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November 9, 2010

Freeze of BBC License Fee Continues Dream of Art Thief Who Stole Goya’s “Portrait of the Duke of Wellington” from the National Gallery in 1961


The only successful theft from London’s National Gallery took place on 21 August 1961, when a brazen thief stole Goya’s Portrait of the Duke of Wellington. Forty-nine years later, on 19 October of this year, the thief’s ransom demands were protected well into the future.

One of the most bizarre incidents in the history of art theft, the Goya heist baffled police. Someone had snuck into the National Gallery through an unlocked bathroom window, had evaded security guards, and made off with a painting which had just been saved from sale to an American tycoon by the British government. The sale of the Spanish painting, property of the Duke of Leeds, had been frozen in order for the British nation to match the sale price, thereby keeping the painting in England. £140,000 had been hastily raised (the equivalent of around £2 million today), and the 1812 portrait of the English war hero was saved. It went on display at the National Gallery in London on 3 August—less than three weeks later, it was gone.

The Press had a field day, and the theft infected the popular imagination. In the background of the first James Bond film, Dr No, which was filmed soon after the crime, one can see a copy of the missing Goya portrait decorating Dr No’s villainous hideout.

Then the London police received the first of many bizarre ransom notes. They promised the safe return of the painting in exchange for discounted television licenses for old age pensioners.

Surely this was a joke? But the ransomer was able to identify marks visible only on the back of the painting, proving that it was in his possession. The ransomer, whose notes were theatrical and flamboyantly written, thought it outrageous that the British government would spend such a sum on a painting when retired British citizens had to pay to watch television. The Goya would be returned, wrote the ransomer, if a charitable fund of equivalent value, £140,000, were established to pay for television licenses for old age pensioners. There seemed to be no personal motivation for the theft, only outrage at the government’s TV license scheme.

But the police would not negotiate. A second ransom letter arrived, which read:
Goya Com 3. The Duke is safe. His temperature cared for – his future uncertain. The painting is neither to be cloakroomed or kiosked, as such would defeat our purpose and leave us to ever open arrest. We want pardon or the right to leave the country – banishment? We ask that some nonconformist type of person with the fearless fortitude of a Montgomery start the fund for £140,000. No law can touch him. Propriety may frown – but God must smile.
Still the police would not respond. A third ransom letter turned cheeky:
Terms are same. . . . An amnesty in my case would not be out of order. The Yard are looking for a needle in a haystack, but they haven’t a clue where the haystack is. . . I am offering three-pennyworth of old Spanish firewood in exchange for 140,000 of human happiness. A real bargain compared to a near million for a scruffy piece of Italian cardboard.
But while the police would not budge, they were no closer to identifying the thief. In 1965, however, a note arrived at the offices of the Daily Mirror newspaper with a luggage check ticket for the Birmingham rail station. The ticket yielded a surprising package at the Birmingham—the stolen Goya. It had been deposited by someone identifying himself as a “Mister Bloxham,” likely a reference to Oscar Wilde’s The Importance of Being Earnest, in which an infant is found in a handbag at a rail station luggage check. The painting had been recovered, handed over as a sign of good will by the thief, who realized that his demands, which he felt were entirely reasonable and noble, would not be met. But who was the thief?

On 19 July 1965 a portly, 61-year old retired cab driver who bore a striking resemblance to Alfred Hitchcock walked into a police station to turn himself in. Kempton Bunton, a cuddly 252 pound grandfather, did not match the expectations of an ingenious, if eccentric, art thief. He had, perhaps unsurprisingly, been fined twice for refusing to pay his own TV license. The theft seemed to have been motivated solely by charity, although there are those who believe that he took the fall for someone else.

Bunton was not worried about being tried, he told the police, because he knew of an odd loophole in British law. In court, he was found not guilty of having stolen the painting, because the judge noted an antiquated clause which stated that if the jury believed that Bunton always intended to return the painting if his ransom negotiations failed (and he did return the painting) then they must acquit. Heeding the judge’s advice, the jury found Bunton not guilty of having stolen the Goya—but he was found guilty of having stolen the painting’s frame, which was never returned. He was given a slap on the wrist, three months in prison, and was gently scolded by the judge, who said: “motives, even if they are good, cannot justify theft, and creeping into public galleries in order to extract pictures of value so that you can use them for your own purposes has got to be discouraged.”

This comical theft would play a major role in shaping UK law. In 1968, as part of England’s new Theft Act, Parliament included a clause which made it illegal to “remove without authority any object displayed or kept for display to the public in a building to which the public have access,” thereby making Bunton’s “borrowing” of the Goya a criminal offense.

Television licenses were eventually revoked for old age pensioners, satisfying, long after the fact, the unusual ransom demands of Kempton Bunton. But in recent weeks the issue has once more been in question. Would a latter-day Bunton be prompted to make a similar, high-profile statement in protest to the licensing fee? The matter was finally resolved on 20 October of this year, when it was announced that free license fees for pensioners will be extended until at least 2017.

Kempton Bunton, floating on his cloud up in Heaven, must be looking down upon us with a satisfied smile.

We would like to thank Alan Hirsch for research assistance on this article.

November 8, 2010

Revisiting the Cultural Plunder Database

Biche more, Gustave Courbet, Musée d'Orsay, Paris
Revisiting the “Cultural Plunder by the Einsatzstab Richsleiter Rosenberg: Database of Art Objects at the Jeu de Paume”

by Catherine Schofield Sezgin

The database of stolen art from Jewish French and Belgian collectors processed through the Jeu de Paume in Paris from 1940 to 1944 has received more than 11,000 visits from 97 countries since its public release three weeks ago.

The database, which can be accessed at http://www.errproject.org/jeudepaume, is a Joint Project of the Conference on Jewish Material Claims Against Germany and the United States Holocaust Memorial Museum with the cooperation of the Bundesarchiv (The German Federal Archives), France Diplomatie: Diplomatic Archive Center of the Ministry of Foreign and European Affairs, and The United States National Archives and Records Administration (NARA).

The website for the database also includes a photo gallery of the Nazi’s “Special Task Force”, the Einsatzstab Reichsleiter Rosenberg (ERR), processing art works through the center of Paris and another section of works of art considered objectionable (“Degenerate”) by the Nazis – works by artists such as Max Ernst, Salvardor Dalí, and Kees van Dongen.

Users can browse by art owners, by collection, or by artist. Information about the art includes measurements, a title in German, and the name of the owner and the collection and in many cases, whether or not the painting or artwork was restituted to its wartime owner.

An 1857 painting by Gustave Courbet (titled in German Totes Re him Walde or in French Biche morte) entered the Jeu de Paume between September and October of 1942. It was considered for a possible exchange, but was returned to France in 1949. In 1951, the French national museum collection placed it into into the Louvre until 1954 when it was sent to the Musée National Ahmed Zabana in Oran. The painting stayed in Algeria for 31 years until it was stolen in October of 1985.

A painting “considered for exchange” indicates that the ERR staff wanted to trade the painting with art dealers as “payment-in-kind” for works of art desired by Hermann Goering and other Nazi dignitaries for their collections or for the Reich.

Sixteen years later, a reproduction of the same painting, now under the new title of Chevreuil Mort/Dead Deer, appeared in an auction catalogue for a sale scheduled at the George V Hotel in Paris on December 19, 2001. Recognizing the stolen the painting, the French museums rquested that the painting be withdrawn from the sale. It was seized by the police, then transferred to the musée d’Orsay on October 29, 2002.

The ERR Collection Name was “MA-B” or “Möbel-Aktion Bilder”, a category of more than 1,300 matches. "Möbel Aktion" means that it was ‘Operation Furniture’ that the work was removed from a Jewish home. “Bilder” means it was a picture. However, the original owner was not identified by the Nazis and the painting has not been returned to that family.

Could the family who owned that painting make a claim for the return of their painting today? We asked this question to Marc Masurovsky, the project’s director and a consultant to the Holocaust Memorial Museum in Washington, D.C.

“If it is the same painting and was not recovered by a legitimate owner and there is someone who can attest to be the rightful owner of the work, that person can make a claim for the unrecovered object,” Masurovsky wrote in an email. “As you know, the database is a work in progress and much information still needs to be added, especially with respect to the postwar fate of many of the works and objects described in the database.”

November 5, 2010

Friday, November 05, 2010 - No comments

Applications Wanted for the 2011 Postgraduate Program

ARCA (the Association for Research into Crimes against Art) is now accepting applications to its third Postgraduate program in the study of art crime and cultural heritage protection. Both the application and prospectus are available here:


Applications are due in early January, and we try to keep enrollment to a small number, probably under 25.  This really is a special program, and a terrific opportunity for a wide variety of folks interested in careers which touch art and heritage crime.  We try to balance practical courses in security measures with theoretical grounding in law, policy, art history and criminology.


I am excited to have the opportunity to spend most of the summer in Amelia volunteering as the Academic Director. Frankly, I feel a bit guilty calling this a 'volunteer' position. I Teach writing to law students here at South Texas the rest of the year, but I really look forward to the opportunity the ARCA program provides each summer to teach and discuss my first love—art and heritage.  My wife Joni will be on site as well as the managing director of ARCA, and our President and Founder Noah Charney will be a regular presence.  The faculty are a terrific bunch from all over the world who bring a great deal of practical experience to the courses. 


A house in Amelia
As the prospectus aptly puts it, this program provides in-depth, Postgraduate level instruction in a wide variety of theoretical and practical elements of art and heritage crime:  its history, its nature, its impact, and what can be done to curb it.  Courses are taught by international experts, in the beautiful setting of Umbria, Italy.  Topics include the history of art crime, art and antiquities law and policy, criminology, the laws of armed conflict, the art trade, art insurance, art security and policing, risk management, criminal investigation, law and policy, vandalism and iconoclasm, and cultural heritage protection throughout history and around the world.  This interdisciplinary program offers substantive study for art police and security professionals, lawyers, insurers, curators, conservators, members of the art trade, and post-graduate students of criminology, law, security studies, sociology, art history, archaeology, and history.

I am more than happy to answer any questions (fincham "at" artcrime.info) about the program, as is ARCA's Business and Admissions Director Mark Durney (ma "at" artcrime.info).

November 3, 2010

ARCA Alum to speak at Sotheby's Institute of Art

Leila Amineddoleh, Class of 2010 in ARCA's postgraduate program, is presenting a 1-hour overview about art law on Thursday, November 4th, from 8:30 a.m. to 9:30 a.m. at Sotheby's Institute of Art (570 Lexington Ave.) The event is held by the New York State Bar Association's Entertainment, Arts & Sports Law Section. Further information may be accessed at:

http://nysbar.com/blogs/EASL/2010/10/morning_lecture_series_breakfa.html

Wednesday, November 03, 2010 - ,,, No comments

ARCA students attend SAFE's Beacon Awards

SAFE (Saving Antiquities for Everyone) honored four men with a combined total of more than 75 years of working for the U.S. government in recapturing and returning cultural heritage property at the sold-out 2010 Beacon Awards at John Jay College of Criminal Justice in New York City on October 29.

A non-profit organization dedicated to preserving cultural heritage worldwide, SAFE aims to raise public awareness about the irreversible damage that results from looting, smuggling and trading illicit antiquities.

The organization’s Beacon Awards ceremony commenced with introductory remarks by its president and founder, Cindy Ho, who thanked all of the event’s attendees for raising their voices against the destruction of antiquities. She urged all present to raise public awareness about this problem, asserting that it is humanity’s shared responsibility to protect our heritage. Ms. Ho thanked the Beacon Award winners for their tireless in efforts in protecting cultural heritage property then welcomed the moderator, Marion Forsyth Werkheiser of Cultural Heritage Partners, LLC, who introduced the honored speakers.

The 2010 Beacon Awards honored four professionals in the law enforcement sector, Robert E. Goldman, David Hall, James E. McAndrew, and Robert K. Wittman. Goldman served as an Eastern District of Pennsylvania federal prosecutor and worked with the FBI to investigate museum and art theft. David Hall also served as an attorney for the government in his capacity as Special Prosecutor for the FBI’s Art Crime Team. James McAndrew acted as an expert on international art and antiquity investigations and on customs and international trade law with the U.S. Customs Service and then with the Department of Homeland Security. Robert Wittman led a successful career with the FBI for twenty years, and was instrumental in founding the FBI Art Crime Team.

Friday evening the four award winners participated in a panel about their experiences in protecting art. Each man spoke about his role in protecting antiquities and art, and shared personal anecdotes about his practice. Each honoree expressed the idea that the public shares a responsibility in guarding art and antiquities because these objects are the property of all humanity. After their presentations, the award winners responded to questions asked by the moderator and audience members.

The honorees were asked why they had devoted years of their lives to protecting art and cultural heritage property. The men agreed that they all felt immeasurable joy when they repatriated priceless art objects to their rightful owners. The gratitude expressed by the property recipients was compensation that could not be quantified.

Robert Goldman said that after each one of us perishes, antiquities and cultural heritage property objects endure and continue to represent man’s accomplishments and humanity’s shared history.

After the speeches and award ceremony ended, Beacon Award audience members enjoyed a food and drink reception where they had a chance to mingle with the award winners. Robert Wittman autographed copies of “Priceless”, his best-selling book about his experiences with the FBI Art Crime Team.

Included in the audience were students who had studied art crime in Amelia with the Association for Research into Crimes against Art.

Leila Amineddoleh, a 2010 student in ARCA's postgraduate origram, said, “The award winners were fantastic; their dedication to the protection of cultural heritage property and antiquities is moving, their professional experiences are fascinating, and it is inspiring to hear about law enforcement’s ability to protect humanity’s treasures.”

Further information about SAFE can be obtained at www.savingantiquities.org.

Wednesday, November 03, 2010 - ,, No comments

ARCA Alum Julia Brennan speaks to ICOM committee


ARCA alum Julia Brennan recently spoke at a meeting at the Museum of Modern Art in New York City to members of the International Council of Museums about the role of conservators in preventing looting of antiquities in the field.

Brennan, a textile conservator, and Tess Davis, Executive Director of the Lawyer’s Committee for Cultural Heritage, presented a paper, “The Role of Conservators in the Illicit Art and Antiquities Trade: Responsibilities and Opportunities,” at the Interim Meeting for the Legal Issues in Conservation Working Group, International Council of Museums, Conservation Committee, (ICOM CC LIC) on October 18.

The Legal Issues in Conservation Working Group focuses on policies affecting conservation professions and wanted to listen to people who had been in the field describe to conservators what to look for when trying to spot a looted or stolen antiquity.

Ms. Brennan, a graduate of ARCA’s Postgraduate Program in International Art Crime program in 2010, has worked in the field of textile conservation for more than 25 years. Her extensive field work in Asia and Africa has included establishing textile museums, national artifact databases, and training museum staff and monk body in the protection of cultural property. The presentation elaborated on Ms. Brennan’s thesis “Deterring the Illicit Art Trade and Preserving Cultural Heritage: Redefining the Preventative Conservation Mandate”. The talk was a call to action for the conservation community, illustrated through looting case studies, and practical solutions and changes in practice for conservators, as well as professional liability.

In the presentation, Ms. Brennan acknowledged that conservators are sometimes part of the laundering of illicit antiquities, cleaning away dirt before the objects make their way through the art market.

“The trial of Marion True was a wake up call for people in the field,” Brennan said. Coincidentally, her presentation occurred the same week that the legal case against the former curator of the Getty Museum terminated. “Here was a case that heralded a change in international attitudes about museum collecting and served as a wake-up call for encyclopedic museums to cease their cavalier and illegal practices of acquiring without sound provenance.”

According to Brennan, conservators should work to write reports on objects in line with Object ID guidelines, in case something happens to a piece later, and check with looted art databases and other organizations to determine if an object has been reported stolen.

If an object looks suspicious, conservators can contact UNESCO, INTERPOL, IFAR, customs officials, and the Art Loss Register, Brennan suggested.

“Art collectors are flocking to high-end galleries and auction houses around the world and buying billions of dollars worth of antiquities each year,” Brennan wrote. “And with the passion of the serious connoisseur, they proclaim themselves preservers of the past. This is far from the truth: most antiquities have been stolen from an archaeological site at some point in history.”

Brennan discussed the conservation codes of ethics as well as the importance of ICOM’s Red List, Object ID, the Getty’s MEGA project in Jordan, AAM’s new Standards of Acquisitions, teaching proper cataloguing, outreach, and self-education.

Ms. Brennan encouraged conservators to learn about the laws, conventions, illicit trade, auction house practices, and be pro active. “The profession most intimate with artifacts’ actual materials, whether it is paintings, ceramics, bronzes, or textiles, needs to be more forensically directed, and serve as hands-on watch dogs for the world’s cultural patrimony,” she said. “Collaborating with law enforcement, ICE, FBI, insurance companies and setting up a conservator call-list was one practical suggestion like a “conservation corps” that partners with museums and other cultural institutions.

She provided several models of cross disciplinary projects where protection of cultural property overlaps with health care, environmental protection and eco tourism.

Using the notorious 1989 Indiana based AUTOCEPHALOUS GREEK-ORTHODOX CHURCH OF CYPRUS and THE REPUBLIC OF CYPRUS, Plaintiffs, v. GOLDBERG & FELDMAN FINE ARTS, INC., and PEG GOLDBERG, Defendants, Ms. Brennan analyzed the case from the role of the conservator. In examining the motivations, she pointed out that the underlying theme was greed and financial gain. The destructive restoration of the mosaics (including flattening what were curved artifacts) was irreversible. She went on to discuss the expanded role of conservators in the chain of custody of antiquities and all artifacts, and the important physical material role they play in the protection of cultural heritage both in source and market countries, the field, as well as large international museums. She emphasized that conservators hold an important card in the final ethical treatment or ‘cleansing’ of illegally gained artifacts.

Washington DC-based Ms. Brennan frequently lectures to historical societies and collectors on the care and display of textiles. She currently teaches preventative conservation workshops in Thailand.

November 2, 2010

November 1, 2010

Former National Archives Department Head Under Investigation

A former department head at the National archives is under federal investigation after Federal agents searched his home last week.  Leslie Waffen had worked at the national archives for 40 years, heading the Motion Picture, Sound, and Video unit. Federal agents seized material from his home last Tuesday and searched his home. There are no details yet about what kinds of items were recovered.

Inspector General Paul Brachfeld is quoted in the TBD piece detailing the investigation last week: "The threat is there. Incidences have transpired and they continue to transpire, and my job is to, A, investigate active cases and, B, educate the public".  Brachfeld offers more details on the National Archives Archival Recovery Team (ART) in the fall volume of the Journal of Art Crime, which will be available in early December. To subscribe see http://www.artcrime.info/publications.  

The Wright Brothers missing Airplane patent
One of the biggest challenges for the National Archives is its role as a repository for the people. It is open to the public, but it contains a massive amount of material. Much of this has not been systematically inventoried. By way of example there are stores of government documents in salt mines in Hutchinson Kansas.  Stored there are dismantled pieces of the hospital room where President John F. Kennedy was treated after he was shot. Given all of this material, and the access the public has, one of the biggest problems will always be insider thefts. The problem of the employees of the archives taking valuable objects and keeping or selling them.  The Government Accountability office recently issued a report on the National Archives after items had gone missing.  Lost items include the Wright Brothers patent for the first airplane, Eli Whitney's patent for the cotton gin, a copy of President Roosevelt's "Day of Infamy" speech, as well as target maps of Hiroshima and Nagasaki.

These insider thefts are a betrayal of one's profession, but also rob future generations of these important pieces of their past.  To see a truly staggering list of missing documents, look at this list of missing historical documents and items.
  1. Elahe Izadi, National Archives agents raid home of Leslie Waffen, former archives department head, TBD, October 29, 2010, http://www.tbd.com/articles/2010/10/national-archives-agents-raid-home-of-leslie-waffen-former-archives-department-head-26544.html (last visited Nov 1, 2010).
  2. Audit Shows Records At National Archives At Risk : NPR,  http://www.npr.org/templates/story/story.php?storyId=130844620 (last visited Nov 1, 2010).
  3. U.S. GAO - National Archives and Records Administration: Oversight and Management Improvements Initiated, but More Action Needed, http://www.gao.gov/products/GAO-11-15 (last visited Nov 1, 2010).
  4. Faye Fiore, Guardians of the nation's attic - Los Angeles Times, L.A. Times, August 8, 2010, http://articles.latimes.com/2010/aug/08/nation/la-na-treasure-hunters-nu-20100809 (last visited Nov 1, 2010).

October 29, 2010

Giacomo Medici's Antiquities Crime Ring Still a Presence on the Art Market


Bonhams Auction house in London sold two antiquities that had been looted by the organized crime ring run by the infamous, imprisoned Giacomo Medici. Two lots from a recent sale were part of the dossier of antiquities looted by tomb raiders on behalf of Medici, who then sold them to the world's most famous museums. Medici was arrested in 1995 and imprisoned in 2004, but the repercussions from his looting ring are still felt. Bonhams has come under scrutiny because of their failure to withdraw the two lots in question from their recent sale, despite the fact that they were notified by renowned professor of archaeology, Dr David Gill of University of Swansea. Dr Gill, an ARCA colleague both as a regular columnist and editorial board member of The Journal of Art Crime, warned Bonhams ahead of time, but the sale went through. The buyer of the two suspect lots, however, withdrew his interest when the Medici connection was made clear. ARCA lauds Dr Gill for his diligent efforts.

October 26, 2010

Tuesday, October 26, 2010 - ,, No comments

Setting the Price Point for Stolen Art

Noah Charney was interviewed by Kai Ryssdal of Marketplace yesterday.  Charney argues that the majority of art theft after World War II can be traced to organized crime syndicates, and that the media actually helps set the price point for the black market transfer of high profile works of art.





The Marketplace Interview:




On the missing panel from the Ghent Altarpiece:


October 24, 2010

Sunday, October 24, 2010 - , 1 comment

Courbet Painting Stolen from Swansea Still Missing After 53 years


By Catherine Schofield Sezgin

October 24th is the 53rd anniversary of the theft of a Courbet seascape stolen from an art gallery in Swansea, Wales. Coast Scene with Cliffs and Breaking Waves was on loan to the Glynn Vivian Art Gallery’s for a traveling exhibition when it disappeared on a Friday morning while the gallery was open.

INTERPOL, the international police organization, reports the painting as the earliest of the stolen Courbet paintings in its database of stolen works of art that has been publishing such information since 1947. INTERPOL has allowed online access to this database to “reduce illicit trade” since August 2009.

The 19th century painting is described as a “dark picture, depicting a leaden cloudy sky and dark green sea.” The 24 by 18 inch (60 by 45 centimeter) oil painting, which at the time was estimated to be valued at 3,000 to 5,000 pounds, was one of 33 paintings included in the exhibition French Painting from Romanticism to Realism: Gustave Courbet, Honoré Daumier, Eugene Delacroix, Jean-François Millet and Carle Venet. The theft occurred one week before the exhibit was scheduled to close.

The painting’s absence was noted during a routine inspection when the empty frame was found. Police investigators speculated that the work could have been smuggled out in a satchel between 10 and noon on that Friday morning when a staff member left the room. The police dusted the abandoned frame for fingerprints although they had originally hoped that the theft had been a prank and that the painting would be returned over the weekend.

The painting had been on loan to the art gallery for two months. The owner of the painting, David C. T. Thomas, a London-Welshman, told a reporter in 1957 that he had purchased the work in 1955 from a London dealer, and that the painting had been the most valuable of his small collection. The painting was in the collection of “A. Paroissen” until it was sold at Christie’s London in July, 1894, the Evening Post reported, and the painting is signed “G. Courbet.”

Gustave Courbet, the son of a prosperous vintner and landowner, pursued painting outside of academic training. Courbet spent six weeks in Etretat in the late summer of 1869, during which he earned commissions from either his dealers, or his clients, who were “hoping to obtain the work of a famous place by a famous artist.” He painted 14 canvases showing Etretat’s cliffs and several dozen views of the sea. The Musée d’Orsay in Paris has two seascapes painted in 1970, “La falaise d’Etretat après l’orage” (“Cliff at Etretat after a Storm”) and “La Vague” (“The Wave”).

The stolen painting is not easily traced in the publications about Courbet’s works. Patricia Pate Havlice’s World Painting Index, published in 1977, does not list the titles of either “Coast Scene with Cliffs and Breaking Waves” (all the titles are in English) or “Leaden Sky Over a Raging Sea.” Robert Fernier’s “Vie et l’oeuvre de Gustave Courbet: catalogue raisonné”, published by the Wildenstein Foundation in 1978, also published more than 20 years after the theft, does not include an image that would match the painting stolen from the Welsh gallery that was sold in London in the 1950s. If it is difficult to trace the provenance of the painting, how difficult would it be to identify the painting today?

The thief did not have to be an art dealer or historian to know that the painting was valuable. The curator of the Glynn Vivian Art Gallery had written in an article in the local newspaper, the Evening Post, “It would not be an exaggeration to say that never have so many masterpieces been brought together within its walls before.” The missing painting was described as “one of the greatest examples of landscape painting,” according to the Evening Post. Why did the thief steal only the Courbet and not the other famous works of art? Did (s)he have a special attachment to that particular painting, or was it easier to steal than the others?

The newspapers reported on the theft with headlines, such as “Masterpiece is Stolen in Swansea” (Evening Post, October 25, 1957); “Did a Fanatic Steal the Painting? Difficult to sell work by well-known artist” (Evening Post, October 26); “Art gallery masterpiece stolen” (Evening Post, October 26); and “Search goes on for picture thief” (Evening Post, October 28). An image of the painting was also published in the Evening Post on October 30 under the title “Leaden Sky over a Raging Sea.”

INTERPOL’s stolen art works database features two other missing seascapes: “La Mer” stolen from Rochefort, Switzerland in August 1992, and “Coastal Landscape in North of France” (painted in 1866) stolen from Kilchberg, Switzerland in January 2008. Eight other Courbet paintings have been reported stolen to Interpol: a self-portrait in 1971 from Italy; the head of a youth from France in 1981; a "Standing Man" from Switzerland in 1984; a "Shot Deer" from Slovenia in 2010; and four landscapes (Canada in 1972; France in 1997; Paraguay in 2002; and Switzerland in 2008).

The Courbet landscape stolen from the Montreal Museum of Fine Arts in 1972 had been publicized as a valuable painting in the newspapers before the nighttime robbery of the museum when three men entered an unsecured skylight and stole more than 18 paintings – including works by Daumier, Delacroix, and Millet.

The website Art Theft Central (Courbet Painting Recovered, December 3, 2009) cited a report from the Associated Press that the French police had found a Courbet painting stolen in 2004, “The Wave”, at the house of an employee from the Paris auction house, Hôtel Drouot. At the time, “The Wave” was not listed as stolen by INTERPOL.


BIBLIOGRAPHY:

Herbert, Robert L. “Monet on the Normandy Coast: Tourism and Painting, 1867-1886.” Yale University Press, 1996.

INTERPOL, stolen works of art database, https://www.interpol.int.

Fernier, Robert. Vie et l’oeuvre de Gustave Courbet: catalogue raisonné. Tome II, Pentures: 1866-1877, Fondation Wildenstein, 1978.

“Masterpiece is Stolen in Swansea,” Evening Post, October 25, 1957.


“Did a Fanatic Steal the Painting?”, Evening Post, October 26, 1957.


"Search goes on for picture thief," Evening Post, October 28, 1957.


"Art Gallery masterpiece stolen," Evening Post, October 26, 1957.

"Missing Painting," Evening Post, October 30, 1957.

October 22, 2010

The Stroganoff Collection in 1800 by Alexander Stroganoff


by Catherine Schofield Sezgin

In 1800, Alexander Stroganoff recorded his thoughts about the 116 paintings he had collected over 40 years in an 80-page book under the title, “Catalogue raisonné des Tableaux qui composent la collection du Comte A. de Stroganoff.” The image on the right is of a painting by Johann Baptist Lampi the Elder, “Portrait of Count Alexander Stroganoff,” now at The Perm Art Gallery in Perm, Russia. The second image (bottom left) is a portrait by Jean-Laurent Mosnier, “Portrait of Count Alexander Stroganoff, the President of the Academy of Arts (1800-1811)”, painted in 1804 and now at The Museum of the Academy of Arts, St. Petersburg, Russia.

The Getty Research Institute has a copy of Stroganoff’s red leather-bound book from the Duits Collection, part of the 69 boxes of business records kept from 1920 to 1979 for the London branch of an Amsterdam art dealer specializing in Old Master paintings who closed his shop in 1938. The inside of the front cover of the 210-year-old book has a label indicating that it was purchased from a bookstore in Paris’ sixth arrondissement (Librairie F. De Nobele, at 35, Rue Bonaparte). The book is in pristine condition and can only be read in the GRI’s Special Collections reading room.

Alexander Stroganoff, the son of the baron who founded the Stroganoff Picture Gallery, wrote about and described the appreciation he had for the paintings that were in his possession for more than 40 years. Alexander (1733-1811) had lived in Paris, first to study, and then during the 1770s while he attended art auctions and expanded to his father’s art collection.

In the introduction, Stroganoff explained that he wrote for passionate art fans, that had a natural instinct for beauty, a sincere love for the arts, and who strove to acquire the knowledge necessary to appreciate the artworks. Stroganoff divided the paintings amongst the different schools of art, by painter, and by title, adding comments as he wished. No images were included, but he did describe the content of the paintings.

Stroganoff owned paintings from the schools of “Florence”, “Romaine”, “Lombarde”, “Venitienne”, and “Napolitaine et Espagnole”, but the bulk of the collection, 51 paintings, were lumped into what he called “Ecole des Pays-bas” and described as Flemish, Dutch and German artists. The second largest category was for “Ecole Française” (25 paintings).

Artists included André Del Sarto, Guido Reni, Jacques Robusti (Tintoretto), Joseph Ribera, Don Diego Velasquez, Pierre Paul Rubens, Antoine Van-Dyck, Albert Kuyp, Rembrant Van-Ryn, Nicolas Poussin and Fragonard.

Stroganoff’s two paintings by Rembrandt (“Le philosophe en meditation” and “Portrait d’un jeune homme en habit de St. François”) were described as magic and bold. He admired Rubens’s “Portrait de Rubens et de son fils” for it’s action and movement. In describing Don Diego Velasquez’s “Le buste d’un vieillard”, he compared the artist to Caravage: “On trouve dans ses ouvrages l’énergie des Grecs, la correction des Romains, le belle couleur des Vénitiens [The work has the energy of the Greeks, the restraint of the Romans, and the bold colour of the Venetians].” As for Tintoretto’s Portrait of André Doria, the noble Genoan and great seaman, Stroganoff felt that Tintoretto had managed to paint his sitter’s soul.

More than a hundred years after Alexander Stroganoff’s death in 1811, the Stroganoff Collection that remained in Russia, which dated back to the court of Catherine the Great, became property of the state during the Bolshevik Revolution in 1917. Recently, the Stroganoff Collection was in the news as having allegedly once included the “Adam” and “Eve” diptych by Lucas Cranach the Elder that now resides in The Norton Simon Museum. Jacques Goudstikker had purchased the Cranach painting at a sale in Berlin in 1931 that had been marketed under the name of the Stroganoff Collection; however, the sales catalogue said that “Adam” and “Eve” were one of the items in the sale that were not actually from the Stroganoff Collection (ARCA blog, “The Norton Simon Museum’s “Adam” and “Eve”).

In writing about his collection in 1800, Count Alexander Stroganoff does not mention any works that contained any images of Adam and Eve, or any paintings by Lucas Cranach the Elder, who he would have categorized with the Dutch and Flemish painters since he considered that the German artists worked in the same genre.

Although this book does not answer the question as to how Cranach’s “Adam” and “Eve” diptych reached a church in Kiev in the 1920s, it does document the appreciation and love Alexander Stoganoff had for his vast collection and document the paintings and their titles as known to him.

Further provenance research may provide answers to this mystery.

BIBLIOGRAPHY:
Olga’s Gallery/The Stroganoffs (also Stroganovs) http://www.abcgallery.com/bio/stroganoff.html

October 20, 2010

The Norton Simon Museum’s Adam and Eve Part II

The following is part two of an examination of the Norton Simon Museum's Adam and Eve by Catherine Sezgin. The first installment can be found here.

Goudstikker Collection sold to Nazis in 1940
When war broke out in the Netherlands on May 14, 1940, Jewish art dealer Jacques Goudstikker fled his home and was forced to leave behind his gallery and a trading stock of 1,113 inventoried works of art. During the war, the Nazis occupied the Netherlands for five years and sent more than 100,000 Dutch Jews to concentration camps. Only 5,000 Dutch Jews survived. More than 45,000 Dutch citizens were charged with collaborating with the Nazis. Goudstikker’s art gallery, his artworks, and his real estate were all sold without either his or his family’s permission.

The Goudstikker trio escaped on the SS Bodegraven, a ship traveling to South America, when on May 16th Jacques, seeking some fresh air from the hull, went up to the deck of the ship and died when he fell through an uncovered hatch. He was carrying a black notebook, which his wife Désirée recovered, that detailed and numbered his artworks. The Goudstikker “Blackbook” described works by Rembrandt, Steen, Ruisdael, Van Gogh, and listed Cranach’s Adam and Eve as Numbers 2721 and 2722 with a note that they were purchased at the Lepke Auction House and were from the Church of Holy Trinity in Kiev. 

Not long after Goudstikker’s fatal accident, the person he left in charge of his business also died. Two employees, friendly to the Nazis, assumed control of the business and then sold all of Goudstikker’s assets to a German banker, Alois Miedl, who lived in the Netherlands. Within two weeks, two more purchase agreements were executed – one that gave the gallery and real estate to Miedl and another that gave a majority of the artworks to General Field Marshall Hermann Göring, the second-in-command for the Third Reich. During the war, Göring looted paintings, drawings, antiquities, and sculptures for his private estate. Both Goudstikker’s widow and his mother, the other shareholder, objected to these transactions. In addition to payment of more than 2.5 million Dutch guilders – a gross amount not the net proceeds set aside for the Goudstikker heirs -- the involuntary sale promised personal protection to Goudstikker’s mother who had chose to remain in Amsterdam. The gallery employees who arranged the sale also received proceeds from the illegal transaction for their cooperation.

Göring sent Cranach’s Adam and Eve to Carinhall, his country estate near Berlin, where they remained until the Allied Forces’ invasion of Germany.

Goudstikker’s widow recovers only some assets after World War II
In 1943, the United Nations declared that looted property recovered after the war was to be restored to its nation of origin for return to its original owner. In May 1945, Allied Forces discovered Göring’s collection of artworks, including Cranach’s “Adam” and “Eve”, and sent them to the Munich Central Collecting Point. In 1946, Allied Forces returned the artworks from the Goudstikker Collection to the government of the Netherlands so that they could be restituted to their owners.

In 1946, Jacques Goudstikker’s widow, Désirée, returned to Amsterdam to retrieve her property. For five years she negotiated with the Dutch government and in an agreement in 1952, Goudstikker settled with the Dutch state to “(re-)purchase” more than 300 art objects in exchange for waiving any ownership rights to any other art objects delivered to Miedl during the war. However, the agreement did not address the almost 800 artworks that were delivered to Göring in Germany.

From Scherbatoff to Simon
In 1961, a Russian American Naval Officer, George Stroganoff Scherbatoff, found “Adam” and “Eve” in the national collection in The Netherlands and claimed that his ancestor Stroganoff had owned the painting. In 1966, Scherbatoff made a payment to the Dutch Government and received possession of the diptych. Norton Simon purchased the paintings in 1971 for $800,000 from Scherbatoff through a dealer in New York. Simon displayed the paintings at the National Gallery of Art in Washington in 1971 and the Princeton University Art Museum in 1972. “Adam” and “Eve” have been on display in Simon’s Pasadena museum since 1979.

Reclaiming the Goudstikker Collection
Through the help of a Dutch journalist who wrote a book about the Goudstikker Collection, Marei von Saher, received new information about her father-in-law’s gallery inventory and made a claim for the paintings in 1998 that the Dutch government declined. That same year, 44 governments participated in the Washington Conference on Holocaust-Era Assets to acknowledge that many Nazi looted art objects had not been reunited with their wartime owners and encouraged countries to create databases and processes to return un-restituted art. In 2004, she applied for recovery to the Restitutions Committee to investigate wartime claims, and two years later, the Committee affirmed that the sale of the Goudstikker Gallery had been illegal, regardless of the amount paid, as it occurred under Nazi occupation. However, the Dutch Resolutions Committee wrote that the 1952 agreement that addressed the artworks held by Miedl would remain in force but that it did not preclude the Goudstikker heir from claiming 202 art objects in the Dutch national collection that had been sold and delivered to Göring from the Goudstikker Gallery.

The Resolutions Committee wrote in its recommendation in 2005 that the sale was “involuntary” because Goudstikker’s widow and his mother had refused permission for the transaction and that it had been done by employees sympathetic toward “German buyers.” Since the sale had occurred “immediately after the capitulation of the Netherlands, a situation in which Göring could – and ultimately did – use the influence of his high rank in the Nazi hierarchy,” according to the recommendation.

When Göring transported about 800 paintings from the Goudstikker Collection to Germany, he kept about 300 for his personal collection and sold the others to political cronies or wealthy German industrialists. Many of these works remain lost, according to the Goudstikker Provenance Project that provides the family of Jacques Goudstikker with information to regain possession of their lost artworks. The Project uses many sources to identify the collection. Jacques Goudstikker’s small black leather binder, which he recorded in anticipation of the German invasion, identified his current stock in alphabetical order by artists’ name. In addition, information is also obtained from an inventory register of the stock held in the gallery in May 1940 and the Goudstikker gallery’s photographic archive. A visual record of the collection is also extracted from examining six million photographs of the Rijksbureau voor Kunsthistorische Documentatie. Through this method, the Goudstikker Collection has reclaimed more than 30 additional paintings from private collections and museums.

Cranach’s “Adam” and “Eve” at the Norton Simon Museum have traveled from the Ukraine to California and survived both the Soviet Union and the Third Reich in the 20th century and they will survive the current controversy.

BIBLIOGRAPHY:
Books:
Sutton, Peter C. Reclaimed: Paintings from the Collection of Jacques Goudstikker. Yale University Press, New Haven, CT, 2008.


Primary sources:
Schmidt, James. “The Stroganoff Collection in Leningrad [now St. Petersburg].” Translated by Hess Translations, Inc. from German into English, August 11, 2007. Schmidt’s article accompanied the catalogue for the 1931 “Stroganoff” auction in May 1931 in Berlin.


Complaint filed May 1, 2007 in the US District Court for the Central District of California, Plaintiff Marei Von Saher v. Norton Simon Museum of Art at Pasadena, Norton Simon Art Foundation, and the Norton Simon Foundation, defendants.
Case No. DV 07-02866


Getty Provenance Research Database. Record 27653 “Adam” and Record 27343 “Eve”.


Websites:
http://www.thejewishmuseum.org/GoudstikkerRelease
http://www.rapeofeuropa.com/stolenRestitutions.asp#saher
http://www.goudstikkerblackbook.info/
www.nortonsimon.org
www.getty.edu

October 18, 2010

Cultural Plunder by the Einsatzstab Reichsleiter Rosenberg: Database of Art Objects at the Jeu de Paume

By Catherine Sezgin

During World War II in Nazi-occupied Paris, more than 20,000 art objects were systematically looted from over 200 Jewish families, and either sold or transported to Germany. Seventy years later, at least half of the objects have not yet been restituted to the owners, or their heirs, in accordance with the Conference on Jewish Material Claims Against Germany. The Claims Conference and the United State Holocaust Museum have just released an online database of art objects that were processed from 1940 to 1944 in the center of Paris at the Jeu de Paume on the Place de la Concorde.

As the Nazis’s special task force the Einsatzstab Reichsleiter Rosenberg (ERR) confiscated paintings, sculptures, objets d’art, and antiquities from private collections. More than sixty people at the Jeu de Paume inventoried, photographed, and arranged for the transportation of the artworks on 120 railways coaches from France to Germany. Every looted painting was registered and stamped by the Nazis. The French national, Rose Volland, a volunteer at the museum before the war who observed the operation, kept a secret account of everything the Nazis stole and where they planned to deliver the art. Using secret couriers during the war, she notified the Allied Forces of the Nazis’s activities. After the defeat of the Third Reich, much of the stolen art was found and returned to their countries of origin to be reunited with their owners. However, many families, who were devastated by the Holocaust, did not have the records to identify or claim artworks.

Now the Claims Conference, working with the technical support of the United States Holocaust Memorial Museum, has transferred the information from the index cards, or inventory lists, to a database “Cultural Plunder by the Einsatzstab Reichsleiter Rosenberg: Database of Art Objects at the Jeu de Paume.”

“Decades after the greatest mass theft in history, families robbed of their prize artworks can now search this list to help them locate long-lost treasures,” said Julius Berman, Claims Conference Chairman [in a press release]. “It is now the responsibility of museums, art dealers, and auction houses to check their holdings against these records to determine whether they might be in possession of art stolen from Holocaust victims. Organizing Nazi art-looting records is an important step in righting a historical wrong. It is not too late to restore art that should have been passed down within Jewish families instead of decorating Nazi homes or stored at Nazi sites.”

The public can access the newly released online database on Nazi looted art from Paris through the URL: www.errproject.org/jeudepaume. Users can search by collection, owner, artist, and type of art object (paintings, works on paper, sculpture, decorative arts or antiquities). Information in the database will be regularly updated, according to Project Director Marc Masurovsky, a consultant to the Holocaust Memorial Museum. Masurovsky used some ARCA graduates to assist in the inputting of the datasets.

Masurovsky, the co-founder of the Holocaust Art Restitution Project (HARP), which began in 1997, spoke about documenting and recovering Nazi looted art last March at the National Museum of Crime & Punishment for ARCA’s exhibit “The Dark Arts: Thieves, Forgers and Tomb Raiders” in Washington, DC this past February. He also spoke about “Nazi Plunder of Looted Cultural Property and Its Impact on Today’s Art Market” at ARCA’s International Art Crime Conference in July in Amelia, Italy.

In the future, users will be able to find individual datasets through Google by typing specific artists’ names in the search box, Masurovsky wrote in an email. Each object in the database is described based on the information from the card that the Nazis filled out and includes any images that may have been taken. The database also provides information about whether or not the artwork was returned to France and if it was restituted to its owner. For example, Arthur Levy’s collection of 125 artworks has not been returned to the family. Database users can even search by Artist. For example, a landscape by Vincent van Gogh from the collection of Alfred Weinberger in Paris was photographed and measured (60 x 100 cm) when it was brought to the Jeu de Paume in 1941 on December 4.

The Jeu de Paume as a looted art center was of particular interest to the German army’s second-in-command, Hermann Göring who spent two days there during the war looking at the art. He then asked that photographs of the art be sent to Hitler for him to make selections from the spoils of war. Unfortunately, in July 1942, the Jeu de Paume collection center was overburdened. Paintings declared unfit for German collections and too degenerate to be sold on the art market were burned in the garden. Rose Volland was said to have cried at the destruction of works by Pablo Picasso, Paul Klee, Max Ernst, Jean Míro and Salvador Dali.

Lucas Cranach the Elder's "Adam" and "Eve" diptych subject of Marei Von Saher vs. The Norton Simon Museum of Art at Pasadena (Part I)

Cranach's "Adam",
Norton Simon Museum
By Catherine Schofield Sezgin

First of a two part series

While his close friend Martin Luther “often preached about the fall of man and its consequences” (Norton Simon Museum audio tour), the German painter Lucas Cranach the Elder painted more than 30 works of the naked Adam and Eve contemplating a bite of the forbidden apple and expulsion from Paradise. The "Adam" and "Eve" diptych residing at the Norton Simon Museum in Pasadena, California, is the subject of controversy 500 years later in a Holocaust art-restitution case (Marei Von Saher vs. The Norton Simon Museum of Art at Pasadena). The heir of a Jewish art dealer, Jacques Goudstikker, has claimed that Hitler’s second-in-command, Herman Göring, stole “Adam” and “Eve” in 1940 and that the Dutch government wrongly transferred the paintings to the heir of a Russian aristocratic family in a purported sale, who then sold the works to wealthy industrialist Norton Simon in 1971.

Cranach's "Eve",
Norton Simon
Museum
The Norton Simon Museum’s “Adam” and “Eve”, painted on two large wood panels measuring 75 x 27 ½ inches, likely started out as decorating the home of a wealthy member of the royal court in the 16th century although it would end up in a Church in Kiev by the 20th century. The scope of this article does not track down all of the 30 versions “Adam and Eve” neither does it explain how the Norton Simon Museum’s painting came to travel to the Ukraine in the 1920s. However, a quick review of public institutions through the Getty Provenance Index Databases shows that smaller, paintings of the first couple have been in the collections of the Detroit Institute of the Arts, the Isabella Stewart Gardner Museum, and at the Art Institute of Chicago. The diptych on display in Chicago has resided there since 1935 after Charles H. Worcester purchased it on September 10, 1935 from Jacques Goudstikker of Amsterdam before donating it to the museum in the same year. It is believed that Goudstikker purchased Chicago’s “Adam” and “Eve” from a private collection in Stockholm.1

Jacques Goudstikker, a third-generation art dealer in Amsterdam, owned more than one of the thirty paintings by Cranach of “Adam” and “Eve”. He was a specialist in Old Master paintings and had produced shows that featured works by Vermeer, Rembrandt, Goya, Rubens, and Hieronymus Bosch. He purchased a larger diptych of “Adam” and “Eve” by Cranach the Elder for $11,186 at an auction in Berlin in 1931. The auction featured works previously owned by the Stroganoff family in St. Petersburg. However, in 1917, the Bolshevik government had nationalized all art held in private collections and to raise money in 1931, the Russian government put the artworks up for sale.

The Stroganov Collection

Count Aleksandr Sergeevich Stroganov (1733-1811), an art patron and a member of the court of Catherine the Great, acquired most of his art at Paris auctions from 1769 to 1779. He catalogued them in published editions in 1793 and 1800. In the mid-19th century, Count Sergei Grigoryevitch added to the Stroganoff Collection by acquiring many 15th century Italian paintings. In 1864, German art historian Gustav Friedrich Waagen described the Stroganov Collection when he assisted the Hermitage in sorting their collection. In 1901, Alexander Benois described the Stroganoff palace and gallery in Les Trésors d’Art en Russie.2 The Stroganoff Collection was displayed in the gallery of the family palace in St. Petersburg until it was moved to safety in Moscow during the Revolution. Eventually, it was returned to Leningrad.

Soviet artworks were not all from the Stroganoff Collection

The catalogue of the auction of the Stroganoff Collection at Rudolph Lepke’s Kunst-Auctions-Haus in Berlin, included an essay by James Schmidt who wrote that pictures from sources other than the Stroganoff Collection were included in the sale. Schmidt provided “a summary overview” of paintings offered for sale at the auction that were not from the Stroganoff Collection. He listed Rembrandt’s “Christ and the Samaritan Woman at the Well” from the Hermitage; Claude Lorrain’s “Morning” and “Ulysses at Lycomedes’ Court”; Van Dyck’s “Bishop Malderus”; Nicholaus Neufchatel’s “Patrician Woman from Nuremberg”; and Artus van der Neers’ “Moonlight Landscape”. Schmidt also cited Goyens’ “View of Arnheim Across the Rhine” from the Semenov-Tianshansky collection acquired by the Hermitage in 1912. Then, in the next paragraph, Schmidt wrote: “The remaining paintings from other sources include primarily “Adam and Eve” by Cranach, which were discovered in a Kiev church and can be dated to between 1525 and 1530.”

“Adam” and “Eve” are believed to have been at the Church of Holy Trinity in Kiev, Ukraine until the early 1920s when they were sent to a state-owned Kiev museum at Kievo Pecherskaia Lawra Monastery. Then in 1927, they were transferred to the Museum of the Ukrainian Academy of Science in Kiev before they were included in the Berlin sale in 1931.

Provenance Research

The Getty Provenance Research Database notes in its records on the “Adam” and “Eve” diptych at the Norton Simon Museum: “There is reason to doubt, however, that the Cranach paintings had actually belonged to the Stroganoff family and been confiscated during the Russian Revolution, as previously believed. First, other collections were included in the 1931 Lepke sale. According to an annotation by Ellis Waterhouse in a copy of the catalogue of the sale now in the GRI [Getty Research Institute], “Not a very large proportion of the pictures really came from the Stroganoff coll(ection). The rest are drawn from other sequestrated private collections & from the Hermitage depot.” The Getty also notes that Cranach’s Adam and Eve do not appear in earlier references to the Stroganoff collection.

This blogger has sent a request to the Norton Simon Museum for more information about the provenance of their paintings and looks forward reporting their reply.

2. Waagen published a book on the Hermitage collection (Munich, 1864). Waagen traveled to St. Petersburg in 1861. Schmidt’s essay, May 1931.

October 15, 2010

Friday, October 15, 2010 - No comments

Noah Charney on WNYC

You can hear an interview with ARCA Founding President Noah Charney on WNYC with Leonard Lopate embedded below.  The discussion is his new book discuss his new book, "Stealing the Mystic Lamb: The True Story of the World's Most Coveted Masterpiece" (Amazon)(Barnes & Noble).


October 12, 2010

Tuesday, October 12, 2010 - ,, 1 comment

ARCAblog's New Editor: Catherine Sezgin

The Association for Research into Crimes against Art (ARCA) introduces Catherine Sezgin as the new editor of the ARCAblog.

Catherine Schofield Sezgin graduated "With Distinction" from the ARCA Postgraduate Program in International Art Crime Studies in Amelia, Italy, in Amelia, Italy, in 2010. Her thesis was a portrait of the 1972 unsolved theft of the Montreal Museum of Fine Arts using museum archives, interviews, and published accounts. She has an undergraduate degree in Finance from San Diego State University where she was a reporter and news editor for the daily newspaper. She is a Canadian citizen and a permanent resident of Pasadena, California. She writes about museum thefts, stolen antiquities in Turkey, and is currently writing an art crime mystery.

Beginning this week, Catherine will contribute weekly articles that will include analyses of historic art thefts, interviews with professionals in the field of art crime, and breaking news updates, among much more. Stay tuned!

October 7, 2010

"Stealing the Mystic Lamb"


ARCA's Founding President will be touring a handful of cities on the East coast to discuss his new book, "Stealing the Mystic Lamb: The True Story of the World's Most Coveted Masterpiece"(Amazon)(Barnes & Noble).


As I wrote in my review yesterday, the reader learns the story of one massive 2-ton altar piece, the single most stolen work of art of all time. Charney spends great care telling the story of the altarpiece during both World Wars, noting the debt we art theft enthusiasts owe to Karl Meyer; Robert Edsel and Brett Witter's fine work telling the story of the Monuments Men; and Lynn Nicholas among many others. Yet what really comes through in Charney's book is a breathless story which merges history, towering figures like Napoleon or Hitler and their associates, art, artists, and imagery that revalidates why so many are interested in the study of art theft: these are really good stories. And it ends with an epilogue, yet another of the work's enduring mysteries.


Here are the details for the book tour:

October 10, 2010
Lecture / Booksigning
Sterling and Francine Clark Art Institute
225 South Street
Williamstown, MA 01267
3:00 p.m.

October 12, 2010
Talk / Q&A / Booksigning
Atticus Bookstore
1082 Chapel Street
New Haven, CT 06510
7:00 p.m.

October 13, 2010
Talk / Q&A / Booksigning
Corcoran Gallery of Art
500 Seventeenth Street NW
Washington DC 20006
7:00 p.m.

October 14, 2010
Talk / Q&A / Booksigning
Borders
Park Ave. and 57th St
New York, New York
7:00pm

September 28, 2010

Tuesday, September 28, 2010 - , No comments

Cairo van Gogh Theft an Inside Job?

The still-missing "Poppy Flowers", by Vincent van Gogh
An Egyptian minister said Sunday that an employee working at the Cairo museum likely participated in the theft.  Habib al-Adly told Egypt's official news agency "There are many circumstances around the theft of the Poppy Flowers that point to the fact that a museum employee participated in the theft or stole it himself . . .  The location and placement inside the museum confirms this".  This may explain why there was such a strong reaction to the arrest and a crack down on the museum's own staff and security personnel, or it may be an attempt to find a scapegoat.  Either a museum employee was complicit in the theft, or there was gross negligence which allowed this work to be cut from its frame.  There are still precious few details, and the work remains missing.

 
  1. AFP: Egypt museum employee behind Van Gogh theft: minister, AFP, September 26, 2010, http://www.google.com/hostednews/afp/article/ALeqM5iUQB5fPhmiFCuK-JufZ785Af9icg (last visited Sep 27, 2010).
  2. Hadeel Al-Shalchi, Security problems abound in Egypt's museums, Associated Presshttp://www.msnbc.msn.com/id/38884911/ns/technology_and_science-science/ (last visited Aug 28, 2010).

September 22, 2010

Wednesday, September 22, 2010 - , No comments

Two Forfeited Works Returned to Brazil

"Modern Painting with Yellow Interweave", Roy Lichtenstein
Art crime does not just include the theft of works of art or the looting of antiquities.  The value and portability of works of art make them a very convenient way to launder money as well.
I am quoted in a piece for NPR affiliate WNYC discussing the return of two objects to Brazil. 

This work by Roy Lichtenstein and another work by Joaquin Torres-Garcia were returned to the government of Brazil today during a ceremony in New York (press release).  The works were once owned by the disgraced Brazilian banker Edemar Cid Ferreira who was convicted and sentenced to 21 years in prison in 2006 for financial fraud.

A judge in Brazil ordered Ferreira to surrender his unlawfully-gained assets.  In an attempt to conceal some of these assets, these works were shipped to the Netherlands and then to New York where they were sold to unsuspecting buyers. The paperwork accompanying these works valued them at only $200, while they may be worth as much as $12 million.

This is an example of the use of civil forfeiture in policing the art and antiquities trade.  The "Portrait of Wally" settlement reached earlier this summer was also reached via forfeiture. Forfeiture allows prosecutors to bring a suit against an object which was part of a crime, and all claimants to the object come forward to challenge the forfeiture.  It is a powerful tool for prosecutors, as the burden of proof is far lower than the typical "beyond a reasonable doubt" standard typically involved in prosecutions.  Historically, federal prosecutors have intervened on behalf of origin nations or claimants when they have potential claims. Yet it has also been a useful tool in policing organized and white collar crimes. 
  1. Marlon Bishop, Lichtenstein and Torres García Paintings On the Way Back to Brazil, WNYC, September 21, 2010, http://culture.wnyc.org/articles/features/2010/sep/21/us-returns-brazilian-art/ (last visited Sep 21, 2010).
  2. Erica Orden, U.S. Returns Valuable Paintings Seized From Ex-Banker to Brazil, wsj.com, September 21, 2010, http://online.wsj.com/article/SB10001424052748704129204575506181973997368.html (last visited Sep 21, 2010).

August 28, 2010

More on the Security Breakdown in Cairo

The stolen work, "Poppy Flowers"
 A week ago today the 1887 work Poppy Flowers, by Vincent van Gogh was stolen from a Cairo museum.  Hadeel Al-Shalchi has a very good piece reporting on the security (or lack of it) at the Mahmoud Khalil museum in a piece for the AP which you can read on MSNBC

I'm quoted at the end of the piece, noting that the best way to protect works of art is not necessarily with an elaborate electronic security system.  Those alarms and sensors certainly play an important role, but for a nation like Egypt, an active, engaged security guard who isn't dozing off as these guards perhaps were, would seemingly have been a successful deterrent for the thieves.  They apparently walked in and cut the work from the frame during hours the museum was open.  And I want to make clear that when I was quoted in the piece saying "It's not an exciting job, but you need to take it seriously", I mean that security staff at museums are professionals, and should be given that status.  In Cairo, these guards were certainly not expected or required to maintain an adequate standard, and the theft and damage of this artwork is the unfortunate result.  But hopefully Egypt will learn from this crime, and enact some sound security procedures to ensure more works of art are not stolen in the future. 

When Ms. Al-Shalchi called me to discuss the theft, she told me she had learned that many of the guards may have been praying—this is still Ramadan—while the theft was taking place, that they may have been dozing off, and that the museum was not heavily visited on the day of the theft.  But perhaps most troubling of all were the breakdowns in technology at the museum.  As the piece states, there were no working alarms, only seven of the 43 cameras were in operating condition, and video from the cameras is recorded only when a guard "senses" an incident may be taking place.  As Ton Cremers, founder of the Museum Security Network says, this is not a good state of affairs for the protection of such valuable artworks: "The value of the van Gogh is $40 (million) to $50 million . . .  A complete security system of that museum would be $50,000, and to keep it running would cost $3,000 a year. ... Need I say more?"

Also of interest will be the arguments against repatriation of other classes of objects—such as the bust of Nefertiti—on the grounds that Egypt is not going to be able to adequately care for the object when it is returned.  yet Art theft occurs in every nation, and bad security is bad security whether the museum is in Egypt, Europe, or North America.  Thieves will exploit obvious gaps in security.  As Mark Durney, current moderator of the Museum Security Network, asked this week "Why are some national collections not as well protected as others? Who, in addition to the thief, is responsible for the theft?"  I think that is the right set of questions to ask, yet they need to be asked whenever a museum is unprepared for a theft, whether that museum is in Egypt, or France—where the security system at the Modern Museum may have not been in working order earlier this summer when five works were stolen
  1. Hadeel Al-Shalchi, Security problems abound in Egypt's museums, Associated Press, http://www.msnbc.msn.com/id/38884911/ns/technology_and_science-science/ (last visited Aug 28, 2010).

August 25, 2010

Wednesday, August 25, 2010 - No comments

Forgery Ring Discovered in Italy

The BBC and ANSA are reporting that a forged art ring has been discovered by authorities after an 18 month investigation.  The investigation was conducted by monitoring payment transfers and consulting art historians.  Works recovered include forgeries of works by Matisse and Magritte.  There are more than 500 counterfeit works, which may have cost buyers close to 9 million euros. 
  1. Italy seizes counterfeit artwork, BBC, August 25, 2010, http://www.bbc.co.uk/news/world-europe-11088475 (last visited Aug 25, 2010).
(cross-posted at http://illicit-cultural-property.blogspot.com/)

    August 24, 2010

    ARCA featured in La Repubblica

    ARCA was featured in an article in Italy's leading national newspaper, La Repubblica, on 23 August 2010. The article mentioned some of the statistics on art crime in Italy kept by the Carabinieri Division for the Protection of Cultural Heritage. The Carabinieri TPC, as it is known, is the world's oldest and strongest art police unit, having been founded in 1969, and with a 300-plus strong force. They run the world's largest database on stolen art, containing over 3 million items, and have by far the best recovery rate of any of the world's police. In 2009 alone the Carabinieri TPC reported 13,219 artworks stolen in Italy (a significant decrease from the approximately 30,000 objects reported stolen as recently as 2001). In 2009 the TPC questioned 1220 people suspected of involvement in art crime, arrested 45, and recovered an astounding 19,043 stolen artworks.

    The Carabinieri TPC were honored with the 2009 ARCA Award for Lifetime Achievement in Defense of Art, and were featured in a BBC Radio Four documentary which ran earlier this summer. In that documentary the Carabinieri reiterated that art crime is linked to the drug and arms trades and even terrorism, and highlighted the fact that most art crime involves organized crime, and therefore is something to be taken very seriously indeed.