, with a fortune according to business publications that at its peak reached 280 million euros.  A buyer and seller of works of art, his collection is said to have included works on canvas and paper by Marc Chagall, Claude Monet, Kees van Dongen, Pierre Bonnard, Karel Appel, Pablo Picasso, and Pierre-Auguste Renoir, to name a few, as well a at least one sculpture, a statue by Feranando Botero. 

Forty-one objects from his collection have been consigned for auction and will be sold off today (and tomorrow) at Sotheby's Modern and Contemporary Art auction in Paris. 

To show the interesting way the legal art market documents artwork ownership, shielding potential buyers from distasteful facts in publicly available auction records, its worth looking at one Paarlberg-owned painting.  This hotly contested (for unrelated reasons) Portrait of Jeanne, c 1901, was painted by French impressionist Pierre-Auguste Renoir.  Its sales advertisement makes no mention of Paarlberg in its provenance, only mentioning that the painting's last owner purchased the work from Kunsthandel Frans Jacobs in Amsterdam.  

Instead this oil on canvas artwork, with a presales estimate of 500,000 - 700,000 EUR, lists an innocuous phrase in the text of the sale's page, which discretely states:  Sale on behalf of the Dutch State.

But who is Jan-Dirk Paarlberg and why are his purchases and this upcoming sale interesting to ARCA?

Paarlberg was the man behind the Euromast in Rotterdam, the restaurants of the Oyster Group and the co-owner of the Merwede Group, which owns a large part of the retail properties in Amsterdam's PC Hooftstraat and on Rotterdam's Lijnbaan.  He also had homes scattered in New York (at the historic Dakota), as well as in London, Portugal, and France, in addition to historic real estate in the Netherlands.  

That is until the real estate magnate's empire collapsed. 

Dutch authorities implicated Paarlberg in a money laundering scheme involving 17 million euros tied to the notorious Dutch penose underworld figure, Willem Frederik Holleeder.  That legal entanglement marked a stark contrast to Paarlberg's previous stature, and underscores the intricate intersections of wealth, power, and criminal influence, and the art that we see in circulation in the art world.  In this instance,  it is not the art itself which is criminal, but the laundered money possibly used for its purchase. 

Money, in part, it was determined by the courts, which had been extorted by Willem Holleeder from Willem Endstra.  Another prominent Dutch real estate developer, known as the "banker of the underworld," Endstra was assassinated by hitmen in 2004.  His death underscored the ruthlessness of Holleeder's organisation and its reign of terror, as well as Paarlberg's role in the perilous consequences of money laundering when it crosses paths with organised crime.

In testimony given on 19 April 2010, Jan-Dirk Paarlberg described some of his more suspicious art transactions.  Speaking under oath, in the the Haarlem court, the former wealthy resident of the Maarssen castle Ridderhofstad Bolenstein described how he rounded up eight important artworks from his home, including the statue by Feranando Botero, a painting by Marc Chagall, a canvas by Claude Monet and five works by painter Kees van Dongen, and placed them all in his jeep before driving them to a Belgian dealer where he exchanged the objects for large denomination bills totalling of 8.5 million guilders (roughly 4.5 million euros). 

Paarlberg was extremely vague on details, claiming he couldn't recall exactly which artworks he had sold, nor could he produce evidence of the pieces having ever been in his collection. He claimed he handed everything over to the dealer in Belgium for the new owner, having not saving purchase receipts, shipping documents, or even a single photograph which depicted the works which had once graced his properties. 

Fourteen years ago, at the time of this testimony, Paarlberg's statements were met with skepticism.  Art professionals argued about the feasibility of transporting a heavy Botero sculpture in his jeep, how Paarlberg had failed to use an art shipper, and even questioned the overly large cash sum he claimed to have been received as being excessive relative the value of the artworks and the two intermediaries.  But given what we know about the underworld, and as “traditional” money laundering vehicles, such as real estate, became less attractive to criminals, (given their immovability) one has to wonder if this event could have gone down as the property baron described?

Fast forward to today.  We now know and accept that art money laundering – often at inflated prices – to disguise the origins of illegally-obtained funds in order to reintroduce them into the legitimate economy, is in fact a thing.  So much so that the FATF includes “cultural objects” in its sector-specific guidance as a potential vehicle to launder funds, or to finance organised crime, terrorist groups, or their related activities. 

But none of this seems to be getting much coverage in Modern and Contemporary art market publications, nor with regards to today's sale, which, by the way, involves some 41 artworks seized by the Dutch authorities from Paarlberg's estate. 

Who are the Penose?

While most of us have heard of Italy's 'Ndrangheta from Calabria, the Cosa Nostra from Sicily, and the Camorra based in Campania, few people outside of the Netherlands have heard of the Penose. Coming from Bargoens, a form of Dutch slang, the name is traditionally used to describe networks predominantly headed by ethnic Dutch crime lords, mostly known to operate in the underworld of Amsterdam, but also in other big cities in the Netherlands such as The Hague, Rotterdam or Eindhoven.  

In addition to money laundering, members of the Penose have been associated with and convicted of activities such as drug trafficking, armed robbery, chop shops, illegal gambling, illegal slot machine vending, and, lest we forget, even contract killing. 

To be clear, having been seized by the Dutch state, the proceeds from these upcoming auctions of Paarlberg's paintings won't support organised crime. But let them serve as an illustration that it is just as important to know who the names and backgrounds of former artwork owners are, as it is to know the names and backgrounds of the individuals who have sold work of art you are interested in.

Happy shopping, don't let the tricksters get ya. 

By Lynda Albertson

TEFAF Maastricht 2022 Image Credit: ARCA

Earlier this week, ARCA published an article building on an announcement made by Spain's Ministry of the Interior which involved the identification of a looted Egyptian object.  This investigation involved the Policía Nacional in collaboration with the Dutch Politie, and the expertise of forensic scholars, as well as the assistance of cooperating dealers and the support of art fair personnel.  These combined efforts resulted in the voluntary handover of the trafficked artefact in the Netherlands, and later, the reported arrest of a Barcelona-based ancient art dealer who, although unnamed by the authorities, was stated to have been charged with money laundering, smuggling, and document falsification.  

ARCA's article touched on its own research into the circulation of this suspect antiquity and to the object's identified Spanish handler.  In it, I named the dealer whom I (too) had ascertained as having been in possession of this piece after it arrived to Spain from Bangkok before being sold onward to other ancient art dealers in Germany and Switzerland.  

Shortly following the Spanish announcement, the bulk of the reporting by mainstream media covered this investigation by simply regurgitating the Spanish  government's official press release.  ARCA, being a research-based organisation which specifically examines (and sometimes reports on) forensic crimes that impact art and artefacts, opted to provide more detail.  To do so we discussed both the object itself and named its first seller, while also ensuring that in doing so we haven't compromised the work of international police forces.

Too frequently, trafficked artefact reporting becomes routinely formulaic, giving readers cursory information on an object's country of origin, value, age, and the names of involved agencies responsible for that object's recovery.  In this type of reportage, the artefacts themselves take second stage, often reduced to photo opportunities, where they are frequently overshadowed by fancy diplomatic handshakes. Whereas the story of the piece itself, its trafficking journey, its good faith and bad faith handlers and its place in history are often unconsidered, or left to vague statements and assumptions, much in the same way, archaeologists and art historians lament the loss of context when an artefact is extracted from its find spot and the object's history is lost during a clandestine excavation.  

Basic shapes of block statues

Likewise, when describing this partial 18th Dynasty Egyptian block statue most of the published news articles reduced the artefact to its period of creation, i.e., "a stolen Egyptian sculpture dated from 1450 BCE" or spoke to its rudimentary aesthetic characteristic, referring to the piece as simply as "an Egyptian head".  Smuggled clandestinely, often over great distances and hidden in shipments through multiple transit countries, by the time such looted antiquities appear on the ancient art market, where they are displayed in glittering European art galleries and art fairs, the pieces are no longer intact.  

In this case, the less informed buyer, might appreciate this sculpture's beautiful depiction of the head of an Egyptian male.  I, on the other hand, see its decapitated form as evidence of a crime scene.  I question whether or not this anonymous severed head, had likely been hacked off its body, or deliberately broken at the shoulders for ease of transport and smuggling, knowing that unfortunately this once complete representation of a man, is now absent the rest of his body.  

During Egypt's Eighteenth Dynasty, the artisan who sculpted this black-granite representation of a once-living human would have worked the hard stone with care and precision.  The focus of his efforts would have been to respectfully express the belief that the deceased person's Ka, his eternal life force, when separated from his earthly body at death, would be travelling between the worlds of the living and the dead and would need to find his eternal home inside this single memorial block statue, created expressly for this purpose.  Carved to represent the likeness of the deceased and placed inside a sanctuary, had this head remained with the rest of its body, we might also have learned, through inscriptions, the name of the esteemed person the sculptor sought to portray when he had creating this memorial artwork.  

But why the need for a second article? 

Over the past several days there has been scattered chatter via various social media sites where the veracity of my statements regarding who the arrested Spanish dealer was have been the subject of discussion.  

Art News journalist Karen Ho, doing her best to report the news and remain impartial to the contentious subject, wrote: 

...the Association for Research into Crimes Against Art, has claimed in a blog post that the individual in question is Jaume Bagot Peix, operator of the J. Bagot Arqueología gallery in Barcelona, Spain.

Art lawyer Justine Philippart, when pointed to ARCA's original blog article, stated on LinkedIn:

This article is fake news. Nothing is true. Thus, for example, Mr. Bagot was not arrested.