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June 3, 2013

The "Other" Dutch Paintings from the Mauritshuis Traveling with Girl with a Pearl Earring from San Francisco to Atlanta to New York City

Rembrandt, Self-Portrait
Germanisches National
 Museum
by Catherine Schofield Sezgin, ARCA Blog Editor-in-Chief

Thirty-four 17th century Dutch paintings accompanied Girl with a Pearl Earring in the exhibition leaving the De Young Museum in San Francisco for the High Museum of Art in Atlanta (June 23 through September 29, 2013). Only 10 of those paintings will visit The Frick Collection in New York (October 22, 2013 through January 19, 2014).

Last year, a larger exhibit of 48 paintings from the Mauritshuis toured two museums in Japan: The Tokyo Metropolitan Museum of Art (TMMA) and the Kobe City Museum.  The Mauritshuis exhibit at TMMA included a second Vermeer painting, Diana and her nymphs (now on display at the Gemeentemuseum Den Haag). After the North American tour, Palazzo Fava in Bologna, Italy, will host 40 paintings from the Mauritshuis while the 17th century palace undergoes an expansion and renovation until mid-2014. More than 100 paintings from the Royal Picture Gallery Mauritshuis have traveled to the Gemeentemuseum in The Hague.

Portrait of Rembrandt
(1606-1669) with a Gorget
,
Rembrandt (studio copy)
The Mauritshuis opened as a Dutch state museum on January 1, 1822 as the "Royal Cabinets of Paintings and Curiosities." The catalogue, Girl with a Pearl Earring: Dutch Paintings from the Mauritshuis (Fine Arts Museums of San Francisco, includes "The History of the Mauritshuis and Its Collection" by Lea van der Vinde:
As its new name made clear, the museum did not merely exhibit paintings, for the entire ground floor was filled with a colorful display of "rarities." The art collection hung upstairs, where the walls were covered from floor to ceiling with paintings. Both collections had been formed over the years by various stadtholders; their turbulent history spans more than four centuries.
Rachel Ruysch
Vase with Flowers
1700
Mauritshuis
Half of the paintings at the De Young Mauritshuis show had been acquired by The Hague institution in the 20th century. Provenance information in the catalogue was provided in the section describing the painting and appeared incomplete. Many of the paintings have been restored in recent years. For example, infrared reflectography in the conservation studio in 1998 showed an underdrawing on a Rembrandt painting purchased in 1768, Portrait of Rembrandt (1606-1669) with a Gorget, that indicates it is a studio copy of a self-portrait of Rembrandt at the Germanisches National Museum in Nuremberg. The last painting highlighted in the catalogue is Vase of Flowers (1700) by Rachel Ruysch,  a married woman and mother of 10 children who painted until her death at the age of 84. A recent restoration removed several old layers of varnish.

The ticket to the Mauritshuis paintings at the De Young included entrance to an adjoining exhibition of Rembrandt's (and contemporaries) etchings from the collection of the Fine Arts Museums of San Francisco.

June 2, 2013

Journalist Tony Wall Interviews Judge Tompkins on His Research Used in Dan Brown's "Inferno"

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

A replica of the Four Horses of
St. Mark's sit atop the Arc de Triomphe
 du Carrousel in Paris. 
Here's a link to journalist Tony Wall's story in the Fairfax NZ News, "Judge's Facts Become Work of Blockbusting Fiction", about how novelist Dan Brown appeared to have used the work ARCA Lecturer Arthur Tompkins published on this blog in the Doubleday book Inferno.

Wall writes:
A colleague in Italy emailed Tompkins and told him to check out the book. He popped into a bookshop in Matakana, north of Auckland, and found the relevant page. 
"I went back and looked at the article I wrote in 2011 and there it was, that passage. It's a small feeling of personal satisfaction that some work you've done has been read by someone else and then turned up in a place that I never would have expected to see it." 
Tompkins says Brown gets some of his facts slightly wrong - Brown says Napoleon displayed the horses on top of the Arc de Triomphe, when in fact they were displayed on a smaller arc nearby. 
He is also definitive about where and when the statutes were created, when no-one knows for sure. 
But that doesn't bother Tompkins too much. "He's very clever in the way he creates a feeling that he's revealing important secrets, where none of it's much secret at all. You get the feeling you're on this enormous treasure hunt."


June 1, 2013

Alberge for The Observer on "Art Detective warns of missing checks that let stolen works go undiscovered"

Dayla Alberge wrote for The Observer on June 1, 2013 in "Art Detective warns of missing checks that let stolen works go undiscovered: Case of 17th-century landscape highlights failure of European auction houses, dealers and collectors to carry out searches" Christopher A. Marinello of the Art Loss Register found a landscape (beach) painting at an Italian auction house.

"We do find a lot of stolen and looted artwork in civil law countries such as Italy, France and Germany. Consigners of tainted works of art often try to hide behind the good-faith purchase laws of these countries while performing little or no due diligence," Marinello told Alberge.

The 1643 work, by 17th century Dutch artist Jan van Goyen, a 'pioneer of naturalistic landscape painting' was, according to the article, stolen from: the home of Paul Mitchell, an antique picture frame specialist in London in 1979:
'The thieves forced open a window to enter his house. Mitchell assumed that the slight noise that he heard from downstairs was the family cat. "Police call these people 'creepers', night-time burglars who specialise in burgling people when they are in their house," Mitchell said. Describing waking to discover the theft, he added: "The anguish is a very long, deep-seated thing which never really goes away. Hardly a day goes by when I haven't thought about it.
'The loss of the pictures was also painful because of their sentimental value [Marinello]. They belonged to his father, but had become so valuable that Mitchell could not afford to insure them for their full worth. Back in 1979, the paintings were valued £5,000 reward for their recovery, placing advertisements in international journals and approaching a specialist art detective. But the trail went cold.
'It surfaced by chance a few weeks ago after a Dutch dealer tried to buy it in Italy. Before paying for it, he decided to check the database of the Art Loss Register (ALR), which tracks down the world's stolen art from its headquarters in London.'
'Negotiations were particularly delicate because, under Italian law, if someone buys a stolen work in good faith the buyer is sometimes entitled to keep it.'

May 31, 2013

Will the ashes in a stove in Romania prove to be the remains of the seven paintings stolen from the Triton Foundation exhibit at the Kunsthal Rotterdam?

Photograph of the image of the Matisse
painting from the Triton Foundation
 stolen from the Kunsthal Rotterdam
 on October 16, 2012.
by Catherine Schofield Sezgin, ARCA blog Editor 

The prosecutor's office in Romania suspects the seven Triton Foundation paintings stolen from the Kunsthal Rotterdam last October 16 may have been destroyed, Agency France-Presse reported May 29. Art Hostage blogger blames this rumor on the failure to offer a reward for the return of this and other stolen art. Two years ago, reports surfaced that the paintings stolen from the MuseƩ d'Art Moderne de la ville de Paris had been thrown in the trash.

According to AFP, investigators are examining ashes taken from the home of the mother of one of the suspects Kunsthal Rotterdam thieves to determine if they include remains of the stolen paintings, including works by Picasso, Monet and Matisse. Seven Romanians have reportedly been charged with the theft. Destruction of the paintings would eliminate evidence in the even the stolen works could not be sold or ransomed back to the art gallery in The Netherlands.

The Dutch website NU.NL quotes the lawyer for one of the suspects as denying that the ashes are any proof that the paintings were destroyed.

Here is a link to previous posts on the ARCA blog covering the Kunsthal Rotterdam theft, including information about the stolen paintings.

On the blog Art Hostage, Paul "Turbo" Hendry, a self-described former stolen art trafficker, blames destruction of stolen paintings on the lack of financial incentives to recovering or returning stolen art.

May 30, 2013

Thursday, May 30, 2013 - ,,, No comments

Getty Perspectives: James Cuno and Pico Iyer Discussed Travel and Museums above the fray

by Catherine Schofield Sezgin, ARCAblog Editor

Visitors taking the tram up the hill to the Getty Center now listen to a recording by James Cuno, President and CEO of the Getty Trust, welcoming them to visit the galleries and the gardens. Tuesday evening, Cuno, now into his third year at The Getty, joined writer Pico Iyer onstage to discuss travel and museums as part of the Getty Perspectives series.

Iyer, author of a book on his reflections on Graham Greene in The Man Within My Head, was introduced to the audience as someone who "defies classification", as a "resident of LAX", and an essayist on subjects including museums. Cuno, introduced as a man "who has a lot to say about museums" and author of Museums Matter, has spent two years at the Getty emphasizing "critical thinking and integrating digital initiatives".

Cuno spoke with Iyer about his book on Greene; Iyer blaming Greene's intense influence on himself to altitude sickness in La Paz, Bolivia, and a touch of cocoa tea. "I only trust those things you can't explain," Iyer said. In recommending Greene's "The Quiet American" as "still the book to read", describing Greene as the "patron saint of the foreigner alone drifting between uncertainties" and claimed that "travel gives you a privacy you can't get at home."

Travel, like museums, they discussed, can help people understand other parts of the world.

"Museums hold out the promise that museums can introduce people to the complexity of the world," Cuno said, "And open us to tolerance."

Cuno, author of the controversial Who Owns Antiquity?, spoke of the diversity of museum visitors, pointing out that 220 million people live in countries not their own, that a city such as Chicago has a large Greek community that can view objects from Greece in local museums.

"I am very skeptical of governments making claims on individual identities," Cuno said. "My view is that people don't come from governments. Art is not made for a nation. I am suspicious of governments staking claims on a legacy they wish to identify with for grandeur."

Pico noted that when the Taliban destroyed the Buddhas of Bamiyan that they destroyed what belongs to us all.

"We're responsible for what is within our jurisdiction," Cuno said. "The Taliban felt that these objects put their cultural identity at risk."

Pico Iyer described the Getty as the sanctuary next to the rush-hour freeway: "Taking us out of the fray and bringing us back to our better selves."

May 28, 2013

Dan Brown's fictional Robert Langdon uses the "ARCA Web site" in "Inferno" to research the Horses of St. Mark's in Venice

The Horses of St. Mark's (The Triamphal Quadriga)
by Catherine Schofield Sezgin,
ARCA Blog Editor-in-Chief

In Chapter 17 of Dan Brown's Inferno published May 14 by Doubleday, (and reviewed by Janet Maslin in The New York Times), the fourth book featuring Robert Langdon, the fictional Harvard University professor of religious iconography and symbology, researches the Horses of St. Mark's: 

As it turned out, the powerful bodies of the early Friesian horses had inspired the robust aesthetic of the Horses of St. Mark’s in Venice. According to the Web site, the Horses of St. Mark’s were so beautiful that they had become “history’s most frequently stolen pieces of art.”

Langdon had always believed that this dubious honor belonged to the Ghent Altarpiece and paid a quick visit to the ARCA Web site to confirm his theory. The Association for Research into Crimes Against Art offered no definitive ranking, but they did offer a concise history of the sculptures’ troubled life as a target of pillage and plunder.

This appears to be a reference to the blog post(s) by Judge ArthurTompkins, an ARCA Lecturer, written in June of 2011: The Four Horses of the Basilica San Marco, Venice (Part I); More on the History (Part II); Continued Short History (Part III); and The Four Horses Rest Inside St. Mark's Basilica in Venice After Being Plundered from Constantinople in the 13th Century (Part IV). On the ARCA blog is another post about the "The Triamphal Quadriga" in Paris Diary: Replica of Stolen Art at Arc de Triomphe du Carrousel.

Then Brown is a bit more definitive about what academics would question:

The four copper horses had been cast in the fourth century by an unknown Greek sculptor on the island of Chios, where they remained until Theodosius II whisked them off to Constantinople for display at the Hippodrome. Then, using the Fourth Crusade, when Venetian forces sacked Constantinople, the ruling doge demanded the four precious statues be transported via ship all the way back to Venice, a nearly impossible feat because of their size and weight. The horses arrived in Venice in 1254, and were installed in front of the faƧade of St. Mark’s Cathedral.

More than half a millennium later, in 1797, Napoleon conquered Venice and took the horses for himself. They were transported to Paris and prominently displayed atop the Arc de Triomphe. Finally, in 1815, following Napoleon’s defeat at Waterloo and his exile, the horses were winched down from the Arc de Triomphe and shipped on a barge back to Venice, where they were reinstalled on the front balcony of St. Mark’s Basilica.

Although Langdon had been fairly familiar with the history of the horses, the ARCA site contained a passage that startled him.

The decorative collars were added to the horses’ necks in 1204 by the Venetians to conceal where the heads had been severed to facilitated their transportation by ship from Constantinople to Venice.

May 25, 2013

Speakers list released for ARCA's 5th Annual Art & Heritage Conference in Amelia June 21-23, 2013

View of the hilltop town of Amelia in Umbria
(Photo by C. Sezgin)
The Association for Research into Crimes against Art (ARCA) has released the speaker list for it's 5th Annual Art & Heritage Conference in Amelia from June 21 to 23.

Speakers anticipated:

Toby bull, Senior Inspector, Hong Kong Police Force, "Property of a Hong Kong Gentleman, Art Crime in Hong Kong - Buyer Beware";

Ruth Godthelp, PhD Candidate Vrije Universiteit of Amsterdam, Senior Police officer art related crime, Amsterdam Police, "The nature of crimes against Arts, Antiques and Cultural Heritage: A description of art-related crime in the Netherlands";

Saskia Hufnagel, Research Fellow, ARC Centre of Excellence in Policing and Security, "Shifting Responsibilities: The Intersection of Public and Private Policing in the Area of Art Crime";

James Moore, retired trial lawyer and student of Caravaggio, "The Outrageous Theft of Caravaggio's Masterpiece The Nativity with Saint Francis and Saint Lawrence";

James Bond, ARCA Alumnus, Certificate 2011, "The Theft of Rare Books from the largest Home in the United States";

Chris Dobson, Former Master Armourer to the Royal Armouries at the Royal Armouries Museum in Leeds, "Claiming Fake 'Fakes' in the Trade in Arms and Armour";

Stefano Alessandrini and Derek Fincham will lead a discussion on the Fano Athlete/Getty Bronze;

Joris Kila, Senior Researcher at the University of Amsterdam, ARCA award winner 2012, "An update on Armed Conflict and Heritage";

Nicholas M. O'Donnell, Partner with Sullivan & Worcester LLP, "American Wartime Art Restitution Litigation in the 1990s and Beyond-- Has it All Been Worth it?"

Jerker RydƩn, Senior Legal Advisor Royal Library of Sweden, "Skullduggering in the Stacks: Recovering stolen books for the Royal Library of Sweden";

Judith Harris, author and free-lance journalist, regular contributor to the New York monthly ARTnews, "The Role of Collectors";

Felicity Strong, PhD Candidate, University of Melbourne, "The mythology of the art forger";

Joshua Nelson, MA Candidate in Art & Visual Culture, University of Guelph, "Framing the Picture: The Canadian Print Media's Construction of an Atypical Crime and its Victims";

Theodosia latsi, MA in Global Criminology, Utrecht University, "The Art of Stealing: The Case of Museum Thefts in the Netherlands";

Verity Algar, Art History Student, University College London, "Cultural memory and the restitution of cultural property: Comparing Nazi-looted art and Melanesian malanggan";

Giulia Mezzi, PhD Candidate University of Reading, "The origins of Cultural Heritage Protection in Italy, a historical survey"

Carrie Johnson, JD Candidate South Texas College of Law, "Cultural Property in Crisis: Whose Burden is it?"

Alesia Koush, Foundation Romualdo Del Bianco-Life Beyond Tourism in Florence, MA Candidate at the University of Cologna under Prof. Luciana Carrino, "The Right to Culture"; and

Cynthia Roholt, JD Candidate South Texas College of Law, "Human Remains: Permission and Plastination".

The conference will open with cocktails at Palazzo Farrattini on Friday evening, June 21. The speakers will present at Chiosto Boccarini on Saturday and Sunday. Imbedded in the conference will be tthe ARCA Award Presentations: Art Policing and Recovery Award to Sharon Cohen Levin, Chief of the Asset Forfeiture Unit in the United States Attorney's Office for the Southern District of New York; Art Protection and Security Award to Christos Tsirogiannis, Archaeologist, Illicit antiquities researcher, University of Cambridge, former member of the Hellenic Ministry of Justice; Eleanor and Anthony Vallombroso Award for Art Crime Scholarship to Duncan Chappell, Professor in the Faculty of Law at the University of Sydney, Australia; and the Lifetime Achievement in Defense of Art to Bianco Nino Norton, Consultant PetƩn Development Project for the conservation of the Maya Biosphere Reserve, Ministry of Environment of Natural Resources/BID, Delegation of World Heritage Guatemala, Treasurer ICOMOS Guatemala, Presently serving as a Council Member for ICCROM.

The 5th Annual Art & Heritage Conference will have a dinner Saturday night at Locanda.


May 24, 2013

Financial Times: Emma Jacobs profiles art investigator Dick Ellis (ARCA Lecturer) in "Lessons from an old master"

Emma Jacobs interviews former Scotland Yard detective Richard Ellis in "Lessons from an old master" (Financial Times, May 23, 2013) about how he goes about recovering stolen art as a private investigator. Jacobs reports that Ellis told her that he is one his way to meet with "someone who was classified as a former terrorist" because "that is how you learn to do stuff". Jacobs relays why Ellis believes art theft is a social problem reaching beyond a personal theft because stolen art is "being used as a currency to fund criminality, arms, drugs and terrorism". You can read the full article here: http://www.ft.com/cms/s/0/b27c1392-c2cf-11e2-bbbd-00144feab7de.html#ixzz3A5hsjn6S.

May 17, 2013

Padma Kaimal, author of "Scattered Goddesses: Travels with the Yoginis" traveled to museums to study the legacy from a lost temple in South India



Kait Murphy (ARCA '11) in front of 10th
century 
Kanchipuram yogini
at the Sackler Galleries of Art in
Washington D.C. 
Kait Murphy (ARCA 2011) interviews Padma Kaimal, the Author of “Scattered Goddesses: Travels with the Yoginis” which examines the cultural history, theft, and reunion of South Indian temple sculptures.

What happens to sacred objects lost over the centuries? What stories can they tell? Does their meaning change? Padma Kaimal, professor of art and art history and Asian studies at Colgate University, dreams of reuniting 10th century goddesses from a temple in South India. She chronicles the journey of these objects and their collective meaning.  Their creation, dispersal, theft, sale, and museum acquisitions paint a colorful history that has been pieced together to explore how and why objects travel around the globe.

In Kaimal's new book, "Scattered Goddesses: Travels with the Yoginis," we can look at the storied past of most (but not all) goddesses that once graced a now-lost temple in Kanchipuram, India.

Through Kaimal’s outreach to museums and scholars around the world, 19 sculptures re-emerged from the original 64 in museums and private collections planting the beginnings of a reunion and telling the tale of their travels, theft, sale, and current locations.

Some highlights from an interview with Padma Kaimal:
KM: How did you get involved in this project? 
PK: I became involved while looking at another 8th century monument in the same region and noticed the goddesses were really important.  Starting in 2003, I emailed museums and a bunch responded and invited me to look at their files. They would email scans of their images and I started diagramming and mapping where they all were. 
KM:  What is the history of the statues? 
PK: The only information to go on for dating them is from their style and comparison to carved objects in northern Tamilnadu in the first 3 quarters of the 10th c.  Sometime between the 10th c -19th c, the temple was broken into and each of the goddesses was damaged to some degree with features hacked off like their noses and hands.  Evidence from other research shows that all other religions were afraid of this sect of Hindu tantric goddesses.  This was a secret sect so most people viewing seductive powerful women were frightened and didn’t understand their message. 
At some point in the early 20th century, seven goddess sculptures were salvaged and reassembled into a new temple.  In 1926, a poor laborer reported to a French archeologist about interesting objects he found.  This archeologist sent photos and descriptions to an art dealer back in Paris, which traced the objects directly from India to France. 
Back in Paris, France, C.T. Loo was the single most important art dealer with access to Asian art. His markets were Europe and the United States.  He had high standards for the works he acquired. He re-educated museums on what they needed to be buying in terms of high art.  He got the museums on board and changed the collections.  His goal was about the art preservation and education in addition to being a profitable businessman.  Loo was behind the French archaeologist’s research in India and he paid his travel and room and board to find art.  Also perhaps involved in the acquisition of these objects was the British director of the Madras Government museum.  He was probably aware of the extraction and was able to retain two of the objects so that they would stay in Madras (now Chennai), India.  In 1926, Loo began to sell the objects to various collectors and museums with the last one sold in 1960. 
With the dispersal of the objects, the book exposes fragments along the path and helps   connect the vectors to figure out where the objects were and ended up.  There are still two goddesses that haven’t been found and it is thought that they are in private hands somewhere.  Further research will help continue the chase.  There is theft and rescue in this story but there is no separation between the good and bad guys.  The same people were acting with motives we admire as well as those we deplore. The goddesses will always be somewhere else, even if they are some day repatriated to India.  All trace of their original home has been lost. 
KM: What is the status of the project?
PK: I am continuing to travel around to the different museums I went to for the research where the statues are located. Now some of these museums want me to return to share with their communities the stories of these objects on permanent display. But they are displayed by themselves and have lost their context. 
One of my current projects is to go to each museum and re-contextualize the objects for curators and communities and those who support their museums.  I want them to be on board and know they have amazing objects.  Since government funding is disappearing and museums rely more on local buy in, that education is important. 
Some places identify the museums as the bad guys in cultural property theft appropriation, which is an unfortunate tendency of the blame game.  Museums are the last stop and we have to think about the whole chain of transport and extraction as well as the museums themselves. How do we support the museum’s responsibility and their response to the histories? We need to support them so they take care of the objects.  We also need to convince them to tell the journey of objects in the display.  Adding photographs and describing the long road of their history are important factors in leading to a reunion. 
KM: What's next?
PK: I will continue to speak to museums as long as they want me and I would be happy to help to broker some trades to begin to reunite the objects.  Each museum has one or a few object from various sites.  It may be possible to facilitate some switches to reassemble the goddesses in an historical recreation.  When you see these goddesses with each other, it is very exciting and they mean something different together than apart.  They are variations on a theme and share the same basic physical format but with different objects in hand, seated on platforms, different hair and eyes.  When the pattern emerges, it makes clear that visualizing Shakti, feminine force/power, was the part of the intent of the artists. 
The Freer and Sackler Galleries of Art in Washington DC, have put together an exhibition on yoga as a tantric practice which will open this October 2013. Kaimal is a consultant on which sculptures might join the Sackler Gallery’s Kanchipuram yogini. The exhibition will be open October 19, 2013 through January 26, 2014. 
Details on the exhibit can be found: http://www.asia.si.edu/exhibitions/future.asp

May 15, 2013

Scottish Museums Close Tomorrow Morning as Part of a Three-Day Strike for Better Pay & Pensions

Last month the Louvre staff protested against pickpockets (following a series of strikes in 1999 and 2009 against reductions in staff). This month, the staff of two Edinburgh museums will begin a three-day strike tomorrow for better pay and better pensions, reports The Scotsman:

THE National Museum of Scotland and National War Museum will be closed until lunchtime tomorrow as part of a three-day strike over pay and pensions. Members of the Public and Commercial Services (PCS) union began the series of strikes yesterday with staff from the justice sector. They will be joined today by staff from the two museums which has led to the early closures. 
A museum spokesman apologised for any inconvenience caused to visitors and said all of its museums would be open as normal from Thursday. He said: “Due to anticipated industrial action this week, the National Museum of Scotland and the National War Museum will be closing at 1pm today, and will not re-open until 1.30pm on Wednesday.
“The Tower Restaurant will remain open and access will be via the Tower entrance of the National Museum of Scotland as usual. The National Museum of Flight and the National Museum of Rural Life remain open.” 
The PCS began a campaign of industrial action on March 20, the day Chancellor George Osborne announced the Budget.