ARCA Trustee Erik Nemeth (www.culturalsecurity.org and www.artworldintel.com) has forwarded on a summary of his thoughtful panel presentation at the American Society of Criminology annual meeting. The presentation, "Cultural Intelligence: data sources on the motivation and means for trafficking" crystallizes I think the systemic nature of the illicit trade in antiquities, and the need for further rigorous examination of the trade across the relevant disciplines. His summary follows:

The annual multibillion-dollar illicit market in movable cultural property motivates looting in developing nations. As demonstrated from Latin America in the midst of the Cold War era to South-central Asia in the post-Cold War period, organized crime may take advantage of limited security in “source nations” by recruiting locals to loot. In African nations, the corruption extends into the public sector with bribes to customs officers and collusion with staff of cultural ministries. On a transnational level, the risk that revenues from trafficking may fund insurgencies and terrorist groups has alerted law enforcement agencies to the implications for international security. The degree of the security threat posed by looting ultimately depends on the market value of the artworks and the intersections with trafficking in weapons and narcotics. Quantitative analysis of the market value and mapping the trafficking networks illustrate the potential of specialized “art intelligence” to enable countermeasures to mitigate, and optimally forestall, threats to cultural identity.

The traditionally clandestine nature of the art market poses challenges to assessing looting and trafficking in developing nations. In the absence of direct information on transactions in ource nations,sales at auction provide a sense of the market value and trade volume of antiquities and primitive art. Auction houses openly publish results of auctions and enable access to sales archives through web sites. On-line access to sales archives creates a substantive pool of data on hammer prices from auctions around the world. Sales archives also contain detailed descriptions of the artworks. The description that accompanies an auction lot can identify the geographic origin of the artwork. Data mining of sales archives for hammer price and origin enables analysis of market value by source nation. The analysis assesses relative market value and, thereby, contributes to an assessment of relative risks of looting across developing nations.

Any threat of looting has serious implications for the cultural identity of local communities, but the market value that motivates looting has implications for the severity and extent of the threat. Large demand in market nations and high market value increases the scale of looting and the range of parties with vested interest. A large market for artworks from a particular source nation increases the likelihood that organized crime will invest in developing trafficking networks and in recruiting locals to loot. As the involvement of organized crime increases, the opportunities for corruption within government also increase. An assessment of the relative risk of looting informs policy on the protection of cultural patrimony. With an understanding of the magnitudes of risk facing different source nations, market nations can strategically focus resources to engage actors in the art market and local governments.

Kim Alderman, a Clinical Assistant Professor at the University of Wisconsin Law School and a student in ARCA’s Class of 2010 postgraduate program in International Art Crime Studies, presented at the Antiquities Trafficking panel at the American Society of Criminologists Conference in San Francisco in mid-November.

Alderman, who studied art history and archaeology at the University of Maryland at College Park, provided an abstract of her presentation on her blog, Cultural Property and Archaeology Law Blog, and we followed up via email with some questions of our own.

ARCA Blog: Do you believe that organized crime has fueled the illicit antiquities trade since the early 1960s?

Alderman: “Whether organized crime is connected to the illicit antiquities trade depends on how you define “organized crime.” The broad definition of organized crime is three or more people, engaged in a pattern of illegal conduct, for the purpose of obtaining material gains. If you use this definition, then it is correct to say that organized crime is involved in the illicit antiquities trade. From subsistence looters to tombaroli to smugglers, there are always people working in concert to excavate and move illicit antiquities. If you are talking only about mobsters or the mafia, then there is less evidence to support the alleged connection. As to the claim that the involvement began in the 1960s, I suspect this originated with allegations of the mafia’s entry into art theft during that decade, and was later extended by imprecise language to the illicit antiquities trade. There has certainly been increasingly organized subversion in the illicit antiquities trade since then, although whether the 1960s served as a temporal starting point for such organization remains to be seen.”

ARCA Blog: Is the illicit antiquities trade linked to money laundering, extortion, the drug and arms trades, terrorism and even slavery?

Alderman: “Claims that the illicit antiquities trade is connected with money laundering, extortion, the drug and arms trades, terrorism, and slavery, should be taken individually. The purchasing of illicit art and antiquities has long been a way to take cash gained from criminal activities and convert it to the ownership of goods, thereby concealing the source of the funds. Extortion would be more an issue for stolen artwork, and I have not observed a link between it and antiquities. As to terrorism, there are discrete instances of terrorist groups unearthing and exporting antiquities in their local regions, but these instances serve as indicators of a potential connection – not hard evidence. Finally, as to the alleged connection between illicit antiquities and the drug and arms trades or slavery, Eastern European mafias have been accused of trafficking in “everything from antiquities to humans.”

ARCA Blog: Thank you, Kim.

Readers can follow Kim Alderman at http://www.culturalpropertylaw.net.

By Catherine Schofield Sezgin

Last weekend ARCA's Director of Public and Institutional Relations, Colette Loll Marvin, lectured on "Curating Crime" to a group of students in the Arts Management program at the International Business School of Budapest.

Ms. Marvin spoke about several recent museum exhibitions dedicated to the subject of art crime, specifically forgery. Marvin has been conducting research for a documentary on the famed Hungarian forger Elmyr de Hory (1906-1976) who was arguably the most prolific forger of the twentieth century.

De Hory operated primarily in Europe and the United States for three decades and is alleged to have circulated hundreds, perhaps even thousands, of paintings into the art market, according to Marvin. Unable to find success in selling his own original works, Marvin said, De Hory turned his talents and Beaux Arts training towards the crafting of fake paintings in the style of Modigliani, Picasso, Matisse, Dufy, Vlamink and other Impressionist and Modernist masters.

“Fakes and forgeries were once the dirty little secret of the art world,” Marvin said. “No gallery, museum or auction house is entirely free from the embarrassment of a costly error of misattribution or faulty provenance. Duped museums can feel slightly vindicated, however, as there is a growing public fascination in these costly mistakes, as witnessed by the record crowds visiting exhibits dedicated to fakes, mistakes and misattributions.”

The latest exhibit, "Fakes, Forgeries and Mysteries" opened this weekend at the Detroit Institute of Arts in Detroit and examines 58 artworks from paintings to decorative arts in the museum's collection whose artist attribution and authenticity have changed since being donated or purchased by the institution.

Professor Jeff Taylor, an American art historian currently completing the doctoral program at Central European University on the subject of the historical evolution of the Hungarian art market, invited Marvin to speak to the class after being asked to serve as a Humanities advisor to her film project.

"Colette's presentation served as the ideal exclamation point to this section of the semester which had been focusing on the problems of the art market, particularly fakes, plunder, and restitution,” Taylor said. “I think the students got a full appreciation for how much these issues are being widely discussed, both in the many recent exhibitions which were shown, but also in terms of Colette's documentary project on Elmyr de Hory, and that seemed to generate a lot of interest among them in the ARCA Postgraduate program."

The Arts Management program at the International Business School of Budapest is a recently added program and boasts a curriculum designed to produce students that are well versed in the business aspects of the art market.

Ms. Marvin also gave a presentation to the undergraduate class about ARCA's Postgraduate Certificate in International Art Crime Studies.

ARCA’s courses include “Art Crime and Its History” by Noah Charney, founding director of ARCA; “Art in War” by Judge Arthur Tompkins of New Zealand; “Art Policing and Investigation” by Richard Ellis, former director of Scotland Yard Arts and Antiques Unit; and “Museums, Security, and Art Protection” taught in 2010 by Anthony Amore, Security Director of the Isabella Stewart Gardner Museum.

ARCA’s Postgraduate Program in International Art Crime and Cultural Heritage Protection Studies has taken place in Italy in the medieval town of Amelia in Umbria from June through August for the past two years and is accepting applications through January 3 for the 2011 program.

In addition, ARCA’s third annual International Art Crime Conference is scheduled for July 9th and 10 next summer in Amelia. Papers for the conference will be accepted in the spring.

Art Crime in Hungary

On November 5 1983, thieves robbed the Museum of Fine Arts in Budapest and stole paintings by Raphael (Esterhazy Madonna and Portrait of a Young Man); Giorgione (Self-portrait), Tintoretto (Portrait of a Gentleman and Portrait of a Gentlewoman), and Tiepolo (Madonna and the Saints and Rest on the Flight into Egypt). All of the works, including Raphael’s Esterhazy Madonna, also known as Virgin and Child with St. John the Baptist, were recovered two months later by the Italian Carabinieri in an abandoned Greek Monastery near Aigio in northeast Greece. Operation Budapest was a joint investigation between the Italian Carabinieri, the Hungarian police, and the Greek Police.

The Old Gallery of the Museum of Fine Arts in Budapest has a collection of 3,000 Old Master Paintings from the 13th to the 18th centuries, with more than 700 acquired from the Esterhazy estate, a noble family of the Austro-Hungarian Empire. Inadequate physical maintenance may have made the museum vulnerable to thieves. A visitor to the Budapest museum in the 1980s described the 1906 building housing the collection as “in a sorry state” with “various roofs leaking and many of its masterpieces draped in sheets of polythene to protect them when rain fell.” The museum had been bombed in World War II and the construction of an underground railway may have damaged the building’s structure.

According to the Commission for Art Recovery, about 20 percent of all Western art in Europe was looted during the war. During World War II, the Hungarian government, a Nazi ally, confiscated art owned by Jews. The Hungarian government participated in the 1998 Washington Conference on Holocaust-Era Assets and agreed to work to identify Nazi-era looted art and opening museum archives for provenance research. However, the Jewish Claims Conference and World Jewish Restitution Organization claims that Hungary has disregarded the principles and not returned art looted from Holocaust victims.

The family of Baron Mar Lipot Herzog, a wealthy patron of the arts, who lived in Budapest and died in 1934, has sought restitution from Hungary with no success, according to a recent article by Judy Dempsey in the New York Times.

Hungary to Sell Communist Relics

Artdaily.org today published an article by Pablo Gorondi of the Associated Press about an upcoming auction in Budapest of the sale of 230 communist-era relics, including a life-size bust of former Soviet dictator Vladimir Lenin.

by Catherine Schofield Sezgin

German forgers may have used the records of a long-dead Jewish art dealer as provenance for as many as 35 second-tier French and German expressionist paintings sold through auction houses in Cologne and London which may have defrauded art collectors of more than 15 million Euros over the past two decades.

The alleged forgery activities of a German couple and their extended family and friends are detailed in a report in Der Spiegel with additional analysis by Mark Durney at Art Theft Central in October. Although only one painting has been confirmed as a fake, according to Der Spiegel, all of the paintings from two fictitious collections that claim to have been purchased through the same art dealer in Germany in the 1920 are now suspect. Many of the paintings are stamped with a fraudulent sticker trying to identify the artworks as from the Galerie Flechtheim.

Provenance of these suspected paintings may have been lifted from sales and exhibition catalogues from a Dusseldorf art gallery owned by the Jewish art dealer Alfred Flechtheim who fled Nazi Germany when his business was confiscated in 1933. Der Spiegel reported that parts of his collection and documents from his business were lost. Flechtheim, who died in London in 1937, represented Pablo Picasso, George Braque, Paul Klee, George Grosz, and Max Beckmann and other painters in the 1920s who were later deemed by Nazi officials to have produced “degenerate art”. Galerie Alfred Flechtheim held exhibitions of works by André Durain, Juan Gris, Max Ernst, Paul Klee, and Paul Cézanne in 1929; and Edzard Dietz, August Renoir, Fernand Léger, Max Beckmann in 1928. A 1926 portrait of Alfred Flechtheim by Otto Dix hangs in the Neue Nationalgalerie, Staatliche Museen zu Berlin (see image above).

Flechtheim’s heirs have tired to recover about 100 paintings by artists such as Picasso, Juan Gris, Fernand Léger, and Vincent van Gogh from German and American museums. In July 2010, the Fleichtheim heirs claimed a portrait of the actress Tilla Durieux by Oskar Kokoschka from the Museum Ludwig in Cologne (Zeit Online, translated, “He Was His Own Best Client Client,” July 8, 2010). Flechtheim’s gallery was taken over by the Nazis in 1933. Alex Vömel, the new ‘owner’, sold the Durieux portrait from Flechtheim’s private collection in 1934 for a price below the 1931 insurance value, according to the heirs’ lawyer, who also claim that there’s no record that Flechtheim received any proceeds from the sale.

In another litigation news, the heirs of George Grosz are pursuing the restitution of paintings they claim Grosz left on consignment with Flechtheim before Grosz also fled Germany in 1933.

ARCA warmly invites those in the Bay area to join us for some free drinks, nibbles, and lively discussion about art crime and cultural heritage protection. This is an excellent opportunity to meet ARCA staff, volunteers, and experts and professionals in the field of art crime. We look forward to seeing you there!

For further information email Joni Fincham, Managing Director director@artcrime.info

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

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

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

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

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

But the police would not negotiate. A second ransom letter arrived, which read:

Still the police would not respond. A third ransom letter turned cheeky:

But while the police would not budge, they were no closer to identifying the thief. In 1965, however, a note arrived at the offices of the Daily Mirror newspaper with a luggage check ticket for the Birmingham rail station. The ticket yielded a surprising package at the Birmingham—the stolen Goya. It had been deposited by someone identifying himself as a “Mister Bloxham,” likely a reference to Oscar Wilde’s The Importance of Being Earnest, in which an infant is found in a handbag at a rail station luggage check. The painting had been recovered, handed over as a sign of good will by the thief, who realized that his demands, which he felt were entirely reasonable and noble, would not be met. But who was the thief?

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

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

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

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

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

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

Revisiting the “Cultural Plunder by the Einsatzstab Richsleiter Rosenberg: Database of Art Objects at the Jeu de Paume”

by Catherine Schofield Sezgin

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

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

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

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

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

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

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

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

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

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

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

http://artcrime.info/education.htm

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

The Wright Brothers missing Airplane patent

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

These insider thefts are a betrayal of one's profession, but also rob future generations of these important pieces of their past.  To see a truly staggering list of missing documents, look at this list of missing historical documents and items.

1. Elahe Izadi, National Archives agents raid home of Leslie Waffen, former archives department head, TBD, October 29, 2010, http://www.tbd.com/articles/2010/10/national-archives-agents-raid-home-of-leslie-waffen-former-archives-department-head-26544.html (last visited Nov 1, 2010).
2. Audit Shows Records At National Archives At Risk : NPR,  http://www.npr.org/templates/story/story.php?storyId=130844620 (last visited Nov 1, 2010).
3. U.S. GAO - National Archives and Records Administration: Oversight and Management Improvements Initiated, but More Action Needed, http://www.gao.gov/products/GAO-11-15 (last visited Nov 1, 2010).
4. Faye Fiore, Guardians of the nation's attic - Los Angeles Times, L.A. Times, August 8, 2010, http://articles.latimes.com/2010/aug/08/nation/la-na-treasure-hunters-nu-20100809 (last visited Nov 1, 2010).

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

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

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

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

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

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

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

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

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

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

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

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

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


BIBLIOGRAPHY:

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Further provenance research may provide answers to this mystery.

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

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

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

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

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

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

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

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

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

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

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

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

By Catherine Sezgin

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

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

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

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

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

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

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

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