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October 5, 2012

Friday, October 05, 2012 - ,,, 1 comment

Intriguing Headlines Tout Second Mona Lisa But What Do the Experts Opine?

Isleworth Mona Lisa (Wiki)
'La Joconde' (1503-1506) has mostly hung in the Louvre (INV. 779) since Francois I acquired it in 1518.  Last week The Mona Lisa Foundation reintroduced the 'Isleworth Mona Lisa' which had not been seen in public for more than 40 years and declared that it was an earlier unfinished portrait of Lisa Gherardini del Giocondo by da Vinci.

Jamie Keaton for the Associated Press (published online here in Business Week) reported on the unveiling of the Isleworth Mona Lisa in Geneva on September 28.  Keaton points out the Alessandro Vezzosi (see below) 'declined to line up behind the foundation's claim that it was truly a "Mona Lisa" predecessor painted by da Vinci.  Here, on the Museo Ideale Leonardo da Vinci's website, Professor Vezzosi clarifies that research on  the "Isleworth Mona Lisa" will continue.

The Mona Lisa Foundation, a non-profit organization based in Zurich, has on its website a 22-minute video that walks the viewer through its claim, using historical documentation (including writings of 16th century art historian Giorgio Vasari), connoisseurship, critical comparisons and physical and scientific examinations.  Participants in the video include Professor Alessandro Vezzosi, Director of the Museo Ideale Leonardo da Vinci; Professor John F. Asmus, Research Physicist at the University of California in San Diego; Stanley B. Feldman, and art historian and principal author of "Mona Lisa - Leonardo's Earlier Version".  The video asks if it is possible that there was another Mona Lisa and if so, what could have happened to it? It is claimed that Giorgio Vasari and Agostino Vespucci mention a painting left unfinished.  In the early 20th century, Hugh Blaker, curator of The Holburne Museum  in Bath, believed in the two Mona Lisa painting theory and spent a decade looking for the unfinished version until he found it "in the Somerset home of an English nobleman" "who's family had owned the painting for nearly 150 years."  Blaker brought it to his London studio in Isleworth, then shipped it to the United States where it hung in the private offices of the Boston Museum of Fine Arts, according to the video.  Then in 1922, Blaker sent the Isleworth Mona Lisa to Italy for the opinion of experts there.  In 1926, Baker's stepfather, John Eyre, published "The Two Mona Lisas."  Henry F. Pulitzer, over a period of 26 years, liquidated his Kensington estate and part of his art collection to purchase the Isleworth Mona Lisa.  In 1979, after Pulitzer's death, the painting was locked up in a Swiss Bank vault "where it would remain for more than four decades."  "Can science at least succeed where connoisseurship has failed [in establishing the painting's authenticity]?" In 2004, the Isleworth Mona Lisa was removed from its security vault and "entrusted to world renowned art auctioneer David Feldman" (Vice President of the Mona Lisa Foundation).  "Over the next 12 years, the painting went through every test" including examination by Professor Asmus who has also examined the Louvre Mona Lisa who saying "Leonardo's hand" is evident in some aspects of the Isleworth Mona Lisa.

In ABC New's "Second Mona Lisa Unveiled for First Time in 40 Years", Mathew Rosenbaum quotes Martin Kemp, Oxford University professor and da Vinci expert, as proclaiming the Isleworth Mona Lisa a "well-made early copy".  [Professor Kemp outlines his opinion in more detail on his blog here where he refutes the 'evidence' of a second Mona Lisa and identifies the poor qualities of the painting: "Everything points to the Isleworth painting being a copy.  There is a comparable copy -- island and all -- in the National Museum in Oslo."]

On ABC's Good Morning America and World News segment, Alexander Nagel, Professor of Fine Arts for NYU, says that the Isleworth Mona Lisa is "suspect" as it is painted on canvas and Leonardo painted on wood.

"A Second Mona Lisa? We've known about it for 100 Years" is the headline for the blog post by Joe Medeiros, director of the documentary, "The Missing Piece: Vincenzo Peruggia and the Unthinkable Theft of the Mona Lisa".  This painting is nothing new, according to Medeiros and reprints the article from The New York Times on February 5, 1914: Another Mona Lisa Found in London? Expert Accepts It as a Version Painted by Leonardo "In No Sense A Copy".  According to this article, a version of the Mona Lisa painting turned up in the possession of a Mr. Eyre, an author and novelist living in Isleworth.  P. G. Konody, a Special Correspondence for The New York Times, writes that the Isleworth Mona Lisa is 'of such superb quality that it more than holds its own when compared to the much restored and repainted Louvre masterpiece':
But there are more potent reasons to attach the greatest importance to the new discovery.  There is, in the collection of old master drawings at the Louvre an original pen drawing by Raphael, which is reproduced in Muntz's great work on Leonardo, and which is generally admitted to be a memory sketch by Raphael of Leonardo's "Mona Lisa."  Now this memory sketch is framed at both sides by two columns of which no trace is to be found in the Paris "Mona Lisa." These columns appear in the identical place in the Isleworth picture and are of immense value to the harmonious balance of the composition. 
In the notice sent out to the press it is stated that these columns are mentioned by Vasari, which is as little in accordance with facts as most of the other statements made.  Thus, one of the points quoted in favor of the authenticity of the picture is one of Leonardo's letters to Marshal de Chaumont.  In this letter occurs the passage: "E portar con mecho due quadri di due Notro Donne di varie grandezze le qual son fatte pel cristianissimo notro re."  While most art historians have misread this to mean that Leonardo took with him "two pictures of Our Lady, of different sizes," the writer of the widely circulated notice says that the existence of two versions of the "Mona Lisa" is proved by Leonardo himself referring to two portraits.  A literal translation of the quoted passage would however run as follows: "And take with me two portraits of two of our ladies, of different sizes, which have been painted for our most Christian King", the letter thus reflecting clearly to two different ladies and not to two versions of the same. 
However, no specious arguments are needed for the Isleworth picture, the quality of which may speak for itself.  And a close investigation of the picture leaves the firm conviction that, though not altogether from the hand of Leonardo da Vinci himself, it emanates most certainly from his studio and was very largely worked up by the master himself.  The hands, with their careful and somewhat hard drawing and terra cotta coloring, suggest at once the name of Leonardo's pupil, Marco d'Oggionno, whereas the inimitably soft and lovely painting of the head and bust, the exquisite subtlety of the expression, the golden glow of the general coloring, can be due only to Leonardo.  The face shows none of the defects of the Louvre picture, which are probably due to clumsy repainting. 
The present owner of the picture acquired his treasure only about a year ago.  He found it hidden in a Somerset mansion where it had been for a century and a half, and whither it had been brought from Italy.
It's an intriguing subject involving a genius and a famous painting that grabbed headlines a century ago and continues to this day.

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

Friday, October 05, 2012 - ,,,, No comments

"Rembrandt" painting seized by Croydon police four months ago declared a fake (Scotland Yard confirmed to Croydon Advertiser)

Reporter Gareth Davies, in an exclusive article, reported the arrest of a businessman 'in possesion of what is believed to be a stolen Rembrandt painting' in June (This Croydon Today, UK, 'Stolen Rembrandt' painting seized in Croydon police raid, June 22, 2012):
The oil on canvas, believed to be worth more than £2 million, was recovered during a special police operation in Croydon High Street on Monday last week. A man in his sixties was arrested and taken to Croydon Police Station. Scotland Yard said the arrest was part of an ongoing Proceeds of Crime Act investigation by officers from the Met's specialist crime directorate. Detectives refused to comment on whether a painting by Dutch master Rembrandt Harmenszoon van Rijn was among the items seized during the operation. But a source told the Advertiser: "The way the officers were handling the painting and keeping it safe, they clearly believed it was a Rembrandt." It is understood the painting has been sent away to experts to be authenticated. The arrested businessman, who cannot be identified for legal reasons, lives in Surrey.
Tom Gardner for the Daily Mail asked: "Has 'stolen Rembrandt worth £2million' been found in CROYDON? Businessman arrested after police raid as art experts try to verify painting" (June 22, 2012):
Police were seen treating the potentially precious object with extreme caution as they removed the work from the building in south London following the raid on Monday June 11. Now experts have been called in to examine the work of art to establish if the work recovered, really is a Rembrandt masterpiece. Scotland Yard, who are being tight-lipped about which one of the 205 currently missing works by the Dutch master, also arrested a businessman in his sixties. Detectives from the Metropolitan Police's specialist crime directorate made the discovery during a long-running investigation aimed at recovering assets from criminals.
Gardner interviewed Dick Ellis, an ARCA Trustee and lecturer:
Security expert Richard Ellis, who has worked with the Met Police's specialist Art and Antiques squad, said: 'If this is a genuine Rembrandt oil painting, I think £2million would be a massive undervaluation. 
'If you were to put one before an auction today it would fetch between £30million and £50million. 
Mr Ellis, who last year was part of the team which recovered two paintings by Pablo Picasso stolen from a Swiss exhibition in 2008 in Belgrade, Serbia, added: 'To sell a real Rembrandt on the open market would be really, really difficult. 
'Any buyer undertaking their due diligence would look at the catalogues of Rembrandts and it wouldn't take them very long to see it was stolen.' 
'Stealing to order is fiction. They may get stolen and used as a form of currency or as collateral. 
'The media would publish the valuation at the time of the theft and the criminal would work on the basis that it would be worth to them anywhere between three and ten per cent, because that's what it can get passed across on the black market. 
'It acts as a sort of international currency.'
In October, less than four months after the initial report, "GarethD2011" reported for the "Croydon Advertiser" that the "Rembrandt masterpiece seized in Croydon was a fake" (October 4, 2012):
A REMBRANDT masterpiece seized in Croydon was a fake, the Advertiser can reveal. Businessman Shaun Stopford-Claremont, 62, was arrested in possession of the painting during a special police operation in Croydon High Street in June. The painting was then sent to top art experts to be authenticated. If a genuine work of the Dutch master it could have been worth as much as £50 million. But this week Scotland Yard confirmed to the Advertiser the painting is a forgery. Mr Stopford-Claremont, of Redhill, Surrey, has since been re-bailed until December 11. His arrest was part of an ongoing Proceeds of Crime Act investigation by officers from the Met's specialist crime directorate. Police would not initially confirm the painting was among a number of items seized.

October 3, 2012

Wednesday, October 03, 2012 - ,,,, No comments

One Step up the Looting Pyramid

by Lynda Albertson, Chief Executive Officer, ARCA

To some individuals, the scandal surrounding the Met’s 1972 purchase of the Euphronios krater and similarly shady procurements by some US and European museums seems like old news.  For others, like Italy’s Soprintendente per I Beni Archaelogici dell’Etruria meridionale, Alfosina Russo Tegliente and the Villa Giulia’s scientific experts Daniela Rizzo and Marizio Pelligrini, the watershed accord signed in February 2006 between the Metropolitan Museum of Art and the Italian government, which returned this spectacular vase to Italy, was just the tip of a very large iceberg.

Returned to Rome in 2008 after a protracted return-plus-loans agreement, the Euphronios krater, with its delicate images of the dying Lycian king, Sarpedon, leader of the Trojans' allies and offspring of the god Zeus and the mortal Laodamia, has become the poster-child example of bad museum acquisition practices.


I visited the Musei Nazionale Etrusco di Villa Giulia on the opening day of their new exhibition, I Preditori dell’Arte e Il Patrimonio Ritrovato…le Storia del Recupero (The Predators of Art and Rediscovered Heritage - The History of Recovery), running in Rome from September 29th through December 15, 2012.

I didn’t come to see the Euphronios krater.   Near perfect in its restoration, it is housed in a discreetly simple glass case, approachable on four sides, located on the second floor of the villa in a section reserved geographically for artifacts from Cerveteri.

I didn’t come to see the Fifth-century BC Attic red-figure kylix, a cup also signed by Euphronios as potter and painted by Onesimos with scenes of the Trojan War.  This fragmented cup sits in its own glass case, alongside the krater.  It too was surrendered by a US museum -- the J. Paul Getty Museum in 1999.

I came to see the new exhibit, one that follows the “long and silent journey” to use the words of the curators, of not just these two objects but approximately ninety others on exhibition at the museum, which have been returned to Italy, due in a large part to the doggedly difficult work of Daniela Rizzo and Marizio Pelligrini, Villa Giulia’s scientific experts.  Their work and the work of the staff of the Soprintendente per I Beni Archaelogici dell’Etruria meridionale, Italy’s public prosecutors, and the Italian Carabinieri along with collaboration from the Swiss judiciary helped reconstruct the chain that created a buyer’s market for looting of archaeological sites, in Italy and elsewhere. This exhibition is the fruit of their labor and underscores the material and intellectual consequences of contemporary collecting.

Tracing the collection life of these objects, from tomborolo to trafficante (tomb raider to trafficker) the exhibit shows not only the route these objects took before arriving in some of the world’s finest museums but also examines some of the methods used by traffickers to launder looted antiquities through the world’s most important auction houses.   


Included in the exhibition is an Etruscan antefix in the form of a Maenad and Silenos dancing.  An anteflix is an upright ornament used by builders along the eaves of a tiled roof to conceal tile joints. This particular anteflex, pictured on a now famous Medici polaroid, was acquired by Barbara and Lawrence Fleischman through Robin Symes and then acquired by the J. Paul Getty Museum in 1996.

Once it even graced the cover of an exhibition catalog highlighting the Fleischman’s collection.  The presence of the anteflix in The Villa Giulia exhibit serves to illustrate how museums, private collectors and auction houses have allowed themselves to be links in the looting chain.

To many of the exhibit attendees in Rome, seeing this simple household decoration as part of this exhibition is equal parts joyous victory and painful reminder.  As I mentioned in the start of this article, having these objects come home is just the tip of the iceburg, or to use Daniela Rizzo’s words who spoke with the visitors about her work, “the first step of the Pyramid”.

When the Italian Carabinieri raided Giacomo Medici’s warehouse in the Geneva Freeport they recovered 3,800 objects and more than 4,000 photographs of objects that had previously passed through Medici’s hands. (Watson and Todeschini 2007, 19-24, 48-79, 363-83).  The recovered items in this exhibition represent only a small fraction of the objects looted by just one organization of traffickers.  Imagine how many more are out there.

Some museums, through cooperative agreements with Italy and or law enforcement organizations in their own countries, readily relinquish artifacts whose origins can be traced back to the looters through the documentation of the Medici and Becchina dossiers.  Others take more insistent prodding.

It wasn’t until June 20th of this year that the United States Attorney’s Office for the Northern District of Ohio issued a press release stating that an agreement had finally been made with the Toledo Museum of Art in conjunction with a Federal Verified Complaint in Forfeiture to return a 510 B.C. Etruscan black-figure kalpis attributed to the Micali painter or his workshop.  This despite being presented with a copy of an incriminating polaroid, seized from Medici during the 1995 raid showing the still mud-encrusted pot and another polaroid from a separate raid in Basel 2002 proving that  the kalpis had also passed through the hands of Gianfranco Becchina.

One more step up the pyramid.  One more long and necessary step.


Photos contributed by Soprintendente per I Beni Archaelogici dell’Etruria meridionale, Musei Nazionale Etrusco di Villa Giulia

October 2, 2012

Tuesday, October 02, 2012 - ,,, No comments

California State Mining and Mineral Museum Closed for Repairs After Robbery; Inventory to Determine Value of Theft

Tourists often overlook Mariposa on their way to Yosemite Valley, but last week the small historic town in Northern California created headlines last week when thieves reportedly stole millions of dollars of gold from the California State Mining and Mineral Museum located on the Mariposa County Fairgrounds.

The museum, operated by the California Department of Parks and Recreation, issued a press release October 1 informing the public that the institution celebrating the 19th century Gold Rush will be closed "for repairs following the robbery" and that an inventory would determine the number and value of the items stolen.
In the robbery, a number of display cases, doors and other items were damaged by the approximately two suspects who entered the museum and stole an undetermined amount of precious minerals.  It is the goal of State Parks to make the repairs quickly in order to reopen the museum to the public as soon as possible. 
There were two State Parks' employees at the museum at the time of the robbery.  Neither was injured and while both remain shaken from the experience, both report they are doing fine. 
An inventory of the stolen items will be getting underway this week.  Until it is completed, State Parks will not have a listing of what was taken or the dollar amount of the items.
Jim Ballinger, Editor of the Mariposa (Weekly) Gazette, reported September 27 that the museum had been robbed by 4 o'clock Friday afternoon.  According to witnesses cited by Ballinger, two men wearing black clothing and night vision goggles and armed with pick-axes 'herded park rangers to one  area of the museum and headed into the vault' but the alarm sounded, the vault door began to close and the men were denied entry.  Law enforcement arrived 'within minutes' but the suspects escaped.

ABC News' reported that evening (here's a link to the video) and its source for the theft of millions of dollars was from a concerned board member of the museum, although the reporter, Rick Montanez, noted that the museum's treasure, the Fricot "Nugget" had not been stolen.  The Fricot "Nugget" is a 13.8 crystallized gold specimen found in the American River in 1864.

Friday night, almost six hours after the theft, Jacob Rayburn for The Fresno Bee also quoted a California State Parks spokesman that an estimated $2 million worth of gold nuggets and precious gems had been stolen.

Diana Marcum for The Los Angeles Times reported the day after the theft that up to $2 million in gold and gems may have been taken from the museum, but also noted that the Fricot Nugget was still in its iron safe in a vaulted room.  Ms. Marcum also reports that until recently the collection had been planned for storage until it was discovered that the Parks Department had $54 million it had not reported to budget officials.

The collection of more than 13,000 objects relating to the mining of gold and rare minerals in California began in 1880 and moved from San Francisco to Mariposa in 1983.  The museum became a state park in 1999.

The lead agency for this investigation is the Central Division Investigative Services Unit (ISU) of the California Highway Patrol.

October 1, 2012

Monday, October 01, 2012 - ,,,,,,, 2 comments

"Art Predators and The Rediscovered Heritage ... the story of recovery" at the National Etruscan Museum in Rome's Villa Giulia shows archaeological fruits of 20 year investigation


Here's a link to a video showing an exhibit, "Art Predators and The Rediscovered Heritage .. the story of recovery",  at the National Etruscan Museum at Villa Giulia in Rome (September 29 through December 15, 2012) of recovered stolen antiquity objects recovered by Italy's Carabinieri Department for the Protection of Cultural Heritage (Carabinieri Tutela Patrimonio Culturale), the Justice Department, and archaeologists in an investigation lasting more than two decades.

The Villa Giulia-Museo Nazionale Etrusco is located north of the Piazza del Popolo in the western outskirts of the Villa Borghese (a really long walk from the Galleria Borghese as I once found out).

These hundreds of works of art were stolen by grave robbers in clandestine excavations in Etruria, Puglia, Sicily and Calabria (Google Translation of article by Irene Buscemi, "Predatori d'arte e patrimonio ritrovato in mostra a Roma", September 30, 2012, Il Fatto Quotidiano).  These amphora, kylix (pottery drinking cups) and bronzes were illegally sold in the 1970s and 1980s by merchants and traffickers to famous foreign museums (Getty Museum in Los Angeles, The Metropolitan in New York, and institutions in Australia and Japan).  Two archaeologists, Daniela Rizzo and Maurizio Pellegrini, assisted in the project and curated the exhibit.  Many of these objects were seized from a warehouse in the Free Port of Geneva in 1995 (for more information you may refer to "The Medici Conspiracy" (Public Affairs, 2006) by historian Peter Watson and Italian journalist Cecilia Todeschini).  The Carabinieri used polaroid photographs, charts, and documents found in this investigation to recreate the illicit trade that funneled objects through art collectors and auctions houses such as Sotheby's in London.

Here's a link to the exhibit at the Villa Giulia.  The exhibitors explain here that for the first time the National Etruscan Museum of the Villa Giulia is presenting some archaeological materials chosen from among 3,000 artifacts seized in 1995 by the Carabinieri Cultural Heritage Projection from the Free Port of Geneva and returned to Italy after a long legal battle based upon documents found in the raid that allowed the Carabinieri and prosecutors to reconstruct the trafficking routes and illegal excavations.  In this illegal operation, objects were illegal dug up out of the ground, moved from Italy to Switzerland, cleaned and then provided paperwork to market the objects to international museums:
The exhibition aims to raise awareness of the general public the hard work done in recent years by the Judiciary, flanked by Carabinieri Cultural Heritage Protection, with the Guardia di Finanza and the archaeologists of the Superintendent [Soprintendenza per i Beni Archeologici dell'Etruria meridionale], which has led to some important results, perceived not only through a high number of artifacts recovered, by especially in the significant drop in illegal excavations at the archaeological sites of Cerveteri, Vulci, and Tarquinia, once the subject of real raids [translated with the help of Google].

September 29, 2012

Saturday, September 29, 2012 - ,, No comments

Renoir Stolen from Baltimore Art Museum in 1951 allegedly found in West Virginia at a flea market two years ago; this weekend's sale aborted; legal battle likely to ensue over who gets the painting

Today's scheduled auction sale of a newly discovered Renoir landscape was cancelled this week when a Washington Post reporter discovered that the painting had been stolen in 1951 from the Baltimore Art Museum (BMA).

Earlier this month, Mary Carole McCauley reported for The Baltimore Sun that an anonymous buyer had purchased the 1879 "Paysage Bord du Seine" for $7 at a flea market in West Virginia about two years ago.  The 6-inch by 10-inch canvas with a gold ornate frame had been one of numerous items sold in a box.  McCauley describes the painting:
The landscape is intentionally blurred and indistinct.  Fast-moving swirls of green, purple and pink and a splash of white mimic the motion of the water and the wind.  The viewer glimpses the river through a scrim of shrubbery, while something gray and vertical looms on the far bank.
Photo by Paul J. Richards, AFP/Getty Images 
The Virginia-based buyer reportedly preferred the frame to the painting, had  let it "rattle around the trunk" of her car and stored it in a "shed with a busted window." The flea market buyer even confessed that she had torn "off the brown paper on the back and threw it in the trash".  Her mother found a "tag on the painting that said 'Renoir, 1841-1919' so the purchaser took the painting to Potomack Company, an auction house she had heard of through the PBS television program "Antiques Roadshow", the new owner told McCauley.

The auction house determined the painting had been purchased by Herbert L. May and Saidie Adler May from Gallerie Bernheim-Jeune in Paris in 1926.  Saidie Adler May had donated more than 1,000 paintings to the Baltimore Art Museum.  When McCauley wrote this article, the history of the painting was a "mystery".

Then reporter Ian Shapira of The Washington Post got curious, as he tells Melissa Banks here on NPR, and set out to find out what had happened to the painting since it left Paris almost nine decades ago.  First, Shapira tells Banks, the May family knew nothing about this painting so he went to the Baltimore Art Museum's library and discovered that the painting "Paysage Bords de Seine" had been loaned to the museum by Saidie May.  The museum officials then matched the loan number to their records and discovered a report that the painting had been stolen in 1951.  Shapira speculates that although the May family would like the painting to be returned to the museum, the insurance company that paid out [$2,500] for the stolen artwork may have title to it.

Online in The Washington Post the day before the scheduled auction sale, Shapira showed the museum's loan record on the painting:
"Paysage Bord du Seine" (On The Shore of the Seine), an oil on linen napkin, measuring 5 1/2" by 9" with no artist signature had been purchased for $1,000 in Paris and valued at $2,500 in 1951 when it was exhibited at the BMA in the show "From Ingres to Gaugin".  Mrs. May told the museum that 'Renoir painted this landscape for his mistress, at a restaurant on the Seine - thus the linen napkin.'  The museum index card noted that this Renoir landscape was stolen from the Gallery on November 17, 1951 and had been replaced by a Degas "Self Portrait".
Shapira reported:
In a box full of Saidie May's letters and artwork receipts lay one major clue: records showing that she had lent the painting to the museum in 1937.  The discovery startled museum officials, who had already said the flea-market Renoir never entered their institution.
According to Shapira, the FBI and the museum, who are now investigating details of the theft, could not explain why this artwork does not appear on any registry of stolen or lost art.

Here's a link to the follow up story by McCauley for The Baltimore Sun reporting the painting was stolen and her interviews with the BMA director, the FBI investigator, and the auction house that reports that "Renoir Girl" agrees that the stolen painting should be withdrawn from the auction sale but admits that the money would have been welcome after two years of unemployment.

McCauley reports on the details of the short police report on the stolen painting here: no evidence of a break in, nothing else was stolen, and it was taken sometime between 6 p.m. and 1 p.m.

September 28, 2012

Friday, September 28, 2012 - ,,,, No comments

Santa Monica Police Department Works with Pasadena Police Department and other agencies to recover art stolen from Jeffrey Gundlach's collection

Art work by Franz Kline stolen and recovered
by Catherine Schofield Sezgin, 
 ARCA Blog Editor-in-Chief

This evening Richard Lewis, Sergeant, with the Office of the Chief of Police for the Santa Monica Police Department sent a copy of the press release regarding the arrests and recovery of the art to the ARCA blog.

SMPD's Sergeant Lewis also responded to two questions via email: did the publication of the photos of the artwork assist in the recovery of the art? Did the owner's offer of a reward assist in the recovery of the art?
The photos were absolutely a help to the investigation.  As for the reward that was offered by the victim, that may have played a role, but at this stage in the investigation, I cannot speak to that.
Here's the press release that shows the art traveled from the Westside of Los Angeles to San Gabriel Valley:
On September 26, 2012, investigators from the Santa Monica Police Department were contacted by members of the Pasadena Police Department who received a tip concerning where the stolen art from Santa Monica was being held. Based on the information received, Santa Monica’s investigators, with the assistance of the Pasadena Police Department, responded to Al & Ed’s Autosound located at 30 S. Rosemead Boulevard in Pasadena to serve a search warrant. 
During the subsequent search, most of the paintings were recovered and one suspect was arrested for possessing stolen property. He was identified as 45 year old Jay Jeffrey Nieto of Canyon Country, the manager of the Pasadena Al & Ed’s. 
As the investigation continued, additional information was developed that led Santa Monica investigators to a residence in the City of San Gabriel. There the investigators contacted and later arrested 40 year old Wilmer Bolosan Cadiz for possessing stolen property; he was in possession of four of the stolen paintings. 
The last painting was recovered as investigators learned it had been transported to a residence in Glendale. The subject in possession of this painting has been interviewed and is cooperating with investigators. 
Santa Monica Police Investigators are continuing to follow up on leads regarding other possible suspects in the burglary and the location of the remaining stolen property. Anyone with information is asked to contact Detective David Haro at (310) 458-8432 or Sergeant Henry Ramirez at (310) 458-8453 or the Santa Monica Police Department (24 hours) at (310) 458-8495. 
Although the investigation continues, cooperation from the following agencies has made the recovery of this valuable art collection possible. 
Pasadena Police Department 
Los Angeles Police Department
Federal Bureau of Investigation
Department of Justice
Interpol
If you wish to remain anonymous, you can call We-Tip at 1-800-78-CRIME (1-800-78-27643), or submit the tip online at www.wetip.com you will remain completely anonymous and may be eligible for a reward, up to $1,000.00 if your information leads to an arrest and conviction, or anonymous tipsters can contact Crime Stoppers by either calling (800) 222-TIPS (8477) or by visiting their website at www.lacrimestoppers.org. To text an anonymous tip to crime stoppers; please view their webpage for detailed instructions. If the information leads to an arrest, the tipster is eligible to receive a reward up to $1,000.00.

Friday, September 28, 2012 - ,,,, No comments

LA Times: 'Jeffrey Gundlach's stolen art collection is recovered'

The Los Angeles Times sent out a 'breaking news' email at 5:59 p.m. on September 27:
Recovered art work by Philip Guston (1950)
Star bond trader Jeffrey Gundlach said his $10-million collection of art, which was stolen this month, has been recovered safely. 
Two suspects have been arrested by Santa Monica police, he said.  Gundlach had offered a near-record $1.7-million reward for the collection's safe return. 
Joe Bel Bruno for the LA Times reports that Gunlach said that 'at least one of the paintings [the Mondrian] was in the midst of being sold" and that his Porsche is still missing. 

Sam Ro for Business Insider reports that Gundlach released a statement thanking Detective David Haro and the Santa Monica Police Department for "their skillful, tireless and respectful attention to apprehending the criminals and recovering all of the artwork stolen."

September 26, 2012

Wednesday, September 26, 2012 - ,,,,, No comments

Santa Monica Art Collector offers Million Dollar Reward for Stolen Mondrian plus $500,000 for other paintings

Composition (A) En Rouge Et Blanc
by Piet Mondrian
by Catherine Sezgin, ARCA Blog Editor-in-Chief

Santa Monica is a liberal seaside town -- once nicknamed 'The Republic of Santa Monica' -- offering access to beach and upscale amenities just 30 miles west of downtown Los Angeles.  This community of rent controlled apartments (located south) and multi-million dollar homes (located north) around Montana Avenue attracts homeless people to the parks and families to the good public schools.  Last year James "Whitey" Bulgar, Boston's notorious Irish mobster and one of the FBI's most wanted criminals for almost two decades was found in a rent-controlled apartment just blocks up from the busy retail district known as The Third Street Promenade.  Now one of Santa Monica's residents, a wealthy art collector and bond trader, has offered a substantial reward, including $1,000,000 for the return of his painting by Piet Mondrian, for art stolen from his home in September.

Jeffrey Gundlach, founder of the investment firm DoubleLine Capital, held a press conference September 24 to offer a $1.7 million reward for the fine art paintings and other objects taken in a burglary now being investigated by Santa Monica police ("Reward offered by L. A. bond guru adds to intrigue over art theft", Los Angeles Times, September 24, 2012).

"Green Target" by Jasper Johns
Gundlach is offering $1 million for the "undamaged return" (or information leading to) of a picture by Piet MOndrian and another $500,000 for the "successful return undamaged" of "Green Target" by Jasper Johns and two box constructions by Joseph Cornell  ("Bond trader offers $1.7-million reward for stolen art collection"LA Now, Los Angeles Times).  At the brief press conference, Gundlach said "no comment" regarding questions about whether or not the 13 pieces of fine art were insured and or any  details about the burglary or the investigation.  In this article, the LA Times showed images and identification provided by the owner of ten of the 13 stolen artworks: "The Cathedral Tours", 1916, by Guy Rose; "Glory of Autumn", 1930, a California landscape by William Wendt; "Untitled", 1958, abstract by Franz Kline; "Number 14," 1949, by Bradley Walker Tomlin; "The Desert Ramparts", 1920, an oil painting by Hanson Duvall Puthuff; "Green Target", 1956, by Jasper Johns; "Composition (A) En Rouge Et Blanc", 1936, by Piet Mondrian; "Medici Boy", 1946, a wood box construction by Joseph Cornell; and "Painting", 1950, by Philip Guston.

Here's a link to the online Santa Monica Patch which also identifies stolen paintings by Frank Stella and Cy Twombly. 

According to a September 19 press release issued by the Santa Monica Police Department:
On September 14, 2012, officers responded to a residence located in the 500 block of 12th Street on the report of a residential burglary that had occurred sometime between September 12th at 3 p.m. and September 14th at 8 p.m. 
"Cathedral Tours" by Guy Rose, 1916
The victim had just returned home from a trip and discovered that his residence had been burglarized.  Numerous high-end paintings and two wooden box art pieces had been stolen from various rooms throughout the home.  Also stolen was the victim's 2010 red Porsche Carrera 4S, which was parked in the garage, several expensive watches, wine and a small amount of U. S. currency. The estimated loss at this time is believed to be in excess of 10 million dollars.  Preliminarily, the the estimated loss is between 20 and 39 million dollars.
Here's a link to the images of the items reported stolen; Sergeant Richard Lewis is the contact person for the police department (richard.lewis@smgov.net).  Although the LA Times (in the above referenced article) names stolen art work as by Jasper Johns, Piet Mondrian and Richard Diebenkorn, the Santa Monica Police department does not identify the artwork by title or artist.  A search through the FBI's National Stolen Art File Search did not show any stolen paintings by either of the three artists.

Here's a link to a 12-minute video discussion between the Los Angeles Times business section journalist and former FBI agent Robert K. Whittman (.  Business reporter Stuart Pfeiffer asks Whittman if it is more likely that the only 'buyers' the art thieves will find for the stolen fine art are undercover law enforcement.

September 24, 2012

Monday, September 24, 2012 - No comments

Egypt Exploration Society's 'Webinar' September 29 to discuss the issues of the (legal) antiquities trade and Egyptology

The Egypt Exploration Society (EES) welcomes participation in its September 29 'webinar' discussion, led by panellists including David Gill (of 'Looting Matters') and Marcel Maree (of the British Museum) on the issues of the (legal) antiquities trade and Egyptology.

The panellists will include: Prof. David Gill, Professor of Archaeological Heritage at University Campus, Suffolk, and author of influential blog Looting Matters; Madeleine Perridge, Head of the Department of Antiquities at Bonhams Fine Art Auctioneers and Valuers; Marcel Maree, Assistant Keeper in the Dept of Ancient Egypt and Sudan, British Museum; Heba Abd el-Gawad, PhD Student in Egyptology, University of Durham, and recipient of an EES Centenary Award in 2012.

The details of the event can be found here: http://ees.ac.uk/events/index/172.html.

September 19, 2012

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Private insurer offers up to $50,000 reward for information leading to the return of a Renoir painting stolen from a Texas residence last year; FBI adds "Madeleine Leaning on Her Elbow with Flowers in Her Hair" to Top 10 Art Crimes

Today the Federal Bureau of Investigation (FBI) issued a press release adding a stolen Renoir painting, "Madeleine Leaning on Her Elbow with Flowers in Her Hair", to its list of Top 10 Art Crimes and advertising a reward for up to $50,000 to be paid by a private insurer for information leading to the picture's recovery. The 1918 painting by Pierre-Auguste Renoir was stolen on September 8, 2011. According to the FBI:
The homeowner was watching television when she heard a loud noise downstairs. When she went to investigate, she was confronted by an armed man in a ski mask. ...The painting was taken with its frame intact from the stairwell where it hung. The masked robber, who forced entry through the back door of the home, is described as a white male, 18 to 26 years old, who weighs about 160 pounds and is approximately 5’-10” tall. He was armed with a large-caliber, semi-automatic handgun.
According to Anita Hassan reporting for The Houston Chronicle, the thief entered the home and demanded money and diamonds but the owner, protective of her sleeping son upstairs, offered her painting by Renoir as the most valuable monetary asset available.

The original reward was announced at $25,000, according to information released by The Art Loss Register who reported that the Houston Police Department and the FBI were working on the investigation. The FBI estimates that the stolen painting is worth $1 million. The private insurer is not identified. The painting's image has also been included in databases for The Art Loss Register (accessible for a fee) and Interpol (free access to registered users).

Stolen Renoir paintings

In addition to the Texan "Madeleine Leaning on Her Elbow", Interpol's Stolen Art Database identifies 18 Renoir paintings as stolen and still missing since 1938.  The paintings have been stolen from places in Switzerland, France, Argentina, Germany, the United States, Japan, and Italy.

In mid-June 2012, $21 million worth of artwork, including a painting by Renoir and ten drawings by Picasso, were stolen from a businessman in a violent assault in Olomouc in the Czech Republic.

Recovered Renoir paintings

A Renoir stolen from Rome in 1984 re-appeared in Venice in 2009 just months after another Renoir painting stolen from Milan 33 years earlier had also been recovered.

An international law enforcement operation recovered Renoir's "Young Parisian" in Los Angeles and Rembrandt's "Self Portrait" in Copenhagen in 2005.  The two pictures, along with another Renoir, were stolen from the Swedish National Museum in Stockholm in 2000 when thieves used machine guns, tire spikes, and diversionary car bombs to penetrate the museum's security. Stockholm County Police had recovered Renoir's "Conversation" four years earlier in July of 2001.

September 16, 2012

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Movies "The Maiden Heist" and "St. Trinian's" offer fun comic twists on the art heist caper

Worcester Art Museum's Renaissance Court (WAM)
by Catherine Sezgin,
 ARCA Blog Editor-in-Chief

In Southern California from where I edit this blog, the hot weather here is a great time for cleaning out offices and watching art crime movies.  Here's this week's picks:

The Maiden Heist (2009, now on DVD) tells of how three bland security guards (played with dry humor by Morgan Freedman, Christopher Walken, William H. Macy) steal their favorite works of art which have been targeted to move from Boston to Denmark.  The art works featured were created for the movie.  The Maiden Heist is a love story about the personal magnatism of art and its ability to transform our lives by love as shown in the movie's subplot (Marcia Gay Harden plays the wife of Christopher Walken, a hardworking beautician with dreams of a warmer climate).  This heist movie was partially filmed at Massachusetts' Worcester Art Museum.  In December 2007 the Worcester Art Museum "allowed movie makers to transform its Renaissance Court and galleries into a set for the $20 million feature film The Maiden Heist" (ARCA Trustee Anthony Amore and journalist Tom Mashberg in their book Stealing Rembrandts (Palgrave Macmillan, 2011).

Forty years ago, on Wednesday, May 17, 1972, two men hired by Florian "Al" Monday entered the Worcester Art Museum late in the afternoon and removed four paintings from the walls 'in such a methodical manner' that museum 'visitors assumed the thieves were museum employees doing their jobs' (Stealing Rembrandts, page 42).   Then the two thieves 'remembered to pull down the blue-and-orange ski masks' (SR), placed the selected paintings into sacks, and walked to the main entrance of the museum.  Unfortunately, museum guard Philip J. Evans grabbed one of the thieves and was shot.  The four paintings (Gauguin's Brooding Woman and Head of a Woman, Picasso's Mother and Child, Rembrandt's St. Bartholomew) were later recovered.

The DVD for The Maiden Heist showed a trailer for St. Trinian's, a comedy about free-spirited girls who save their boarding school from bankruptcy.  Under the tutelage of a criminal played by Russell Brand, the students concoct a plan to steal Vermeer's The Girl with the Pearl Earring from the National Gallery in London (this painting is owned by the Mauritshuis in The Hague). The caper involves blowing up sewer gates, high wire climbing, and dancing through security beams. A copy of Vermeer's painting is sold on the 'black' market and the original is found by a couple of St. Trinian's schoolgirls.

Both movies can be viewed by middle-school and high-school students.

Other paintings of St. Bartholomew by Rembrandt can be found at the Timken Museum of Art in San Diego's Balboa Park and Los Angeles' Getty Center.

September 13, 2012

Thursday, September 13, 2012 - ,,, No comments

Documentarian Brent Huffman Warns of Dangerous Precedent Being Set in Afghanistan if Mes Aynak is destroyed in order to mine copper

Brent Huffman filming one of the temples
set for destruction (Frank Petrella) 
by Catherine Sezgin, ARCA Blog Editor

Documentary filmmaker Brent E. Huffman will return to Mes Aynak this December for what some archaeologists call the ‘funeral’ of the ancient site which will be cratered to extract copper (valued at over 100 billion dollars) underground, potentially setting a dangerous precedent for other ancient sites on top of gold, copper, oil and coal mines in Afghanistan.

“My documentary finishes in December which feels like the definitive end to the site,” Huffman said. “I started out with the goal of capturing what is there and to record the difficult process of salvaging objects. But I have come to hope that maybe I can help raise awareness to actually save Mes Aynak, or at least postpone its destruction.”

Huffman and German Camera Productions initially set out to record the Buddhist monasteries and stupas in “the red zone” of this ancient city before a Chinese state-owned company, China Mettalurgical  Group Corporation, (MCC) begins work on a 30-year lease (for which they paid $3 billion) to extract copper by demolishing the entire mountain range.


Abdul Qadeer Temore, lead Afghan archaeologist, working
on the large standing Buddhas. (Brent Huffman)
“My fear is that Mes Aynak will be a precedent and that every site with gold, copper, oil or iron underneath will also be dealt with by this same standard. This is what happens to cultural heritage. This Bronze Age site will be gone when the mountain range is destroyed and all the Afghans will be left with is a toxic crater that will pollute the river and the environment. The future of Afghanistan will be a rush job of leaving polluted craters that will destroy the environment and the cultural heritage.”


The December deadline to end rescue archaeological efforts is pretty firm, according to Mr. Huffman’s discussions with the Afghan Ministry of Culture and the U. S. Embassy. “But the big question is are the Chinese ready to start mining?”

The Mes Anyak archaeological site was rediscovered in the 1960s. Researchers now believe the site not only provides artifacts from the 1st through the 5th centuries but also going back to the Bronze Age. The 400,000 square meter site was never fully excavated or protected from looting during the decades of almost continuous fighting in Afghanistan.

A head sculpted in the Gandhara style. (Brent Huffman)
“Archaeologists are frantically performing rescue archaeology which is pretty destructive. Like looting, much of the context gets lost as archaeologists rush to salvage moveable objects,” Huffman said, explaining that DAFA, the French archaeological delegation, and Afghan archaeologists have worked intermittently over the past two years through harsh weather and dangerous war-zone conditions at this former Al Qaeda training camp.

“My understanding is that archaeologists were given three years to complete a project that should take up to 30 years,” Huffman said. “The area is so dangerous. Last summer a worker uncovered a land mind which blew up in his face.”

“This is an important project to a small group of Afghan archaeologists who have worked at the site for the past two years,” Huffman said. “International archaeologists have visited the site in an advisory capacity but the accessibility has been limited by ongoing military conflict.”

Local people from Logar province have been involved in the digging and the unearthing structures, according to Huffman.

Afghan archaeologists work with crude tools and often protection of the artifacts is limited to coverings by plastic tarps and wooden crates.

“Afghanistan is the Wild West with so much corruption,” Huffman said. “What I don’t like about the argument of mining ‘responsibly’ and ‘preserving’ cultural sites is that in the end it won’t be good for Afghanistan. The money will be lost in corruption, the high-level jobs will go to the Chinese, and the locals will get the low paid slave labor jobs. Plus, the toxins left over from mining will be in the ground permanently. Advocates for Mes Aynak have tried to get cooperation between the mining and cultural preservation but it doesn’t seem that anyone involved sees any value in the Mes Aynak site.” 

A Buddhist stupa from Mes Aynak (Huffman)
“The US Military will be pulling troops out of Afghanistan in 2014 which is not good,” Huffman said. “The World Bank has put in a lot of money to support the mining yet there’s a shortage of funds to support the archaeological work. For example, the Czech Republic promised $5,000 to the Afghan team for computers and digital cameras but I was told that the money was stopped from coming through.”

Huffman plans to return to Mes Aynak in December. “In October there will be some 3-D reconstruction work and I will send someone to film that if I can’t go. I will be there in December for what the archaeologists call the ‘funeral’ and I hope we can stop it from happening. There is something so disrespectful about blowing up the site. It’s troubling to have no reverence for the past as if someone is looting your grandparents’ cemetery.”

“In Mes Aynak, the silence gives me a sense of connection to the past,” Huffman said. “My mind floods with what life was like in this vibrant city. Recklessly destroying it is like erasing history.”

“The resilience of this site amazes me,” Huffman said. “It has been through so much as a major hub on the Silk Road. The murals and statues are so fragile and yet they have survived harsh winters, floods and snow and fighting amidst land mines and rocket attacks. Yet Mes Aynak still manages to survive and pull people in who fall in love with it and want to save it.”

“Most Afghans don’t know that this is happening because there’s been no coverage in the local media,” Huffman said. “Americans think of Afghanistan is terrorists or victims or terrorism but it’s not that – Afghans are warm, friendly and open-minded people. The Buddhist sites are a testimony to Afghanistan’s past. The Taliban are an external force that destroyed the Buddhas of Bamiyan and now the Chinese mining company will do the same thing at Mes Aynak. Afghans need someone like UNESCO to push back against these money deals that don’t care about cultural heritage, but this is not happening today.”

Here's a link to the petition to President Hamid Karzai to prevent the destruction of the archaeological site Mes Aynak and a relevant Facebook page, The Buddhas of Aynak.

Here's a link to the article Huffman wrote for the Asia Society on this subject.

September 11, 2012

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Mes Aynak's archaeological wealth from the Bronze Age to ancient Buddhists threatened by excavation of world's second largest copper deposit

An Afghan archaeologist examines
 a Buddha in Mes Aynak (Penn Museum)
by Catherine Sezgin,
ARCA Blog Editor

What are Buddhas doing in Islamic Afghanistan?

In addition to the gigantic Buddhas destroyed by the Taliban in 2001, another Buddhist site, Mes Aynak, in Afghanistan is being threatened by the country's desire to improve its economy by extracting natural resources.

Archaeologist believe Afghanistan may have been farmed by humans for as long as 50,000 years. Today's war-torn Afghanistan, with commercial centers and an art culture dating back to the Bronze Age, was controlled by numerous empires and dynasties -- Aryans and the Medes, Achaemenid invasion and Zoroastrianism, Greco-Bactrian rule, Maurya Empire, Sassanid Empire, and the Shahi dynasty. Darius the Great marched his Persian army into the region in 500 BC, almost two centuries before Alexander the Great defeated Darius III. The inhabitants of the area traditionally practiced Hinduism then Buddhism when it became part of the Kushan Empire in the first century.

Located 18 miles south of Kabul, the ancient site of Mess Aynak was rediscovered in the mid-20th century. Now archaeologists have less than four months to extract artifacts from Mes Aynak before a Chinese company begins mining the world's second largest copper deposit.

The Alliance for the Restoration of Cultural Heritage (ARCH International) explains in a video the cultural importance of the monasteries and fortifications of Mess Aynak and the other pottery and jewelry found at this 5,000 site. The organization asks that responsible mining methods be used to help preserve the most important archaeological sites.

Here in a CNN video, documentary filmmaker Brent E. Huffman also shows the archaeological digs at Mes Aynak which will be closed in December. According to Mr. Huffman, it would take 30-35 years to properly excavate this site.

A petition to President Hamid Karzai requests the preservation of the ancient site of Mes Aynak. Here's a link to the petition.

Another petition sponsored by the Association for Protection of Afghan Archaeology (APAA) with more than 13,000 signatures asks UNESCO to include Mess Aynak, Afghanistan, on the Endangered Sites and the World Heritage List.

Afghanistan ratified UNESCO's 1970 Convention in 1979.  Two cultural sites are listed on the World Heritage List: Cultural Landscape and Archaeological Remains of the Bamiyan Valley (2003) and Minaret and Archaeological Remains of Jam (2002).

Here's a link to the Penn Museum blog with a post about Mess Aynak.

September 9, 2012

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Postcard from LA: Street Art at La Brea-Beverly amongst chic fashions and Hasidic Jews

Street art tucked away in corner of car wash at La Brea and Beverly in Los Angeles.
by Catherine Sezgin, ARCA blog editor-in-chief

Graffiti and street art can be found in the Los Angeles neighborhood around the intersection of La Brea and Beverly Boulevard of expensive beauty salons and clothing boutiques amongst a community of Hasidic Jews.

Yesterday a gas station and car wash displayed a rumored Banksy work that has been covered up for years.  When I took a few photos with my phone camera, a worker told me, "Ten dollars for a photo." I laughed and he didn't push the point.

Another artwork reputedly by Banksy boarded up is proposed for an auction sale according to one consultant.

Boarded up Banksy may be sold at auction


For your fun, here are a few photos of designs visible on September 6, 2012.

"SMILE YOUR BEAUTIFUL" by WhIsBe posted on a utility box in front of a sidewalk portrait.

Art pasted on utility box

Sidewalk portrait


September 7, 2012

Friday, September 07, 2012 - ,, No comments

ARCA Opens Application for 2013 Postgraduate Certificate Program in Art Crime and Cultural Heritage Protection

View of the civic tower from the garden of Palazzo Farrattini
The official application period for ARCA's 2013 Postgraduate Certificate Program in Art Crime and Cultural Heritage Protection has opened.

The Association for Research into Crimes against Art (ARCA) 2013 Postgraduate Certificate Program in International Art Crime and Cultural Heritage Protection Studies will be held from May 31 through August 12, 2013 in the heart of Umbria in Amelia, Italy.

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.

In its fifth year, this academically intensive ten week program provides in-depth, postgraduate level instruction in a wide variety of theoretical and practical elements of art and heritage crime. Students will explore its history, its nature, its impact, and what is currently being done to mitigate it. Students completing the program earn a postgraduate certificate under the guidance of internationally renowned cultural property protection professionals.

This program will expose participants to an integrated curriculum which occurs in a highly interactive, participatory, student-centered setting. Instructional modules include both lectures and “hands-on” learning from case studies, in situ field classes and group discussions. At the end of the program, participants will have a solid mastery of a broad array of concepts pertaining to cultural property protection, preservation, conservation, and security.

Students explore such topics as: art crime and its history; art and heritage law criminology; art crime in war; the art trade; art insurance; art security; law enforcement methods; archaeological looting and policy; cultural security; and art forgery.

At the close of the 10 week lecture portion of the program each candidate must complete a considerable piece of written work demonstrating original and significant research. ARCA assigns a supervisor to oversee the research. The supervisor provides final approval of a finished paper, which should be of publishable quality. After completion of all program coursework and the final paper a student is awarded ARCA’s postgraduate certificate in Art Crime and Cultural Heritage Protection.

Important Dates:

November 15, 2012 - Early Application Deadline
January 15, 2013 - Application Deadline
April 2013 - Advance Reading Assigned
May 30, 2013 - Students Arrive in Amelia
May 31, 2013 - Welcome and Orientation June 01, 2012
June 3, 2013 - Classes Begin
June 21-23, 2013 - ARCA Annual Conference
August 9, 2013 - Classes End
August 10-11, 2013 - Students Housing Check-out **
Nov. 15, 2013 - Research Paper Submission Deadline

**Some students stay a few days longer to participate in the August Palio dei Colombi, Notte Bianca and Ferragosto festivities.

For questions about programming, costs, and census availability, please write to us for a complete prospectus and application at: education@artcrimeresearch.org.

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