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.

TEFAF Maastricht 2020 Image Credit: ARCA

According to Spain's Ministry of the Interior, following an investigation begun in 2023, the Policía Nacional have arrested a Barcelona gallery owner (Jaume Bagot Peix, operator of J. Bagot Arqueología) for allegedly committing the crimes of money laundering, smuggling, and document falsification in relation to this black granite head of a funerary monument for a high ranking official from the reign of Hatshepsut or Tuthmosis III in Egypt. 

TEFAF Maastricht 2022 Image Credit: ARCA

Valued at 190,000 euros, the circa 1504-1450 BCE artefact had been acquired by the Barcelona ancient art dealer in July 2015 via an intermediary in Bangkok, Thailand.  ARCA notes that this partial statue was documented on social media sites and up for sale through a Swiss-based art dealer during the short-lived European Fine Art Fair in 2020 and again with this same dealer when the fair reopened post-Covid in 2022.  

Having been the subject of a joint-European policing initiative which resulted in law enforcement authorities with the Dutch Politie in the Netherlands sharing evidence with their Spanish counterparts, police in Spain were able to concretised that this Egyptian artefact was illicit, despite it having been in free circulation for seven years through several sales passages occurring via dealers in Spain, Germany, and Switzerland.  Prior to these transactions, the object had traveled though the transit county of Thailand via an intermediary in Bangkok. 

The 18th Dynasty head depicts its patron wearing a short wig revealing the ears as well as defined almond-shaped eyes and prominent eyebrows.  In its complete and original form, the head would have once been attached at the shoulders to the rest of its memorial block statue representing a seated non-royal person.  

The Swiss gallery that had purchased the artwork via another ancient art dealer in Germany, freely relinquished the artefact to the Dutch authorities once it was determined that the piece was suspect and had been acquired via the Spanish gallery owner, who had already been linked to the illicit trade in antiquities in conflict zones such as North Africa and the Middle East. 

To circulate this illicit artefact, the Spanish gallerist provided his trusting buyer, with a document that substituted collected information relating to several archaeological pieces belonging to a Spanish collection from the 70s making it appear as though the head had been part of a legitimate and documented collection prior to Egypt's antiquities laws tightening in 1983.  A not uncommon technique, suspect dealers have often attempted to "whiten" freshly looted material, by substituting, reusing, or outright fabricating documents of ownership, which, if not carefully explored, cosmetically appear to provide a legitimate "pedigree" to an antiquity which in reality is more recent plunder from an illicit excavation.  

It is for this reason, that the dealer who has been arrested has been charged not only with smuggling and money laundering, but also with document falsification of the object's provenance record. 

Point of reference in 2018, Frédéric Loore revealed in Paris Match that Jaume Bagot's network used various smuggling routes, notably via Egypt and Jordan to the United Arab Emirates, before returning to Catalonia after transiting through Germany or Thailand.

By:  Lynda Albertson

NB: For now, the Spanish authorities have elected to publish their arrest announcement withholding the name of the charged ancient art dealer.  

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