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March 19, 2014

French police recover painting by Rembrandt (or in the style of Rembrandt) stolen in 1999 from the municipal museum in Draguignan

"Child with a Soap Bubble" by Rembrandt?
Journalist Vincent Noce reports in the French newspaper, Liberation, that a Rembrandt painting stolen in 1999 has been recovered in Nice ("Un Rembrandt volé en 1999 e été retrouvé à nice, 19 March 2014) although the thieves may have discovered the work was not by the 'genius from Amsterdam'.

Noce reported that Tuesday afternoon French police from the unit assigned to fighting trafficking in cultural goods (OCBC) arrested two men (ages 44 and 51 years old) for trying to sell a painting stolen 15 years ago from the municipal museum in Draguignan in southeastern France. The oil painting, measuring 60 cm by 50, is attributed to Rembrandt and known as "Child with a Soap Bubble". According to Noce's article, the recovered painting has an estimated value of 4 million euros (U.S. $5.56 million) -- if it is indeed by the Dutch master and not by an artist inspired by Rembrandt. According to the article, the museum's inventory shows that the painting was taken from the Château de Valbelle [now in ruins] in Tourves during the revolution in 1794. 

Sophie Legras, writing for L'Agence France-Presse (AFP) and published in Le Figaro, reports that judicial police in Nice helped the OCBC in recovering the painting from two men known as petty criminals. Legras cites the newspaper Var Martin that the oil painting entered the municipal museum in Draguignan in 1974 as part of the original collection.

The robbery occurred on July 14th (Bastille Day). According to Legras, the 1999 theft was staged during a military parade when thieves broke into the municipal library adjacent to the museum and stole the painting and frame before police could respond to the alarm. Legras reports that "Child with Soap Bubble" was the victim of a previous robbery in February 1975.

This theft is listed in the book, Stealing Rembrandts: The Untold Stories of Notorious Art Heists by Anthony M. Amore and Tom Mashberg (Palgrave MacMillan, 2011).

Lynda Albertson contributed to this post.

March 18, 2014

Art Recovery International Announces Opening of London Office; ARCA Lecturer Dorit Straus Joins Team

Dorit Straus
Christopher Marinello, Chairman and Founder of Art Recovery International, issued a press release today announcing the opening of its new offices at Exhibition House, Kensington, London and the recruitment of several key staff, including Dorit Straus, a lecturer at ARCA's Postgraduate Certificate Program in Art Crime and Cultural Heritage Protection:
Joining the team are the following: 
Mark Maurice, Executive Director Mark specialises in corporate and personal wealth preservation and acts for some of the most prestigious dealers and collectors worldwide. He has a First Class Honours Masters in Land Economy from University of Cambridge and has focused his practice on international corporate structuring, private equity and wealth protection with particular emphasis on the fine arts sector. Mark has dealt with a number of high profile restitution and cultural patrimony cases involving complex cross border disputes. 
Dorit Straus, Insurance Industry Advisor Dorit has over thirty years experience in the fine art insurance industry and served as Vice President and Worldwide Specialty Fine Art Manager at Chubb & Son. Trained as a Middle Eastern archaeologist at Hebrew University, Jerusalem, Dorit began her career at some of America’s top art institutions, including the Museum of Contemporary Crafts, Peabody Museum of Ethnology and Jewish Museum, Dorit has an extensive knowledge of collection management, art shipment, exhibition loans and valuation. For the last five years Dorit has been a visiting lecturer at the Association for Research into Crimes against Art and regularly speaks about issues affecting the art market and associated insurance industry. 
Ariane Moser, Associate Director Client Relations Ariane studied Art History, Sinology and East Asian Art History at the University of Zurich and holds an MA in Art Business from Sotheby’s Institute of Art. Ariane was the Manager of European Clients at the Art Loss Register in London where she was responsible for developing and maintaining relationships with major European auction houses, insurance companies, art dealers and law enforcement agencies. Later, at ArtBanc International, Ariane served as a Research Specialist where she engaged in comprehensive provenance research projects as well as assisting the Expert Committee in preparing art valuations, market analyses and intelligence services. 
Alice Farren-Bradley, Associate Director Recoveries Alice read Ancient History and Archaeology at Durham University before completing her Graduate Diploma in Law and Legal Practice Course through the University of Law. She worked for four years at the Art Loss Register in London as Recoveries Case Manager and teaches undergraduate and postgraduate modules in Art Law and Professional Practice and Ethics in the Art Market, at Kingston University. In 2013 Alice was named successor to Ton Cremers as Moderator of the international Museum Security Network, which monitors and circulates information on cultural heritage crime to museums, security personnel, art market professionals and law enforcement agencies.
You may read the complete press release here.

March 10, 2014

Monday, March 10, 2014 - 2 comments

'Bibliomania': Gustave Flaubert; Don Vincente, Catalan monk and Barcelona bookseller; Murder and Planas' Argument with a Legend

by A.M.C. Knutsson

In early 1837 a young promising writer published a novella called ‘Bibliomania’ in the French literary magazine Le Colibri. [1]  The young writer’s name was Gustave Flaubert and his novella was inspired by a news article that the 16-year-old had read only a few months earlier.

In October 1836 an article had appeared in La Gazette des Tribunaux accounting for the wondrous tale of Don Vincente a Catalan monk who after the dissolution of his monastery, Poblet, had become a bookseller in Barcelona. Whilst it was unknown whether Don Vincente could read, he was never seen reading a book, his passion for books was indisputable. It was described that he was very unwilling to part with all but the cheapest of his stock and once a valuable book entered his collection it would most likely never emerge again. Evil gossip circulated about the book dealer and people hinted at a dubious origin for his impressive stock. People suggested that the poor monk might have helped himself to the monastery library contents at the dissolution of Poblet.

At a book auction in the middle of 1836 a very rare book came up for sale.  The book was Furs e Orinacions, printed in 1482 in Valencia by Lamberto Palmar – the first Spanish printer, and it immediately caused a stir. No other copy of this edition was known and any book collector worthy of the name would have made ample sacrifices to be able to add this treasure to their collection. Don Vincente was no different, he is said to have bid furiously at the auction but was in the end beaten by Agustin Patxot, a fellow book dealer.

However, not even a week after the sale the residents of Barcelona woke up to find Patxot’s shop devoured by flames. When the fire had finally been tamed the body of the bookseller was recovered under the debris of burnt books. It was concluded that he had fallen asleep whilst smoking. During this time several other bodies were also found around Barcelona, they bore no trace of robbing as gold and jewels had been left on the bodies. The nine people that were found had no seeming connection apart from their love of learning and their passion for books.

An investigation was commenced and by chance a police officer noticed Furs e Orinacions, on one of Don Vincente’s shelves. Remembering the title from all the buzz around the auction, he confronted Don Vincente. The former monk claimed that the book had been sold to him but other dealers insisted that this claim was most unlikely. Further investigations of Don Vincente’s stock revealed books that had belonged to several of the dead men and Vincente was arrested. After first denying his guilt, the article tells us that he finally admitted to the murders on the understanding that his library would remain intact.

Under questioning the prosecutor asked why Vincente had left Patxot’s money behind when he had taken the Furs e Orinacons. Vincente is said to have answered, “Take money? Me? Am I a thief?" Commenting on why he committed these monstrosities, he answered calmly “Men are mortal. Sooner or later, God calls them back to him. But good books need to be conserved.” Don Vincente was condemned to death.[2]
  
Gustave Flaubert’s account of Don Vincente’s destiny would not reappear at the printing presses again until 1910 in Oeuvres de Jeunesse Inédites, Vol. 1. However, many other writers would also lace their pens with ink to cover this marvelous story.  To these count:
·     Le Voleur, no. 60 (Paris, 31 Oct 1836)
·     The Literary Gazette; and Journal of Belles Lettres, Arts, Sciences &c., for the year                1837, (1837)
·     Serapeum (Leipzig), no. 22 (20 Nov 1843)
·     Jules Janin, Le Livre (Paris, 1870), pp. 120-27.
·     P. Blanchemain, Miscellanees Bibliographiques, II (1879)
·     Lang, Andrew, The Library, (1881)
·     Halkett, Lord, ‘Don Vincente, the Assassin Bookseller’, in The Book-Lover, Vol IV,              Oct 1903.
·     Jackson, Holbrook, The Story of Don Vincente, (1939)
·     Sander, Max, Bibliomania, Journal of Criminal Law and Criminology (1931-1951),                Vol. 34, No 3, (1943)
·     Roland, Charles G., ‘Bibliomania’, JAMA, Vol 212, (1970)
·  Basbanes, Nicholas A., A Gentle Madness- Bibliophiles, Bibliomanes, and the Eternal Passion for Books, (1995)
·     Hoover Bartlett, Allison, The man who loved books too much, (2009)
The story reached far and H.C. Watson even wrote about the case in his Statistics of Phrenology (1836).

However, already in 1928 a book had appeared in Spain written by bibliophile and author Ramon Miquel I Planas (1874-1950). The name of the book was El Llibreter assassí de Barcelona, and in it Planas sought to rectify the story of Don Vincente, arguing that the anonymous article in La Gazette des Tribunaux, which had informed the world about the existence of Don Vincente, had been fictional. Indeed, Planas argued that the article had been written by French author and librarian Charles Nodier, (1780-1844), most known for his influence on the French Romantics. Planas argued that Don Vincente’s crime does not appear in any local newspapers of the time, that there was no monk by the name of Fra Vincentes at Poblet at the time of its closure, and that the local ‘colour’ does not ring true. [3] Despite the fact that little research has been conducted into the case of Don Vincente since Planas, most scholars hold his version for true despite a disagreement about the identity of the original author. If Nodier was indeed the original author, it is interesting to note that it was rumoured that Nodier had killed a man for outbidding him at auction during one of his trips to Spain. [4]

Only 14 years short of the centenary of Plana’s book it is high time to introduce his theories also into the English accounts of book thieves and to add a scrap of skepticism into the accounts of this famous library-assassin. 

[1] Richmond Ellis, Robert, ‘The legend of Fra Vicents in European and Catalan Culture’, in Symposium: A Quarterly Journal in Modern Literatures, Vol. 56, Issue 3, (2002), p. 129-131
[2] Anonymous, Gazette des Tribunaux, (23 Oct 1836)
[3] Private correspondence with Barry Taylor at the British Library, 17-18 September 2013  & Richmond Ellis, Robert, ‘The legend of Fra Vicents in European and Catalan Culture’, in Symposium: A Quarterly Journal in Modern Literatures,  Vol 56, Issue 3, (2002)

[4] Loving, Matthew, ‘Charles Nodier: The Romantic Librarian’, Libraries & Culture, Vol. 38, No. 2 (Spring, 2003)

March 2, 2014

Gurlitt Art Collection: ARCA Lecturer Dick Ellis interviewed by "Voice of Russia" about the general issues of art restitution

Richard Ellis, retired Scotland Yard detective
Voice of Russia features an exclusive interview with ARCA Lecturer Richard Ellis in "Holocaust victims' heirs to reclaim Nazi-looted artwork if Gurlitt bill passed" (February 28, 2013):
An act allowing the heirs of Holocaust victims get more powerful leverage to claim their property, i.e. the works of art looted by the Nazis, is being debated by Bavarian legislature.The bill is named after Cornelius Gurliit - a Munich pensioner and owner of a spectacular collection of modernist paintings, drawings and watercolors. The Art Management Group and former Head of the Art and Antiques Union of Scotland Yard Richard Ellis and Gurlitt’s representative Stephan Holzinger explained to the Voice of Russia the legal aspects of the intricate "treasure hunt".
Mr. Ellis, who is not involved in the Gurlitt case according to the article, 'exclusively told the Voice of Russia that even if Germany will change its laws considering the looted art, the Gurlitt collection will remain out of legal prosecution.'

You can read the interview here.

March 1, 2014

Faculty and Course Schedule for the 2014 Postgraduate Certificate Program in Art Crime and Cultural Heritage Protection

This is the Faculty and Course Schedule for the 2014 Postgraduate Certificate Program in Art Crime and Cultural Heritage Protection in Amelia, Italy. The general application period has been extended through March 30, 2014.

Course I – June 2-4 and June 9-11 “Art Policing, Protection and Investigation”
Richard Ellis, Detective and founder of Scotland Yard’s Art and Antiquities Squad (retired), Art Management Group Director 

Course II - June 4-6 and June 11-13 “The International Art Market and Associated Risk”
Dr. Tom Flynn, London Art Lecturer, Docent and Art Historian

Course III - June 16-20 “Transnational Organized Crime and Art”
Dr. Edgar Tijhuis, Lawyer and Assistant Professor of Criminology at the VU University in Amsterdam

Course IV - June 23-27 “Art Forgers and Thieves”
Dr. Noah Charney, Founding Director of ARCA - Adjunct Professor of Art History, American University of Rome

Courses V - June 30-July 2 and July 7-July 9 “Art Crime in War”
Judge Arthur Tompkins, District Court Judge in New Zealand

Courses VI – July 2-4 and July 9-11 “Art and Heritage Law”
To be Announced

Courses VII - July 12 -16 “Risk Assessment and Museum Security”
Dick Drent, Corporate Security Manager, Van Gogh Museum, Amsterdam

Course VIII - July 23-25 “Insurance Claims and the Art Trade”
Dorit Straus, Vice President and Worldwide Specialty Fine Art Manager for Chubb & Son, a division of Federal Insurance Company (retired)

Course IX - July 28-30 and August 4-6 “Unravelling the Hidden Market of Illicit Antiquities: Lessons from Greece and Italy” 
Dr. Christos Tsirogiannis, Forensic Archaeologist, Illicit antiquities researcher, University of Cambridge

Course X - July 30-August 1 and August 6-8 “Antiquities and Identity”
Dr. Valerie Higgins, Associate Professor and Chair of Archaeology and Classics at the American University of Rome

February 27, 2014

Thursday, February 27, 2014 - , No comments

"Mona Lisa Is Missing" DVD offers a special discount price to ARCA blog readers

Joe Medeiros, producer of the documentary on the 1911 theft of the Mona Lisa from the Louvre, has a special offer for ARCA blog readers:
It's the greatest little-known art theft of all time. With the most unlikely thief. And no one knows why he really did it. Until now. 100 years after the theft of the Mona Lisa, the award-winning documentary "Mona Lisa Is Missing" reveals the real reason Vincenzo Peruggia stole the Mona Lisa from the Louvre -- a reason Peruggia's only daughter didn't even know. And now ARCA members can own the DVD -- featuring 90 minutes of Bonus Features -- at a special discount price. Click on this link: http://bit.ly/MtZWpb and enter (or copy and paste) this special code at checkout: 3UJGLXNQYTJ8.
Here's a blog post on the documentary -- I've seen it twice and will still purchase this for the additional footage offered on the DVD.

February 26, 2014

OpEd: Italy’s Corte Suprema di Cassazione and the Getty Bronze: What will be the fate of the Fano Athlete?

By Lynda Albertson, CEO, ARCA

A story decades in the making, Italy’s Corte Suprema di Cassazione (Supreme Court of Cassation) was scheduled to hand down its final ruling today at the Palace of Justice in Rome on the fate of the l’Atleta di Fano, commonly known by as The Getty Bronze, the “Victorious Youth" or il Lisippo.  The bronze work of art, a representation of an athletic youth standing with all of his weight on his right leg, is depicted crowning himself with an olive wreath. It was purchased by the J. Paul Getty Museum under less than transparent circumstances in 1977 for $3.95 million.

After years of discussions Italy's highest court has elected not to issue its ruling today upholding a lower court's judgment that the "Victorious Youth" was illicitly exported from Italy and as such, is subject to seizure.  Instead the Prima sezione penale della Cassazione (First Penal Section of the Supreme Court of Italy) has elected to transfer the case to the Terzo sezione penale della Suprema Corte (Third Criminal Chamber of the Supreme Court) where a new hearing will be scheduled to establish whether or not the order of confiscation issued by the Court of Pesaro on May 3, 2012 should be affirmed.

The Getty Museum has been fighting a lower court's ruling by claiming that the statue was found in international waters in 1964 and was purchased by the Getty Museum in 1977 -- years after Italian courts concluded that there was no evidence that the statue belonged to Italy.  Throughout this elongated court process, the J. Paul Getty Museum has maintained that the statue's accidental discovery by Italian fishermen, who then brought the bronze to Fano and hid it from authorities, did not grant the statue the status of an Italian object.

Examining the merits of the case within the Prima sezione penale della Cassazione (First Penal Section of the Supreme Court of Italy) were the following magistrates:

Dott. Renato Cortese, Panel President
Dott. Angela Tardio, Consiglieri (Counselor)
Dott. Lucia La Posta, Consiglieri
Dott. Filippo Casa, Consiglieri
Dott. Francesco Bonito, Relatore (Speaker)

The Getty museum was represented in the case by Milan attorney Emanuele Rimini and attorney Alfredo Gaito from Rome. The Italian Ministry of Culture was represented by state cultural heritage attorney Maurizio Fiorilli.

But why fight over such a beautiful work of art?

This life-size Greek bronze statue is believed to have been created between the 4th and 2nd century BCE, possibly by the artist Lysippo, the court sculptor of Alexander the Great. While Lysippo was a prolific sculpture, few of his bronzes remain in existence making this particular statue and its high financial value something worth fighting for.  Italy has fought for the statue's return based on principle and for many years has utilized the judicial system within its means to make a point that its antiquities should not be trafficked.  The J. Paul Getty Museum is concerned that it will lose a substantial investment and a critical and cherished piece in their collection.  These opposing desires have placed the "Victorious Youth" at the epicenter of an international legal dispute that has lasted through the careers of two of Italy's finest cultural property attorneys, Giorgio Paolo Ferri and Maurizio Fiorilli.

The story of the statue begins with its discovery in 1964 off the northern Adriatic coast of Italy where it was fished from the sea by the Italian crew of the fishing trawler, Ferrucio Ferri who plied their trade out of Italy. Hauled aboard in the fisherman's nets and later hoisted from the boat onto Italian soil when the ship docked in Fano, the statue has changed hands and countries multiple times.  Its journey has been filled with fishermen, traffickers, shady middlemen and even a priest, making its journey from port harbor to one of the United State’s most prestigious museums a story worthy of more than just one article.

Rather than declare the statue’s discovery to customs officials, as required under Italian law, the fisherman and his brothers hid the bronze almost immediately.  To protect their asset, they buried the bronze in a cabbage field and began scouting for potential buyers.  The work of art was eventually sold to Giacomo Barbetti, a wealthy antiquarian, who was the first to identify the bronze as perhaps being the work of the Greek master, Lysippo.

In May 1965, the bronze moved from Fano to Gubbio, where, with the help of Father Giovanni Nagni, it was hidden for a brief period in a church sacristy. As the encrusted statue, covered in marine organisms and barnacles from its 2000 years in seawater began to smell, it drew unwanted attention forcing the resourceful conspirators to relocate the bronze from the church room for vestments to the priest’s bathtub.  There it was submerged in a saltwater bath to minimize its odor and slow its decay.  Investigators and lawyers tracing the statues journey say that Barbetti quickly sold the bronze to an unidentified buyer from Milan. 

Afterwards, the "Victorious Youth" passed through a number of other hands, crisscrossing its way through several countries after it was smuggled out of Italy.  In 1972 it passed through antique dealer Herzer Heinz in Munich who was tasked with removing the detritus that was encrusting the statue. It was in Heinz's studio in Germany that the bronze was examined, but not purchased, by Thomas Hoving from the New York Metropolitan Museum. 

In 1974 the Luxembourg-based company Artemis S.A, purchased the statue for $700,000.  Founded in 1970, evidence presented by the Italian state at the Tribunal in Pesaro in February 2010 suggests that the firm was created ad hoc to craft false provenance for antiquities trafficking.

During this period Herzer contacted Bernard Ashmole, at the British Museum who in turn approached J. Paul Getty about a possible purchase.   The American industrialist, turned art collector was skeptical enough of the statue’s sketchy provenance and Italian police interest in the piece that he declined to purchase the masterpiece.  Despite their founder's misgivings, the J. Paul Getty Museum bought the statue one year after Getty’s death.  The purchase in turn resulted in an INTERPOL notification to the Italian authorities that the Victorious Youth had found a museum buyer.
Palazzo di Giustizia, Roma

To understand how the case moved through the Italian judicial system it is first necessary to understand a bit more about the country’s legal system.  It is the responsibility of the Corte Suprema di Cassazione to ensure the correct application of law in the inferior and appeal courts and to resolve disputes as to which lower court (penal, civil, administrative, military) has jurisdiction.  Additionally, the higher court is also entrusted with the charge of defining the jurisdiction i.e., of indicating, in case of controversy, the court, either ordinary or special, Italian or foreign, which has the power to rule on a case.

Unlike upper level courts in the United States or the United Kingdom, the Italian Supreme Court cannot refuse to review cases and defendants have unlimited appeal rights to the Supreme Court of Cassation.  Given the backlog of criminal and civil cases pending and the lengthy process involved in delivering a ruling once an absolute decision has been handed down, cases like this one can linger in judicial limbo for many years.

Interior, Palazzo di Giustizia, Roma
To put things in perspective and to give readers an idea of how this complicates judicial resolutions, it's helpful to look at other countries for comparison.  The United Kingdom's Supreme Court hears approximately 75 cases per year while the United States Supreme Court generally rules on 100 to 120 case decisions annually.  In a country serving a local population that is one-fifth the size of the United States, the Italian Supreme Court of Cassation decides on close to 50,000 cases (both criminal and civil) annually.  The final administrative court, the Consiglio di Stato decides over 10,000 cases per year; while the Constitutional Court makes final decisions on around 400 cases per year.

Like other supreme courts around the world, the Court of Cassation is not tasked with re-examining the entire body of evidence in a given case.  Additionally it does not have to make rulings solely on cases that have passed through the Corte d'Assise d'Apello, Italy's Appellate Court. Cases which meet certain criteria can go directly from the tribunal level court system to the supreme court as the Court's role is specifically to rule on erores in iudicando and errores in procedendo (errors in procedure or application of the law). 

Some criminal cases reach Italy's Court of Cassation first passing through the Corte d'Assise d'Apello as was the case recently with the high profile murder case of Amanda Knox.  Both the defendant and the prosecution in this type of appeal case retain the right of appeal and both the Corte d'Assise d'Appello and the Supreme Court are required to publish written explanations of their rulings and decisions. But these are the upper courts.

Before arriving at the Supreme Court or Appeal Court cases are heard by regional tribunals.  Tribunals consist of one single judge or a panel of three judges depending on the type of case being heard.  It is these tribunali which are the Italian court's first instance of general jurisdiction in both civil and criminal matters. 

The Getty Villa, California
But getting back to the case of the Getty Bronze that in some ways is as complex and hard to follow judicially as a Wimbledon tennis match.

In 2007 the Italian Ministry of Cultural Heritage and the J. Paul Getty Trust agreed to set the question of the Victorius Youth aside pending the ongoing legal process before the Tribunal in Pesara concerning the object's illegal exportation from Italy.  The accord of the parties on this point was crucial as earlier negotiations in 2006 had been contentious and unfruitful due to disagreements between Italy and the Getty over the statue's ownership status.

In 2007, in proceedings before the Tribunal of Pesaro, charges related to the illicit exportation of the Victorious Youth were dismissed upon the request of the public prosecutor on the grounds that the statute of limitations on prosecution had expired against all of the defendants in the case leaving the Italian state with no one to prosecute.  At the time of the requested dismissal the prosecutor demanded the confiscation of the bronze given it had been exported out of Italy in contravention of existing Italian law.

Almost three years later, on the tenth of February 2010, Luisa Mussoni, the preliminary investigation judge at the Tribunal of Pesaro, ruled that the Victorious Youth was exported illicitly.  As a result of this court decision, the tribunal issued an order for the statue's immediate seizure and restitution to Italy.  This order followed an earlier and separate order June 12, 2009 ruling on the question of the jurisdiction.

As a result of these two decisions, the Getty Museum subsequently challenged the orders' validity before the Italian Court of Cassation on February 18, 2011. At that

hearing the case was remanded to back to the Tribunal of Pesaro for further examination of the merits of the case.


On May 3, 2012 Maurizio Di Palma, the Pre-Trial judge at the Tribunal of Pesaro, once again upheld the earlier 2010 order of forfeiture and confirmed that the statue was illegally exported from Italy.  His ruling placed the case's resolution back with Italy's Supreme Court for what was supposed to be today's final ruling.

If the Italian state affirms its final ruling with respect to this case at the Third Criminal Chamber of the Supreme Court it will be interesting to see how the repatriation order will be enforced and if the J Paul Getty Museum will to the right thing and relinquish the statue voluntarily.

When asked his opinion on today's postponement, Stefano Alessandrini, Perito Scientifico to the Italian state on this and other cultural heritage looting cases indicated that he would not celebrate (or give up) until he saw the statue arrive at Rome's Aeroporto Internazionale Leonardo da Vinci di Fiumicino.

Italy's cultural property attorney Maurizio Fiorilli retires April 12, 2014 meaning the torch will have to be passed to a third state prosecutor. 

For now, Italy continues to wait.

February 25, 2014

John Follain in The Sunday Times Reports J. Paul Getty May Send The Athlete of Fano to Italy

Official from Marche visited in 2011 to
press for possession of Athlete of Fano
In Britain's The Sunday Times, John Follain reports in "2,400-year-old 'hostage' ready to fly home to Italy" (February 23, 2014) that the statue known as The Athlete of Fano may be leaving the J. Paul Getty Villa in Malibu:
CALIFORNIA’S J Paul Getty Museum is expected to be ordered this week to return to Italy an ancient Greek bronze statue of an athlete that has been one of its most prized exhibits for more than three decades. In a case that has become a symbol of Italy’s new-found determination to reclaim its lost masterpieces, the Supreme Court in Rome is due on Tuesday to rule on the long battle for the “Getty bronze” — also known as Victorious Youth — considered one of the greatest treasures of the ancient world. The statue, which depicts an athlete crowned with an olive wreath, dates back to the 4th century BC and is believed to be the work of Lysippos, personal sculptor to Alexander the Great.

In May 2012, an Italian judge ruled that the statue should be returned to Italy. Officials from the Region of Marche visited California in March 2011 to press their argument for the statue's return.

February 24, 2014

Monday, February 24, 2014 - , No comments

Wolfgang Beltracchi, Art Forger: CBS Profiles German Fraudster, An "Evil Genius" and "Con Man"?

Here's a link to the CBS "60 Minutes" segment on art forger Wolfgang Beltracchi. The German fraudster tells interviewer Bob Simon that he knew what he was doing was wrong, he did not feel guilty for defrauding collectors, and used faked 'archival photographs' to support fake collecting history.

Here's a review ("60 Minutes" Recap) by Tammie Edenshaw of CMR (Current Movie Reviews):
Bob Simon brings the next story about Wolfgang Beltracchi, a con artist whose paintings are remarkable works of forgery. They are the ideas of a man whose visions are what he feels the master painters would have done or may have lost. His career has encompassed more than forty years and earned him millions. During the interview, Beltrachhi shows how he forges Max Ernst by painting on a wooden bridge outside his home. What is spectacular about this man is not the fact he “copies” famous works of art, but that he “channels” the artist and creates new works, which are his own, but passed off as those of a famous artist. He is probably one of the most exhibited painters in the world but was busted in 2010 but white paint which had titanium white. His downfall has turned the art world on his head as auction houses are being sued for endorsing the forgeries. Experts are now unsettled to the point of no longer rendering opinions of authentication. Beltracchi is now painting under his own name as he faces millions in lawsuits.
Dawn Levesque on Liberty Voice writes in "Wolfgang Beltracchi and the Biggest Art Scandal" that:
It is said that Wolfgang Beltracchi painted artworks by Raoul Duffy, Max Ernst, Georges Braque and Fernand Leger, along with other 20th century Surrealists and Expressionists. Beltracchi did not copy the paintings but passed off his own paintings in what he believed the real artist might have painted. These paintings became “newly discovered masterpieces” by 20th century artists. He expertly forged the artist’s painting style so flawlessly that no one was the wiser. In hindsight, according to modern art expert, Ralph Jentsch, it was due to the formidable desire to believe. Jentsch affirms, that in the world of art, connoisseurship and origins can go astray in the “frenzy of excitement over a new find.” Beltracchi also created artwork that once existed but had been missing for years. He conned even the finest art connoisseurs by working with paint and canvases from the appropriate period. In addition, he went so far as to produce realistic, time-worn dealer labels. Then, came the story to accompany the forged artwork. His wife, Helene claimed that her deceased grandfather, Werner Jägers had hidden his fine art collection away prior to World War II in a country home near Cologne. Subsequently, the collection was bequeathed to her, and according to Beltracchi, that is how he came into possession of the undiscovered artworks by renowned artists. To add integrity to the story, the Beltracchis presented a credible old black and white photo of Helene personating her grandmother, posed in front of canvases from the alleged “Jägers collection.”
[...]
In August 2010, Berlin’s art fraud branch conducted their biggest operation, and police teams seized paintings, the Beltracchis and their accomplices. However, with the lack of evidence at their trial, the judge terminated the proceedings, and the Beltracchis jail terms were reduced. A top forensic art analyst, Jamie Martin, is one expert that acknowledges that Wolfgang Beltracchi’s fakes are very credible, and some of the best counterfeits he has seen in his profession. He believes that if forensic analysts had inspected the paintings more thoroughly that maybe Beltracchi would have been exposed much earlier. However, that does not raise the spirits of those who have been prosecuted, including auction houses, galleries and experts, for selling Beltracchi fakes. At Beltracchi’s trial, the prosecuting attorney stated that he had produced 36 counterfeit artworks, bought for $46 million. Spanning four decades, it has been estimated that Beltracchi, Helene and their accomplices made $22 million on their art fraud. Even though authorities have charged Beltracchi with 36 works, he claims that there may be over 300 counterfeit paintings still in circulation. In truth, what is considered the “biggest art scandal of all time is not finished. German police have only uncovered 60 fraudulent paintings of Wolfgang Beltracchi since the trial, with an undetermined quantity amount still in circulation.

February 23, 2014

Sam Cullman and Jen Grausman seeking support on Kickstarter to complete "Art and Craft", a documentary on art forger Mark Landis

Here's a link to the Kickstarter campaign to raise $48,250 to bring "Art and Craft", a documentary by Sam Cullman and Jen Grausman on the fraud art forger Mark Landis, to audiences:
THE STORY: Mark Landis has been called one of the most prolific art forgers in US history. His impressive body of work spans thirty years, covering a wide range of painting styles and periods that includes 15th Century Icons, the Hudson River School, and even Picasso. And while his copies could fetch impressive sums on the open market, Landis has never been in it for the money. Posing as a philanthropic donor, a grieving executor of a family member’s will, and most recently as a Jesuit priest, Landis has given away hundreds of works over the years to a staggering list of institutions across the United States. But, when Matthew Leininger, a registrar in Cincinnati, discovers his thirty-year ruse and organizes an exhibition of the work, Landis must confront his legacy and a chorus of museum professionals clamoring for him to stop.