The National Archives here in Washington contain some historical American records and translations of captured Japanese records. Records on wartime and occupation looting in the Pacific Theatre parallel the European records, but the records on events in Europe have been closely studied and due to the interest in Holocaust-related events. Archives on looting in the Pacific have been largely untouched, but we will have as speakers the people with the most knowledge about those records and how they can be put to use by scholars.

Miriam Kleiman will talk about the history of these archives and how they developed. Greg Bradsher has produced a finding aid for the National Archives and he will discuss the records that exist and how his finding aid can be used.  Marc Masurovsky will discuss the history of losses and restitution in the Pacific.

Okinawa was devastated in one of the worst battles of the war, on the level of Stalingrad.  Whatever wasn’t destroyed was stolen later. Japanese soldiers are believed to have looted throughout the Pacific theatre that stretched all the way to India. The scope of Allied looting in Asia/Pacific region is not well understood. Recently an auction in Michigan attempted to sell 125 objects that shared the same provenance – that of an American sergeant who claimed that the pieces had been a gift to him after the Korean War. Fortunately the art market is getting more knowledgeable and more careful and these events are more commonly identified, followed up and referred to Homeland Security.

Image of Nefertiti

Our foremost concern has been for our neighbors and friends who have suffered so much hardship and damage.  A MoMA curator and the director of MoMAPS1 put out a call for volunteers from the art community and together they filled a bus with donated supplies and headed to one of the many areas in need of help today.  This is but a small part of the relief effort, but we were humbled by the incredible commitment of the volunteers.  Our staff will continue to play a role in the recovery, and we invite those of you who are able to join us in these efforts.

They will provide suggestions and answer questions on how to safely handle damaged paintings, drawings, books, sculptures, and other artistic and cultural materials.  Visit MoMA.org for more information on this program.  MoMA has also issued Immediate Response for Collections, a document offering step-by-step guidelines for dealing with artworks damaged by flooding, and we will continue to lend knowledge and support to those carrying for collections affected by the storm.

If you are in a position to help others, you may want to visit nyc.gov for information on making donations and nycservice.org for information on volunteer opportunities.  Visitors to MoMA will also find a collection box in the Museum's lobby, with proceeds to be donated to relief efforts in Greater New York.

In this, and the last, issue of The Journal of Art Crime, we have seen excellent academic articles on aspects of counterfeit money (see Mihm, Stephen in the Spring 2012 issue, and Judson and Porter in this issue).  While counterfeit money is its own field of study, it has many parallels with art forgery, and we therefore have seen fit to consider it in this journal.  In doing so, I thought that it might be of interest to present a brief history of counterfeit money, for those unfamiliar with the subject. 

Perhaps the most well-known sort of forgery is the faking of money, whether counterfeiting coins, dollar bills, or treasury bonds.  The United States Secret Service, before they became best-known as the bodyguards of the president, were established in order to investigate counterfeit money printing operations and close them down.

Haida artist Bill Reid's art safely back on display  at UBC's Museum of Anthropology (Photo Sezgin)

Newly released RCMP and university campus security records obtained by Postmedia News through federal and provincial access-to-information laws, plus court documents, offer a fuller picture of the mysterious theft and its bizarre fallout.

At about 4:40 a.m. on May 24, 2008, thieves removed "a glass panel" from the back of the museum, "unleashed a cloud of bear spray, presumably to repel any guards who might try to intervene" and smashed a glass showcase to steal $2 million of jewelry designed by Haida artist Bill Reid (Quan, quoting campus security report).  The heist was estimated to have taken less than 3 minutes (compared to the more than 2-minute Kunsthal Rotterdam heist on October 16).  According to Quan's review of the report, "security cameras stopped recording before the break-in".  UBC's Museum of Anthropology has since been renovated and expanded.

Quan points out that in 2008 the security guard at the Museum of Anthropology had been widely reported to be on a smoking break at the time of the robbery:

Contrary to media reports that suggested he had been on a smoke break and apparently oblivious to trouble, the guard alerted dispatch when the alarms started wailing, the former security officer said.

Protocol at the time dictated that the guard stay put and that dispatch send another officer to walk through the museum.  But the walk-through never happened, the former security officer said.

An alarm falsely attributed to "invalid"and a "false sense of security" (Quan) were problematic.

According to Quan, the investigation, led by the RCMP major crimes section, involved an anonymous tip within days of the theft; police surveillance of the suspect; background checks on construction workers involved in the renovation of the museum, a fired security guard, and "disgruntled" artists who had worked with Reid.  A search of a home connected to a man with "at least 11 convictions for property crimes" led to the recovery of "all but two of the stolen items" on June 8 (just a little more than two weeks after the theft).  By August the other items were recovered: "The last piece, the argillite pipe, was dropped off anonymously. (Quan)"

Then in January 2009, CBC reported the RCMP had paid $20,000 to a criminal informant for "help with the investigation."  According to Quan, the RCMP "would not say this week who received the money or how much was paid" and the case is "unresolved" and that "two years after charges were recommended in the museum heist, Crown counsel notified RCMP there wasn't enough evidence to lay charges."

Reward Poster

The "Head of a guard" (fragment of a low relief) is estimated to as old as 5th century BCE from Persepolis (Persia), the capital of the Achaemenid dynasty (558-330 BC).

Assyrian low relief Sandstone, 21 x 20.5 x 3 cm

A marble head dating from the Roman  Empire 20,2 x 13,3 x 8,5 cm

The second object, Head of a Man (Egypto-archaizing style) of yellow Numidian marble, is dated from the Roman Empire around 1st century A.D.

Neither of these objects was highlighted in the MMFA's museum guide.

In 1972, the Montreal Museum of Fine Arts was the site of Canada's largest art theft when three thieves stole 18 paintings, including a painting attributed to Rembrandt.  The theft remains unsolved after an aborted ransom attempt and 17 of the paintings are still missing.

Bronislaw Huberman with Albert Einstein  who was instrumental in raising funds to  start the orchestra./Orchestra of the Exiles

Ms. Straus: In 1995 I set down with my father to do an oral history about his life as a musical prodigy and what it was like to live in Vienna during the the 20s.  I was particularly interested to know if there was any intersection between the musical life and the visual arts, since it was such an interesting time in the arts. I also knew that he was Bronsilaw Huberman's protege and I wanted to know more about what it was like to be a "Wunderkind" and what exactly his interactions were with Huberman. My father told me about growing up poor but rich in talent which opened all kinds of doors for him.  He played in some of the most opulent homes in Vienna. There was indeed a direct link to the visual arts as both my father and his sisters would often play in the homes of the wealthiest Viennese families including the Bloch-Bauer family.  My father told me how Bronislaw Huberman was one of the most famous violinists of his time and very hands-on in my father's education -- sending him to Berlin at age 14 to study at the most famous music academies such as "Hochshule fur music" so that he would have a very rounded education.  At the same time, Huberman took care of finding my father a patron in Berlin to live with and arranged to pay for all the expenses through his personal banker.

The following year, my father passed away so it was very lucky for me to have this material to keep for future generations of my family.  In 2004, I was attending a conference in Dresden and decided to make a trip to Berlin to see if I could find any materials relating to my father's studies in Berlin.  I was so surprised to find so much material in the archives of the conservatory including letters from Huberman's banker as well as letters from my grandfather relating to my father's stay there. I connected with my father's younger sisters who were duo pianists, and for the first time I heard how Huberman had personally arranged for them to leave Vienna in 1939 when they had no hope of getting out.  I had never heard that story before and that was a real awakening for me. A few years later, I was visiting family in Israel and noticed that in the hall where the IPO plays there was no mention of Huberman at all or of the founding members so I went to the orchestra management.  In 2006, on the 70th anniversary of the founding of the orchestra, we dedicated a plaque to Huberman and all the founding musicians at a wonderful ceremony with Zubin Mehta and descendants of the original players.

Around the same time, I met by chance Joshua Bell who was riding on the NY subway carrying with him the Stradivarius that used to belong to Huberman.  The violin was stolen in 1936 when Huberman was playing at Carnegie Hall raising money for his orchestra.  The violin did not surface for 50 years when in 1986 the thief on his death bed confessed to his wife that he had stolen it. She reported it to the police and got a reward. The police turned the violin over to the insurance company who sold it through a well known violin dealer to Norbert Brainin the violinist of the Amadeus String Quartet, and eventually in 2004 Joshua Bell purchased it from Norbert.  I felt that this was a sign from heaven, and that it was up to me to remind the world who Huberman was and what he did to save so many musicians from certain death. First I produced a concert in Vienna with Joshua Bell and Jeremy Denk to commemorate Huberman and that led to the film.

Ms. Straus: First, I pitched the idea to Josh Aronson.  Then I helped in the research and made introductions in Israel to the General Manager of the Israel Philharmonic and many of the people who are featured in the film -- like the violin maker Amnon Weinstein; the composer Tzvi Avni who complied the Huberman archives with Huberman's secretary Ida Ibbeken after Huberman died in 1947;  Leon Botstein who told me that everything about Huberman interested him and he would be happy to help. Leon did a marvelous job in providing historical context and more, and last but not least my aunt Rosi Grunschlag who died  earlier this year who has an incredibly moving interview sort of in the "golden section" of the movie telling how Huberman helped them.

I helped in translations from Hebrew as well as giving advise about images and identifying people.  I found a not-for-profit entity with a mission compatible with the subject of the film who were able to offer tax deductible charitable deductions for contributions.  I contributed financially, as well as raised money from others, wrote letters asking for support, and spoke to anyone who would listen about the film.  For the last three years in addition to my "day" job, I was totally absorbed in the project.  This was a large project with a budget of over $1 million.  We started the film just when the (Bernie) Madoff scandal came out -- so raising money was incredibly difficult when so many Jewish foundations and funders who would have naturally supported such a project were not in a position to do so. So it is incredible that we were able to complete the film without going into a deficit.

Ms. Straus:  Josh Aronson the filmmaker, did a fabulous job in answering these questions.  When I started out to make this film it was going to be a small personal story, but Josh -- through his research and his creative mind -- saw the bigger picture and asked these questions and answered them very dramatically in the film.

Ms. Straus:  In Huberman’s case, the producers of the movie estimate he saved more than 1,000 lives. What made him different from the others who felt so powerless against a repressive government? I think that is the question that is most difficult to answer - why would someone at the height of his career dedicate himself totally to the plight of others when he could have gone to Switzerland and then to the US and continued with his career -- unlike ordinary people, there would have been little difficulty for him to relocate  particularly as early as 1933 -- but that is what makes him and Arturo Toscanini and Pablo Casals unique -- they had a broader world view and a conscious and they acted upon it!

This is about safety and risk management.  Fire and safety codes always ensure that, in the event of an emergency, all doors must release from the inside to allow someone inside during an emergency to exit to safety. The preservation of human life is more important than goods or money (even in a casino).

Without going into further detail, what they did was actually more of a takeoff on the scheme of "How to Steal a Million" [the 1966 movie starring Audrey Hepburn and Peter O'Toole] where the thieves took advantage of the weakness of a security system and the human element.  In this Rotterdam case, the human element was again the sanctity of life over the value of property. The perpetrator did not necessarily have to include a member of museum staff, but rather someone who had access to the building prior to this event.

You cannot change the default setting on the inside door releases in an emergency. As pointed out earlier by Ton Cremers, institutions need to make it harder for someone to get to what they are trying to protect. Building in physical delays such as walls and doors is like building a maze around a high value item "the cheese".

Security professionals assessing risk always determine how long it takes to breach the security measures, resolve the maze and return to safely exit the facility in a direct comparison to the primary responders. If the protocol calls for an alarm to be verified prior to the notification of the police, this delays the police response time, which is also predicated on their own law enforcement priorities.

I very much concur with Dr. Tom Flynn’s recent assessment that stolen art has “utility”. The power of “utility” in economic theory is not necessarily always measured in a cash value.

Instead all we have on the Rotterdam heist are a few seconds of grainy CCTV camera footage that might have been shot by Eisenstein on a bad day. So will someone please tell me the purpose of what Kunsthal director Emily Ansenk herself described as a “multi-million-euro high-tech...state-of-the-art security system” if all it can do is mimic out-takes from early Expressionist cinema? And the Oscar goes to....the CCTV camera companies! (for pulling off the greatest multi-million-dollar heist of all).

Robert Mang was almost a teetotaler who lived in Zwettel, 50 miles north of Vienna.  He was a security alarm engineer who, from another source, at his trial was so attractive (like some latter day Rudolph Valentino) to the women of Vienna that some of them sent him their knickers and house keys. He served a short sentence. The guard who turned off the alarm system when it was activated had recently married a Serbian lady. I thought her relatives might be interesting for the police to look at. The cops did a good job catching Mang.

In the Fall 2012 issue of The Journal of Art Crime, Catherine Sezgin reviews Anne-Marie O'Connor's The Lady in Gold: Extraordinary Tale of the Klimt Paintings (Knopf, 2012):

In 1907, Gustav Klimt finished the portrait of 24-year-old Adele Bloch-Bauer, the wife of a wealthy art patron who lived across the square from Vienna's Fine Art Academy.  In the same year, that same art school would reject Adolf Hitler's application for admission because he failed the drawing exam.  More than three decades later, these two events collided when a Nazi stole this portrait from the home of Ferdinand Bloch-Bauer, a Jew who had fled Europe's great cultural center when Austria united with Hitler's fascist regime.

In Lady in Gold, the Extraordinary Tale of the Klimt Paintings, journalist Anne-Marie O'Connor tells the story of Portrait of Adele Bloch-Bauer I, which would sell for $135 million to an American in 2007.  O'Connor first describes the relationship between Klimt, his Jewish art patrons, and the cultural environment in pre-Nazi Austria.  From the point of view of the Bloch-Bauer family we are told of the collaboration between Austria and the German Nazis to loot Jewish art collections.  The book concludes with the legal struggles of American attorney Randy Schoenberg to navigate the U. S. legal system and help Maria Altmann and the other surviving members of the Bloch-Bauer family to recovery four stolen Klimt paintings.  It's a story of how a legitimate government corrupted legislation to steal from, and murder, its own citizens.

Against the backdrop of the murder of 6 million Jews, restitution of stolen art may seem unimportant, especially as newspapers today sport headlines of Jewish families recovering and then selling artworks for millions of dollars.  Why is it so important that these paintings are returned to the families now? Weren't these issues of restitution settled decades ago when Allied forces discovered stolen art in the salt mines of Germany after the war? And why does the American legal system have to get involved in these cases, almost seven decades after armistice? Isn't this a metter for the government of Austria to decide? Lady in Gold answers these questions.

The Rotterdam-Rijnmond police in The Netherlands posted this surveillance feed of the break in at the Kunsthal on October 16 at around 3:15 am.


The police are asking any Kunsthal visitors who have footage of their visit to the exhibition to please come forward so that investigators can look for any similarities between the thieves pictured in this footage and possible visitors to the Kunsthal in the days leading up to the event.

The police also ask viewers of this footage to take a close look at the bags the thieves are carrying in this footage and to notify authorities if they have seen anyone carrying anything similar.

If you have, or if you have footage of your visit, please contact the Dutch police by calling  011 + 31 0800-6070 or contact the Criminal Intelligence Unit at 011 + 31 079-3458999.

This Dutch news show on the Kunsthal Rotterdam art theft is the one that generated tips that were turned over to the police.

Images include the robbed art gallery inside and out, the surrounding museum park area, and those of the Rotterdam Police spokesman.

Journalist Niels Rigter for Metronieuws.nl reported here online that the guards have said that thieves employed the flipper method ("flippermethode") to open the back door of the Kunthal Rotterdam to steal seven paintings on October 16.

De plegers van de miljoenenroof uit de Kunsthal in Rotterdam zijn het museum binnengekomen door de achterdeur met de zogeheten flippermethode te openen. Dat zeggen beveiligers van de Kunsthal. Het zou betekenen dat de deur van de Kunsthal in de nacht van maandag op dinsdag niet op het nachtslot heeft gestaan. Bij de flippermethode wordt een hard, buigzaam stuk plastic tussen deurpost en deur gestoken om de slotschoot weg te duwen. De deur gaat dan eenvoudig open. 

De ‘flippertheorie’ verklaart waarom aan of rond de Kunsthal geen braaksporen zijn aangetroffen. Dat de deur niet op het nachtslot stond, maakt hulp van binnenuit waarschijnlijk. 

In de nacht van maandag op dinsdag vond in de Kunsthal  een van de grootste kunstroven uit de Nederlandse geschiedenis plaats. Om kwart over drie kwamen de dieven binnen via de deur aan de achterkant. Ze konden zo doorlopen; een nachtwaker was er niet en rond de duurste werken was geen extra compartiment gebouwd. Een paar minuten later stonden de kunstrovers buiten hun buit in hun busje   te laden: zeven zeer waardevolle schilderijen van Picasso, Matisse, Monet, Gauguin, Meyer de Haan en Lucien Freud. De politie wil vooralsnog niet ingaan op de ‘flippertheorie’. De Kunsthal was donderdagavond onbereikbaar voor commentaar.

In 1972, a plastic tarp placed over a broken skylight disengaged the security alarm the night the Montreal Museum of Fine Arts was robbed (see Canada's largest art theft).

Investigation following the art theft at the Kunsthal gallery in Rotterdam has shown that the suspects entered through a door at the back of the building. They seized and made off with the paintings in a very short space of time. The collection and examination of camera footage is now in full swing, as is the rest of the criminal investigation. So far no images have been found which are suitable for publication.

Burglars stole seven art works from the Kunsthal at Westzeedijk in the course of the night between Monday and Tuesday. They forced their way into the building at about quarter past three in the morning and were outside again very soon after.

The alarm went off at the security company, whereupon police and security personnel launched an investigation. There were no visible signs of forced entry outside the premises. Nor was anyone present inside the building.

Security personnel only discovered the paintings were gone after they went inside the building.

Forensic detectives made a thorough investigation, carefully securing any clues and evidence both inside the Kunsthal and in the immediate vicinity. They were able to establish how the perpetrators gained access to the building without leaving any sign of forced entry.

The Kunsthal contacted the owner of the works in question. On Tuesday morning the Kunsthal submitted an official report to the police as soon as it was ascertained for certain which paintings were involved. The publication of images attracted world-wide attention to the robbery and the stolen paintings. An international alert was also issued for the pictures.

Apart from images from inside the Kunsthal itself, camera images of the immediate vicinity were also secured. All images are being studied carefully by the detectives. So far no camera images suitable for publication have been found.

The Dutch television programme 'Opsporing Verzocht' also drew attention to the case on Tuesday evening. Images of the stolen paintings were shown during the programme.

Thanks to all the media attention, dozens of tips were received and are being investigated for their usability.

The team spoke to various witnesses. All information is still welcome. The investigators are making a particular appeal to the visitors to the Kunsthal. Did you visit the Kunsthal last week and did you see or hear anything unusual while you were there? Did you take any photos or video pictures? If so you should contact the police on 0900-8844. If you would prefer to speak to the Criminal Information Unit call 079-3458999. We would also like to speak to you if you saw any suspicious vehicles or persons in the vicinity of the Kunsthal in the period immediately leading up to the art theft.