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July 10, 2014

Rev. Dr. Marius Zerafa Spoke on "The Theft and Ransom of Caravaggio’s “St. Jerome Writing”, Co-Cathedral of St. John" at ARCA's Sixth Annual Interdisciplinary Art Crime Conference

Father Marius Zerafa in Amelia before the conference
by Catherine Sezgin, ARCA Blog Editor

Amelia, Umbria -- The Reverend Dr. Marius Zerafa spoke on “The Theft and Ransom of Caravaggio’s St. Jerome Writing from the Co-Cathedral of St. John” at ARCA’s Sixth Annual Interdisciplinary Art Crime Conference on June 28. Father Zerafa, a Dominican priest and the former Curator and Director of the Malta Museums, spent almost a year negotiating with the thieves to recover the painting taken on New Year's Eve in 1984.

“At times it was easier to deal with the Mafia, than with Ministers and Monsignori …” Father Zerafa said, quoting himself from his book, “Caravaggio – Diaries (Transcribed and edited by Catherine Sinclair Galea, Grimand Company Limited, Malta, 2004).

Father Zerafa and the rescued work
Father Zerafa said that the taped ransom demand was in Maltese and the voice threatened to blow something up: “It was quite frightening.” At first, he told the audience, he did not involve the police but recorded his conversations with the mafia. They sent him five pieces of the painting which had a special kind of relining and a photograph of a coffee pot on top of the painting. After eight months of delaying tactics, Father Zerafa said he informed the police and the phone calls were traced to a show factory. "The painting had gone to Italy, then they brought it back once we told them that we had the money," Father Zerafa said. It was damaged and in need of restoration so he arranged a military plane to take the painting to Rome for repairs. After it was exhibited in Rome, the painting was returned to Malta and Father Zerafa, an admirer of Caravaggio, painted a copy of it.

Father Zerafa with his version of Caravaggio's St. Jerome
Fr. Marius J. Zerafa was born in Vittoriosa, Malta, on 13th October 1929, the son of Joseph Zerafa M.B.E and Maria (nee Boffa), and nephew of Sir Paul Boffa Kt., O.B.E., M.D., Prime Minister of Malta. He started education at the Government Primary School till Class III, when, at the age of 9, he entered the Malta Lyceum. With the encouragement of Dun Gorg Preca he joined the Dominican Order in 1945. He spent three years at the Dominican House of Studies in Rabat and was then sent to “Hawkesyard”, Staffordshire, and later to “Blackfriars”, Oxford (1948-1952). He went to Rome (1952-54) where he obtained his S.Th.B. and Dip.Sc.Soc. He returned to Rome for another two years and obtained his Lectorate and Licentiate in Sacred Theology and a Doctorate in Social Sciences. He also attended the State University in Rome and obtained a Diploma in Art History. Later he also obtained a B.A. Hons. Degree in Art History from the University of London. He also followed courses at the Sorbonne and at the Ecole de Louvre, Paris, (1963 and 1966); at the University of Florence (1965 and 1968); at the Brera, Milan, and at the Fondazione Cini, Venice, (1965). Working on a thesis for the Degree of D.Litt. at Florence University.

Father Zerafa with his copy of the Angelico 'Annunciation'
In 1962 he was elected Associate of the Royal Historical Society, London. He is a member of the Accademia Tiberina and was awarded the French Decoration “Chevalier dans l`Ordre des Arts et des Lettres”, the Russian “Order of Lomonosov” “Insignia of Merit” and the “Union Federation Medal” by the Russian Parliament, and the Florence “Beato Angelico” Medal. He has recently been awarded the Gold Medal and Dipoma by the Malta Society of Arts. He is also Knight of Grace, O.S.J.

Fr Zerafa was awarded Art Scholarships by the Italian Government on the occasion of Malta`s Independence and again in 1968. He visited museums in the United States on an International Visitors Program; worked at the Louvre, Paris, on a Council of Europe Fellowship; had a British Council Grant in 1967 and a German Government Bursary sponsored by Inter Nationes. He was also invited to the Soviet Union as Co-Founder of the Maltese-Soviet Friendship Society.

Fr Zerafa was Secretary and Senior History and Literature Master at St Albert`s College, Valletta, (1954-62); Professor of Social Philosophy and Sacred Art at the Dominican House of Studies, Rabat; Lecturer in Sociology in the Pastoral Course for the Clergy; Examiner in Sociology at the University of Malta; Lecturer in History and Appreciation of Art at the Malta School of Art; Lecturer in Sacred Art at the Major Seminary; at I.N.S.E.R.M.; Lecturer in Art Appreciation at St Edward`s College; Also taught English Literature and Art History at St Teresa monastery, Cospicua. He also lectured regularly, mainly on Art, at the British Council Centre, the Italian Istituto di Cultura, the Alliance Francaise and other cultural centres. For many years he was sub-editor of “Scientia” and Archivist of the Maltese Dominican Province. While studying in Florence, he was encouraged by Prof G LaPira, ex mayor of the City, to set up an Art Centre at S Marco, but had to return to Malta for family reasons.

Fr Zerafa joined the Museums Department in 1970 as Assistant Curator of Fine Arts and was responsible for the setting up of the National Museum of Fine Arts, Valletta and the Museum of Contemporary Art at St Julian`s. He became Curator of Fine Arts in 1975 and Director of Museums in 1981. He was responsible for the opening of a number of museums in Malta and Gozo. During this period he was involved in the recovery of the painting “St Jerome” by Caravaggio after eight months` personal contact with the thieves.

Fr Zerafa has been invited to lecture at the Smithsonian, Washington; at Fordham University, New York; at the American University, Rome; at the Dominican Curia Generalizia, Rome; at Aspen Museum, Colorado; at the Moscow State University; at the Academy for Contemporary Art, Moscow; at the Academy for Design, Togliattigrad; at the Preti Museum, Taverna; at Budapest Museum, etc. He has taken part in International conferences in Quebec, Tunis, etc and has helped organize art exhibitions in London, Paris, Moscow, Palermo, etc.

He was Chairman of Government and other committees and until his recent resignation was Chairman of the Archdiocesan Commission for Sacred Art. He is a member of the Dominican Commission for Preaching through Art. He is also a member of the Penitentiary at S Maria Maggiore, Rome. Fr Zerafa retired from the Museums Department at the age of 61. He is now lecturer in Sacred Art at the Angelicum University, Rome. He is also “Aquinas Visiting Scholar” at Toronto University, Canada. He lectures at Cultural centres in Malta, and often leads groups of students on cultural tours abroad. He has restored works by Mattia Preti, Favray, and other Masters.

His own paintings and sculptures are to be found in churches and collections in Malta and abroad. An exhibition of his works and projects was held at Gallery G in December 2007.

Publications: “Developments in the doctrine of private property” (Rome, 1945); “The Genesis of Marx`s realist interpretation of History” (Rome, 1962); “Caravaggio Diaries” (Malta, 2004) [Being translated into Italian and Russian]; “Memories” (In preparation). Contributions to the Encyclopaedia of Contemporary Art, Florence: to Thieme Becker, Berlin: and other publications. Recreations: The Arts, reading, travelling. Sports: Walking, Canoeing, Judo.

July 9, 2014

Matisse's "Odalisque in Red Pants" (1925) returned to Venezuela after FBI recovered it in 2012 in Southern Florida

by Catherine Sezgin, ARCA Blog Editor

Officials in Venezuela welcomed the return on Monday (July 7) of the Matisse painting, Odalisque in Red Pants (1925), believed to have been stolen in 2000 when it was substituted with a forgery at the Museum of Contemporary Art in Caracas (Laura Rojas, July 8, The Art Newspaper ("Stolen Matisse painting returned to Venezuela after more than a decade"):
The Art Newspaper reported last October that the US authorities began repatriation proceedings after the work was certified by a Venezuelan authentication committee and later confirmed by the director of the Henri Matisse Archives in Paris, Wanda de Guébriant.
The Federal Bureau of Investigation (FBI) recovered the painting in Southern Florida in July 2012 and arrested Pedro Antonio Marcuello Guzman, 46, of Miami, Florida, and Maria Martha Elisa Ornelas Lazo, 50, of Mexico City, Mexico, for transporting and possessing the stolen painting.
According to the affidavit filed in support of the criminal complaint, this case was the result of an FBI undercover investigation. According to the allegations in the complaint affidavit, Marcuello negotiated the sale of the Matisse painting, which had been previously stolen from the Caracas Museum of Contemporary Art (Museo de Arte Contemporaneo de Caracas (MACCSI)) in Caracas, Venezuela in December 2002. The painting is valued at approximately $3 million. Marcuello allegedly admitted to the undercover agents during a meeting that he knew the painting was stolen and offered to sell the stolen painting for approximately $740,000.00. As part of the negotiations, Marcuello further agreed to have the painting transported by courier to the United States from Mexico, where the painting was being stored. The courier was subsequently identified as co-defendant Ornelas. According to the affidavit, on July 16, 2012, Ornelas arrived at the Miami International Airport from Mexico City, Mexico, hand-carrying a red tube containing the painting. On July 17, 2012, defendants Marcuello and Ornelas met with undercover agents and produced the Matisse painting titled “Odalisque in Red Pants” from inside the red tube. Upon inspection by the undercover agents, the painting appeared consistent with the original Henri Matisse painting reported stolen from the MACCSI museum. At the conclusion of the meeting, Marcuello and Ornelas were arrested.
In January 2013, Marcuello and Ornelas were sentenced to "to 33 months in prison, to be followed by three years of supervised release. Maria Ornelas was sentenced to 21 months in prison, to be followed by three years supervised release. The defendants pled guilty on October 30, 2012 to charges relating to the transportation, possession and attempted sale of the stolen Henri Matisse painting."

The head of the FBI's Art Crime Squad, Bonnie Magness-Gardiner, had discussed this case at Art Recovery International's symposium at NYU in June. You can read more about the FBI's Art Theft Program here in a presentation by Magness-Gardiner.

July 7, 2014

Judith Harris covers ARCA's Sixth Annual Interdisciplinary Art Crime Conference in i-ITALY

Lynda Albertson, ARCA's CEO, and Noah Charney, founder
of the Association for Research into Crimes Against Art,
led ARCA's Sixth Annual Interdisciplinary Art Crime
Conference in Amelia, Umbria
Judith Harris writes about ARCA's Sixth Annual Interdisciplinary Art Crime Conference for i-ITALY in "In Umbria, ARCA puts Art Crime on the Summer Agenda":
For the sixth year in a row experts from sixteen nations convened in the tranquil Umbrian city of Amelia June 27 – 29, for an interdisciplinary conference organized by the Association for Research into Crimes against Art (ARCA). Among the speakers from as far away as New Zealand and New York were detectives and bookworms, archeologists and art historians, police and intelligence officers, and attorneys and sitting judges. High on the agenda was the protection of the cultural heritage in wartime.
You can finish reading the article here.

July 6, 2014

Sunday, July 06, 2014 - ,, No comments

Jewel Heist Anniversary: The Irish Crown Jewels Stolen from a safe in Dublin Castle on January 6, 1907

by Catherine Sezgin, ARCA Blog Editor

Here's an article ("Hunt for stolen crown jewels failed to solve great mystery") filed last year by Ralph Riegel in The Irish Independent about the unsolved theft of Ireland's 'crown jewels' stolen almost a century ago (today's date marks not the date of the actual theft but the date of discovery of the loss).
... The gems were stolen from a safe in Dublin Castle on July 6, 1907, in arguably Ireland's most famous robbery... The gems, valued in 1983 at over IR£2m, have a current value of around €14m. They were donated to Ireland by King William IV in 1830 to be used on ceremonial occasions by the Order of St Patrick. They were stored in a special safe in the library of the Office of Arms in the Bedford Tower of Dublin Castle. However, the safe was not installed in a special strong room because the room was accidentally constructed with too narrow an entrance to allow it to be fitted. The gems were dramatically stolen in 1907 just days before King Edward VII was due to begin a state visit to Dublin. The theft was hugely embarrassing, both for the Royal Irish Constabulary and the Dublin Castle authorities, because King Edward was due to invest Lord Castletown as a knight in the Order of St Patrick. Even more embarrassing was the fact that the Dublin detective headquarters was located barely 100 yards away. ...
 From the National Archives is a description of the jewels:
The regalia of the Order of St Patrick – the so-called “Crown Jewels” were kept in the Office of Arms in the Bedford Tower in Dublin Castle. The jewels consisted of the insignia of the Grand Master of the Order of St Patrick (the Lord Lieutenant) and the collars and badges of the Knights of St Patrick. The insignia of the Grand Master comprised a star and a badge. The jewels forming the star consisted of Brazilian diamonds with eight star-points with a central shamrock made of emeralds and a cross of rubies in the centre on a background of blue enamel. The badge also had emerald shamrocks and a ruby cross surrounded by blue enamel and rose diamonds and within Brazilian diamonds. The jewels been the property of Queen Charlotte, then of King George IV and finally of King William IV. This king thought that they would form fine ceremonial decorations for the Order of St Patrick and the Lord Lieutenant of Ireland to wear on ceremonial occasions and so he presented them to the Order in 1830. In 1907, these jewels were valued at £33,000.
You can read the National Archives' "The Theft of the Irish 'Crown Jewels'" for more details.

In 2008, Francis Shackleton Jr.'s name came forward as the prime suspect in the theft.

July 4, 2014

Friday, July 04, 2014 - ,, No comments

Criminal complaint in Germany alleges art advisor defrauded client

Julia Michalska reported July 2 for The Art Newspaper "Fraud investigation into German art advisor widens" that a 24-page criminal complaint alleges that Helge Achenbach 'defrauding the late Aldi-supermarket heir [and Trader Joe's] and art collector Berthold Albrecht of €18m'.

Lisa Contag for ArtInfo reported in "German Art Consultant Helge Achenbach Arrested Due to Fraud Allegations" on June 24th that Achenbach's arrest followed allegations by the state attorney of the city of Eissen for 'overpricing art and vintage cars he purchased for collectors':
German newspapers Bild and Die Welt have reported that fraud allegations were made by the heirs of Berthold Albrecht, one of the founders of the German discount supermarket chain Aldi, who was one of Achenbach’s most important clients until his death in 2012.

July 3, 2014

"The Gurlitt Case -- An Inside View From Christopher A. Marinello, Lawyer and Representative for the Heirs of Paul Rosenberg" presented at ARCA's Sixth Annual Interdisciplinary Art Crime Conference on June 28

Matisse, Femme Assise,
Paul Rosenberg Archive
by Catherine Schofield Sezgin, ARCA Blog Editor-in-Chief

Amelia, Umbria -- Following Duncan Chappell and Saskia Hufnagel’s analysis of the legal issues involved in the controversy over the art collection previously in possession of the now deceased Cornelius Gurlitt, Christopher A. Marinello, a lawyer and the founder of Art Recovery International, spoke on representing the heirs of Paul Rosenberg in their efforts to recover Henri Matisse’s painting Femme Assise found in Mr. Gurlitt's Munich apartment and looted from Paul Rosenberg by the Nazis in 1940 (see information regarding the Task Force's decision here).

Chris Marinello discussed the company’s new Art Claim Database, which he said aims to become the world’s largest and technologically advanced private database of stolen, looted, and otherwise tainted works of art.  Based in London, Marinello said he has recovered and resolved title disputes involving over $350 million worth of artwork and offers free services to law enforcement, governments, and non-profit museums.

The heirs of Paul Rosenberg are still searching for 59 of the 400 paintings that were looted from the Paul Rosenberg Gallery in Paris which included works by Picasso, Matisse, and Braque, all close friends of the Jewish dealer. [Information on The Paul Rosenberg Archives housed at The Museum of Modern Art in New York is available here. The family business moved from selling antiques in the late 19th century to Impressionist and Post-Impressionist works.]

Christopher Marinello in Amelia
Marinello's presentation included details of events after news of the Gurlitt "trove" was released to the public by Focus Magazine in November 2013. Marinello explained how his team of researchers quickly assembled a comprehensive analysis of the Rosenberg claim for the Matisse painting with supporting documentation after an image of Femme Assise appeared in the magazine.

Marinello criticized German authorities in their handling of this most recent discovery of long lost Nazi looted artwork but praised the efforts of the individual researchers who make up the “Task Force” faced with the herculean task of reviewing the provenance of the Gurlitt pictures.  
  
Despite the fact that German law offered little or no protection to his clients and other heirs of Holocaust claimants, Marinello explained that some of his strategy in the Gurlitt matter included direct contact with Cornelius Gurlitt himself. Marinello said that throughout the discussions that took place with Mr. Gurlitt’s lawyers, he refused to accept anything other that unconditional restitution of the looted Matisse. Marinello said that an unconditional release and restitution agreement negotiated with Mr. Gurlitt’s lawyers in late March was put on hold after an unusual series of events interfered with the execution of that agreement. The upheaval in Gurlitt’s legal team and the Task Force’s consideration of a competing, but ultimately fraudulent claim to the Rosenberg Matisse delayed matters long enough to see the death of the Cornelius Gurlitt, Marinello explained.

In an apparent snub of Bavarian officials, Marinello said, Gurlitt left his pictures to the Kunstmuseum in Bern, Switzerland which has publicly pledged to return all looted works of art to their rightful owners.

Without revealing his current strategy, Marinello explained that he has been in contact with the museum in Bern and the German Probate Court and is confident that the Matisse will be restituted to the Rosenberg heirs in the next few months.

A three-time returning speaker at ARCA, Chris thanked conference organizers for developing a program that allows for spirited intellectual debate of important cultural property issues in a relaxed and friendly environment.

Gurlitt Art Collection: Task force declares Matisse work was stolen from Paul Rosenberg and should be returned to his heirs by the heirs of Cornelius Gurlitt in accordance with the principles of the Washington Declaration

Julia Michalska reported for The Art Newspaper on June 11 in "Matisse painting in Gurlitt Hoard was Nazi loot, researchers find" that the painting by Henri Matisse titled Femme Assise (1921) had likely once belonged to Paul Rosenberg, a Jewish art dealer in Paris until the Nazi Occupation in 1940:
Ingeborg Berggreen Merkel, the head of the task force, said in a press statement released today: “Even though it could not be documented with absolute certainty how the work came into [Cornelius Gurlitt’s father] Hildebrand Gurlitt’s possession, the task force has concluded that the work is Nazi loot and was taken from its rightful owner Paul Rosenberg.” Merkel added that the final decision on what will happen to the painting “lies in the hands of the heirs of Cornelius Gurlitt, who, shortly before his death, committed himself to returning looted works in line with the Washington Principles. This commitment also binds his heirs”.
According to the Lost Art Internet Database website, the "Schwabing Art Trove" (named after the neighborhood where Cornelius Gurlitt resided) Task Force is examining the ownership of 590 works that may have been "confiscated" by the Nazis.

Here's a link to the the press release issued in German.

For further information on the Gurlitt case, the Central Registry of Information on Looted Cultural Property (1933-1945) you may go here on their website.

June 30, 2014

His Highness Sisowath Ravivaddhana Monipong presented "The Duryodhana, the Balarama and the Bhima: a Cambodian perspective on the return of three pre-Angkorian sandstone statues from Prasat Chen at the Koh Ker temple complex" at ARCA's Sixth Annual Interdisciplinary Art Crime Conference

These photos were provided by M. Bertrand Porte, French
School for Asian Arts (EFEO), who is the head of the
restoration workshop of the National Museum in
Phnom Penh.
His Highness Sisowath Ravivaddhana Monipong of Cambodia presented "The Duryodhana, the Balarama and the Bhima: a Cambodian perspective on the return of three pre-Angkorian sandstone statues from Prasat Chen at the Koh Ker temple complex" at ARCA's Sixth Annual Interdisciplinary Art Crime Conference.

After apologizing for his accented English (he explained that he usually delivers his talks in French or Italian), he showed a video of archaeologist and cultural property lawyer Tess Davis who for the last decade has documented the plunder of Cambodia's ancient temples and worked for the return of the country's looted antiquities.

The Prince told the audience:
In Cambodia the preservation of the archeological patrimony has become one of the main topics discussed among members of the local intelligensia, but it is a recent phenomenon and it occurs mostly in western-influenced environments. The will of the Royal Governement is to educate in the most accessible way, to make people understand how sacred and holy these artcrafts are in our patrimony as Cambodians, and moreover, as survivors of a genocide, during which art and culture were cancelled. Sculpture schools, archeological trainings and preservation technique lessons are improving in quality and quantity all over the Kingdom. Little by little, more and more people are being educated to the duty to preserve and defend our cultural patrimony. Nevertheless, the wounds of war, poverty and the powerful groups sponsoring lootings and international art traffic are still prevailing and as long as there will be such a taste for Khmer Antiques, we will not be able to eradicate this sadly human lust for money.
Here's a link to Tess Davis' project at Trafficking Culture and another link to an article, "Temple Looting in Cambodia: Anatomy of a Statue Trafficking Network", co-written with Simon Mackenzie and published in the British Journal of Criminology.

His Highness Prince Sisowath Ravivaddhana Monipong, was born in Phnom Penh in 1970; has been living mainly in Italy, in Rome, since 1997. Educated in France, holds a Master of Arts in Contemporary British Literature; founded in 1992 the Institute of the Royal Household of Cambodia with Professor Jacques Népote (CNRS). Recognised specialist of the history and the culture of Cambodia, has published books and articles regarding the social structures of Cambodia and the genealogy of the Khmer Royal Family. After a career as sales officer in various multinational private companies such as IBM and ACCOR, has collaborated as a Programme Officer and Consultant for many years with the United Nations (WFP, FAO & IFAD) and private sector with interests in Southeast Asia; has been for many years representative of the Cambodian Ministry of Tourism for Italy. You may follow him at his blog here: "Ravivaddhana Sisowath: Never Complain, Never Explain".

University of Glasgow's Simon MacKenzie received Eleanor and Anthony Vallombroso Award for Excellence in Art Crime Scholarship for his work on the Trafficking Culture project

Noah Charney (left) and Simon Mackenzie (right) in Amelia
by Catherine Sezgin, ARCA Blog Editor

AMELIA - ARCA Founder Noah Charney presented the 2014 Eleanor and Anthony Vallombroso Award for Excellence in Art Crime Scholarship to Simon MacKenzie, Trafficking Culture project at The University of Glasgow,  at ARCA's Sixth Annual Interdisciplinary Art Crime Conference.

"I would like to thank ARCA for the award and my colleagues and graduate students at the University of Glasgow for their support and their individual contributions to the great research team we now have," Simon Mackenzie said about the award. "It's really valuable to receive peer recognition for research and I take this award as encouragement to continue with our efforts in the Trafficking Culture project to produce systematic and reliable empirical work in support of the development of crime reduction policies in this field."

Simon Mackenzie discussing Temple Looting in Cambodia
Upon receipt of the award, Professor Mackenzie invited attendees to visit the Trafficking Culture website and download the article on "Temple Looting in Cambodia: Anatomy of a Trafficking Network" (free for a limited time) via the British Journal of Criminology website here.

You may read more about Professor Mackenzie here.


Past winners: Norman Palmer (2009), Larry Rothfield (2010), Neil Brodie (2011), Jason Felch and Ralph Frammolino (Jointly – 2012), Duncan Chappell (2013).

June 29, 2014

ARCA '14 Art Crime Conference: Program for second (and last) day

Amelia, Umbria - Sunday, June 24

9:00 -10:00 am:  The Mental Condition and its Role in Art Crime
Panel chaired by Liza Weber, ARCA 2014 participant

‘It’s beyond my control’  An historic and psychiatric investigation into the claim of bibliomania
Anna Knutsson MA (Hon) University of St. Andrews
Research Editor Smith Library

Art Vandalism from a Forensic Behavioral Perspective
Frans Koenraadt PhD
Professor, Universiteit Utrecht, Willem Pompe Institute of Criminal Law and Criminology

QA

10:00 – 11:15 am:  Cultural Heritage and Armed Conflict, Reflections from Past and Present
Panel chaired by Lynda Albertson, ARCA CEO

File Zadar:  New insights on art works taken from Zadar to Italy during World War II
Antonija Mlikota, PhD University of Zagreb
Assistant Professor of Art History, University of Zadar

IMCuRWG Blue Shield cultural assessment mission to Timbuktu 
Joris Kila, PhD University of Amsterdam
Chairman of the ‘International Military Cultural Resources Work Group’ (IMCuRWG).
Universität Wien, Kompetenzzentrum Kulturelles Erbe und Kulturgüterschutz, Universität Wien, Alois-Musil-Center für Orientalische Archäologie, U.S. AFRICOM

A modern look at an Eternal Problem: Sixty years after the creation of the 1954 Hague Convention 
Cinnamon Stephens, JD
Esquire

QA

11:15 am: Coffee Break

11:30 am-12:45 pm: Smart Collecting and Connoisseurship and When Art is Stolen
Panel chaired by Noah Charney, ARCA President and Chief Editor, The Journal of Art Crime

What’s wrong with this picture?  Standards and issues of connoisseurship
Tanya Pia Starrett, MA HONS LLB, University of Glasgow
Solicitor

Cross-border Collecting in the XXI Century:  Comparative Law Issues
Massimo Sterpi, Avvocato
Partner, Studio Legale Jacobacci & Associati

Bicycles vs. Rembrandt
Martin Finkelnberg
Head of the Art and Antiques Crime Unit
National Criminal Intelligence Division, The Netherlands

QA

12:45 – 1:05 pm: Key Note Closing – A look to the future

Is International Law for the Protection of Artistic Freedom Adequate?
Eleni Tokmakidou – Moschouri, PhD University of Manchester
MJur University of Birmingham
Attorney at Law at the Supreme Court of Greece

1:05 – 1:30 pm: Closing Remarks

June 28, 2014

ARCA '14 Art Crime Conference Begins Now

The garden of Palazzo Farrattini - the morning after
by Catherine Schofield Sezgin, ARCA Blog Editor-in-chief

Palazzo Farrattini, Amelia -- A cocktail party in the garden of the 500-year-old Palazzo Farrattini opened ARCA's sixth annual Interdisciplinary Art Crime Conference last night. The conference has begun. Here's today's program:

Saturday, June 28 (Sala Boccarrini)
8:15-9:00 am: Welcome and Registration

9:00-9:10 am: Conference Opening, Noah Charney, ARCA President

9:10 -11:00 am: Highlights from Recent US and EU Investigations Panel
Chair: Judge Arthur Tompkins, ARCA Professor District Court Judge in New Zealand

The Fall of the House of Knoedler: Fakes, Deception and Naiveté
 James C Moore, Esq Arbitrator and mediator of commercial disputes Formerly, partner and trial lawyer with large New York law firm and President of New York State Bar Association

Hello Dalí: Anatomy of a Modern Day Art Theft Investigation
Jordan Arnold Esq. K2 Intelligence Former Assistant District Attorney and Head, Financial Intelligence Unit New York County District Attorney's Office QA

The Gurlitt Case: German and International Responses to the Legal and Ethical Questions to Ownership Rights in Looting Cases
 Duncan Chappell, PhD Lawyer and Criminologist, Faculty of Law at the University of Sydney Saskia Hufnagel, PhD Lecturer in Criminal Law, Queen Mary University of London Rechtsanwalt - Fachanwalt Strafrecht, Hufnagel und Partner

The Gurlitt Case: An Inside View from the Lawyer and Representative of the Heirs of Paul Rosenberg
Chris Marinello Director and Founder, Art Recovery International

11:00 am: Coffee Break

11:15 am – 12:30 pm: The Many Faces of the Illegal Heritage Trade
Panel Chair: Christos Tsirogiannis PhD., ARCA Writer in Residence, Forensic Archaeologist, Illicit antiquities researcher, University of Cambridge

Papyri, Collectors and the Antiquities Market: a Survey and Some Questions
Roberta Mazza, PhD University of Bologna Lecturer (Assistant Professor), Classics and Ancient History University of Manchester Research Fellow, John Rylands Research Institute John Rylands Library

Using Open-Source Data to Identify Participation in the Illicit Antiquities Trade: A Case Study on the Intercommunal Conflict in Cyprus, 1963-1974
Sam Hardy, DPhil University of Sussex Illicit antiquities trade researcher Research Associate, Centre for Applied Archaeology University College London

The Dikmen Conspiracy: The Illicit Removal, Journey and Trade of Looted Ecclesiastical Antiquities from Occupied Cyprus
Christiana O'Connell-Schizas, LLB University of Kent LPC University of Law, Baker & McKenzie, Riyadh

12:30 – 1:30 pm: Lunch Break in the Cloister

1:30– 3:00 pm: The Vulnerabilities of Sacred Art In situ: Yesterday and Today Panel
Chair: Lynda Albertson, ARCA CEO

The Theft and Ransom of Caravaggio’s “St. Jerome Writing” from the Co-Cathedral of St. John
Rev. Dr. Marius Zerafa, O.P. S.T.L., Lect. Th., A.R. Hist. S., Dr. Sc.Soc Founder of the Museum of Fine Arts in Valletta, Malta, Former Curator and Director of the Malta Museums

Fighting the Thieves in Italian Churches
Judith Harris, Journalist (ARTnews; www.i-italy.org) Author, Pompeii Awakened, The Monster in the Closet

Evacuate the objects from vulnerable religious sites? No, protect them in situ!
Stéphane Théfo Police Officer and Project Manager, INTERPOL General Secretariat, Office of Legal Affairs

3:15 pm: Coffee Break

3:30 – 5:00 pm: The Genuine Article: Fakes and Forgeries and the Art of Deception Panel Chair: Catherine Sezgin, ARCA Blog Editor

Would the real Mr. Goldie please stand up?
Penelope Jackson M. Phil, University of Queensland, MA University of Auckland Director, Tauranga Art Gallery Toi Tauranga, New Zealand

Forgery and Offenses Resembling Forgery
Susan Douglas, PhD Concordia University Lecturer (Assistant Professor) Contemporary Art and Theory University of Guelph, ARCA Writer-in-Residence 2013

In the Red Corner: “Connoisseurship and Art History”, and the Blue Corner: “Scientific Testing and Analysis” – Who’s right in determining Authenticity?
Toby Bull, Senior Inspector of Police, Hong Kong Police Force Founder, TrackArt (Art Risk Consultancy), Hong Kong

5:00 – 5:30 pm: Looting, Litigation and Repatriation - Panel chaired by Noah Charney, ARCA President and Chief Editor, The Journal of Art Crime

Italian Culture in the Courts: The fate of L'atleta di Fano and Trafficked antiquities vs. Tax obligations Stefano Alessandrini, ARCA Lecturer, Consultant to Il Ministero per i Beni Culturali e Ambientali – Rome

The Duryodhana, the Balarama and the Bhima: a Cambodian perspective on the return of three pre-Angkorian sandstone statues from Prasat Chen at the Koh Ker temple complex
His Highness Sisowath Ravivaddhana Monipong of Cambodia

5:45 – 6:30 pm: 2014 ARCA Awards presented by ARCA founder, Noah Charney and ARCA CEO Lynda Albertson

8:00 pm: Conference Dinner at La Locanda Restaurant

June 27, 2014

June 26, 2014

Report from ARCA Amelia '14: Inside the lecture hall with criminologist Marc Balcells amongst medieval festivities in Amelia

The end of Marc's class.  Photo by S. Kelley-Bell
By Summer Tappmeyer, ARCA '13 graduate and ‘14 intern

Three weeks of being in Italy has flown by so quickly! We have had such a spectacular time so far, and it’s not even halfway through the program. The third week started off with Marc Balcells’ course: “Breitwiesers, Medicis, Beltracchis, Gurlitts and Other Shady Artsy Characters: A Course on How to Analyze Their Crimes Empirically.” Marc had a few adventures in travel in order to make it to Amelia: coming from New York where he has been teaching at John Jay College of Law, with a brief stopover in Spain to visit family, and then finally settling into the city for the beginning of his course. Despite Marc’s long journey to Amelia, he started off his class with a bang. An ARCA 2011 alumnus, Marc has unique insights into student life. It was a pleasant surprise to have someone who has previously walked in our shoes only a few years ago. 

This criminology course focused on the theoretical framework of the subject, as well as gave insight into the different foundations of the Classical, Positivist, and Critical school of thinking. Marc proved to be a fascinating professor, as he engaged the class in discussions and told us stories using his animated personality to bring those stories to life. One of the greatest aspects of this course is that you do not have to have a criminology background. Marc was adamant about us being able to understand the “nuts and bolts” of the essentials of criminology and was able to simplify information in a way that allowed the students to understand the concepts and theories. Overall, Marc was able to command and capture the attention of his audience, making us all feel incredibly comfortable to engage in scholarly debates throughout the duration of his course.

The Champion of Volterra.
Photo by L. Albertson
The city of Amelia was able to cool off this week, due to the plush amount of rain it received during the third week of our stay. We appreciated the break from the heat, but that did not leave much time for extracurricular activities and a few of our weekly adventures had to be postponed. Most students enjoyed the pitter-patter of rain as they slept at night though, and by the weekend the rain was gone and scheduled activities continued. As soon as Marc’s class ended on Friday, the ARCA 2014 class went across the street to “Park Bar” and savored a refreshing afternoon spritzer. Since this was the professor’s last evening in Amelia, we all gathered around a few tables to learn more about Marc and his experience as a student with ARCA three years ago. Saturday and Sunday consisted of rest and relaxation. A few students went on a shopping spree in Rome, others enjoyed a rare chance to see none other than the Rolling Stones play in Rome at Circo Massimo.

Amelia hosted a medieval crossbow competition Saturday and Sunday for everyone to enjoy. The Balestra Antica da Banco is the national championship and offered everything from costumes to the special seated crossbows. Amelia also celebrated a religious holiday known as Corpus Domini. This celebration included a procession through the town on a bed of flowers.

We are looking forward to welcoming Noah Charney and his new course, "Art Forgers and Thieves", this week.

This weekend the ARCA 2014 Conference will bring together students and professionals in two days of panels on art crimes ranging from Nazi-looted art to stolen antiquities in Cyprus and Cambodia.

ARCA '14 Conference, Panel VIII: Smart Collecting and Connoisseurship and When Art is Stolen

Panel VIII: Smart Collecting and Connoisseurship and When Art is Stolen

What’s wrong with this picture? Standards and issues of connoisseurship
Tanya Pia Starrett, MA HONS LLB, University of Glasgow
Solicitor

Crossborder Collecting in the XXI Century: Comparative Law Issues
Massimo Sterpi, Avvocato
Partner, Studio Legale Jacobacci & Associati 

Bicycles vs. Rembrandt
Martin Finkelnberg
Head of the Art and Antiques Crime Unit


National Criminal Intelligence Division, The Netherlands

June 25, 2014

ARCA '14 Conference, Panel VII: Cultural Heritage and Armed Conflict, Reflections from Past and Present

Panel VII: Cultural Heritage and Armed Conflict, Reflections from Past and Present

File Zadar: New insights on art works taken from Zadar to Italy during World War II
Antonija Mlikota, PhD University of Zagreb
Assistant Professor of Art History, University of Zadar

IMCuRWG Blue Shield cultural assessment mission to Timbuktu
Joris Kila, PhD University of Amsterdam
Chairman of the ‘International Military Cultural Resources Work Group’ (IMCuRWG).
Universität Wien, Kompetenzzentrum Kulturelles Erbe und Kulturgüterschutz, Universität Wien, Alois-Musil-Center für Orientalische Archäologie, U.S. AFRICOM

A modern look at an Eternal Problem: Sixty years after the creation of the 1954 Hague Convention
Cinnamon Stephens, JD


Esquire

June 24, 2014

Tuesday, June 24, 2014 - , No comments

ARCA '14 Conference: Panel on "The Mental Condition and its Role in Art Crime:

Panel VI: The Mental Condition and its Role in Art Crime

'It's beyond my control' An historic and psychiatric investigation into the claim of bibliomania
Anna Knutsson MA (Hon) University of St. Andrews
Research Editor Smith Library

Art Vandalism from a Forensic Behavioral Perspective
Frans Koenraadt PhD
Professor, Universiteit Utrecht, Willem Pompe Institute of Criminal Law and Criminology

June 23, 2014

ARCA '14 Conference: Winners of 2014 Awards for Art Policing and Defense of Art will be presented after Amelia event

Two awards will be presented after ARCA's conference in Amelia:

Art Policing, Recovery, Protection and Security
Dr. Daniela Rizzo and Mr Maurizio Pellegrini, Soprintendenza Beni Archeologici Etruria Meridionale – Villa Giulia
(In) absentia to be presented in Rome in July
Past winners: Vernon Rapley (2009), Francesco Rutelli (2009), Charlie Hill (2010), Dick Drent (2010), Paolo Giorgio Ferri (2011), Lord Colin Renfrew (2011), Stuttgart Detective Ernst Schöller (2012), Karl von Habsburg and Dr. Joris Kila (Jointly – 2012), Sharon Cohen Levin (2013), Christos Tsirogiannis (2013)

Lifetime Achievement in Defense of Art Award
Anne Webber, founder and director of The Commission for Looted Art In Europe
(In) absentia to be presented in London this fall


Past winners: Carabinieri TPC collectively (2009), Howard Spiegler (2010), John Merryman (2011), Dr. George H. O. Abungu (2012), Blanca Niño Norton (2013)

June 22, 2014

ARCA '14 Conference: Presenting Simon Mackenzie with 2014 Eleanor and Anthony Vallombroso Award for Excellence in Art Crime Scholarship

ARCA Founder Noah Charney will present Simon MacKenzie, Trafficking Culture project at the University of Glasgow, the 2014 Eleanor and Anthony Vallombroso Award for Excellence in Art Crime Scholarship at ARCA's Sixth Annual Interdisciplinary Art Crime Conference on June 28 in Amelia. You may read more about Professor Mackenzie here.

Past winners: Norman Palmer (2009), Larry Rothfield (2010), Neil Brodie (2011), Jason Felch and Ralph Frammolino (Jointly – 2012), Duncan Chappell (2013).

June 21, 2014

ARCA '14 Conference, Panel V: Looting, Litigation and Repatriation

The fifth panel at ARCA's Sixth Annual Interdisciplinary Art Crime Conference will feature:

Will it be the Getty Bronze or L'atleta di Fano? Italy's ongoing case for the return of the bronze statue of the Victorious Youth
Maurizio Fiorilli. Avvocato della Stato, Italy (Ret) and Stefano Alessandrini, Consultant

The Duryodhana, the Balarama and the Bhima: a Cambodian perspective on the return of three pre-Angkorian sandstone statues from Prasat Chen at the Koh Ker temple complex
His Highness Sisowath Ravivaddhana Monipong of Cambodia

June 20, 2014

The Tenth Islamic Manuscript Conference: Manuscripts and Conflict in Cambridge Aug. 31-Sep. 2

The Tenth Islamic Manuscript Conference: Manuscripts and Conflict, 31 August-2 September 2014, will be held at Magdalene College, University of Cambridge, UK.

There will also be a special programme on 3 September 2014, including a workshop on disaster planning for Islamic manuscript collections. Please find more information about the conference programme online.

The Tenth Islamic Manuscript Conference will be an occasion to reflect on progress in conservation, preservation, cataloguing, digitisation and research relating to Islamic manuscripts and manuscript collections during the decade since the founding of the Association, and to look ahead to anticipated developments in these fields over the next ten years. The conference’s special theme — Manuscripts and Conflict — will also constitute a timely opportunity to consider the above subject areas within the intensifying contexts of acute social and political instability or military conflict. Invited keynote speakers, round table sessions, poster presentations and workshops will promote active participation in a cutting-edge discussion of these subjects.

Poster presentations

Students and other interested persons are encouraged to submit posters about their work with Islamic manuscript collections for presentation at the conference. Please find more information about this online.

ARCA '14 Conference, Panel IV: The Genuine Article: Fakes and Forgeries and the Art of Deception

On Saturday June 28 in Amelia, these presenters will make up the panel on fakes and forgeries at ARCA's Sixth Annual Interdisciplinary Art Crime Conference:

Would the real Mr. Goldie please stand up?
Penelope Jackson M. Phil, University of Queensland, MA University of Auckland
Director, Tauranga Art Gallery Toi Tauranga, New Zealand

Forgery and Offenses Resembling Forgery
Susan Douglas, PhD Concordia University
Lecturer (Assistant Professor) Contemporary Art and Theory, University of Guelph

In the Red Corner: “Connoisseurship and Art History”, and the Blue Corner: “Scientific Testing and Analysis” – Who’s right in determining Authenticity?
Toby Bull, Senior Inspector of Police, Hong Kong Police Force
Founder, TrackArt (Art Risk Consultancy), Hong Kong

June 19, 2014

Report from ARCA Amelia '14: Second week of courses by Flynn and Ellis bookended with visit to Orvieto

The end of Dr. Flynn's class.  Photo by Summer Kelley-Bell
By Camille Knop, ARCA '14 Intern

Professor Tom Flynn’s course, ‘The International Art Market and Associated Risk’, resumed last Monday with discussions on the tensions between the aesthetic and economic values of works of art. The class concluded two days later with the screening of Furcht, a 1917 German Expressionist film written and directed by Robert Wiene that explores the colonialist roots of collections and the magical haptic quality of works of art that moves one to possess them (even at the risk of one’s safety, in this case). In order to fulfill the course requirements, students composed a 1,500-word response to Gregory Day’s article, “Explaining the Art Market Thefts, Frauds, and Forgeries (And Why the Art Market Does Not Seem to Care).” This exercise allowed students to synthesize and expand on the consequences of the logic of art when put at odds (or not) with the logic of capital.

The End of Dick Ellis' class. Photo by Summer Kelley-Bell

Professor Dick Ellis’ course (“Art Policing, Protection, and Investigating”) the second half of the week included student presentations on art-related crime, focusing on issues regarding due diligence, motivations, and legal and jurisdictional frameworks. Cases ranged from paintings stolen from private property, to an Egyptian pectoral stolen from a university library, to manuscripts smuggled out of Mali, to underwater archaeological looting. The weekend began with many students joining Professor Ellis at two local spots in Amelia: Bar Leonardi and Bar Vertigo.

Despite the forecast of heavy rain, students enjoyed various weekend activities without the stress of any coursework. On Saturday morning, a small group of eight went on an optional trip to Orvieto, which rests on a small plateau of volcanic tuff. After arriving at the foot of the city by bus at around 9:00 a.m., they enjoyed a ride up the funicular that took them right to the edge of the city walls. While some students visited a Roman double-helix well, others wandered around the city, which was preparing for an annual festival that afternoon. Eventually, everyone reunited in the Duomo di Orvieto, whose impressive exterior decoration drew them in like flies to bright lights. Luckily, the group left minutes before a large thunderstorm, which had been seen making its way through the valley towards the city.

Duomo di Orvieto. Photo by Summer Kelley-Bell
By the end of the second week of the ARCA program, the initial nervous excitement of orientation and move-in had worn off, and students began to feel more comfortable as they established their daily routines. In my case, the owners of Caffe Grande, concerned with my poor Italian, have been helping me expand my vocabulary from simply “Grazie!” and “Ciao!” by teaching me alternative greetings through some very animated gestures and universal sign language. Although I was not yet prepared to help a lady who had asked me for directions that week, I was still ecstatic over the fact that I had even been asked! By the end of the second week of classes, ARCA students, including myself, have begun to feel (and apparently appear) less like newcomers and more like Amerini.

You may read about the first week of the program here.

Panel on "The Vulnerabilities of Sacred Art In Situ: Yesterday and Still Today" for ARCA's Sixth Annual Interdisciplinary Art Crime Conference

The panel on "The Vulnerabilities of Sacred Art in Situ" will highlight these issues:

The Theft and Ransom of Caravaggio’s “St. Jerome Writing”, Co-Cathedral of St. John
Rev. Dr. Marius Zerafa, O.P. S.T.L., Lect. Th., A.R. Hist. S., Dr. Sc.Soc Founder of the Museum of Fine Arts in Valletta, Malta Former Curator and Director of the Malta Museums

Fighting the Thieves in Italian Churches
Judith Harris, Journalist (ARTnews; www.i-italy.org) Author, Pompeii Awakened, The Monster in the Closet

Evacuate the objects from vulnerable religious sites? No, protect them in situ!
Stéphane Théfo, Police Officer/Project Manager, INTERPOL Office of Legal Affairs

You may read more about the conference to be held June 27-29 in Amelia here.

June 18, 2014

The Legal Case of the Mummy Mask of Lady Ka-nefer-nefer at the St. Louis Art Museum Ignites Discussion on Museum Security Network after Courthouse News Reports US Court Rules US Government Could Not Prove Theft

by Catherine Sezgin, ARCA Blog Editor

Updated to reflect published comment by Rick St. Hilaire

In 2011, the Saint Louis Art Museum (SLAM) took legal action to keep the  Mummy Mask of Lady Ka-nefer-nefer from being taken by the U.S. government on the grounds that authorities knew about the mask as early as 2005 and that a five-year-statue of limitations period had expired ("St. Louis Art Museum Sues the United States to Preclude a Forfeiture", ARCA blog, Feb. 16, 2011). Jack Bouboushian reported in "Egyptian Mummy Mask Will Stay in St. Louis" for Courthouse News Service on June 17:
(CN) - An ancient Egyptian mummy mask will remain in the St. Louis Art Museum because the U.S. government cannot prove the mask was stolen from Egypt when it went missing 40 years ago, the 8th Circuit ruled.
[Rick St. Hilaire submitted a comment to the ARCA blog which we published and are reprinting here for your ease of reading -- you may also refer to his blog, Cultural Heritage Lawyer:
The CN article is inaccurate. The appeals court did not rule that the U.S. government failed to prove that the mask was stolen from Egypt. Instead, the appeals court ruled that the lower district court did not abuse its discretion by denying the government’s post-dismissal motion asking for leave to file an amended civil forfeiture complaint. That amended complaint, if accepted by the lower court, contained the allegations that the mummy mask was stolen property. Therefore, the substantive case involving whether the mask was stolen was never litigated. That is what prompted appeals court judge Diana Murphy to write a concurring opinion that agreed with the dismissal of the Ka Nefer Nefer case on procedural grounds, but addressing a caution because of the substantive matters raised but never addressed by the case: "Museums and other participants in the international market for art and antiquities need to exercise caution and care in their dealings in order to protect this heritage and to understand that the United States might ultimately be able to recover such purchases."
Security Consultant Ton Cremers, whose emails were cited in SLAM's 2011 complaint (see ARCA Blog post here), initiated a discussion today on Museum Security Network (MSN) then told the ARCA blog:
In cases of looted, stolen and smuggled cultural goods always the laws of the 'consumer' countries prevail, and most unfortunately not the laws of the victim countries. There is no doubt at all that the Ka-nefer-nefer mask was stolen. The Saint Louis Art Museum is not a member of ICOM [International Council of Museums] and never should be as well.
Dick Ellis, retired police officer for Scotland Yard and an ARCA Lecturer on a course on art investigations, wrote on MSN (quoted here with his permission):
If nothing else, this case identifies a lack of understanding in the processes available to those wishing to recover their stolen cultural property. We may not like the laws or legal processes of a country, but they are what you have to work with and if the wrong option is taken in the recovery process and you fail to meet the required deadlines then your case will fail, as it has in this case. 
Having followed the twists and turns of this case and actually obtained a copy of the records that exist in Egypt showing where the mask was at specific dates it is clear to me that the wrong process was adopted. Rather than sue for the return of the mask, Egypt should have resorted to the same process that put Fred Schultz in prison for contravening US property law. This would have resulted in the FBI actually having to investigate the conduct of those involved in the sale of the mask to the museum and the provenance that was provided in support of it. 
If these investigations had produced evidence that criminal offences had been committed within the jurisdiction of the US courts then those responsible may well have faced a trial under the criminal process, and had the provenance as supplied to the museum been proven to be bogus then it is doubtful that the museum would, or could have resisted a subsequent claim for the return of the mask. 
Having worked with the Egyptian authorities on the successful prosecution of Tokeley Parry, Fred Schultz and others, which established the effectiveness of prosecuting under national property laws rather than cultural property laws, it is disappointing to find that the many lessons of that case appear to have been forgotten so quickly.
Virginia Curry, a retired agent for the Federal Bureau of Investigation (FBI), also wrote on MSN (quoted here with her permission):
While I am not an attorney, I've been successful in all my investigations and have investigated hundreds of similar cases involving  international  property theft and smuggling. Generally, a U.S.  Federal Inter-pleader action, which is a civil, not criminal procedure, occurs AFTER the federal criminal case has been proven that property is in fact stolen and has a nexus to interstate-international transportation or communication (Title 18 United States Code Section 2314, 2315.)
  
Dick you will remember that our collaboration (under a Mutual Legal Assistance Treaty Request)  the theft of the Teniers painting by a U.S. citizen was just that.  The painting was proven stolen at federal criminal  trial in the U.S. -- even though it was stolen from a London dealer, in London.  That court trial, which led to the guilty plea of the thief of the action of transporting property internationally, determined that the painting was stolen.  The court then acknowledged the ownership of the property by the London dealer. 
In my opinion, a case which FIRST proved that the mask was illegally imported to the United States, rather than relying on the logical presumption, especially when there is sufficient extant evidence to do so, would have prevailed.  
I agree with Dick: Consulting with field experts such as he and myself and a dozen others with well known, actual convictions with restitution in similar criminal cases can avoid such "procedural issues" -- such as the "untested legal theory" (that I interpret as the presumption of stolen and smuggled, rather than the presentation of evidence) as expressed by Judge Murphy.
For background on the Ka-Nefer-Nefer mask residing at the Saint Louis Museum, Ton Cremers referred readers of MSN to Malcolm Gay's 2006 article "Out of Egypt: From a long-buried pyramid to the Saint Louis Art Museum: The mysterious voyage of the Ka-Nefer-Nefer mask", Riverfront Times, Feb. 15, 2006.

In 2012 at ARCA's Conference on the Study of Art Crime and Cultural Heritage Protection, Leila Amineddoleh discussed the issue of this Egyptian Ka-Nefer-Nefer mask and its probably looted origins.

SLAM's website describes the provenance for the Mummy Mask of the Lady Ka-nefer-nefer:
Provenance:1951/1952 -Mohammed Zakaria Goneim, excavated at Saqqara, Egypt [1]
by 1952 - Unknown Dealer, Brussels, Belgium [2]
- early 1960sKaloterna Collection [3]
early 1960s -Private Collection, Switzerland, acquired from Kaloterna collection [4]
by 1997 - 1998Phoenix Art, S.A. (Hicham Aboutaam), Geneva, Switzerland, purchased from private collection [5]
1998/03/30 -Saint Louis Art Museum, purchased from Phoenix Ancient Art, S.A. [6]
Notes:[1] Excavated by Mohammed Zakaria Goneim, Keeper of the Antiquities of Saqqara, at Saqqara, during his first season (1951-1952) at the site [Goneim, Mohammed Zakaria,"Excavations at Saqqara; Horus Sekhem-Khet, the Unfinished Step Pyramid at Saqqara." Vol. 1. Cairo: Imprimerie de L'Institut Français D'Archéologie Orientale, 1957].
A letter from a scholar, dated December 12, 1999, indicates that the other objects from the Saqqara excavation group were displayed together in the Cairo Museum, suggesting that they were put on display right after Goneim's excavation. The scholar suggests that the mask was never displayed with the other excavated objects and was probably awarded to the excavator himself. This would correspond with its appearance on the European art market soon after its excavation [SLAM document files].
[2] In a letter dated February 11, 1997, Charly Mathez confirms that he saw the mask in a gallery in Brussels in 1952. According to a letter dated October 5, 1999, he did not remember the name of the gallery [SLAM document files].
[3] In a letter dated March 19, 1998, Hicham Aboutaam indicated that an anonymous Swiss collector acquired the mask from the Kaloterna (possibly Kaliterna) family. In a letter of July 2, 1997, addressed to Hicham Aboutaam, the Swiss collector stated that this acquisition took place in the early 1960s [SLAM document files]. The name "Kaloterna" may be a misspelling of the common Croatian name "Kaliterna." The Swiss collector also had an address in Croatia, and it is possible that the collector became acquainted with the Kaloterna (or Kaliterna) family there. 
[4] See note [3]. The Swiss collector requested anonymity.
[5] The Swiss collector's letter of July 2, 1997 confirms the sale of the mask to Aboutaam [SLAM document files]. Aboutaam also states that the mask was in the United States from 1995 until 1997, possibly indicating that it was in the possession of the New York branch of Phoenix Ancient Art, S.A. during that time [letter, September 23, 1997, SLAM document files]. 
[6] Invoice to the Saint Louis Art Museum dated March 12, 1998 [SLAM document files]. Minutes of the Collections Committee of the Board of Trustees, Saint Louis Art Museum, March 18, 1998.
In The New York Times article "Do You Know Where That Art Has Been?" (Rod Stodghill, March 18, 2007) Hicham Aboutaam's legal problems (and that of his gallery, Phoenix Ancient Art were identified:
For the Aboutaams, whose father started the gallery in Beirut in the 1960s, the makeover will require not only overhauling some of its business practices, but also restoring a public image dogged by legal and ethical questions. In 2004, after an investigation by the United States Bureau of Immigration and Customs Enforcement, Hicham Aboutaam pleaded guilty to a misdemeanor in connection with his importing and selling for $950,000 a silver ceremonial drinking vessel that at the time was alleged to be part of the plundered Iranian Western Cave Treasure. He paid a $5,000 fine. That same year, an Egyptian court sentenced Ali Aboutaam in absentia to 15 years in prison after he was accused of smuggling artifacts from Egypt to Switzerland. The charges against him were later dropped by the Egyptian court due to a lack of evidence. Such run-ins with the law have made big museums nervous even when nothing may appear untoward. In 2001, the Kimball Art Museum in Fort Worth returned a 2600 B.C. Sumerian statue it had bought from the brothers for $2.7 million for a refund. Hicham Aboutaam said that questions surrounding the taxes on his parents’ estate unraveled the deal.

Christos Tsirogiannis Phd to lead panel on "The Many Faces of the Illegal Heritage Trade" for ARCA's Sixth Annual Interdisciplinary Art Crime Conference June 28

The second panel of ARCA's Sixth Annual Interdisciplinary Art Crime Conference will be led by Christos Tsirogiannis and presented by:

Papyri, collectors and the antiquities market: a survey and some questions
Roberta Mazza, PhD University of Bologna Lecturer (Assistant Professor), Classics and Ancient History, University of Manchester Research Fellow, John Rylands Research Institute – John Rylands Library

Using open-source data to identify participation in the illicit antiquities trade: A case study on the intercommunal conflict in Cyprus, 1963-1974
Sam Hardy, DPhil University of Sussex Illicit antiquities trade researcher Research Associate, Centre for Applied Archaeology, University College London

The Dikmen Conspiracy: The Illicit Removal, Journey and Trade of Looted Ecclesiastical Antiquities from Occupied Cyprus
Christiana O’Connell-Schizas, LLB University of Kent, LPC University of Law Baker & McKenzie, Riyadh

June 17, 2014

ARCA's Sixth Annual Interdisciplinary Art Crime Conference to open June 28th with panel highlighting "Recent US and EU Investigations"

The 2014 ARCA Interdisciplinary Art Crime Conference will open with:

The Fall of the House of Knoedler: Fakes, Deception and Naiveté
Presenter: James C Moore, Esquire, Arbitrator and mediator of commercial disputes; Formerly, partner and trial lawyer with large New York law firm and president of New York State Bar Association

Hello Dalí: Anatomy of a Modern Day Art Theft Investigation
Presenter: Jordan Arnold, Esquire, K2 Intelligence; Former Assistant District Attorney and Head, Financial Intelligence Unit, New York County District Attorney’s Office

The Gurlitt Case: German and international responses to the legal and ethical questions to ownership rights in looting cases
Presenters: Duncan Chappell, PhD Lawyer and Criminologist, Faculty of Law at the University of Sydney and Saskia Hufnagel, PhD Lecturer in Criminal Law; Queen Mary University of London Rechtsanwalt – Fachanwalt Strafrecht, Hufnagel und Partner

The Gurlitt Case: An Inside View From Christopher A. Marinello, Lawyer and Representative for the Heirs of Paul Rosenberg
Presenter: Christopher A. Marinello, Esq Director and Founder, Art Recovery International

The Knoedler Case: NYT's Cohen questions how art dealers weren't suspicious when artist signature was misspelled

Journalist Patricia Cohen in her June 11 article in The New York Times, "Note to Forgers: Don't Forget to Spell Check", says the misspelled artist signature was a clue:
When angry collectors started suing Knoedler & Company for selling dozens of multimillion-dollar forgeries, the gallery’s former president, Ann Freedman, insisted that she and her colleagues had had no reason to think that any of the paintings were counterfeit. “If Ann Freedman had any questions about these works, she and her husband would not have invested hundreds of thousands of dollars in them,” her lawyer, Nicholas A. Gravante Jr., said of the paintings attributed to modern masters like Robert Motherwell, Mark Rothko and Jackson Pollock. Now, newly released documents in a continuing civil case show that at least one of the works bought in 2000 by Ms. Freedman herself contained a prominent clue that something was awry. The artist’s signature was spelled incorrectly: Pollok instead of Pollock.
You can finish reading Ms. Cohen's article online for The New York Times.

Attorney James C. Moore will discuss the Knoedler case ("The Fall of the House of Knoedler: Fakes, Deception and Naiveté") on June 28 at ARCA's Sixth Annual Interdisciplinary Art Crime Conference in Amelia.

History of Art Crime: Fabio Isman's 1992 reporting of the discovery of Caravaggio's "The Taking of Christ" in Dublin

The National Gallery of Ireland's "The Taking of Christ"
Caravaggio, 1602
by Catherine Sezgin, ARCA Blog Editor

Jonathan Harr's The Lost Painting: The Quest for a Caravaggio Masterpiece (Random House, New York, 2005) -- includes the story of how Fabio Isman, an Italian journalist who regularly attends ARCA's Art Crime Conference in Amelia (and a key advisor to ARCA), broke the news that a restorer at the National Gallery of Ireland, Sergio Benedetti, had found Caravaggio's "The Taking of Christ" (1602) at the residence of the Society of Jesus in Dublin.

Harr recounts how in 1992, Isman, an investigative journalist with Rome's daily newspaper Il Messaggero, heard from scholar Sir Denis Mahon that another Caravaggio masterpiece had been found. Mahon would did not specify the work or the location, but Isman persisted in ferreting out the information by calling 'one Caravaggio scholar after another' and chancing upon 'a Caravaggio show with no Caravaggios except for The Supper at Emmaus, which Dublin had somehow managed to get on loan from London.'

This book describes how scholars hunt for authenticity through archives and publications, the differences between record keeping in Britain and Italy, and the competition amongst researchers. A perfect warmup to ARCA's Conference June 27-29 in Amelia.