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August 14, 2011

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Codex Calixtinus is missing (English Translation)

Codex Calixtino
by Juan José Prieto Gutiérrez. Ph.D, Complutense University of Madrid.

[Translated from Spanish to English by Marc Balcells Magrans, ARCA Class 2011

The Codex Calixtinus, dating from the twelfth century, and considered a jewel of the Galician documentary and bibliographical heritage, disappeared mysteriously on the fifth of July from the Cathedral in Santiago de Compostela. This work, compiling the tradition of the peregrinations and the Jacobean route, was guarded in the Cathedral's archive.

The manuscript was part of a collection of sermons and liturgical texts, and served as a sort of guide for the worldwide famous Camino de Santiago, dating back to the middle ages.

The first inquiries point to the fact that there were no signs of any kind of violence (forced entry, maybe?), despite the Codex was located in a restricted, private area, with access limited both to the public and to researchers (only three persons had acces to the room where the manuscript custodiate: the dean, acting also as an archivist, and his two collaborators, each one working morning and afternoon shifts).

It is worth noting that the book was rarely exhibited. In fact, researchers work with a facsimile edition created years ago. The actual Codex could only be accessed under very punctual circumstances, and always in the presence of an archivist. The Codex had not been exhibited for 18 years.

Initially, one of the possible MO is related to vengeance, or the fact that the theft would reveal the lax security measures in archives and libraries in Spain.

A lack of security measures in Santiago

The first inquiries show big gaps in security: the key was on the lock of the door of the room where the codex was located; and CCTVs are only placed in the Cathedral's cloister, but not where the bibliographical treasures are located.

Facing these facts, the theory that this case should be treated as an insider theft is considered more strongly than others. At the moment, the cathedral has approximatedly a staff of seventy persons working there. The rule of thumb is that between sixty and seventy percent of disappearances of books in libraries and archives are caused by insiders or at least they may be involved.

The return of the stolen material was expected during the first week, all under secret of confession, if taken into account an anonymous phone call promising the devolution of the codex. However, this lead looses its credibility as days go by.

Social alarm usually lasts from ten to twenty days. In this period, security measures are revised, some insurances are bought or revised... After this period, everything goes back to normal, unluckily. Until the next disappearance.

Spanish legislation does not establish the particular security measures that should be in place in order to custody this line of cultural heritage. Taking into account that religious art is in high demand in the market, and that the bibliographical heritage is very easy to smuggle, international police cooperation is usually the preferred method.

Spain is one of the most victimized countries in the last years, when it refers to thefts from libraries. In 2007, the theft of more than 100 historical documents was discovered in the Library of the Foreign Affairs Ministry. One year later, César Gomez Rivero was arrested, as the author of the theft from the National Spanish Library. In summer 2009, Zslot Vamos is arrested, possessing 67 documents, while still 53 are missing.

Hence, and related to this sad incident, one must ask: When will security measures be taken seriously in spaces devoted to the custody of bibliographical and documentary heritage? When will librarians and archivists receive proper training? Will both national and international cooperation amongst different police forces bring any results?

August 13, 2011

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ARCA Trustee Anthony Amore Interviewed in PRI's The World: "Stealing Rembrandts: Why the Dutch Master is so popular with thieves"

Rembrandt's Jacob de Gheyn III, sometimes referred to as "the Takeaway"
PRI's The World, a one-hour weekday radio news show on the BBC, features ARCA Trustee Anthony Amore discussing the book he co-authored with journalist Tom Mashberg, "Stealing Rembrandts", on the date of publication release in the UK. You can hear the show here on their website.

August 12, 2011

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ARCA Trustees Noah Charney and Anthony Amore Featured on BBC Radio 4's Front Row Program with John Wilson: Mona Lisa, Turner, Goya, Rembrandt

You can listen to John Wilson of BBC Radio 4's program, Front Row, discuss art thefts of Leonardo da Vinci's Mona Lisa and works by Goya, Turner, and Rembrandt here on BBC's website. ARCA Trustees Noah Charney and Anthony Amore, security director of the Isabella Stewart Gardner Museum, are featured on the show. You may read more about this program and the books by the featured speakers on at Noah Charney's column, The Secret History of Art.

Friday, August 12, 2011 - ,, No comments

Anthony Amore, ARCA Board of Trustee and Security Director of the Isabella Stewart Gardner Museum, Will Be Discussing "Stealing Rembrandts" on BBC's "The World" Programme on August 12

Rembrandt's Jeremiah (1630)
by Catherine Schofield Sezgin, ARCA Blog Editor-in-Chief

The Isabella Stewart Gardner Museum's security director, Anthony Amore, an ARCA Board of Trustee, will be discussing his book, "Stealing Rembrandts" (co-authored with Tom Mashberg), on BBC's "The World" program on August 12 when the book is released in the United Kingdom.

Mr. Amore, who taught museum security at ARCA's International Art Crime program in Amelia in 2009, has written about the thefts of works by the 16th century Dutch artist, Rembrandt van Rijn. The 245-page volume published by Palgrave MacMillan in New York in July, features heists in Worcester in 1972; Cincinnati in 1973; and the Museum of Fine Arts in Boston in 1975.

Many other thefts of Rembrandt paintings are covered in the book, including that of a 1933 robbery of the residence of a Stockholm art collector, of which included Rembrandt's Jeremiah Mourning for the Destruction of Jerusalem (1630).  The painting had been "kept from view for years while in the possession of Russian count S. A. Stroganoff in St. Petersburg before the First World War."  The day after the theft, Amore and Mashberg recount, a workman at the residence "led investigators to the masterpiece, then valued at $100,000, which he had stashed in the woods near Stockholm.  Today it resides safely in the Rijksmuseum in Amsterdam and is valued at $100 million." 

You may find more information about the program here on the website of PRI's The World.

August 11, 2011

Thursday, August 11, 2011 - ,, 2 comments

Codex Calixtinus is missing

El Códice Calixtino
Editor's note: The ARCA blog received this submitted post in Spanish and decided to publish it as we're an international blog.

by Juan José Prieto Gutiérrez. Ph.D, Complutense University of Madrid.

El Códice Calixtino del siglo XII, considerado una de las joyas del Patrimonio Bibliográfico y Documental gallego, desapareció misteriosamente el pasado 5 de julio de la Catedral de Santiago de Compostela. La obra, que recoge la tradición de las peregrinaciones y la Ruta Jacobea, estaba custodiada en el Archivo catedralicio.

El manuscrito forma parte de una colección de sermones y textos litúrgicos y sirvió como una especie de guía para el mundialmente conocido Camino de Santiago, el cual se remonta a la Edad Media.

Las primeras investigaciones relatan que no existen "signos de violencia", pese a que el Códice se encontraba en unas dependencias privadas de acceso restringido y vetadas tanto a los investigadores como al público general (sólo tres personas tenían acceso directo a la sala donde se custodiaba el manuscrito; el propio deán y archivero y sus dos colaboradores, uno que trabaja por la mañana y otro durante la tarde.

Cabe destacar, que el libro se enseñaba en muy contadas ocasiones, de hecho, los investigadores trabajaban con la edición facsímil que se realizó hace unos años. Solo se podía ver en circunstancias muy concretas, y siempre en presencia de un responsable del archivo. Hace 18 años que no se exhibe fuera del archivo.

Por lo que en un principio se barajado la posibilidad de “venganza” o el hecho de dar a conocer a la sociedad los bajos índices de seguridad que rodean a los archivos y bibliotecas en España.

Falta de seguridad en Santiago: Las primeras investigaciones realizadas generan enormes fallos de seguridad:
1. La llave de la cámara de seguridad donde se custodiaba el libro estaba habitualmente puesta.
2. Las cámaras de seguridad solamente están instaladas en el claustro de la catedral, no en la zona donde se encuentran las joyas bibliográficas.
Ante estos hechos, cada vez se inclina más la balanza de que el robo se haya producido por personal del centro, de la propia Catedral de Santiago, la cual suma cerca de 70 personas. La regla general es que entre el 60% y 70% de las desapariciones en bibliotecas y archivos son producidas por personal de la casa o están involucrados.

Durante las primeras semanas se esperaba la devolución del material bajo secreto de confesión. Teniendo en cuenta una llamada anónima que habló expresamente de devolver el manuscrito. Pero este hecho pierde credibilidad día a día.

Realidad: La alarma social suele durar de 10 a 20 días. Se revisan las medidas de seguridad, se hacen algunos seguros, o se revisan las pólizas... y después, todo vuelve a ser como antes, por desgracia, hasta el siguiente suceso.

Las legislaciones españolas no inciden en los planes de seguridad concretos que se deben poner en marcha con el fin de custodiar Patrimonio de estas características.
Teniendo en cuenta que el arte religioso es "muy demandado en el mercado mundial de coleccionistas" y que el patrimonio bibliográfico es fácil transportarlo sin levantar sospechas, se confía a la colaboración policial internacional para localizar el manuscrito.

España es de los países mas azotados por los robos en bibliotecas en los últimos años, en el año 2007 se descubrió la desaparición de más de 100 documentos históricos en la Biblioteca del Ministerio de Exteriores, en 2008 se detiene a Cesar Gómez Rivero, autor del robo de la Biblioteca Nacional Española, en verano de 2009 se detiene Zslot Vamos con 67 documentos, faltando por recuperar 53.

Y ante este desgraciado hecho, volvemos a preguntarnos:
1. ¿Cuando se van a tomar en serio las medidas de seguridad en los espacios donde se custodia Patrimonio bibliográfico y documental?
2. ¿Cuando se va a instruir adecuadamente a bibliotecarios y archiveros?
3. ¿La cooperación nacional e internacional dará sus frutos?, etc.

August 9, 2011

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Noah Charney Will Discuss the Goya "Duke of Wellington" Theft on BBC Radio's "Front Row" on Thursday, August 11

Noah Charney (Photo by Catherine Sezgin)
By Catherine Schofield Sezgin,
ARCA Blog Editor-in-Chief

This Thursday Noah Charney, founder and President of the Association for Research into Crimes against Art, will discuss the theft of Francisco de Goya's "The Duke of Wellington" from London's National Gallery, just 50 years to the day after the theft of Leonardo da Vinci's Mona Lisa from the Louvre on August 21, 1911.

"It should be a good show," Noah Charney told the ARCA blog, "because they also have Sandy Nairne on from the National Portrait Gallery (who has a new book out on the Tate Turner thefts)."

Mr. Nairne has published "Art Theft and the Case of the Stolen Turners" (Reaktion Books 2011) about his involvement in the search and recovery of two Joseph Mallord William Turner oil paintings stolen from the Tate Gallery’s collection while they were at an exhibition in Frankfurt, Germany, on July 28, 1994.  

Noah Charney, author of the fictional "The Art Thief" and the nonfiction book, "Stealing the Mystic Lamb," has also released an ARCA podcast on the 1961 theft of Goya's "Duke of Wellington." You may find it on iTunes.

August 8, 2011

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Amelia's Bronze Germanicus Travels to Rome for Portrait Exhibit at Capitoline Museum; Curators Reveal New Information about the First Century Bronze Statue

Capitoline Museums, Rome, Italy
by Catherine Schofield Sezgin,
ARCA Blog Editor-in-Chief

In mid-July, I traveled to Amelia for an art crime conference and to visit the archaeological museum to see the bronze statue of Germanicus. However, Germanicus, found outside the gates of Amelia in 1963, was not in town. Germanicus had been disassembled and boxed, then shipped to Rome for a six-month exhibit at the Musei Capitolini at the Piazza del Campidoglio designed by Michalangelo (1475-1564) and commissioned by Alessandro Farnese (Pope Paul III from 1534 to 1549) to impress Charles V (1500-1558), the ruler of the Holy Roman Empire.

Palazzo Farnese
In Rome, I mistakenly walked to Campo di Fiori looking for the Musei Capitolini as directed by Google Maps. If it hadn't been so hot and humid, I would have recalled that I was looking for some very large steps to climb up to the museum and that it was behind not Piazza Navona but the Victor Emmanuelle II's monument. Instead I found Palazzo Farnese, now the French Embassy, around Campo di Fiori before following directions from an Italian couple to walk further and further down the road.

By the time I'd walked up the cordonata, Michelangelo's staircase wide enough for riders and their horses in the day, and turned right into the first building, the Palazzo Nuovo, a security guard stopped me. The ticket box was closed and although the museum would be open another 50 minutes, I could not go in without a ticket. I begged, he pointed to the surveillance camera above us, and I stepped back out onto the Piazza. After asking two people -- one woman had lost her husband who had their tickets and she couldn't go into the building to find him -- I obtained a used ticket and returned to the building's entrance. The security guard said that I couldn't go in because I had not purchased the ticket. But I begged, saying he'd only told me that I had to have a ticket. He finally sought advice from another staff member, a woman who seemed to have more authority with her walkie-talkie, and I was let into the building.

"Germanicus, Germanicus, Germanicus," I called softly walking through hallways and passed many portraits and monuments. It had been a long day, it was 44 degrees Celcius outside, and obviously the heat had gotten to me. "Germanicus, I can't find you!"

Germanicus amongst other Roman portraits, Capitoline Museums
In the very last room, at the far end of the floor, Germanicus stood in the rear. The rope usually around him at the archaeological museum in Amelia was gone and visitors could walk directly up to his base. He was marvelously old and delicate as up close it was obvious that he was depending upon a steel and wood structure to remain upright.

Then there was a display sign that read:
“The bronze statue found at Amelia, in Umbria, was not made as a portrait of Germanicus. The original head was eventually replaced with that of the young Germancius, whom his uncle Tiberius had designated as his heir, but who died in 19 AD. What probably happened is that the person (Perhaps Germanicus’s son Caligula) who had originally been honored with this statue was later condemned to damnatio memoriae [by the Senate], the removal of his public images to erase all memory of him, and that the costly statue was then reused to honor another member of the dynasty. 
“The ornamentation is very complex. On the upper part of the breastplate is the menacing image of the monstrous Scylla. On the lower part is a scene from Homer: Achilles ambushing the young Trojan prince Troilus. The scene is completed by the two Victories who converge from the sides toward the Greek hero, bringing him arms as a reward for his feat. The decoration extends to the back of the armor, where we see a religious scene in which two women dance in front of a candelabrum, symbol of the eternity of the imperial power. The pteryges, metal plates protecting the groin, are formed in the first row by lions’ heads and adorned in the second by heads of satyrs alternating with heads of gorgons. As a whole, the decorative plan was meant to epitomize control of the seas (Scylla) and to compare the honored man to Achilles, the most valiant of all the Achaean heroes.”
The bronze statue of Germanicus was dated 25-50 AD. It made sense that it had not been commissioned at the time of his death in 19 AD as his uncle, the second Roman emperor Tiberius, did not even attend the placement of his ashes into the Mausoleum of Augustus. So this statue could have been made for his son Caligula and when the Senate voted to erase the assassinated emperor's image from history, it was the head of Germanicus that replaced the original.

Surprised that only the head had been made for Germanicus, I retreated back to Piazza Navona, stopping to purchase a few DVDs of my favorite Italian television series about Salvo Montalbano in Sicily; ate a dinner of friend zucchini blossoms and artichokes at the always-welcoming family restaurant of Ristorante Archimede San Eustachio (Piazza dei Caprettari, 63); and fought my way to the counter at the cafe of Sant 'Eustachio for not one, but two cappucini.

Germanicus will be on display in Rome through September 25 at the Capitoline Museum.

August 7, 2011

Sunday, August 07, 2011 - ,,, No comments

Keynote Panel: 40-year Anniversary of the 1970 UNESCO Convention Features Chris Marinello of the Art Loss Register

Paolo Ferri and Chris Marinello
By Mark Durney, Founder of Art Theft Central

Chris Marinello, Executive Director & General Counsel of the Art Loss Register, delivered a lecture on the role of private and public stolen art databases in the recovery of lost art. In March 2011, Marinello along with ARCA’s Catherine Sezgin attended the 40th Anniversary of the 1970 Convention on the Means of Prohibiting and Preventing the Illicit Import, Export and Transfer of Ownership of Cultural Property held at UNESCO’s headquarters in Paris France.

As of 2011, the ALR’s database contained over 300,000 stolen works of art. The ALR offers its registration services on a pro bono basis to countries that are currently engaged in armed conflict or that have endured through natural disasters. For example, upon hearing news of the looting and theft of objects from sites and institutions across Egypt, the ALR reached out to Zahi Hawass to assist in the swift recovery of its missing objects.

Marinello continued with a discussion of a number of the more intriguing recoveries the ALR had made in recent years. For example, in cooperation with Immigration and Customs Enforcement, the ALR returned a portrait of a young girl by famous Belgian artist Antoine (Anto) Carte to its owner 69 years after it was stolen by the Nazis. During the World War II, the work’s original owners fled their Brussels home and the Nazis eventually confiscated their art. In November 2008, the ALR notified ICE and the U.S. Attorney's Office that a Long Island art gallery had possession of the work. Fortunately, in this case owner forfeited the painting upon hearing that it had been stolen during the war. However, as Marinello alluded to, few cases are resolved as quickly. As illustrated in the Carte case, the ALR frequently works closely with domestic and international law enforcement agencies including the FBI, Scotland Yard, the Carabinieri, and Interpol.

Upon conclusion of Marinello’s lecture, former Italian state prosecutor Paolo Ferri, provided a few insights into the Carabinieri’s lost art database, which now contains over a million registered objects.

Sunday, August 07, 2011 - ,,, No comments

Keynote Panel: 40-year Anniversary of the 1970 UNESCO Convention

Catherine Schofield Sezgin reports on her participation at the 40th anniversary of the 1970 UNESCO convention at the at ARCA’s International Conference in the Study of Art Crime, in Amelia, Italy July 10

by Jessica Nielsen, ARCA Intern

November 14, 2010 marked the 40th anniversary of the 1970 Convention on the Means of Prohibiting and Preventing the Illicit Import, Export and Transfer of Ownership of Cultural Property. ARCA blog editor-in-chief, Catherine Sezgin, reported on her participation in a celebration of the 40th anniversary held in Paris last March from her notes on the event. She mentioned that she had seen Annika Kuhn and Prosecutor Paolo Ferri at the event and invited them and many of her other fellow presenters at the ARCA conference (who she deferred to as having greater knowledge of the history and successes of the treaty), to engage in a lively discussion following her presentation.

"The Fight against the Illicit Traffic of Cultural Property: The 1970 Convention: Past and Future" The conference was an opportunity for UNESCO to look at the history of the Convention, evaluate its accomplishments, strengths and weaknesses and examine its main challenges. Sezgin noted that there was a speaker who brought up the similarities in the implementation of the 1970 Convention of UNESCO on illicit traffic to the experiences of the Convention on International Trade in Endangered Species of Wild Flora and Fauna 1973 (CITES). She also sat in on a public debate covering various issues among representatives from “source and destination” countries, the art market, museums and international organizations. Sezgin was most impressed by the Mexican representative, Dr. Jorge A. Sánchez Cordero, Director of the Mexican Center of Uniform Law; who spoke about Mexico’s active participation in the forming of the treaty and that it was the eighth country to ratify it. Mr. Cordero said:
We are in a situation that we cannot tolerate. Many countries are being plundered through clandestine excavations. Despite all our efforts, criminals operate on sites and in the trafficking of cultural and archeological objects.
Dr. Sanchez-Codero also talked about the ‘international community experiencing a rise of a new consciousness regarding the need of protecting cultural heritage, which is not linked to cultural nationalism, but rather to the need of safeguarding universal knowledge.’ Sezgin reported that he urged UNESCO to ‘play a prominent role in the new cultural order' and said that the convention 'only protects objects placed on an inventory list,’ this was a perfect introduction to the next speaker at the ARCA conference, Chris Marinello, from the Art Loss Registry, who described his company’s database.

More from Sezgin’s report on the event can be read on the ARCA blog here and here.

Catherine Schofield Sezgin received her Postgraduate certificate in ARCA’s International Art Crimes Studies Program in 2009. She has written about the efforts of law enforcement to stop the trafficking of stolen antiquities on the blog and in The Journal of Art Crime. She has worked as the editor-in-chief of ARCA’s blog since 2010.

August 6, 2011

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Mark Durney, Founder of the website “Art Theft Central” and moderator of Museum Security Network, on “Collection Inventories”

By Catherine Schofield Sezgin, ARCA Blog Editor-in-Chief

Collection Inventories account for works in the event of disaster, transition or conservation treatment and are a proactive effort to protect and secure art collections, Mark Durney, ARCA’s Business and Admissions Director, told the audience at ARCA’s third annual International Art Crime Conference on July 10.

Accurate and well-audited inventories may increase the likelihood of recovering missing items. In 2008, an inventory of Russian museums discovered 242,000 pieces missing of which only 24,500 were officially registered as stolen.

In 1980, the Dutch Institute for Social Policy Research’s Condition Survey reported a backlog of 70,000 “men years” to inventory 16 national museums.

Many collections in Egypt don’t have inventories, Durney told the audience. And when 56 objects were reported missing from Egypt as published by the Supreme Council, the description of such items as a ‘wooden model vase’ were incomplete as to claim or recognize the object.

In France, 2002 legislation required all museums to create inventories of their collections and calls for them to be reviewed every ten years. The Joconde: catalogue des Collections des Musees de France” is an online inventory from 328 museums.

“More information, better results,” Mark Durney said. “Collection inventories hold institutions accountable for objects in the public trust; motivates more accurate theft reporting; and increases likelihood of recovery.”

“Law enforcement claims a recovery rate of 5-10 percent,” Mark Durney said. “But looking at the numbers over a ten year period, only 1.9% of objects registered stolen were recovered. The confidence interval is 95% and you can quote me on that.”

August 5, 2011

Friday, August 05, 2011 - ,,, No comments

Katharyn Hanson on “Looting at Archaeological Sites During Conflict: Iraq’s Cultural Heritage as a Case Study”

by Kirsten Hower, ARCA Intern

Katharyn Hanson is a Ph.D. candidate at the University of Chicago, concentrating her studies in Mesopotamian Archaeology. Her archaeological experience has helped her to examine the dangers that archaeological sites face and what can be done to prevent the looting and destruction of these sites. In her presentation, “Looting at Archaeological Sites During Conflict: Iraq’s Cultural Heritage as a Case Study,” Hanson examined the looting of archaeological sites in Iraq and stressed the tools with which these sites can be protected in the future.

Opening her talk with the devastation of the Iraqi National Museum, Hanson highlighted the difficulties entailed in even knowing how much has been stolen from a museum—let alone from an archaeological site. In addition, the lack of recoveries made is even more depressing than not knowing how much was lost in the first place. After opening with this sad tale, Hanson used the same basis to talk about two archaeological sites in Iraq that have been devastated by looters: Umma and Umm al Aqarib. As she stated in her presentation, “By far, the majority of artifacts stolen from Iraq come from archaeological sites.” Using aerial and satellite photos, she was able to show the extreme addition of looter’s holes to archaeological sites from 2003 to 2008. The result was depressing and mind-numbing, with an increase of nearly 5,000 or more looter’s holes at each site over the course of five years.

Hanson also stressed that certain artifacts had been recovered after being found in the presence of weapons, such as AK-47s—marking a tie between the arms market and the black antiquities market. In a really somber moment, she stated that we do not really know where these works go after they have been dug up: “We don’t have a great answer. I don’t know.” Hanson then stated what measures are out there, legally, for protecting sites, such as CIPA, Customs Enforcement, and the Hague Convention which calls for sites to be protected during wartime. However, it was pointed out that sadly, these are more measures for protecting what is looted from sites in the hopes of recovering them. Hanson brought a very somber topic to the conference, but it was certainly one worth hearing and will, hopefully, advocate more work towards protecting archaeological sites in Iraq and around the world.

August 4, 2011

Thursday, August 04, 2011 - No comments

Art Crime Roundup: Riopelle Statues Recovered

Damaged Riopelle sculptures recovered (Photo by The Canadian Press)
by Catherine Schofield Sezgin, ARCA Editor-in-Chief

VANCOUVER, CANADA - The August 3 edition of Canada's national newspaper, The Globe and Mail, delivered to most hotels, homes and newsstands in "The World's Most Livable City", lead off its Globe Index on the front page highlighting an article on Page 3:
'Those guys were imbeciles' Art gallery owner Simon Blais on the metal thieves who tried to make off with a 1,000-pound bronze sculpture by Canadian artist Jean-Paul Riopelle in Montreal. The artwork was recovered hours later, broken but salvageable.
On Page 3, under the headline "'Dumb thieves' botch Riopelle heist", journalist Ingrid Peritz reported from Montreal:
A trio of hapless thieves who tried to abscond with a $1-million sculpture by famed Canadian artist Jean-Paul Riopelle ended up ditching their treasure instead in the Quebec woods. It was retrieved - broken but salvageable.
You can also read more on art theft in Canada in Jon Hembrey's article, "Global art theft: From Rembrandt to Riopelle", on CBC News online.

Today I will be visiting The Museum of Anthropology, the site of a May 2008 theft where 12 pieces of gold artworks by Bill Reid were stolen and later recovered. You can see Noah Charney's piece on the theft published in 2008 in The National Post here. Since the robbery, the museum has undergone a renovation and expansion.

Thursday, August 04, 2011 - ,,, No comments

Larry Rothfield on What Museums and Archaeological Sites can to do protect themselves during times of upheaval and lessons learned from Cairo

by Jessica Graham Nielsen, ARCA Intern

Larry Rothfield, a writer-in-residence during the ARCA postgraduate program in Art and Crime Studies this year, presented his thoughts on the recent looting during the revolution in Cairo at ARCA’s International Conference in the Study of Art Crime, in Amelia, Italy, on July 10.

"The recent revolution in Egypt provided a natural experiment or stress test of the security system that normally protects antiquities, whether in museums, or on sites or remote storerooms. What can we learn from the looting of the Cairo Museum (and from storerooms and archaeological sites around the country) about how other heritage professionals could and should be planning ahead to cope with similar situations of political instability that might strike their country?"

Rothfield described the failings of security during the recent revolution in Cairo that “allow us to see important things about the structure of heritage protection.” The lack of foresight to establish a contingency plan in the wake of the Tunisian revolution essentially left the Cairo museum unguarded and allowed a mob of one thousand people to break in to the gift shop of the museum, a very few of whom were able to then penetrate the galleries and steal a small number of artifacts. Some of these looters were apprehended by citizens who formed a human chain around the museum to protect it from further thefts.

Rothfield questioned why the “Pharoah of Antiquities,” Zahi Hawass, was not better prepared for the eventuality of the looting, the timeline involving his resignation and subsequent re-instatement after Mubarak’s toppling, the inaccurate reporting on the series of events surrounding the looting, and due to some strange coincidences, whether the thefts could have possibly been an inside job. He went on to list six lessons learned:
1. Contingency plans are needed to assure the safety of museums and cultural heritage sites during times of normal security breakdown.
2. Antiquities ministries are interested in scholarship and excavations and aren’t particularly interested in site security.
3. Well-conserved sites that are not armed are not protected.
4. Sites and museums can be protected by a mobilized public and dedicated civil servants.
5. There is no substitution for police, or militarized police, in general lawlessness.
6. Tourism revenue alone will not provide locals with enough incentive to protect heritage if doing so become too dangerous.
In response to questions regarding the arming of guards he said that he did not believe in simply handing out guns and that a contingency plan, training and an “all hands on deck” approach would have prevented the little looting that did occur. He also stressed that the situation in Cairo was very different than the issues that Donny George at the Baghdad Museum faced during wartime. An article in the Guardian published during the conference discussed Mr. Rothfield’s views in more detail.

Larry Rothfield is Associate Professor of English and Comparative Literature at the University of Chicago, where he co-founded and directed the Cultural Policy Center from 1999-2008. He has published on a wide array of subjects in cultural policy. His last book, The Rape of Mesopotamia (University of Chicago Press, 2009) offers a behind-the-scenes look at the causes for the failure of US forces to secure the Iraq National Museum and the country's archaeological sites from looters in the wake of the 2003 invasion.

August 3, 2011

Wednesday, August 03, 2011 - ,, No comments

Courtney McWhorter on the “Perception of Forgery According to the Role of Art”

by Jessica Graham Nielsen

ARCA welcomed one of the newest scholars to the field, Courtney McWhorter, as she presented her paper on the “Perception of Forgery According to the Role of Art” in the “Fresh Perspectives” panel at ARCA’s International Conference in the Study of Art Crime in Amelia, Italy, on July 10.

McWhorter described the different and changing ways we have valued art over time: from placing a high value on the aesthetic experience; to subsequently valuing its specific place in history; to the current trend of appreciating it more in economic terms. She proposed that as the perceptions of the value of art have changed, so has our acceptance and tolerance for copies and forgeries:
"I will show how art is valued today according to its historicity, rather than its aesthetic capabilities. Such a claim explains why forgeries could have once been acceptable, but now are not because they falsify history."
McWhorter explained that in the Renaissance, art was valued for the aesthetic experience it could impart. Scholars looked to the Ancients for inspiration on how to think about art and embraced Plato and Aristotle’s theories. The Greek philosophers considered art to be a mere copy of the ideal, and that its primary objective should be to evoke a feeling. Thus, when the Duke of Mantua was told that the “Raphael” he had coveted and that had been (reluctantly) given to him by Ottavio de Medici was in reality a copy by Andrea del Sarto, he reportedly said that he “valued it no less than if it were by the hand of Raphael.” In his mind the genius was in Sarto’s perfect copy – an improvement on the original. The copy had artistic merit in its own right.

McWhorter then discussed the 20th century and used Van Meegeren’s “Vermeers” as an example of how the value of art has shifted to one of historicity. Originally esteemed as some of Vermeer’s greatest masterpieces when they were “discovered,” they were disparaged by critics as worthless fakes once Van Meegeren was forced to admit (and prove) that he had actually painted them. The career of the connoisseur who had enthusiastically welcomed them as the long hoped for missing link between Vermeer’s earliest religious work and the small domestic scenes he became associated with later, was ruined. It was the great value placed on art’s historical relevance that Van Meegeren had exploited for the conception and acceptance of his Vermeer pastiches.

Lastly McWhorter turned to the current obsession of valuing art as an economic asset. She showed several images of editorial headlines proclaiming the monetary losses various collectors, including the actor Steve Martin, had suffered by being duped by fakes and forgers such as the “German Ring.” She blamed the auction houses for the current commodification of art and although she did not expand on it, she alluded to a developing phenomenon of fakes becoming just as economically valuable as some of the works they imitate.

Courtney McWhorter is currently completing her final year as an Honors student at Brigham Young University, working towards a Bachelors in Art History.

August 2, 2011

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Michelle D’Ippolito on “Discrepancies in Data: The Role of Museums in Recovering Stolen Works of Art”

By Mark Durney, Founder of Art Theft Central

Aspiring art crime researcher, Michelle D’Ippolito, who currently is completing her undergraduate degree at the University of Maryland at College Park, discussed the role museums play in reporting and recovering stolen art. Many museums are reluctant to report art thefts due to their “concern for their public image and a persistent lack of funding.” According to D’Ippolito, the public’s opinion of a museum greatly affects its ability to attract visitors and donations, which in turn impacts its likelihood of receiving government grants. Unfortunately, in the event of a theft, the media frequently focuses its headlines on museums’ security shortcomings rather than on the possible factors that may have contributed to its loss. For example, after it was reported that 1,800 historic artifacts were missing from Pennsylvania’s state collections, the media published headlines, such as “PA. Auditor Says State Has Lost Treasure Trove of Artifacts” and “Audit: Pennsylvania museums’ artifacts ‘likely lost forever.’”

Alternatively, the media could have examined how the Pennsylvania State Historical and Museum Commission’s recent budget cuts and staff reductions may have contributed to its ability to accurately account for its collections. Funding is critical to a museum’s basic operations and its effort to preserve and protect cultural heritage. For example, it enables a museum to purchase current collections management software, which streamlines the inventory process, and it provides financing for the specialized training of museum personnel.

D’Ippolito continued her panel lecture with a discussion of the variety of national, international, and private stolen art databases available to art theft victims. While such databases are helpful to ensuring a quicker recovery of stolen art, their true potential has not yet been realized. Many countries do not consistently report museum theft due to their inability to register accurate statistics. According to D’Ippolito, this element coupled with the fact that many museums are reluctant to report theft has given rise to a situation that has little effect on deterrence.

In conclusion, D’Ippolito offered a few tactics in order to increase the reporting and recovery of stolen art. She identified eliminating discrepancies in the information required to report a theft; interfacing the current databases; creating a database related to the objects recovered with details of the investigation; and increasing museums’ participation in reporting theft.

August 1, 2011

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Sarah Zimmer on “The Investigation of Object TH 1988.18: Rembrandt’s 100 Guilder Print”

By Kirsten Hower, ARCA Intern

Sarah Zimmer is a part-time faculty member at the Art Institute of Michigan’s Photography department and teaches both art history and studio art. Her experience ranges from fine art exhibitions to art history to museum work, on which her presentation, “The Investigation of Object TH 1988.18: Rembrandt’s 100 Guilder Print,” is based. While working in the archive of a museum, Zimmer discovered that an etching by Rembrandt was missing and then proceeded to investigate its disappearance. Her investigation, which included emailing former directors of the museum and anyone that may have an idea of where the print disappeared to, led to an interesting turn when she was asked to halt all investigation into this mystery.

Rather than completely forgetting the project, Zimmer was driven to investigate the value of this particular print and the value of works to museums. A contemporary artist with no prior knowledge of Rembrandt’s “worth,” she was intrigued by the question of: “What is the value of this museum protecting this secret when the value of the work may be minimal?” Using her artistic training, Zimmer delved into the realms of forgery to recreate the Rembrandt print along with provenance documents for an exhibition examining the value of a work and where the value lies. “I’m attempting to understand the value of the work, whether it’s monetary value or assigned value. Whether it’s the name that counts or the functional value of depicting a story.” Zimmer’s exhibition was shown at the Museum of Contemporary Art in Detroit in 2010 and also in Chicago.

Not inclined to completely let go of the project, Zimmer is still interested in examining the value that museums place on works and what value society places on works of art, such as “How we’ve made Rembrandt, the name, a commodity.” Though she no longer works for the museum, from which this print went missing, Sarah stated that, “the true crime was the institution depriving us of information and not allowing us to continue our investigation.” Of the multiple missing works that Zimmer investigated while working at this museum, the Rembrandt is the only one that raised the attention of the institution to cease research into its whereabouts. Zimmer is still pursuing research into the value that is placed on works by museums and the art community.

July 31, 2011

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Leila Amineddoleh on “The Pillaging of the Abandoned Spanish Countryside”

Leila Amineddoleh
By Molly Cotter, ARCA Intern

Leila Amineddoleh, a 2010 alumnus of ARCA’s postgraduate program and Boston College Law School, presented her latest research titled “The Pillaging of the Abandoned Spanish Countryside” on the panel “Fresh Perspectives on Art and Heritage Crime”.

Many towns in the Spanish countryside have been abandoned. Since the towns operate on tax dollars and people have fled to bigger, more industrial cities, rural houses and churches become vulnerable to pillaging. Leila’s presentation even included an astonishing ad in a Spanish newspaper that advertised for an entire “Town for Sale” for 189,000 Euro.

One very unfortunate issue with these depopulated cities is the fate of the art and cultural objects left behind. Though some construction companies have permission to remove Roman ruins and Visigoth remnants from the abandoned homes and churches, much of the forgotten art is eventually ripped from its context and sold.

Unbeknownst to many Spanish citizens, the hidden works have incredible cultural and historical value for the nation’s identity. Municipalities receive 1% of tax revenue for art restoration but in many cases without a sufficient number of people in the town paying taxes, there is little money for protection.

Leila strongly believes that for Spain to protect its patrimony it must create an extensive catalogue that encompasses both State and Church property. She believes working with a database modeled after the Italian ICCD catalogue, which receives donations and revenue, would be ideal for keeping track of and protecting Spain’s cultural treasures.

July 30, 2011

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Author and Historian Peter Watson Discussed What He Called “Some Unpublished and Un-pulishable Details about Recent Art Crimes”

Peter Watson (Photo by Urska Charney)
by Catherine Schofield Sezgin

Peter Watson, author of numerous books including “The Medici Conspiracy” and “Sotheby’s the Inside Story”, leaned back in his chair in front of the audience and like an practiced storyteller, said that he would talk about “some unpublished and unpublishable” details about recent art crimes.

He asked the audience to question about how much they knew about the truth of art theft. “Museums lie about provenance and experts are not experts,” he said.

Watson spoke about the stories in his books, of how the priest with the Vatican’s mission trafficked in stolen paintings, pleaded for mercy on the court, and after the judge suspended his sentence, went on to trafficking in drugs.

John Drew, the forger, was once suspected of burning down a house that killed a Hungarian lodger and two months ago was sentenced for defrauding a widow.

When Robin Symes partner Kristos died, Symes went to jail. The judge changed the case from a civil to a criminal case. Symes was sentenced to two years in jail and only served 10 months. He made enemies with Kristo’s family. A month after Robin came out of jail, a BMW was deliberately set on fire and a yacht went up in flames. “Nothing was ever proved, but this is underlining the idea that we are not dealing with nice people,” Watson said.

In regards to the Sevso silver, a strange murder in the late 1970s in a wine cellar showed three sets of footprints going into the wine cellar, and two going away. People accused of these crimes are “too dangerous”, Watson said. His friend Charley Hill, who recovered one of the Munch paintings while working for Scotland Yard, said that his children were threatened in a case.

“This is a very unpleasant world so watch where you’re going,” Watson told the audience.

July 28, 2011

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Art Crime Writer Fabio Isman on "The Biggest Looting: an awful story that will never end" and his latest book "Il predatori dell’arte perduta: il saccheggio dell'archeologia in Italia"

Fabio Isman (Photo by Urska Charney)
by Jessica Graham Nielsen, ARCA Intern

Fabio Isman, a celebrated investigative journalist in Rome, who contributes to The Art Newspaper and writes regular columns for Il Messaggero and Arte e Dossier, took part in ARCA’s International Conference in the Study of Art Crime, in Amelia, Italy, July 9. Through an English-speaking interpreter, Mr. Isman talked passionately about the immense scope of illegal excavations, the illicit trade in Italian antiquities, and the yet unpunished main characters in a drama of tomb robbers, dealers, antiquities collectors, auction houses and the world’s major museums.

In his presentation, which he called: “The Biggest Looting: an awful story that will never end,” he shared pictures and information he found while researching his book, Il predatori dell’arte perduta: il saccheggio dell'archeologia in Italia (Raiders of the Lost Art: the Looting of Archaeology in Italy), which is the first written on the subject in Italian. He described his book as following Peter Watson’s fundamental work in The Medici Conspiracy, thanked him, and added that the depth of the issue has not been discovered until recently.
I will talk of a phenomenon: one million antiquities shipped from Italian soil from 1970 on, the most important [of which] was sold to the world’s greatest museums and big collectors…I wrote it because Italy is a great source of antiquities and I realized that few [here] are aware…
He went on to describe a story of 10,000 people, involved in the systematic looting and sale of one million illicit objects sold to 36 museums and 12 private collectors through specialist dealers from 1970 to 2004 in a business that is still ongoing – items having just come up at auction a few months ago.

Isman traced the beginning of the Grande Razzia to the Metropolitan Museum’s purchase of the illegally excavated Euphronius Krater for $1,000,000 in 1972, which made the market and established a record for an ancient object. As the market hungered for more objects, it was fed by looter/dealers Giacomo Medici and his secret depositories discovered in Geneva in 1995; four rooms filled with vases and recently excavated objects and 4,000 polaroid pictures of artifacts, some of which were already in major museum’s collections, and Gianfranco Becchina’s four warehouses discovered in Basel in 2001 containing more than $6 billion worth of antiquities. He referred to these men and other nefarious characters as “murderers of antiquities” who had scattered important objects around the world, leaving them out of context and thus “destroyed.” He underscored his words with images of a villa excavated in an unknown location at Pompei, its frescoes buried yet still intact, and those same frescoes cut into pieces so that they could be taken to Medici’s storehouses.

Isman thanked the State, and particularly Prosecutor Ferri and the Carabinieri (which increased from 16 personnel to 300 during that period) for helping to curb the flood of antiquities leaving Italy and helping many find their way back home. But he lamented that “no police dog is at the airport sniffing for ancient vases and [that] one-third of the people in prison have something to do with drugs and not one [of them is there] for illegal art.”

Mr. Isman has published 24 books, 18 of which are dedicated to art and culture in Italy.

July 27, 2011

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Neil Brodie Awarded the Eleanor and Anthony Vallombroso Award for Art Crime Scholarship

Neil Brodie receiving his award
by Mark Durney, Founder of Art Theft Central

At ARCA’s third annual international art crime conference, Neil Brodie was awarded the Eleanor and Anthony Vallombroso Award for Art Crime Scholarship. Brodie is an archaeologist and former director of the Illicit Antiquities Research Centre at the University of Cambridge. Brodie has studied and written extensively on the illicit antiquities trade. His publications include Stealing History: the Illicit Trade in Cultural Material (Cambridge: McDonald Institute, 2000), Trade in Illicit Antiquities: the Destruction of the World's Archaeological Heritage (Cambridge: McDonald Institute, 2001), Illicit Antiquities: the Theft of Culture and the Extinction of Archaeology (London: Routledge, 2002), and Archaeology, Cultural Heritage, and the Antiquities Trade (Gainesville: University Press of Florida, 2006) among over thirty other academic papers. In January 2008, Brodie received a Saving Antiquities For Everyone (SAFE) Beacon Award for his significant role in raising awareness of illicit antiquities.

During his acceptance speech, Brodie offered his thanks to Noah Charney for developing an organization that educates students in the many issues related to art crime. Through its conference, academic program, and various publications, ARCA continues to inspire new research and projects aimed at combatting the growing problem. Brodie served as a writer-in-residence during the first six weeks of ARCA’s international art crime and heritage protection studies program.

July 26, 2011

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South African Lawyer Specializing in art law, shares his experiences with conferences in Milan and Amelia

by Catherine Schofield Sezgin, ARCA Blog Editor-in-Chief

The ARCA blog has been running a series of posts about the speakers who presented at ARCA's third annual Art Crime Conference on July 9th and 10th. Toby Orford, a lawyer specializing in art law in South Africa, attended ARCA's conference in Amelia this year. He also attended a conference in Milan. We decided to share his experiences with readers of our blog. During the conference, Mr. Orford stayed at Palazzo Farrattini, a Renaissance building within the walls of this medieval town.

ARCA Blog: Toby, what conference did you attend in Milan and what was your perception?
Toby: Speakers at Christie's Holocaust Art Looting and Restitution Symposium included eminent international lawyers, academics and activists. The choice of Milan was deliberate. Italy's inconsistent track record of restitution "requires a more extensive explanation" and some of the speakers - notably Charles Goldstein from the Commission for Art Recovery - pointed out inter alia that missing art works taken from Italian Jews is probably still in Italian museums, institutions and private collections. The lack of serious research or restitution in Italy (and indeed instances where restitution has been revoked and export licenses blocked) is in contrast to Italy's recent campaigns for the recovery of its own cultural property. Other countries have made greater efforts. Norman Palmer spoke about the work of the UK's restitution commission - the Spoliation Advisory Panel. He and the other experts highlighted the on-going and unresolved moral and legal aspects of restitution - as well as changes in government policy and (post the Washington Conference) the development of changing legal principles and claims procedures. All in all the Milan conference was a thought-provoking precursor to ARCA's Amelia conference.
ARCA Blog: This is the first time you attended the ARCA art crime conference. What had you expected and did the conference meet your expectations?
Toby: The focus of ARCA goes beyond World War II restitution. The conference dealt with all kinds of present-day threats to cultural property, including looting, theft, fraud and destruction. Not surprisingly, as a lawyer I appreciated the legal discussions. I think that there is scope for some more "law" next time - with reference to the achievements noted during the Milan conference. But the other disciplines created new insights into the practical and theoretical aspects of heritage protection. The more academic topics were usefully balanced at the end of the proceedings by Chris Maranello's matter-of-fact talk on the day to day work of the Art Loss Register. He reminded us that it is vital to translate words into action. So, yes, the conference met all of my expectations and expanded my understanding considerably. I am also finding the ARCA blog's talk summaries very useful.
ARCA Blog: What do you think will most be carried back with you to South Africa as far as knowledge and experience?
Toby: Restitution is much talked about in Africa but in a confused and undisciplined way. This is mostly due to misunderstanding and misinformation. And, thanks to colonial complications, frustration. The hard won and piecemeal progress, and the on-going challenges in other parts of the world, explain the nature and scope of the problem - and identify some of the solutions. And so both of these disciplined and focused conferences - in their different ways - helped me to understand what has happened, and what still must happen. Others should benefit too and, for example, I am recommending the work of ARCA to the South African Heritage Resources Agency (SAHRA). Perhaps ARCA will benefit from closer ties with similar agencies in other countries?

July 25, 2011

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ARCA Award for Art Policing & Recovery Given to Paolo Ferri at International Art Crime Conference

Paolo Ferri and Noah Charney (Photo by Urska Charney)
By Catherine Schofield Sezgin

Paolo Giorgio Ferri received ARCA’s Award for Art Policing and Recovery for his work as a former Italian State Prosecutor and his role in the return of many looted antiquities from North American public and private collections. He was the lead attorney in Italy’s cases against The Getty Museum, Marion True, and other American museums for the return of looted antiquities. He now serves as an expert in international relations and recovery of works of art for the Italian Culture Ministry.

Dr. Ferri told the audience, in Italian and through the use of an English translator, that he was delighted to receive the ARCA award, his first major award recognizing his professional accomplishments.

Years ago, Ferri said, exporting of looted antiquities was a fiscal misdemeanor and assisted by the ease with which the items could be cleared through Switzerland. He credited the work of Peter Watson, the author of The Medici Conspiracy, for his investigation into Giacomo Medici that enabled the return of many objects. In addition, the subsequent media coverage increased awareness of the problem of selling cultural heritage.

Regarding resolution of these matters of allegations of stolen antiquities, Dr. Ferri would prefer an international court that would provide more uniform judgments. “This court could possibly be under the offices of UNESCO which recently started offices for mediation and restitution,” Dr. Ferri told the audience.

He proposes that arbitration would expedite these matters and that inexpensive working groups in each state could provide spontaneous information that could ease the return of cultural objects. “The Washington Agreement should help people who hold title in ‘good faith’ and return objects to the original state,” Dr. Ferri said. “The necessity of proof should come from the buyer of good faith.”

The object should be returned to the country of origin who claims it if there is any doubt, Dr. Ferri said. “Cooperation in marco-regions is of extreme importance,” he said.

July 24, 2011

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Elena Franchi on “Under the Protection of the Holy See: The Florentine Works of Art and Their Moving to Alto Adige in 1944”

Elena Franchi
Update: This is post has been republished with corrections.

On July 9, at ARCA's International Art Crime Conference, Elena Franchi presented her latest research on the protection of art in Florence during the Second World War, "Under the protection of the Holy See": the Florentine works of art and their moving to Alto Adige in 1944."

Ms. Franchi is the author of two books on the protection Italian cultural heritage during the Second World War: I viaggi dell’Assunta: La protezione del patrimonio artistico veneziano durante i conflitti mondiali, and Arte in assetto di guerra: Protezione e distruzione del patrimonio artistico a Pisa durante la seconda guerra mondiale. She has also been involved in a project on the study of the “Kunstschutz” unit. In 2009 she was nominated for an Emmy Award – “Research” for the American documentary The Rape of Europa, 2006, on the spoils of works of art in Europe during the Second World War.

"In Italy, at the beginning of the war in 1940, the movable works of art were subdivided into three classes of importance and sent to castles and villas in the countryside to protect them from the only danger to be expected: the air raids," Ms. Franchi told the audience. "The most important Florentine works of art were gathered in three deposits: Villa reale in Poggio a Caiano sheltered masterpieces from the Uffizi Gallery and Palazzo Pitti; Villa reale della Petraia housed precious sculptures; and Palazzo Pretorio in Scarperia protected the main works of art coming from churches and private collections."

At the end of the first year of the war, Ms. Franchi said, Poggio a Caiano was filled up and other deposit sites needed to be set up to shelter the important works. By 1943, Florence's mobile patrimony resided protectively in more than 20 storage sites.

On July 10, 1943, the Allied Forces landed in Sicily in "Operation Husky", and launched the Italian Campaign. "A frenetic moving of works of art from one deposit to another suddenly started, under heavy bombardment, even though fuel and means of transportation were hard to find," Ms. Franchi said.

Fifteen days later, Benito Mussolini was dismissed and Marshal Pietro Badoglio was appointed to head the government in his place. After the Armistice declared on September 8th between Italy and the Allied armed forces, the situation of the deposits became increasingly risky, Ms. Franchi said. In those days two military units began to operate in Italy for the protection of cultural property: the Monuments, Fine Arts and Archives Sub-Commission (MFAA) by the Allied Commission for Italy and the German Kunstschutz. Frederick Hartt, responsible for the MFAA in Tuscany, declared at the end of the war: "Italian authorities had done almost everything possible to protect their country's treasure against bombardment."

According to Franchi, and contrary to what many believe, the Nazis did not always steal the art work around them. Franchi argued that in the case of Florence, the Kunstschutz unit, the German military unit created to protect cultural property, worked with Italians Carlo Anti, the General Arts Director in the Ministry of Education, and Carlo Alberti Biggini, the Minister of Education, to move as much as possible to the north of Italy (controlled by the Italian Social Republic with Mussolini and the German occupation).

In June 1944, Biggini ordered to move the main works of art of Florence and Siena to the north of Italy, far from the battle line. But the difficulties of his journey made it clear that it was impossible to carry such precious shipment to the north.

Despite this order, at the beginning of July, the German Army evacuated the precious works of art belonging to Florentine Galleries from the deposit of Montagnana, since the battle line was approaching. The German Army also evacuated the deposit of Oliveto, unbeknownst to the Kunstschutz, the Italian Ministry and the Superintendency.

Kunstschutz got on the trail of the missing works of art and removed the works of art from the deposit of Poggio a Caiano, that was under the protection of the Holy See.

At the end, the Florentine works of art removed by German Army and Kunstschutz were all moved to two deposits to Alto Adige, that were entrusted to the local Superintendent and to German Kunstschutz until the arrival of the Allies in 1945.

July 23, 2011

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Annika Kuhn on “The Looting of Cultural Property: A View from Classical Antiquity”


Update: This post has been republished with corrections.

by Catherine Schofield Sezgin, ARCA Blog Editor-in-Chief

Annika B. Kuhn, currently a Fellow of the Mercator Kolleg on International Affairs (German Academic Foundation / Federal Foreign Office), conducting research on the illicit trafficking and repatriation of antiquities, presented “The Looting of Cultural Property: A View from Classical Antiquity” at ARCA’s Third International Art Crime Conference in Amelia on July 9, 2011.

Dr. Kuhn, who holds a PhD in Ancient History from the University of Oxford, discussed how the destruction and pillage of cultural property in times of war and peace reach far back in history to the Greek and Roman periods. She selected several historical examples and examined the different forms of ancient responses to the loss of significant religious and cultural artifacts, which ranged from the diplomatic negotiation of returns, the repatriation of looted property as symbolic political acts, or the restoration of the religious and cultural order by the use of replicas.

Dr Kuhn referred to cases of plunder during the Persian Wars (e.g. Xerxes’ looting of the statue group of the Tyrannicides Harmodius and Aristogeiton after the sack of Athens in 480 BCE), the capture of war booty by Roman generals and soldiers, which was displayed in the triumphal parades at Rome, as well as excessive art thefts committed by provincial governors and emperors. Thus, the Sicilian governor C. Verres, one of the earliest art thieves, conducted “forced sales” in the province and used slaves to rob residences and temples in a systematic theft of art. Verres looted statues, furniture, vases, jewelry, carpets and paintings from sites throughout Sicily. The Julio-Claudian emperors Caligula (37-41 CE) and Nero (54-68 CE) were art thieves on the throne and plundered statues to decorate the rooms of their palaces. However, Greek and Roman contemporaries not only criticized the plunder of art, but actively tried to protect or recover commemorative artifacts, and there are already antecedents of the ‘codification’ of norms to respect the inviolability of religious and cultural sites and prohibit the illicit appropriation of art.

July 22, 2011

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Laurie Rush on "Art Crime: Effects of a Global Issue at the Community Level"

by Mark Durney, Founder of Art Theft Central

At ARCA’s third annual international art crime conference in mid-July, Dr. Laurie Rush, the Booth Family Rome Prize Winner in Historic Preservation at the American Academy in Rome, presented on “Art Crime: Effects of a Global Issue at the Community Level.”

Dr. Rush’s lecture featured discussions of the role of military archaeologists in preventing the inadvertent damage and destruction of cultural heritage as well as limiting the illicit traffic in antiquities during the most recent conflicts in Iraq, Afghanistan, Libya, and Egypt. For example, academic archaeologists in cooperation with military and NATO personnel were able to develop a 'no strike list' of 'at risk sites' in Libya within 36 hours after US participation was announced.

During the most recent conflicts in Iraq, Afghanistan, and Egypt, Dr. Rush worked with the Legacy Resource Management Program to create decks of playing cards inspired by the US military’s tradition of using playing cards as educational tools. However, rather than depict images of the most-wanted Iraqis like a previous deck, the Heritage Resource Preservation playing cards depict the challenges of preserving heritage during military operations as well as provide useful archaeological site preservation advice.

According to Dr. Rush, the constant rotation of military officers and the flux in standard practices that it creates can make it difficult to effectively maintain efforts to protect cultural heritage sites and institutions during conflicts. During the US-led military invasion of Iraq in 2003, the Garrison Commander  at the military base in Talil developed a strategy to protect Ur, the biblical birthplace of Abraham, by incorporating it within the installation fences. While it was a simple risk mitigation strategy, it enabled the US to effectively secure the site and protect it from potential looting. In 2009, the US returned control of the ancient site, which had been preserved in pristine condition, to the Iraqi authorities.

Rush believes that the Comando Carabinieri Tutela Patrimonio Culturale, which has been sent into numerous conflict zones in order to train local leaders and military personnel in the protection of cultural sites and institutions, should serve as a model for other countries that seek to develop similar cultural heritage preservation efforts. Currently, while based in Rome, Rush is working closely with the Carabinieri and examining their best practices. In addition to working with the military to protect sites during conflict, Dr. Rush stressed the need to focus attention and resources on developing strategies to maintain cultural heritage sites in the immediate aftermath of conflicts. Managing sites as community assets and rebuilding tourist attractions are critical to attracting local and international investment and attention. Dr. Rush believes that such efforts can be spearheaded by partnerships between academic institutions and government organizations.

July 21, 2011

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Judge Arthur Tompkins on Gustav Klimt's "The Portrait of Adele Bloch-Bauer"

by Judge Arthur Tompkins

The luminous Portrait of Adele Bloch-Bauer now hangs in the Neue Galerie, on New York’s Fifth Avenue. How it got there is quite a story.

The dispute over this portrait, together with others owned originally by Ferdinand Bloch and his wife Adele Bloch-Bauer, and in keeping with many similar private law restitutionary struggles, was resolved only after a long, tortuous, expensive and emotionally draining process. It involved, over many decades, the Austrian national courts, the United States courts all the way to the United States’ Supreme Court, and finally an Arbitration Panel agreed to by both sides. Some 65 years passed between the unlawful passing of the painting to the Austrian National Gallery in 1941 and the return of the paintings to Maria Altmann in early 2006.

Ferdinand Bloch-Bauer was, before World War II, a wealthy Czech industrialist, and president of the Österreichische Zuckerindustrie AG, a major sugar company. He commissioned a portrait of his wife from Gustav Klimt, and after about a year’s work, the golden, shimmery portrait was delivered in 1907. Adele died in 1925, from meningitis, and in her will, “requested” Ferdinand to leave the Klimt paintings the couple owned to the Austrian National Gallery.

Ferdinand fled Austria in 1938, and the invading Nazis confiscated both his businesses and the Bloch-Bauer’s home, containing the portrait and the other Klimt paintings. They assessed spurious “taxes” as being owed, thus triggering liquidation of the assets. An attorney was appointed, and unlawfully he sold or swapped the paintings, with three, including the Portrait, ending up with the Austrian Gallery.

Ferdinand died in Switzerland in 1945, and, understandably, by his will he did not leave the Klimt portraits to the Gallery. Two nieces and a nephew, including Maria Altmann who by that time was living in the Los Angeles, were his heirs. His estate consisted mainly of claims to seized property.

The Case Summary prepared for the later Arbitral proceedings recorded:
In January 1948, the heirs’ attorney, Dr. Gustav Rinesch, attempted to recover some of the Klimt paintings from the Austrian Gallery. The Austrian Gallery responded by taking the position that the paintings were donated by Adele Bloch-Bauer in her will of 1923, which designated her husband as her universal heir and requested that he donate six Klimt paintings to the Austrian Gallery after his death.
However, according to the legal proceedings which followed Adele’s death in 1925, Ferdinand stated that the paintings were his, and not his wife’s, property and that he was not legally obligated to fulfill the wishes expressed in her will, although he allegedly promised to do so.

Despite efforts by and on behalf of the heirs over the years, the three paintings, by now held by the Belvedere Gallery in Vienna, remained there through until the late 1990s, and as Simon Houpt notes,
“ ... became synonymous with Viennese culture and Austrian pride, especially Klimt’s Portrait of Adele Bloch-Bauer I, which has been reprinted endlessly on T-shirts, postcards, and dormitory room posters. It seemed fruitless to Maria Altmann [Ferdinand’s niece] and the other Bloch-Bauer heirs to put up a fight.”
But the legal landscape changed in 1998. The Austrian Parliament passed legislation,
“ ... requiring all federal museums to ensure their holdings were free of art illegally seized during the war.”
As a resident of California, and frustrated by procedural and technical delays and obstacles which had stalled her Austrian legal proceedings, Altmann sued in the US Courts, and ultimately, the Supreme Court held that she was not barred from suing the Austria by the doctrine of sovereign immunity. However, the case did not proceed to trial in the US as in May 2005 the family and Austria agreed to arbitration in Austria.

Thus the case came to be decided before an Austrian arbitral tribunal, governed by Austrian law and procedure. The Tribunal concluded:
1. The Republic of Austria acquired ownership of the paintings by Gustav
Klimt, Adele Bloch-Bauer I, Adele Bloch-Bauer II, Apfelbaum,
Buchenwald/Birkenwald, and Häuser in Unterach am Attersee by virtue of
the settlement with the representative of the heirs of Ferdinand Bloch-Bauer,
Dr. Gustav Rinesch, in 1948. 
2. The conditions of the Federal Act Regarding the Restitution of Artworks
from Austrian Federal Museums and Collections dated 4th December 1998,
... for the return of the five paintings indicated above without remuneration to the heirs of Ferdinand Bloch-Bauer are fulfilled.
The Tribunal accepted that Adele’s will, by which she left the paintings to her husband, with a wish that after his death, they be left to the Austrian nation, was a non-binding request :
“I ask my husband after his death to leave my two portraits and the four landscapes by Gustav Klimt to the Austrian State Gallery in Vienna and to leave the Vienna and Jungfer, Brezan library, which belongs to me, to the People’s and Workers’ Library of Vienna."
Therefore, Austria could not have acquired title to the paintings via her will. Title was not acquired through other available means, and given that the requirements of the Austrian statute were fulfilled, the paintings should be, and were, returned.

Although the ruling was initially greeted with some concern as to its narrowness of application, it was subsequently viewed:
“ ... as a pivotal Holocaust reparations case, ... Having litigated all the way to the Supreme Court prior to arbitration, Altmann established the United States civil litigation system as an acceptable platform for Nazi looted-art cases.”
Left, Neue Galerie director Renee Price.
 Seated, Maria Altmann,
Adele Bloch-Bauer's niece.
"These paintings stolen from Jewish homes are the last prisoners of World War II. I believe more art will be returned to its rightful owners," said art collector and Neue Galerie founder Ronald Lauder, who purchased "Adele Bloch-Bauer II" in June for the museum. 

Maria Altmann sold the Adele Bloch-Bauer I portrait in 2006 to the Neue Galerie Museum in New York, founded by Ronald Lauder and dedicated to German and Austrian Art, and which plays a prominent role in provenance research, including issues relating to “Jewish life and post-Nazi restitution issues.” The portrait is a centre piece of its collection.

The carefully worded provenance statement from the Museum’s website hints at the storied tragedies of the painting’s history:

“Provenance
Adele and Ferdinand Bloch-Bauer, Vienna (Acquired from the artist).
Seized by the Viennese Magistrate (following the Nazi Anschluss, March 1938).
With Dr. Erich Führer, Vienna (the state-appointed administrator for Ferdinand Bloch-Bauer).
Österreichische Galerie Belvedere, Vienna.
Restituted to the heirs of Adele and Ferdinand Bloch-Bauer by the Republic of Austria. Neue Galerie New York.”
The Neue Gallery
The Gallery’s website is at: http://www.neuegalerie.org/

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