June 30, 2012

Anthony Amore Discussing "Stealing Rembrandts" on "It's a Crime" Saturday afternoon on the radio

Anthony Amore, Security Director of the Isabella Stewart Gardner Museum and co-author of "Stealing Rembrandts: The Untold Stories of Notorious Art Heists", will be on "It's a Crime" on Saturday, June 30, at 1:00 p.m. The live radio show is hosted by Margaret McLean, an attorney and author of the legal thriller Under Fire (2011, Tor Forge McMillan). Here's a link to the program. "Stealing Rembrandts", written by Amore and journalist Tom Mashberg, will be released in paperback on July 3.

June 21, 2012

UNESCO promotes public awareness of illicit trafficking of cultural property with 2011 Documentary "Stealing the Past"

by Catherine Schofield Sezgin, ARCA Blog Editor

Here’s a link to the website and video for “Stealing the Past”, co-produced by dev.tv; One Planet Pictures; and the Swiss Confederation.  This English language documentary is intended to create public awareness about the illicit trafficking of cultural property worldwide.  This program spotlights Italy, Colombia and the United Kingdom to see ‘what police, museums and auction houses are doing to tackle’ looting of heritage.

"Stealing the Past" has Gihane Zaki, Eyptian Ministry of Culture, talking about how people 'rallied' to protect the collection of the Museum of Antiquities in Cairo during the Arab Spring Uprising in early 2011.  "When they heard in the media that the museum was looted, they went directly there and it was really fantastic to see all of the young people gather around the museum to prevent more looting." The museum reported only 18 items stolen, according to the documentary.

From Iraq, up to 7,000 ancient objects were "still at large" from the archaeological museum.  An art dealer in California was found last year trying to sell 25 of them, according to the film's narrator.

Others included in this program: Karl-Heinz Kind, Interpol Criminal Organisations & Drugs Unit; Jane Levine, Director of Compliance for Sotheby's; Irena Bokova, Director General, UNESCO; Rita Cosentino, Director, Etruscan National Museum; Sir Mark Jones, Director, Victoria and Albert Museum; Colonel Raffaele Mancino of the Carabinieri Heritage Unit; Diego Herrera, Director General, Colombian Institute of Anthropology; Captain Erica Correa Bustos, Colombian National Police; Carlos Emilio Piazzini, Deputy Director, Colombian Institute of Anthropology; Dr. Andrew Richardson, Canterbury Archaeological Trust; Mark Harrison, Chief Superintendent, Kent Police; Maurice Worsley, Kent Amateur Metal Detecting Support Unit;

“Stealing the Past” includes a statement from the March 2011 commemoration of the 40th anniversary of the 1970 Convention.

"One-hundred twenty countries have signed a convention which has no teeth,” Irena Bokova, Director General, UNESCO told the participants at the Paris meeting.  “This is one of the specific conventions which doesn't have a specific enforcing mechanism."
Other highlights:

UNESCO works closely with INTERPOL, the international policing agency that maintains a database of stolen items totaling around 40,000 as of last year. According to UNESCO, Italy is 'home' to 60% of the world's art treasures. The Carabinieri Heritage Unit has a stolen art database of more than 1.5 million objects. "Cerveteri is known throughout the world for the activity of illegal excavation," said Rita Cosentino, Director of the Etruscan National Museum. "These activities have been devastating for a site like Cerveteri." The Carabinieri conduct frequent investigations into the area of Cerveteri aimed at finding illegal excavations, finding the thieves, and seizing any stolen objects, according to the documentary's narrator. The crew was 'given permission to follow one such operation' of 'ten officers, four cars, and four horses' with a helicopter surveying the targeted area from above for 'illegal excavations taking place'. When the road runs out, the horses are at an advantage over 'rough terrain' in the event of a chase. A Carabinieri officer climbs into a looted tomb and finds a 3rd century BC cup. "There are sporadic incidents," Cosentino says. "But the majority these days are done by amateurs. On the whole, the phenomenon of looting, thanks to the Carabinieri, has practically been defeated."

“The threats we need to combat are those criminal offences that pose a danger to Italian cultural heritage,” says Colonel Raffaele Mancino of the Carabinieri Heritage Unit. “From theft, to robbery, to vandalism. To support our work we have a number of legislative tools for the safeguarding of cultural goods and above all to combat the illicit trafficking of cultural goods. In recent years criminal organizations at the international level have become interested in this traffic as a way of laundering money from other criminal activities. We have found Italian artworks all over the world. But I have to say that with high-level government collaboration we have been able to bring back to Italy thousands and thousands of works of art.”

From inside the Carabinieri Heritage Units warehouse, Colonel Mancino points out a headless statue of Zeus stolen some years ago from the Norwegian Institute of Culture in Rome and a Greek-style vase intercepted by custom officials at an airport.

The Colombian Ministry of Culture estimates that 10,000 archaeological treasures are smuggled out of the country every year and less than 1% of these artworks are recovered. In 2007, the Colombian police created a special unit to deal with the illegal trafficking of the country’s heritage. The unit works in collaboration with the Institute of Anthropology. It has three offices.

Metal detecting in the UK has turned into a ‘thriving’ hobby (as has ‘night hawking’ the term for illegally using metal detectors at night on archaeological sites). The British government is willing to purchase ancient items found in the ground. “There is more political will on the part of the governments to stop this illicit trade,” Irena Bokova said in the television show.

June 20, 2012

Wednesday, June 20, 2012 - , No comments

UNESCO'S Headquarters in Paris Hosts Second Meeting of States Parties to the 1970 Convention (June 20 & 21)

UNESCO'S Picasso Mural "The Fall of Icarus" 1958
by Catherine Sezgin, ARCA Blog Editor

UNESCO Headquarters in Paris is hosting the Second Meeting of States Parties to the 1970 Convention today and tomorrow to optimize the international agreement's "implementation, appraise its effectiveness with particular regard to new trends in trafficking in cultural property, and formulate strategies geared primarily to improve its application".

This meeting is a follow-up to the March 2011 meeting in Paris which commemorated the 40th anniversary of the legal instrument designed to promote international cooperation to stopping the illicit looting of archaeological sites by limited the flow of ancient objects across borders.  The ARCA blog covered the 2011 event here; Mexicans and Canadians attend; Mexico's plea; Turkey's statement; and the speakers including Jane Levine of Sotheby's.

"The meeting will examine in depth the status of this indispensable legal instrument in the fight against the illicit traffic of cultural property and its relevance to the needs of the international community," writes UNESCO.

The proposed agenda includes a 2007-2011 analysis of the implementation of the 1970 Convention by States Parties; regional reports on the implementation and the evolution of the art market at the regional level; and proposals concerning follow-up on the implementation of the 1970 Convention.

From 2007 to 2012, 12 countries signed  the 1970 UNESCO Convention bringing the total number to 122 states which have ratified the treaty on the Means of Prohibiting and Preventing the Illicit Import, Export and Transfer of Ownership of Cultural Property.  UNESCO and its partners created "legal, practical and awareness-raising tools" (Report of the Secretariat on its Activities) to facilitate and implementation of the 1970 Convention: 1) UNESCO's Database of National Cultural Heritage Laws; 2) basic measures concerning cultural items offered for sale on the Internet (proposed by INTERPOL and ICOM; 3) model export certificate for cultural objects developed jointly by the UNESCO and World Customs Organizations; 4) the publication of "Witnesses to History - Documents and writings on the return of cultural objects; 5) public awareness video materials and co-production of a documentary "Stealing the Past"; 6) continuing distance education (e-patrimoines.org) for French-speaking countries; 7) model provisions on state ownership of undiscovered cultural objects; and 8) cultural heritage protection handbook No. 6 securing religious heritage.  Training workshops have been held regionally.

Five members of the European region who have not yet signed the 1970 convention (Austria, Ireland, Latvia, Luxembourg, Malta and Monaco) will be targeted by UNESCO for 'awareness-raising, information and training actions in conjunction with the authorities of these countries and art market stakeholders where relevant (UNESCO).

June 19, 2012

Tuesday, June 19, 2012 - , No comments

Opening a new classical art museum in the post-1970 Convention Era

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

Last April British business Christian Levett opened a museum to display the more than 700 pieces of art and antiquties he has purchased over the past seven years, reports Dayla Alberge for The Guardian.  The article does not refer to the collecting history of these ancient Roman, Greek and Egyptian objects. Compare this to tomorrow's opening of the Second Meeting of States Parties to the 1970 Convention, which more than 40 years ago was designed to fight against the illicit traffic of cultural property.  How are ancient artefacts marketed, sold and displayed in this post-1970 Convention era?

The Mougins Museum of Classic Art ("Musee d'art classique de Mougins") is located northeast of Cannes in the South of France.  Its website contains images of the objects but no reference to the collecting history.

Levett is the owner of the archaeology magazine Minerva.  Last November he received the Ashmolean Museum Fellowship Award in Oxford.  One of the rooms in the Ashmoleans new Egyptian galleries is named after Mr. Levett and his family.

Alberge describes Levett's Mougin collection as 'ranging from Egyptian reliefs to masterpieces by Rubens and Picasso" of 'approximately 700 works spanning 5,000 years' with such 'jewels' as 'exquisite 1st-century Roman statues of Hadrian and the empress Domitia'.

Dr. David Gill, author of the blog Looting Matters, wrote more than a year ago about the history of a Greek Apulian hydria. Dr. Gill reports that Levett/Mougins Museum of Classical Art purchased some objects from the Royal-Athena Galleries and that some of the objects were from the collection of Patricia Kluge (see Dr. Gill's comments on an article by Italian journalist Fabio Isman).

Also a year ago, PHDIVA blogger Dorothy King wrote that she understands that "the Museum has a strict policy of 20 to 25 years' provenance for lesser items and 40+ years' provenance for more important antiquities."

If any of our readers are in the South of France this summer, maybe they would report back on the ARCA blog as to whether or not the museum provides additional information to visitors about the history of the objects on display.

Book Review (Part III): Anne-Marie O'Connor's "Lady in Gold: The Extraordinary Tale of Gustav Klimt's Masterpiece, Portrait of Adele Bloch-Baur

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


In June, 1908, Klimt unveiled his gold portrait of the 26-year-old Adele, making her an ‘instant celebrity’ (O’Connor):

‘Klimt embedded Adele in a luminous field of real gold leaf, giving her the appearance of a religious icon, which art historians would compare to the mosaic portrait of Empress Theodora in Ravenna.’

Three years later, a syphilis-ridden Klimt visits the Bloch-Bauer castle in Czechloslovakia to work on a second portrait of Adele that he shows in 1912:

 ‘It was a very different work.  Her expression was mature, direct, and anything but seductive.  This was an older Adele, with world-weary eyes and cigarette-stained teeth, a painting some would call evidence of the end of the affair.’ (O’Connor)

Adele and her husband would also own four Klimt landscapes, including the 1912 “Apple Tree”.

In 1913, Hitler left Vienna.  The following year, an anarchist shot the Archduke Franz Ferdinand outside of his residence at the Belvedere Palace, a random act that would lead to The Great War, and the death of millions of young men.

Klimt dies of Spanish influenza in 1918 at the age of fifty-five, a few months before Armistice Day which reduces the Habsburg’s empire from 60 million to a tenth of that population and squeezed into a debt-ridden new state.

Until Adele’s death of meningitis in her early 40s, she lives a prominent cultural life filled with intellectuals, Viennese composers and artists.  In 1923, Adele wrote in a short will: “I ask my husband after his death, to leave my two portraits and the four landscapes by Gustav Klimt to the Austrian Gallery in Vienna.” (O’Connor) In another strange parallel, it is the same year Hitler writes “Mein Kampf (My Struggle)”, ‘the bestseller he wrote from prison after his failed uprising in 1923’ (O’Connor).

Within 15 years, when Ferdinand Bloch-Bauer flees Austria to his summer home in Czechloslovakia prior to the unification of Germany and Austria, the Vienna Adele knew is unrecognizable.  Members of the extended family are arrested, jailed and tortured until valuable assets are signed over to the Nazi government.  Relatives pay a “flight tax” to escape to Canada ahead of deportation to concentration camps.  Ferdinand Bloch-Bauer is accused of financial crimes, his assets are ‘illegally taxed in Vienna and his entire estate was confiscated’ as he will write in his will in 1942.  Ferdinand dies in November of 1945 in Zurich.  He was unable to recovery any of his property.  His estate is left to three of his nieces and nephews, including 25% to Maria Altmann who will lead the family’s fight for the legal return of the stolen Klimt paintings.

After the war, as some say, many Nazis exchanged their uniforms for suits and went to work to rebuilding Austria.  New legislation discouraged Jews from returning to reclaim stolen property.  Export licenses for ‘masterpieces’ were withheld, Jewish owners had to pay to get what was left of their businesses.  O’Connor describes how Nazis in plainclothes entered Maria Altmann’s home, took her valuables, and imprisoned her husband at the infamous concentration camp, Dachau, until the family completed the paperwork required to Aryanize their property and businesses.

Maria, her husband Fritz, and other family members escape the Nazis and rebuild their lives, frustrated that the Bloch-Bauer Klimt paintings hang at Belvedere Palace with no mention of their Jewish patronage.  Then the District Attorney of New York City impounds a painting borrowed for an exhibit at The Metropolitan Museum of Art from an Austrian Art Institution (see review of the film “Portrait of Wally”).  Maria Altmann, now a widow in her 80s and living in Los Angeles, contacts “Randy” the lawyer son of a family friend.  Randal Schoenberg spends years beating the odds with legal arguments, working his way into arbitration with the Austrian government who eventually agrees to return to the paintings to the family.  O’Connor explains why Schoenberg was successful, how Maria Altmann helped the case, and why the family ended up selling the paintings.  It’s a story that will hopefully encourage more Jewish families to pursue their own claims for looted art.

June 18, 2012

Book Review (Part II): Anne-Marie O'Connor's "Lady in Gold: The Extraordinary Tale of Gustav Klimt's Masterpiece, Portrait of Adele Bloch-Bauer

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


In 1898, 17-year-old Adele, the daughter of Viennese banker Moritz Bauer, meets her future husband Ferdinand Bloch when her older sister Therese marries Ferdinand’s younger brother.  A few months later, an anarchist murders the free-spirited Empress Elisabeth, much admired by most of the Hapsburgs’ Austro-Hungarian Empire for her love of horses and her reluctance to participate in royal court politics.  An era of stability is ending.  A middle-aged Gustav Klimt, who is about to alienate his government sponsors, opens a ‘palace dedicated to Art Nouveau on the Ringstrasse’ for a group dubbed the Secessionists who wrote above the entrance “to every age its art; to art its freedom”.

A year later, Adele marries Ferdinand, a man twice her age but not the ladies’ man Klimt is reputed to be, at the same time Sigmund Freud publishes “The Interpretation of Dreams”, ‘his anatomy of the unconscious impulses driving individuals and society’ (O’Connor).

The next year Klimt, a favored court painter, shows the first of three ceiling murals for the University of Vienna, failing to please the authorities in the next few years with his decade portrayals on the themes of Philosophy, Medicine, and Jurisprudence.  ‘Jewish families were assimilating in Vienna through art and culture’, as characterized by writer Karl Kraus.  It was these Jewish patrons who financially support Klimt when the Ministry of Culture rejects Klimt for a professorship at the Academy of Fine Arts.

Although Klimt is not commissioned to paint Adele’s portrait until 1903, his 1901 portrait of Judith ‘bears an almost photographic resemblance to Adele’ (O’Connor), leading to support that Klimt may have known Adele earlier and may have had an intimate relationship with her.  Klimt’s Judith is one of the masterpieces highlighted at Austria’s national art collection at the Belvedere Palace.  ‘A Klimt commission at the time cost 4,000 crowns, a quarter of the price of a well-appointed country villa’ (O’Connor):

‘Klimt portrayed women as individuals, without the presence of a husband, father, or children to suggest their domestic role…. They soon gained the reputation of having an affair with the master who was so infamous with his amours.”

A few months after agreeing to the Bloch-Bauer portrait, Klimt traveled to Ravenna to study the sixth-century mosaics ‘the greatest legacies of the Byzantine art outside Constantinople’ (O’Connor), which include portraits of the childless and powerful Empress Theodora, courtesan and wife of Justinian.  The mosaics include the use of gold tiles, the material Klimt grew up studying at the workshop of his father, an engraver who worked on the city’s monuments.  Upon Klimt’s return to his studio in Vienna, he began sketching another childless woman, the restless, ambitious and intelligent Adele Bloch-Bauer.  Klimt’s reputation for seducing many women and Adele’s unromantic marriage had led to rumors of a sexual relationship between artist and subject, according to O’Connor’s interviews half a century later with Adele’s niece, Maria Altmann:

“So when Adele went to Klimt’s studio that winter, she faced the possibility of failure as a woman.  No one ever believed Adele was in love with Ferdinand.  But she was expected to feel lucky, or at least content.  Instead, she struggled with sobering disappointment.’ ‘Klimt made endless sketches of Adele.’ ‘He would make more than a hundred studies of Adele.’

Klimt painted Portrait of Adele Bloch-Bauer I from 1904 to 1907.  He also painted Danae and The Kiss (both now at the Belvedere) in 1907, the same year struggling artist Adolf Hitler moves to Vienna and lives in a ‘hostel financed with large donations from Baron Nathaniel Rothschild and the Gutmanns’ (O’Connor).  While only a Jewish owner of a frame and window store, Samuel Morgenstern, purchased Hitler’s drawings and watercolors, the artist became ‘fascinated’ by ‘the anti-Semitic rhetoric of Karl Lueger [Vienna’s elected mayor] … who was able to focus popular discontent on the liberal Jewish intelligentsia’ (O’Connor).

Part Three continues tomorrow.

June 17, 2012

Book Review (Part I): Anne-Marie O'Connor's "Lady in Gold: The Extraordinary Tale of Gustav Klimt's Masterpiece, Portrait of Adele Bloch-Bauer

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

In 1907 prosperous Vienna, the great cultural center of Europe, two events happened which would not collide for another three decades.  Gustav Klimt would fulfill a commission to paint the portrait of 24-year-old Adele Bloch-Bauer, who lived across the square from Vienna’s Fine Art Academy, the art school which would in that same year reject Adolf Hitler’s for admission because he failed the drawing exam.

In Lady in Gold, the Extraordinary Tale of the Klimt paintings, journalist Anne-Marie O’Connor tells the extraordinary story of The 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 is 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 to help Maria Altmann and the other surviving members of the Bloch-Bauer family to recover four stolen Klimt paintings.  It’s a story of how a legitimate government corrupted legislation to steal from and murder its own citizens.

Within a decade, the Nazis succeeded in destroying the Jewish community Austrian-Hungarian Emperor Franz Josef (ruled from 1848-1916) created in Vienna by providing citizenship rights to European Jews in the 19th century – offering them a sanctuary from discrimination and persecution that stretched to the hinterlands of Russia.  The Jewish population in Vienna rapidly increased from 6,000 to more than 200,000 in less than 40 years, creating dissention in the anti-Semitic mostly Roman Catholic population.  Vienna, against the wishes of Franz Joseph, elected an anti-Semitic mayor for two decades who served in effect as a political mentor for Hitler.  After the Second World War, less Jews lived in Austria than had a century ago and they had no intention of returning to a country that treated them less favorably than its population of horses.

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 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 matter for the government of Austria to decide? Lady in Gold answers these questions.

Vienna at the turn of the 20th century was hedonistic.  In 1889, the Crown Prince shot his teenage mistress then himself in 1889.  The Emperor’s mistress was a stage actress.  In 1897, American writer Mark Twain publicly lectured about the virulent anti-Semitism palpable in the Vienna, the city rebuilding itself after successfully defeating Ottoman invaders a half century earlier.  The old fortress walls came down and the Ringstrasse, a series of boulevards encircling the center of Vienna arose, providing an opportunity for Vienna’s nuveau riche, many of them Jewish, to celebrate their financial and industrial wealth with monumental mansions and beautiful decorative arts.  Even statues fronting public buildings glisten with gold.

Part Two continues tomorrow.

June 16, 2012

Stonehill College's "The World of Art and the Fine Art of Crime" Symposium has added seats

Retired FBI Agent Virginia Curry, who will co-teach with Dick Ellis "The World of Art and the Fine Art of Crime" symposium at Stonehill College this summer, would like to inform interested students that two seat have been added to the program.

"It has come to our attention that spam filters some emails failed to accept our response emails," Curry wrote in an email to the ARCA blog.  "In order to address the inquiries which we have received after the close of registration, we have added two additional seats to this very special program, on a first come, first serve basis."

The Stonehill College Symposium runs from July 30 to August 3, 2012.  Details may be accessed on the website: www.artcrimesymposium.com.

June 15, 2012

Reviewing two stolen Corot paintings and updating the catalogue raisonné of Jean-Baptiste-Camille Corot

Corot's "The Dreamer"/MMFA
by Catherine Schofield Sezgin, ARCA Blog Editor-in-Chief

Theft and authenticity intertwined in the case of the 1972 robbery of the Montreal Museum of Fine Arts.  In the years prior to the break-in, museum curators had been examining the collection and questions of authenticity had been left in the archives' files.  A recent article in the June issue of ARTnews about the authenticity of paintings by Jean-Baptiste-Camille Corot (1796-1875) sent me back to my notes on two Corot oil paintings stolen in 1972 from the Montreal Museum of Fine Arts, the largest art theft in Canada.  What kind of research is available to study the provenance of two missing Corot paintings?

Two oil paintings by Corot, "La rêveuse à la fontaine/The Dreamer at the Fountain" and "Jeune fille accoudée sur le bras gauche/Young Woman Resting Her Head in Her Left Hand), had both completed in the 1860s and donated a century later to the Quebec art gallery.

The museum's archives have very little information about the medium-sized paintings removed four decades ago by three thieves who entered the MMFA through a unsecured skylight on Labor Day Weekend and stole 18 paintings and 39 decorative art objects.

"The Dreamer", with its right corner signature of "COROT", was believed to have been painted between 1855-1863.  The museum received the painting from an anonymous donor in memory of Mr. and Mrs. William F. Angus (steel foundry executive).  In a 1969 press release, prepared for the exhibition From Daumier to Roualt, Bill Bantey -- a notorious journalist and the director of public relations for the museum -- noted that the painting 'was virtually unknown as it had been "lost" to scholarly knowledge for over 60 years in a private Montreal collection'.  The other stolen Corot painting, "Young Woman Resting" was a donation in 1963 from the estate of Miss Olive Hosmer, daughter of 'multi-millionaire financier Charles S. Hosmer'.  Miss Hosmer also bequeathed Jean-François Millet's signed portrait of his first wife (Portrait of Madame Millet), also taken on September 4, 1972.

Corot's "Young Woman Resting"
The collection at Montreal's premier art gallery had been built from donations from wealthy Anglo families that had prospered from the construction of Canada's transcontinental railroad and trading from the port of Montreal.  During the late 19th century and early 20th, many art dealers had offered paintings to Montreal collectors before approaching buyers in New York City.  The MMFA published a book by George-Hébert Germain, A City's Museum: A History of the Montreal Museum of Fine Arts, which chronicles the growth of the art gallery founded in 1860.  (Journalist and art historian Cynthia Saltzman tells of how American collectors bought up European masterpieces a century ago in her book, Old Masters, New World).

Laurie Hurwitz, writing for ARTnews, 'If It Doesn't Dance, It's Not Corot', tells of how 'a family steeped in Corot uses connoisseurship and instinct to distinguish the real paintings from copies and fakes'.  Hurwitz's article features the two-decades long work of Corot expert, Martin Dieterle, and his stepdaughter, Claire Lebeau, to create a database of authentic and fake paintings by the Barbizon School painter.  Alfred Robaut's four volume catalogue raisonné of Corot's work published in 1905 (you can read it online through the Getty Research Portal) identified 2,460 paintings.  A supplement published in 1948 added 100 canvases.  According to Dieterle, the notoriously generous artist had gifted numerous canvases to friends -- and those works had little documentation.  Dieterle's connection to Corot goes back to his great-great-grandfather who painted with the artist on the Normandy coast.  Other paintings not inventoried by Robaut had been those sold early on out of Corot's atelier "so it is impossible for Robaut to have known about them," Hurwitz quoted Dieterle.  According to Dieterle, most copies were executed during the artists' lifetime "thus eliminating the need for forensic authentication." Dieterle and Lebeau are preparing the sixth supplement to the artist's catalogue raisonné.

Hurwitz's article is available in the June issue of ARTnews.