A total of seven artworks by Austrian Expressionist Egon Leo Adolf Ludwig Schiele once owned by Franz Friedrich 'Fritz' Grünbaum will be handed over in a public ceremony livestreamed today from  the office of the New York District Attorney's Office in Manhattan at 15:00 EST.

Each of the artworks were voluntarily relinquished by the Museum of Modern Art and the Morgan Library in New York, the Santa Barbara Museum of Art (California) and the legal representatives for the private collections of Ronald Lauder and the estate of the late Serge Sabarsky.

The artworks being returned to the collector's heirs are:

 Prostitute, 1912 by Egon Schiele
Watercolor and pencil on paper

Sold via Gutekunst & Klipstein, Bern to Galerie St. Etienne in New York
Lastly with the Museum of Modern Art 

 Portrait of a Boy (Herbert Reiner), 1910 by Egon Schiele

Guache, watercolor, and pencil on paper

Sold as per Kallir: Gutekunst & Klipstein

Galerie St. Etienne, New York

as per S.S.G. records: John Herring Inc., New York, until February 1993 

Serge Sabarsky Gallery, New York since February 1993

Lastly on display at the Neue Galerie, from the estate of the late Serge Sabarsky

I Love Antitheses, 1912 by Egon Schiele
Watercolor and pencil on paper

Lastly from the private collection of Ronald Lauder

All seven of the artworks were relinquished following investigations by the Manhattan prosecutor's office.  A process to recover Grünbaum's art collection  began as early as 1998 when former Manhattan District Attorney Robert Morgenthau seized “Dead City III”, an oil on wood painting by Schiele which Timothy Reif's, family claimed.  At the time, the Reif claim was weaker than Lea Bondi's claim for the Portrait of Wally, and Dead City III went back to Austria to the Leopold Museum.

Fast forward to 2018, and working from the basis of the civil court ruling by Judge Charles V. Ramos in the case of Reif v. Nagy in New York County Supreme Court, we finally have some justice for the family.  In his ruling Ramos concurred that the power of attorney signed on/around 20 July 1938 by the artworks' owner, Austrian Jewish cabaret artist, song writer, and actor, Franz Friedrich 'Fritz' Grünbaum, while imprisoned at Dachau Concentration Camp, and signed under extreme duress gunpoint did not represent a valid conveyance.

In making his 2018 ruling Judge Ramos also cited the introduction of the Holocaust Expropriated Recovery Act of 2016 and ruled that Grünbaum’s descendants rightfully owned two other Schiele works named in the civil proceedings, “Woman in a Black Pinafore” and “Woman Hiding Her Face.”

Grünbaum was murdered on 14 January 1941 at Dachau Concentration Camp.

As mentioned in an earlier article this month, much of Grünbaum’s extraordinary 449-piece art collection was sold through Eberhard Kornfeld, a Swiss auctioneer, and art dealer based in Bern.

Given that all seven of these Schiele artworks had been in circulation via New York  dealers, the New York District Attorney's Office held jurisdiction and could build a case for their (and other) restitutions on the basis that pursuant to a criminal investigation into Nazi looted art, by being the property of Fritz Grünbaum’s heirs: David Fraenkel, Timothy Reif, and Milos Vavra, the artworks from his collection, which have been sold onward, each constitute stolen property from the claimants according to New York state law.  

Remembering the artwork's original owner, it is said that Fritz Grünbaum never stopped entertaining people. Even as death approached at Dachau, he mocked the Nazis and found levity in the grim absurdities of life in a death camp. One former inmate remembered Fritz comforting the other inmates by arguing that absolute deprivation and systematic starvation were the best defence against diabetes.

By:  Lynda Albertson

"Looters imperil unknown people's past."  That was the title of an article written by Barbara Crossette, the Bangkok bureau chief of The New York Times on September 9th 1986.  Her report described the destruction to archeological sites caused by grave diggers operating in the densely forested mountains of western Thailand.  There, subsistence looters had been systematically plundering a wide variety of antiquities, hauling away various grave goods, including high-quality ceramics, some found at  hilltop ring-ditch burial sites that belonged to a then-unknown group of people that defied cataloguing.

See Reference at the end of this article

Like so many other plundered cultural sites in at-risk and remote locations, circular earthworks in and around Tak Maesot were scarred by extensively pitting. Sketched out on maps, some of the impacted burial sites had the appearance of buttons sewed onto the hillside.

But the damage done by plunderers didn't just strip away treasures.  In addition to the grave goods they stole, looters took with them many of the geological and cultural clues that could have lead us to better understand who left these graves here in the first place.  

What remained in their wake, was only a series of useless pits, scattered with broken and discarded ceramic fragments and the outline of the the graves themselves.  Archaeologists who later explored the sites have since documented that the inhabitants of the past had a vibrant trade in ceramics,  identifying pieces coming from Thai, Burmese, Vietnamese and Chinese production centres.

Unfortunately, so little remained after the thefts, that researchers still remained puzzled as to who the peoples were, who cremated their dead, placing their ashes in urns and interring them in the mountains, accompanied with valuable objects.   All that was known was that this population were likely not Burmese or Chinese, nor Khmer or Thai.  Perhaps even a transitional culture which eventually died out or merged with others from the area.

At the heart of the plunder in this area of Thailand were some 100 burial sites dating from the 12th or 13th century, up through the 16th century CE, scattered along a 60-mile swath of western Thailand between Umphang, on the Myanmar, (then-Burma) border south of Mae Sot, and north to Chiang Mai which contained the inexplicable mixture of Chinese, Thai, Burmese and Vietnamese ceramics, as well as other pottery never documented previously. 

Barbara Crossette, speaking with John Shaw MBE, an expert on Southeast Asian ceramics who lived in the northern Thai city of Chiang Mai, quoted British-born collector and Honorary Consul to Chiang Ma, John Shaw, who described the area of the new finds as ''beyond the writ of the law' who stated ''It would take the whole Thai Army to protect those hills.'' 

Illegal digging at Som Poi Burial Site, 1984.

In February 1985 Shaw states that another batch of freshly looted ceramics surged into the antique market, this time coming from the Mae Tun - Om Goi area further north, showing that as long as there was a demand, there would be regional people to supply the market. 

But why bring a pattern of looting and subsequent fossicking in Thailand that happened 37 years ago?

Earlier this September, Thailand's Central Investigation Bureau (CIB) reported on a collaborative investigation with the country's Department of Fine Arts, which apprehended three individuals involved in present-day illegal excavation and trade of antiquities. The suspects were identified after having advertised their plunder on Facebook.  In a multi-province operation, authorities eventually seized 11 metal detectors, excavation equipment, and nearly 970 items believed to be ancient artefacts during searches conducted this month at nine seperate sites, including, again, one of which was in Chiang Mai.  

Like almost 4 decades ago, authorities have seen a spate of robbery at archeological sites across Northern Thailand, from Sukhothai to Lampang, and from Chiang Rai to Chiang Mai, this time also sold digitally. 

And while these recovered examples of ancient jewellery, coins, and tiny ornaments suitable for someone's mantelpiece may seem relatively harmless when compared to some of the higher profile Thai sculptures being returned from various museums, the cumulative process to seek, loot, and put these materials on the market for consumers is significantly more destructive towards our knowledge of the past than what individuals, and collectors, often perceive.

The times, they are (not) a-changin. 

By Lynda Albertson

--------------------

References

Grave, Peter, The ring-ditch burials of Northwestern Thailand and the archaeology of resistance - Bulletin of the Indo-Pacific Prehistory Association, 3: 61-166, 1997.

Hearn, Ray,  Thai Ceramics, Lao Na and Sawankalok: An Interview with John Shaw, 2000/03.

The Shaw Collection. ‘Tak Hilltop Burial Sites Introduction’. Accessed 18 September 2023. http://www.shawcollection.com/item.php?cid=221.

Fritz Grünbaum's prisoner registry card at Dachau Concentration Camp

On Wednesday, the New York District Attorney's Office in Manhattan executed  search warrants at three US museums, seizing three artworks by Austrian Expressionist Egon Leo Adolf Ludwig Schiele.

The Schiele works are: 

Russian War Prisoner, 1916, a watercolour and pencil on paper hand drawing seized at the Art Institute of Chicago; 

Portrait of a Man, 1917, a pencil on paper drawing seized at the Carnegie Museum of Art; 

Girl With Black Hair, 1911), a watercolor and graphite pencil on paper hand drawing seized at the Allen Memorial Art Museum at Oberlin College.

According to the warrants and Manhattan prosecutors,  “there is reasonable cause to believe” that the works constitute stolen property taken from Franz Friedrich 'Fritz' Grünbaum, an Austrian Jewish cabaret artist, operetta and popular song writer, actor, killed during World War II.  Grunbaum’s extraordinary 449-piece art collection was stolen by the Nazis only to have much of it sold through Eberhard Kornfeld, a Swiss auctioneer, and art dealer based in Bern, without the collector's heir's consent. 

A World War II tragedy, like so many others. 

After the Anschluss, (the annexation of the Federal State of Austria into the German Reich forming a "Greater Germany"), Fritz Grunbaum and his wife Elisabeth "Lilly" (nee Herzl) Grunbaum try unsuccessfully to escape to Czechoslovakia. 

Apprehended and arrested Fritz Grunbaum remained imprisoned in various concentration camps until his murder. On 16 July 1938 while Fritz Grunbaum was imprisoned at Dachau, the Nazis forced him to execute a power of attorney in favour of his wife Lilly. 

Shortly thereafter, and acting pursuant to her husband's under duress power of attorney Elisabeth Grunbaum is compelled to permit Austrian art historian and art dealer Franz Kieslinger, who was a member of the Nazi party, to inventory Grunbaum's property, including his art collection of over 400 pieces to be valued at 5,791 Reichsmarks (RM).  In this collection were 81 pieces by Schiele. 

Kieslinger inventory documented Grunbaum's Schiele artworks: 

Grunbaum's collection also included French watercolours and pieces by French Impressionist Edgar Degas, the German artist Albrecht Dürer, Dutch Golden Age artist Rembrandt Harmenszoon van Rijn, known as Rembrandt, and French sculptor François Auguste René Rodin.  All of the latter were identified by name in the Kieslinger inventory. 

Sometime following Kieslinger's inventorying, the Grunbaum's entire art collection was deposited with Schenker & Co., A.G., a Nazi-controlled shipping company, with the firm the applying for an export license on behalf of collector "Lilly Grunbaum" in November 1938.  Gruesomely, Lilly's address is listed as "formerly Vienna . . . now Buchenwalde," the Nazi concentration camp established on Ettersberg hill near Weimar, Germany.

On June 9, 1941 Fritz Grunbaum is murdered at Dachau in southern Germany. His wife then signed a declaration before an Austrian notary in connection with obtaining her husband's death certificate, stating: 

"[T]here is nothing left," in other words, there is no estate. Therefore, "[b]ecause of a lack of goods or property, there [was no] estate proceeding for inheritance" before the Dachau Probate Court.

She in turn, is murdered four months later, on October 5 1942 at Maly Trostenets death camp near Minsk in Belarus. 

By the early 1950s some 25% of the Grünbaum's collection, including the three seized artworks, was in circulation on the art market through Bern, Switzerland dealer Eberhard Kornfeld.

Seized in place, prosecutors say 3 seized artworks belong to the three living heirs of Fritz Grünbaum and will be transported to New York at a later date.

By:  Lynda Albertson

During the night, between September 12th and 13th, yet another museum theft involving Chinese objects of porcelain occurred at the Museum für Ostasiatische Kunst theft in Köln (Cologne), Germany.  Around midnight, two burglars, one carrying a grey backpack, accessed the museum and one of the exhibition rooms after prying open a glazed side window facing Universitätsstrasse.  Once inside, the culprits made off with a total of nine objects from the museum's display cases, including porcelain vases, plates and jars dating from the the 16th to 19th century.  The works are believed to be worth more than 1 million euros. 

The city of Cologne has published photos of the nine rare objects taken during the incident.  They are: 

A Qing-Dynastie, Yongzheng-Period (1723-1735) Chinese Fencai rose coral-ground bowl with a Jiaqing seal mark of the period;

A large dish with dragon and phoenix design, 1 of 2, China, Jingdezhen kiln, Qing dynasty, Yongzheng period, (1723-1735);

A rare Ming Dynasty (1573-1619) Wucai "Phoenix" Double Gourd form Wall Vase depicting a pair of phoenix in flight amid ruyi-shaped clouds below a band of downward plantain leaves;

A Fencai Imperial Qing Dynasty (1796-1820) vase with Jiaqing mark and period;

A very rare Ming Dynasty (1521-1567) yellow-ground and iron-red decorated 'Dragon' jar, mark and period of Jiajing;

A porcelain, enamel dish with dragons and clouds, China, Imperial Porcelain Factory, Jingdezhen, Qing dynasty, Kangxi period (1662-1722);

A Qing Dynasty, Qianlong Period (1736-1795) lotus pot; (NB The lid was left behind. )

A Qing Dynasty, Qianlong Period (1736-1795) yellow-glazed nine dragon vase;

and an early 16th century (1506-1521), Ming Dynasty porcelain plate with Zhengde mark and period.

One of an ongoing series of thefts of this type, another was reported on the 14th of February at the Keramiekmuseum Princessehof in Leeuwarden.  In that incident, which also occurred in the early morning hours, the burglar, or burglars, entered the museum through its roof and stole 11 rare Chinese ceramics from the first floor. 

In ons museum is vanochtend vroeg ingebroken. Bij de inbraak zijn elf voorwerpen uit een installatie Chinees keramiek meegenomen, waarvan er zeven sneuvelden tijdens de vlucht naar buiten. Deze week houden we onze deuren gesloten i.v.m. politieonderzoek. https://t.co/ezapvQynUy pic.twitter.com/aJXLN7cxjG

— Princessehof (@Princessehof) February 13, 2023

The New York District Attorney's Office in Manhattan has seized an extremely high quality, and monumental scale, statue from the Cleveland Museum of Art. The bronze draped figure is believed to represent Marcus Aurelius, the Roman emperor known for his philhellenism and Stoic writings. According to New York law, the statue constitutes evidence of, and tends to demonstrate the commission of the crimes of, Criminal  Possession of Stolen Property in the First Degree, Penal Law § 165.54, and a Conspiracy to commit the same crime under Penal Law § 105.10(1). 

But how and why was this statue seized?

By the mid-1960s, a number of bronze figures, including portrait heads, never before seen in documented collections, began circulating on the ancient art market in the United States and Europe.  By May 1967, law enforcement authorities from the Republic of Türkiye had uncovered their first lead as to these objects eventual origins, after a large, ancient bronze statue was found hidden in a house in the village of Ibecik, located in the mountainous region of the Gölhisar district of the southern province of Burdur, less than 100 kilometers from the southwest Turkish coast.

Their investigation, coupled with studies by Turkish archaeologist Jale İnan on behalf of the museum in Burdur, as well as notes gathered and seized from a local treasure hunter during investigations, have helped establish the find spot for these sculptures which is believed to be the eastern Roman Empire city of Boubon, on the summit and slopes of Dikmen Tepe.

According to the ancient Greek geographer Strabo, the city of Boubon formed a tetrapolis with its neighbouring cities of Cibyra, Oenoanda and Balboura.  Culturally diverse, at its pinnacle its inhabitants are said to have spoken as many as four languages: Greek, Pisidian, Solymian and Lycian. 

Travellers to Bubon as late as the mid-19th century described finding a walled acropolis, a small theatre of local stone, and the remains of tombs, temples, and other large structures in what remained of the ancient city. Few of these survive today.  Decimated by at least one large-scale looting operation, the unprotected ancient city's movable cultural heritage became the victims of poverty and art market greed during the mid-20th century, with much of what had survived throughout history, being carried off for profit.

The Sebasteion at Boubon

Inside this Sebasteion, archaeologists discovered two inscribed podiums along the north and the east walls of the room, and four free-standing bases along the west wall where statues of emperors and members of the Imperial household would have been displayed.  The majority of the dedications found here date from the half century beginning with the joint reign of Marcus Aurelius and Lucius Verus (161-168 CE) and ending with the sole reign of Caracalla (211-217 CE). Unsurprisingly, by the time archaeologists set about documenting the site, all but one single headless statue had been illicitly excavated and removed.  

As part of this documentation, Jale İnan assigned names to seven of the missing bronzes, based on seven of the 14 dedicatory inscriptions documented in situ inside the Sebasteion.  According to this researcher's reconstruction, patrons or visitors entering this room in the middle of the 3rd century CE, would have seen bronze statues of Nerva, Poppaea Sabina,  Lucius Verus, Commodus, Septimius Severus and lastly, Marcus Aurelius on the podium facing the entrance.

An inscription documented in İnan's 1990 excavation notes on stones forming the top course of the north podium reads:

[Μ.Αυρήλιο]ν Άντωνεϊνον

The Emperor as Philosopher Image Credit: Cleveland Museum of Art

After a whirlwind of touring from 1967 to 1981 at the Museum of Fine Arts in Boston, the Indianapolis Museum of Art, the Minneapolis Institute of Arts and Rutgers University, one of Lipson's bronzes, the draped figure, was purchased by the Cleveland museum in 1986.  It was quickly dubbed "The Emperor as Philosopher, probably Marcus Aurelius".   

At the time of sculpture's purchase, museum press releases and follow-up publications openly admitted that the bronze was part of a “group of Roman bronze figures and heads, believed to have come from Turkey” that represented various emperors and empresses, which had been created for a structure honouring the imperial cult in the mid-2nd century. All details which match the statues which likely once filled the Sebasteion.

In February and March of this year the New York District Attorney's Office in Manhattan seized and subsequently restituted another extremely important Boubon bronze statue from the same Sebasteion, this one representing the Roman emperor Septimius Severus.  In that instance, DANY's Antiquities Trafficking Unit, with the assistance of officials from the Republic of Türkiye, were able to locate and interview one of the individuals who actually looted and smuggled this statue and determined that the bronze had been smuggled into Switzerland by Robert Hecht.  Later this statue was circulated onward via Charles Lipson, first via an exhibition at the Museum of Fine Arts in Boston and later loaned long term to the Metropolitan Museum of Art via a private collector.  

After proper packing, The Emperor as Philosopher, one of the finest Antonine imperial portraits in existence, will be transferred this month from the Cleveland Museum of Art to New York City.  There it will be held as evidence in an “ongoing criminal investigation into a smuggling network involving antiquities looted from Turkey and trafficked through Manhattan.”

To read more about this important and long plundered site, and its confirmatory details with respect to this antiquity, please see the publication Boubon. The Inscriptions and Archaeological Remains. A survey 2004 - 2006 by Christina Kokkinia

  

Many articles discussing the recently announced thefts at the British Museum in London have emphasised the rarity of insider threats at museums.  Those in the know though, know that it happens more frequently that museums would like the public to recall.

Digging a little deeper, here is just a handful of some of the grander insider threat thefts which have occurred in museums and libraries. 

In the early 90s, and over a period of 20 years, John Feller used his position as a respected scholar and researcher to access to collections at Winterthur, Harvard Peabody, & other institutions to pilfer from collections.  He plead guilty for stealing more than 100 valuable ceramic and glass objects worth hundreds of thousands of dollars from at least eight museums.  Some of whose, records were so poor, that after his arrest Feller had to assist law enforcement and the museums with identifying which stolen objects came from where.

Also in the 1990s, Erik Anders Burius, a senior librarian, stole at least 56 rare 17th-century books worth hundreds of thousands of dollars, while employed at the National Library of Sweden. Dubbed the "Royal Library Man", Burius sold at least 13 of the books to Ketterer Kunst, a German auction house.  He committed suicide shortly after his arrest.

Keith Davies, a former soldier in the New Zealand army for 30 years, worked at the New Zealand’s National Army Museum situated in Waiouru, in the centre of New Zealand’s North Island from 1995 to 2002, after completing his military duty. 

As the museum's registrar, Davies was tasked, amongst other duties, with the storage and inventorying the museum’s medal collection, and corresponding with the families of donors.  Davies seniority and knowledge of the Museum’s systems enabled him to cover his thefts while employed at the museum, and for eight years after, by altering records and replacing medals with other similar medals, so as to maintain the illusion that sets of medals had not been broken up.  In total this museum insider is believed to have stolen some 750 medals and selling at least 131 to buyers around the world.  270 objects were still in his possession when he was arrested in Australia in 2011. 

Over the course of several decades, between 1997 through 2012, now deceased museum director Kent Ian Bertil Wiséhn, who worked for the Royal Coin Cabinet (The National Museum of Coin, Medal and Monetary History) in Sweden is believed to have stolen some 1,200 coins from his own museum and the Gothenburg City Museum's coin vault.   He was undone when he was caught on CCTV footage steal rare stamps from the auction company Philea on Södermalm in Stockholm.

In 19 May 1998 Rome's prestigious Galleria Nazionale d'Arte Moderna was robbed just after the 10 pm closing time. Armed with guns, three thieves entered the museum just before closing time in gloves and balaclavas to hide their identities.  Storming the control room, the gang gagged two of the three female guards and forced a third to disable the museum's security system, who was told to hand over its accompanying CCTV footage.  All three museum employees were then locked in a bathroom. Once in the painting's gallery, they bypassed paintings by Edgar Degas and Gustav Klimt and stole three specific paintings:

In March 2017 Denis Wilhelm was hired as a Bode Museum security guard in Berlin. By February 2020 he had been convicted and sentenced of 40 months and  fined €100,000 for his role in the Arabische Großfamilien theft carried out the museum by cousins Ahmed and Wissam Remmo.  On 27 March 2017 these two members of the Remmo clan entered the museum through a window, and in 16 minutes broke through extremely heavy security glass, and with the help of a strategically placed roller and wheelbarrow, carried away a giant gold coin, weighing 100 kilos from gallery room 243.  In finding Wilhelm an accomplice in this museum theft, prosecutors made a case that the newly hired security guard had fed the thieves inside information about the design of the alarm system and the timing of the guard's rounds, as well as having intentionally left the window open.  Total theft loss = €3.75m (£3.3m) 

And let's not forget the still ongoing saga with Professor Dirk Obbink, who, since 2 March 2020 has been under investigation by the Thames Valley police for a complex series of thefts and sales of Egyptian material belonging to The Egyptian Exploration Society. 

Fondation Baur, Musée des Arts d'Extrême-Orient

At the time of the incident, the Foundation elected, as is often the custom in the prestigious and discreet circles of art collections, to not publicly communicate the theft. 

The three stolen artefacts were recorded as:

The primary burglary suspects in the case are subsequently determined to be two British nationals, brothers Stewart Ahearne (21.07.78) and Louis Ahearne (02.12.88) from south-east London.

In 2019, the stolen bowl, valued at 80,000 pounds, was returned to the Museum of Far Eastern Art after it was identified as having been sold at an auction in Hong Kong that same year.  By May 2020 Louis Ahearne would already be serving a five-year jail sentence for a separate residential burglary relating to a theft he carried out with Daniel Bowen and Daniel Kelly on 9 July 2019 at a Grade II-listed housing complex in Westerham, Kent, just one month after the museum break-in.  In that case, forensics teams detected bloodstains which provided a DNA match to Bowen.   Officers had recognised Ahearne and Kelly as two of the culprits after viewing CCTV at the time of the crime. 

In July 2020 the Metropolitan Police in London received an important tip from a yet unnamed auction house who advised them that an unknown individual had e-mailed them with knowledge of the whereabouts of a second item from the 2019 Museum of Far Eastern Art theft: the 5th-century CE  “Sweet White” Yongle period, Ming Dynasty Pomegranate bottle vase. 

To recover the rare vase, an operation was led by Trident officers in Specialist Crime, a police unit dedicated to investigating violent crime in London's communities.  Officers then traced the IP address for the email account to an address in Belmont Park Close, Lewisham which is determined to be the home of David Lamming (15.01.92).  In 2005, while still a juvenile, Lamming was given a two year Anti-Social Behaviour Order (Asbo) for his involvement in gang related activities.  This order banned him from entering a central Lewisham estate, unless he has permission from the council.   

As the result of the auction house tip, officers begin a Joint Investigation Team with their Swiss counterparts so that both law enforcement agencies can share information and build a case against the suspects and successfully recover the stolen vase. 

Preserved tianbai, or “sweet white” 甜白 specimens of the Yongle reign (1403-1424) are rarer than contemporary blue-and-white Imperial porcelains and are known for their thin and translucent white glaze, which is said to mimic white jade.  Less opaque than earlier shufu wares, to achieve this look tianbai vase production required a combination of a kaolin-rich paste, which when fired at a high fusion temperature, produces a naturally bright white color with very low iron and titanium content.  Matched with a glaze containing mainly glaze stone and no glaze ash it gives objects a similar appearance to that of white jade.   

The name for this type of Chinese porcelain was coined by Huang Yizheng, a writer from the Wanli period (1573-1620) in his Shiwu ganzhu, which was written in 1591. In that missive, he refers to this unique type of glaze that was produced only from the Royal Kiln of Yongle, and attributed to the Emperor’s personal fondness for white vessels.  

To ensure the safe recovery of the rare stolen vase, officers elected to not arrest Lamming immediately, and instead worked to set up an undercover sting operation where they would pose as would-be buyers.  To recover the vase, they negotiate a purchase price of £450,000 with the London intermediaries and arranged to meet in a Mayfair hotel to conclude the transaction.

Image of Mbaki Leslie Nkhwa from his Facebook Profile

After being taken into custody for questioning, officers reviewed telephone data which shows that Nkhwa and Lamming had been in regular contact with a third intermediary accomplice, Kaine Wright (30.11.96), a former West Ham United footballer from Woolwich, who had driven the pair to the hotel for the potential sale.

Nkhwa and Lamming were held on suspicion of handling stolen goods until released on bail while their court cases progressed.  Officers conducting a search of a related house in Charlton, south-east London, recover counterfeit currency, class A drugs and two suspected tasers.

By early May 2022, as the investigation progressed, the Office Fédéral de la Justice in Bern, Switzerland sent extradition requesta for brothers Stewart Ahearne (21.07.78) and Louis Ahearne (02.12.88) to the British government, having been charged with  theft, damage to property and trespassing for their alleged role in the 1 June 2019 theft from the Baur Foundation, Museum of Far Eastern Art. 

Evidence gathered by the London and Swiss authorities demonstrated that both Ahearnes were in Switzerland on or before June 1, 2019 and that Stewart Ahearne's DNA was allegedly found at the scene.   CCTV images had also implicated his brother, Louis Ahearne as also being at the museum at the time of the break-in. 

Subsequent to the Swiss extradition request, District judge Nina Tempia, sitting at London's Westminster Magistrates' Court, ruled on 17 May 2022 that the extradition of Stewart and Louis Ahearne was not barred and that their case should be sent to the UK's Home Secretary, who then approved their extradition later that month.   It should be noted that by this period, the brothers were already facing another extradition request from Japan regarding another matter.

On March 23rd of this year David Lamming pled guilty to one count of conspiracy to convert criminal property in relation to his role as an accomplice to the thefts of the Chinese objects from the Museum of Far Eastern Art in Geneva. Upon conviction, he remains at liberty while on bail until his sentencing date. 

On Friday, August 18th, a jury at Southwark Crown Court returned unanimous guilty verdicts for Mbaki Nkhwa and Kaine Wright in relation to their roles as an accomplices to the thefts of the Chinese objects from the Museum of Far Eastern Art in Geneva.  Each were found guilty of one count of conspiracy to convert criminal property and ordered to remain in custody.  

From left to right: David Lamming, Mbaki Nkhwa and Kaine Wright Image Credit: Metropolitan Police

Lamming, Nkhwa, and Wright are currently scheduled to be sentenced on October 13, 2023. 

This leaves just one unrecovered object from the 2019 theft.  

Officers from London's Metropolitan Police are appealing for the public’s help in locating the third and final item stolen from the Musée des Arts d'Extrême-Orient in 2019 and are offering up to £10,000 for information leading to the recovery of the Ming Dynasty, "chicken" cup.

This porcelain wine-cup, made in the Ch’eng-hua Reign of the Great Ming, is decorated in doucai style with an underglaze of blue washes with two blue bands at the top and one at the bottom. The cup depicts a rooster, hen and chicks with lilies and peony shrubs behind. 

Anyone with information about its whereabouts can contact police referencing Operation Funsea or to remain anonymous contact the independent charity Crimestoppers.

A man of many "pezzini"

As mentioned in an earlier ARCA blog post this week, Matteo Messina Denaro, the former fugutive Cosa Nostra boss, was interrogated on February 13, 2023 for almost two hours at a maximum security prison in Italy.  There the crime boss fielded many  questions, and sometimes duelled with Palermo prosecutor Maurizio De Lucia and deputy prosecutor Paolo Guido.  

According to the official transcript of their exchange, which covers 69 printed pages and is marked in several places with the handwritten word “omissis”, (used to mark redactions in the interrogation), the Cosa Nostra boss, curated his words carefully.  In many cases he only only incriminated himself verbally in specific areas where there was already overwhelming evidence of specific and proven actions.  In other instances, he obliquely ignored questions he didn't want to answer, while seemingly going off on tangents, as if he wanted his say on key subjects to be memorialised so that others might read them later. 

Speaking to the two magistrates, Messino Denaro again distanced himself from the murder of Giuseppe Di Matteo.  Repeating what he had previously told investigating Judge Alfredo Montaldo, who had questioned him in relation to another trial in which he is accused of attempted extortion.  The boss admitted to prosecutors De Lucia and Guido that he played a role in the 12 year old's kidnapping on November 23, 1993 while making it clear that seizing the child was a volley designed to coerce the father, Cosa Nostra informant Santino Di Matteo, into retracting statements given to the Anti-Mafia District Directorate (DDA) of Palermo.

Giuseppe was escorted out of the horse stables in Villabate by four mafiosi dressed as policemen.  His kidnappers had promised him that they were bringing him to see his father.  Once under their control, the child was held hostage for a total of 779 days in various locations between the provinces of Palermo, Trapani, and Agrigento.  

Ironically, at one point the boy was taken, hooded and locked in the trunk of a car, to a farmhouse in Campobello di Mazara, the same village where Messina Denaro was  found to be hiding at the time of his 16 January capture.  Increasingly becoming a liability to his captors,  Giuseppe was strangled to death on January 11, 1996 in the Giambascio countryside outside Palermo,  his body then dissolved in acid. 

Matteo Messina Denaro was involved in the massacres of 1993, including this one in Florence in via Georgofili

In July of this year, the Caltanissetta court of appeal confirmed Matteo Messina Denaro's life sentence for his role in dozens of murders.  These include: 

• The May 23, 1992 bombing which killed anti-Mafia magistrate Giovanni Falcone, his wife, and three officers of their police escort as their cars passed near the small town of Capaci; 
• The July 19, 1992 bombing in Via Mariano D'Amelio (Palermo) which killed Judge Paolo Borsellino and five members of his security detail; 
• The 1993 bombings carried out at art and religious sites in Milan, Florence and Rome that killed 10 people and injured 40 others: 
• and the aforementioned 1996 murder of Giuseppe Di Matteo.

During his interrogation Matteo Messina Denaro denied being involved in the trafficking in drugs, but he openly admitted to prosecutors to other things they already knew and had confirmed, such as having passed pizzinu (small piece of paper, containing messages) regularly with convicted Cosa Nostra “boss of bosses” Bernardo Provenzano, who once headed the Mafia's powerful clan dei Corleonesi. 

In these messages, sent when both men were already fugitives from justice, Messina Denaro indicated that the pair asked one another for favours.  But his admission of this connection, during this interrogation was far from revelatory.  

Investigators already had undeniable proof of the pair's relationship in the form of ten pizzini, sent between 2003 and 2006, which were recovered in Provenzano's hideout when he was captured in Montagna dei Cavalli near Corleone on April 11, 2006. 

The Farm Hideout of Bernardo Provenzano

One of these messages is practically a testament of fealty by Messina Denaro to Provenzano and speaks with deference to the crime boss saying:

"Lei è sempre nel mio cuore e nei miei pensieri, se ha bisogno di qualcosa da me è superfluo dire che sono a sua completa disposizione e sempre lo sarò. La prego di stare sempre molto attento, le voglio troppo bene".  

In another, writing as his nephew "Alessio," Messina Denaro writes to his Uncle Bernardo saying:

"I know the rules and I respect them, the proof that I know the rules and that I'm respecting lies precisely in the fact that I'm turning to you to fix this unpleasant affair, this for me is respecting the rules.  You tells me that money in life isn't everything and that there are good things that money doesn't can buy. I totally agree with you, because I have always thought that one can be a man without a lira and one can be full of money and be mud." 

Offering both a mundane and fascinating image of himself on the lam, a substantial part of the Corleonese godfather's interrogation statements focus on the time period in his life leading immediately up to his capture. Perhaps a time more vivid, given his declining health.  

Some of his statements appear to be attempts to exonerate individuals who have been arrested on suspicion of having helped the Cosa Nostra boss, including statements in defense of Doctor Alfonso Tumbarello, whom Messina Denaro stated: 

"knows nothing."

Other individuals faired less well during the Messina Denaro's ramblings.  

When speaking about undergoing medical care in Palermo under the false name of Andrea Bonafede, as an outpatient at the multispecilaity hospital La Maddalena, Messina Denaro described several of the steps needed in order to obtain false identity documents, knowing that he could not undergo chemotherapy and medical treatment in the state's medical institution directly under his own name. 

In this part of the interview he stated:

"I had a friendship with Andrea Bonafede, but a remote friendship because his father worked for us, for my father and then my father was a friend of his uncle, he had a another uncle suspected mafia convicted of mafia".

Investigators contend that in addition to lending his name, Bonafede received 20,000 euros from the mafia boss to buy a house in western Sicily that would serve as one of the fugitive's hideouts.

Messina Denaro also told the magistrates about a second assumed identity, used in the city of Campobello di Mazara, the Sicilian town that sheltered him.  Here he was known as “Francesco,” a Palermitan man purportedly having relocated from the city to the town in order to care for his sick mother and two elderly aunts.  

Living dual identities while hiding in plane site in the Campobello community, Messina Denaro also admitted that in addition to travelling back and forth to the Palermo hospital for treatment either alone or with an escort, he openly visited the Campobello's bakeries, greengrocers, and supermarkets, playing poker and eating at local restaurants while continuing his cancer therapy. Again, nothing extremely revelatory, as receipts and objects found in the places he had been hiding in confirm some of the admitted activities. 

What is of interest to our readers are the from-the-horse's-mouth affirmations made during his hour and forty minute interrogation that confirm directly from the source that Matteo Messina Denaro's family and that of his father Francesco Messina Denaro, capo mandamento in Castelvetrano and head of the mafia commission of the Trapani region, sustained their livelihoods, to some extent, by the proceeds of antiquities crimes.  

Messina Denaro's verbal admissions concretise a written document previously attributed to him, which was already mentioned in an article published in 2009 by Rino Giacalone for Antimafia Duemila.  In said article, the journalist refers to an intercepted "pizzini" written by Messina Denaro where the crime boss wrote almost word for word, what he admitted to during this interrogation.  

"With the trafficking of works of art we support our family."

While verbose in speaking to his dead father's and the family's involvement in the illicit antiquities trade and that said trade laundered stolen antiquities from Sicilia to  Switzerland, supporting some 30 members of his family, Matteo Messina Denaro was far more laconic when asked if he knew Castelvetrano ancient art dealer Gianfranco Becchina.  In response to the PM's query, he answered: 

"lo conosco perché è un paesano mio, a prescindere, anche senza i beni... i pezzi archeologici, lo conosco lo stesso,  perché siamo paesani."

Francesco Messina Denaro as readers of ARCA's blog may recall was already believed to have been behind the theft of the famous Efebo of Selinunte, a 5th century BCE statue of Dionysius Iachos, stolen on October 30, 1962 and recovered in 1968 through the help of Rodolfo Siviero. 

In October 2018, following a formal request by the Deputy Prosecutor for the District Anti-Mafia Directorate Carlo Marzella, preliminary reexamination judge of of the Court of Palermo, Antonella Consiglio, dismissed the charge of mafia association against Becchina citing in her decision that the accusations used for the basis of the charge, made originally via testimonies given by verbose mafia defector Vincenzo Calcara, had been deemed "unreliable". 

Back in 1992, Calcara, and now deceased former drug dealer Rosario Spatola,  incriminated Gianfranco Becchina for alleged association with the Campobello di Mazara and Castelvetrano clans implying that there was a gang affiliate active in Switzerland whose role was to sell ancient artefacts originating from the black market.  At the time of this testimony, much of Calcara's information was discounted as many were skeptical that he had actual knowledge or whether he invented things for his own benefit.

Matteo Messina Denaro's statements during his February interrogation however confirm that a network of criminals funnelled numerous illicit antiquities from Sicily through the art market in Switzerland, which flowed onward, into world museums.  The mafia boss stopped short however, on confirming, by name, whose hands, these works of ancient art passed through. 

Like Provenzano before him, Matteo Messina Denaro, at least for now, seems to be determined to be his own custodian of many secrets, especially those which could openly implicate living people and result in their arrest and/or convictions.  Facing a terminal illness, Messina Denaro's statements are well-guarded and his scant confessions during the interrogation seem wholly performative.  Like so many mobsters before him, it seems that he plans to carry most of the mob's bloody business dealings with him to his grave. 

By:  Lynda Albertson

Filed by the Court's yesterday, the kingpin's first formal judicial interrogation after his arrest took place on February 13, 2023.  In the official transcript of this exchange, which covers some 70 pages, some heavily marked with redactions, we learn interesting details regarding some of the 62 year old kingpin's conversations and admissions given and made during the hour and forty minute interrogation with the Court's magistrates last winter. 

In some of his documented statements, Matteo Messina Denaro appears to have been extremely blunt about what he was willing to admit to and what he was not, regarding critical aspects of his criminal life and life on the run, stating:

"Listen, there will be things I don't answer, things I answer and I'll explain why I'm answering, and things I'll explain why I don't want to answer ” , while “ if I'm lying and it's obvious that I'm lying, let me pass, it means that I do not want to answer."

During his interrogation, the crime boss, denied to prosecutors that he had ever profited from drug trafficking or that he had any involvement in the more than 50 murders of which he has already been convicted.  This despite the fact that in 2012, while still a fugitive at large, Matteo Messina Denaro was one of five people sentenced to life imprisonment, in part for his role in the kidnap, torture, and murder of 12-year-old Giuseppe Di Matteo. 

Giuseppe di Matteo was the son of a mafia turncoat.  Held in captivity for 25 months before his murder,  according to Messina Denaro's reconstruction, he was just the instigator of the kidnapping of the child, not his murder, though he admitted. "Listen, I'm not a saint..."

Denying that he was a Made Man, (a fully initiated member of the Mafia) Messina Denaro stated: "I feel like a man of honour but not as a mafioso. I know Cosa Nostra from the newspapers".   He also told the magistrates that he had evaded capture until January, in part by steering clear of technology because he saw its usage as a vulnerability, though this would become part of his undoing as his health worsened and he required the use of a mobile phone. 

When discussing his life as a fugitive using the name of Andrea Bonafede while hiding in plane sight in Campobello di Mazara, Massino Denaro told his judicial  interrogators that they had only captured him because he had been struck down by liver cancer and that this health related crisis required him to undergoing medical treatment at La Maddalena clinic.  Describing how he had been able to stay under the radar, he rationalised: 

"I followed an old Jewish saying, 'If you want to hide a tree, plant it in a forest."

But with worsening health, planting himself in the heart of the town while undergoing cancer therapies made the boss more visible. When asked about those who helped him remain hidden and he had interacted with while in the Sicilian town, the kingpin added "if you have to arrest all the people who had something to do with me in Campobello, I think you have to arrest two to three thousand people: that's what it's all about".

But while the Cosa Nostra boss denied his violent and drug-related crimes, during this interrogation he openly claimed that the Messino Denaro family supported itself through the buying and selling illicit artefacts, many of which were plundered from Selinunte, the rich and extensive ancient Greek city of Magna Graecia located in the territory of his home town of Castelvetrano, in southwest Sicily.

He told prosecutors that his father, Francesco Messina Denaro was an art dealer.  When asked if his father was a man of honor in the mafia sense he told the magistrates that he never asked him that question, then underscored "I hope that he had been, at least his life would have had meaning". 

Known as "Don Ciccio," Matteo Messina Denaro's father died as a fugitive, having been identified as the mafia boss who headed the Castelvetrano family from 1981 until 1998.  His father was a close ally to the Corleone faction loyalists led by Salvatore "Totò" Riina and Bernardo Provenzano.

Speaking further about his father's illicit ancient art involvement Messina Denaro was documented as admitting:

"My father didn't go digging in Selinunte though. At that time there were a thousand people and all of them, even the women, they dug at night. Those who didn't dig at night, dug during the day with the Superintendency of the State, but what else did they do (now maybe it can't be done anymore), that when with the axe they saw something coming out with their foot they covered it up and then at night they went back to it take it. 

In general, my father bought 100% of these things which were then sold in Switzerland and then arrived from Switzerland everywhere in Arabia in the United Arab Emirates, in America. We used to see things that passed through my father's in American museums, I don't know how they got there in museums but then it all started from Switzerland"

The crime boss also spoke knowledgeably about workshops of counterfeiters in Sicily, involved in the enhancement of Greek polychrome vases dug up by tomb-robbers who plundered the Hellenistic necropolis of Centuripe.  He explained to the Court's prosecutors that looters working in and around the province of Enna were known to add forged figural imagery to undecorated ancient vases, reburying them for several years in order to age their augmentation so that the terracotta vases brought higher prices when sold onward on the black market.  

Using a lekythos (a type of ancient Greek vessel used for storing oil) as his example, the Mafia boss stated that an ancient vase without a figure might be worth 2 to 3 million lire, while the object's value rose to 20-30 million or 40 million when the artefact depicted passable embellished imagery that passed as part of the original vase maker's artistry.   Messina Denaro also told the magistrates that in 1978 he found an ancient vase full of coins and spoke in a semi-informed way about how looters discovered and sold some of the ancient material in circulation via the Messino Denaro clan. 

He told the magistrates that silver coins could be found using metal detectors when coins were scattered on the ground but that finding vases required grave-robbers.  He also added that these graves also on occasion contained hoards of coins, often in excellent condition, having been buried with the tomb's occupants. 

He told the magistrates that his father had purchased seven such hoards, while an 8th was traded directly to dealers in Switzerland by the hoard's finder.  Messina Denaro admitted that in one such case, his father paid for one hoard of silver coins in instalments, as he didn't have the 800 million lire in his pocket that the finder was asking for the haul.  To obtain this grouping of coins, Francesco Messina Denaro wrote the seller a check for the entire amount, which was held as a guarantee by the finder and then torn up once the negotiated asking price had been paid in full. He stated that his father then broke up the hoard, selling it off piecemeal. 

While portions of Matteo Messina Denaro's interview imply that his life on the lam was financed by his father's illicit antiquities trade, rather than his own more serious and violent crimes, the unredacted portion of the interrogation does not appear to identify the Swiss-based receiver of the Cosa Nostra's looted ancient material which was laundered via Switzerland before ending up in museums.

Readers of ARCA's blog can make an educated guess who at least one of those traffickers might be, but we will have to wait to see what other reports come out in the days, weeks, and years to come.  One thing is for sure, the crime boss has ruled out repenting and in agreeing to answer questions, only admitted to what he could not deny. Transferred by the 41bis regime amidst tight security measures to the hospital of L'Aquila, Matteo Messina Denaro underwent surgery on August 8th due to his increasingly declining health. 

By:  Lynda Albertson

In mid July, those following restitution news might have read about the United States and Italian authorities happily announcing the restitution of a stolen 15th-century letter written by Christopher Columbus.  Most of the many news articles which covered this particular restitution, were fairly pro forma.  They focused on the historic significance of this precious incunabulum, written by the controversial Italian explorer in 1493 upon returning from his first voyage to the so called "New World".  In his epistolary announcement, Columbus described his momentous journey to his royal patrons, King Ferdinand and Queen Isabella of Spain, who financed his expedition.

Portrait of Christopher Columbus  By Ridolfo Ghirlandaio

While the series of news articles discussed that the document had been stolen before 1988, from the Biblioteca Marciana in Venice, most were written in a perfunctory way, with many simply echoing the spartan details regarding the historical significance of this document, alongside the object's circulation as outlined in the US government's July 2023 announcement, ie., that the stolen document had been found in "the collection of a privately owned library located in the United States" after having been purchased via "a rare book dealer in the United States."

Why government press announcements on the restitution of historic artefacts can be rather "vanilla".  

Normally the investigative agency announcing a restitution begins by describing why the painting or artefact is significant, and when and/or where it has been stolen.  Press announcements then move on to state when, or sometimes how, the object in question has been identified, and then might, or might not, mention who the buyer or seller were.  Usually at the conclusion of these briefs, the announcement wraps things up by thanking key individual investigators and the agencies involved, wrapping things up by naming all of the ceremonial VIPs who would have been present during the handover ceremony.

But as participants of ARCA's PG Certification Program in Art Crime and Cultural Heritage Protection learn during their studies with us.  Sometimes these types of press statements leave us asking more questions than are answered.  One question being, why are these announcements intentionally vague. 

The writers of these briefings may choose to say less, as saying more might inadvertently impact other ongoing investigations. Other times, the agreed-upon press statement skims over the nominal information involving the handlers of the object for privacy considerations, or when the return is of a voluntary vs. criminal forfeiture.  

Names can also be left out when the collector or museum who previously held ownership of the artefact or artwork has consented to its seizure and civil forfeiture, but has insisted on confidentiality provisions as part of their agreed-upon settlement whereby they relinquish all rights and titles. In tandem, sometimes these settlements can carry stipulations which clearly state that by relinquishing said object, doing so in no way should be deemed as an admission of culpability, liability, or guilt. 

But what if you want to know more? And why we teach our researchers that OSINT gathering is a useful tradecraft, not reserved for the sneaky world of spies.  

One of the things ARCA strives to impart to its art crime trainees is the need to explore and research beyond what seems obvious.  To look beyond the low hanging fruit of a happy, but perfunctory, going home press release to what you might be able to find and interpret from unrelated sources.  This is useful for provenance researchers as knowing more about an object's handlers can (sometime) tell us more about other artworks or artefacts which should also be explored. 

To advance their provenance research skills, we teach our trainees how to conduct structured intelligence analysis, using a variety of techniques to efficiently gather and utilise the wealth of information readily accessible from disparate news sites, academic articles, blog posts, social media sites, search engine result pages (SERPs), and other public-facing digital assets.  We do so because true OSINT is more than just taking a stab at scrolling-through the first page of ranked Google hits. 

The European Commission defines open-source intelligence (OSINT) as the practice of collecting and analysing information gathered from open sources to produce actionable intelligence. 

At ARCA we provide our participants with opportunities to test their abilities in practical and advanced image and video analysis and verification, as well as fact-checking and analysis of information, disinformation, and misinformation.  These types of intelligence gathering can support, for example, national security, law enforcement investigations and even due diligence when vetting potential art and artefact purchases.  At its very core, OSINT investigations look for open (source) data which was created for one purpose but when combined with other data, shed's additional or unforeseen light on otherwise hidden topics. 

To illustrate how our researchers can glean more details on an object's circulation within the art, antiquities, and rare book market utilising only open source techniques, last month we had them start with the clues found in the July 18, 2023 U.S. Immigration and Customs Enforcement (ICE) announcement on the restitution of the  Columbus letter titled Epistola de insulis nuper inventis, Rome, Stephan Plannck, after 29 April 1493, Goff C-757 

I asked our researchers to explore a rudimentary hypothesis of whether this object's handlers might or might not be problematic art market actors and to back that up with their explorations.  I also asked them to try and explore who the collector might be who discreetly relinquished the Columbus document, and was he (or she) of the ilk known to satisfactorily vet potential acquisitions such as this historic document.

We started by documenting the July 2023 HSI-ICE announcement which featuring Special Agent Mark Olexa, who served as the lead case agent in this ten+ year investigation into the thefts of several historic incunabula stolen from Italy. 

His post appeared on Twitter on July 18th. 

For over ten years, #HSI has collaborated with international partners to investigate a rare stolen 15th Century Christopher Columbus letter.

On Wednesday, they return it to its rightful owners – the people of Italy. pic.twitter.com/j555wjeSnl

— Homeland Security Investigations (@HSI_HQ) July 18, 2023

In this video we see footage of the what has come to be referred to as a Columbus Plannck I incunabulum, included the screen shot captured below.  Pay attention to the annotations marked in red, as these will provide confirmations that we will come back to later. 

From a November 14, 2019 Stipulation and Order IN RE: Columbus, Christopher, Epistola de Insulis Nuper Inventis, Case No. 20- ROME, Stephan Plannck after 29 April 1493, Goff C-757, we learn that: 

"In or around May 2003, INDIVIDUAL purchased the Biblioteca Nazionale Marciana's Columbus Letter-Plannck I from a rare book dealer in the United States for a sum of money."

A later United States Attorney's Office for the District of Delaware press release, dated January 22, 2020, states that this Plannck I edition of the Columbus letter has been valued in excess of $1,300,000, and is an exceptionally rare first edition that only mentions the King of Spain, while the second edition, commonly known as Plannck II, acknowledges both King Ferdinand and Queen Isabella.   This press release speaks to the good faith purchase of the document by the collector, stating:

"a collector acting in good faith unknowingly purchased the Biblioteca Nazionale Marciana’s Columbus Letter-Plannck I letter from a rare book dealer in the United States."

Also useful, Italian newspaper Corriere del Veneto geolocates the collector's home when describing where the Columbus document was discovered: 

"ritrovati i racconti di Critoforo Colombo rubati alla Marciana: erano a casa di un collezionista di Dallas"

 The key phrase being "in the house of a Dallas collector." 

Added to our earlier data of the document being found in "the collection of a privately owned library" we now can assume, if the Italian article is accurate, that the collector maintains a private library, in a home, located in the city of Dallas.

An excellent article by Nicholas Schmidle published on December 8, 2013 in The New Yorker gives us a pretty thorough rundown of Richard Lan, of Martayan Lan Inc., in New York City, who sold at least Christopher Columbus incunabulum in and around this same period. Talking about Lan's controversial relationship with notorious Italian book thief and forger Massimo Marino De Caro, writing 

"Despite these incidents, De Caro’s rise in the rare-book market continued largely unimpeded, as he obtained one remarkable book after another. Perhaps his most important client was Richard Lan. De Caro told me, “He was paying a high price for books, and he had the best customers in the world.” In 2004, Lan paid two hundred and forty thousand dollars for two of the Vatican books—first editions of Galileo’s “Discourses and Mathematical Demonstrations Concerning Two New Sciences” and “The Assayer”—and a 1611 copy of Johannes Kepler’s “Refraction.” Around this time, Lan also paid De Caro five hundred and eighty thousand dollars for a copy of the letter that Christopher Columbus sent to Ferdinand and Isabella in 1493, announcing the discovery of the New World. De Caro was beginning to think that Lan would buy anything from him."

In May 2012, De Caro, the former director of the Girolamini Library in Naples, was sentenced in Italy to 7 years imprisonment and a lifetime exclusion from public office following an expedited trial in Italy for the embezzlement of hundreds of stolen volumes from the Girolamini Library in Naples as well as thefts and forgeries impacting other libraries throughout Italy. 

Given that a Columbus incunabulum, stolen from the Vatican Library had already been identified as sold by De Caro to a New York dealer who turned out to be Richard Lan, then on to collector Robert David Parsons, an actuary from Atlanta, the anonymously described book seller involved, who is now deceased, becomes more interesting. 

But what about the Texas collector with a private library in him Dallas home?

Further exploration turns up several articles describing the expansive, and sometimes controversial, art and historical documents collection of Harlan Crow, a conservative billionaire, who recently gained unwanted attention for having been the secret benefactor of Supreme Court Justice Clarence Thomas.  Many articles refer to his ownership of an unique Christopher Columbus letter, but none of them, that we reviewed, provided imagery for comparison purposes.  

In one article, posted to the website InCollect discussing some of Crow's extraordinary pieces, we find another important clue, as the website describes the Texan's rare Columbus incunabulum as follows:

The document collection contains a first edition of the much sought-after “Columbus Letter.” Printed in Rome on April 29, 1493, this firsthand account of Columbus’s 1492 voyage of discovery was translated from his letter to the Spanish court. The Crow copy is the only version in private hands in North America; eleven other copies are located in institutional libraries in the U.S. such as the New York Public Library and twelve more are in European collections including the Vatican’s.

Given that the Harlan Crow Library copy is reported (and not proven) to be the sole extant Latin Stephan (Stephanus) Plannck (Planck) quarto written “To the Most Invincible King of the Spains” [Ad Inuictissimum Regem Hispaniarum] listed as being in private hands, our next step was to confirm through OSINT means, if it was  possible, that the one described and depicted in various restitution announcements could be the same document reported as being part of Crow's private collection in Dallas. 

Circling back to our screen grab from the HSI- ICE restitution tweet, we already had clear, high resolution images of the object which had been returned to the Italian authorities.  Now we just need to see if we could find an available image of the Columbus letter which was part of Crow's collection.  

Retrieving a 2019 web page, hosted by the Bullock Texas State History Museum, we were able to document, through images, exactly what Harlan Crow's Columbus incunabulum looks like.  In a comparison of the two, we can see that both the HSI-ICE image and the museum's photos of Crow's incunabulum both have matching traits, including a unique blue binding and slight page blemishes visible on two of the respective folio leaves.

Likewise a video presented of the object's return home published on Youtube also shows similarities in the fading of the ink's patterns.

Through this exercise, we can demonstrate that taking the time to scratch a bit beneath the surface of press announcements, and then systematically collecting analysing, and interpreting publicly available information from a wide array of sources, we can begin to further explore some interesting puzzle pieces.  Ones that might lead to an interesting thread or two worth pulling regarding how many other suspect manuscripts and rare books, stolen by De Caro, were purchased by Richard Lan, and in turn, did Lan sell other material to Harlan Crow, or others which can be traced back to thefts traceable to Massimo Messina De Caro's crime spree, or might still be in circulation in the rare text and manuscripts market in the United States.  

By:  Lynda Albertson, CEO of the Association for Research Into Crimes Against Art

OSINT Bibliography

The Amelia Conference: 

Held in the beautiful town of Amelia, Italy, the seat of ARCA’s summer-long Postgraduate Certificate Program in Art Crime and Cultural Heritage Protection, the Association’s 12th annual Amelia Conference will be held the weekend of June 23-25, 2023 with a networking cocktail opening the event for all Amelia Conference attendees and speakers. 

At the heart of the conference will be two days of panel sessions, on Saturday and Sunday, June 24-25, 2023, devoted to presentations selected through this call.

Geared towards international organizations, national enforcement agencies, academics, cultural institutions, and private sector professionals in the art and antiquities fields, the Amelia Conference follows a long-established commitment by the Association to examine contemporary issues of common concern in an open, non-combative, multi-disciplinary format in order to promote greater awareness and understanding of the need for better protection of the world’s cultural patrimony.

2023 Call for Presenters: Session Formats and Topics

Given the success of the Amelia Conference over the past decade, it is important to recognise the growing interdisciplinary and international nature of this emerging field, the growing complexity of art and heritage crime, and the disciplines and subject matter experts who follow along and contribute within their areas of speciality.  With that in mind, this year’s conference will build upon topic-specific sessions designed to stimulate discussion and share learning on a series of topics of common concern. Some conference panels may feature more active panel debate about a session topic, or present various and/or contrasting perspectives about a topic. Each panel session will last approximately 75 or 90 minutes and will include a number of oral presentations with some time dedicated for interactive discussion.

ARCA welcomes presentation proposals related to the conference’s art and antiquities crime theme from individuals in relevant fields, including law, policing, security, art history, art authentication, archaeology, or the allied art market.  Presenters with topics related to the following areas are particularly encouraged to submit a speaking proposal this year highlighting the following issues of common concern:

Strengthening international cooperation in the fight against illicit trafficking, Do MLATs and ILORS work? And is this formality always useful?

Organised crime and illicit trafficking.

Recent successes in the field and what we can learn from them collectively.

The Elephant in the Room: How museums can proactively address problematic art in their collections.

Consciousness raising vandalism as a form of protest in museums. 

Digital and technology-facilitated approaches to combatting illicit trafficking: Do automated web-scraping tools work for combatting art crime?

Solving societal issues using Open Source Intelligence (OSINT) – 

Open-source intelligence (OSINT) continues to grow in acceptance and use beyond the traditional military and law enforcement sectors. How has it been applied to combatting art and antiquities crimes.

Recent convictions: Art crime’s bad boys (and girls) and what we can learn from their prosecutions. 

Each selected presenter will represent a coherent and clearly focused presentation of 15 to 20 minutes maximum on a topic of common concern, that combined with presentations given by co-panelists, are designed to provide significant insights into the topic or theme and to stimulate thoughtful, not combative or antagonistic, discourse.

We very much look forward to receiving presentation proposals on the aforementioned or alternative art and antiquities crime topics, noting that panels may change or be altered based on speaker availability.

Abstract and CV Submission Deadline: March 30, 2023

Abstract Word Limit: 400 words, excluding abstract title, presenter/co-presenter names and affiliations

Abstract Selection Process

Each submitted abstract must be accompanied by a CV. The abstract review process will be conducted blind, i.e. all author names will be removed before the abstract before being sent out for peer review. The abstract itself will be reviewed and scored by independent reviewers who have expertise in the specific session’s identified subject area.

Peer Reviewers apply the following criteria to judge abstract submissions 

I. Quality and Originality (1 to 5)

Abstracts containing significant new findings or presenting concretised information or new approaches will be given higher scores than those that merely serve as a chronology of, or modifications to, older findings or routine topics of dischord.

II. Importance (1 to 5 pts)

This criterion addresses the importance of the presentation or research in terms of covering new ground and in advancing knowledge in the art crime and cultural heritage protection field.

III. Presentation (1 to 5 pts)                                                                              This criterion addresses how well the specific research question(s) and objectives, methods used, primary results, facts ascertained, etc., are explained, rather than simply titling the topical subject itself. A clearly written abstract follows a logical order (e.g. aims, methods, outcome of investigation or analysis).

FINAL NOTE 

All accepted participants are responsible for their own travel and accommodation expenses, however, accepted conference presenters will have their attendance fee waived and will be invited to be ARCA’s guest for the Amelia Conference icebreaker cocktail on 23 June 2023.

Penelope Jackson has done it again with The Art of Copying Art. This is a hard book to put down.  She makes a strong case for the better appreciation of copies. She points out that copies tell their own stories, and add to our appreciation of the rich complexity and knowledge of art.  

Her style of writing is appealing to non-art aficionados.  She clearly states propositions and then relentlessly pursues the subject, presenting detailed evidence, allowing the material to speak for itself. Consequently, the reader has time to reflect on the permutations, and make up their mind.  Typical of Jackson’s writing, she extensively footnotes her material, creating a rich resource for further investigation. Where questions remain, she frankly admits to this. 

Jackson has a knack for choosing art related subjects that are little considered, bringing out fresh reflections and new perspectives.  This is her third, general art “themed” book. The first, Art Thieves, Fakers and Fraudsters the New Zealand Story (Awa Press, 2016) was something of a trailblazer. She revealed largely unknown (even to New Zealanders) accounts of New Zealand art theft, reflective of international stories and trends. Her second book Females in the Frame Women, Art, and Crime (Palgrave Macmillan, 2019) looked at the role of female actors in art crime, focusing on their often different intentions from male perpetrators. To my knowledge, this topic had not previously been explored.  Indeed, I am aware that it has opened up fresh perspectives for study of female criminological behaviour.

How then, does her latest book add to this field? The Art of Copying Art again, is written for general consumption. Divided into nine chapters, each one is thematic. Chapter 1, “A Case for Copies”, makes the argument for studying copies.  The following chapters then develop themes. Chapter 2 “Apprentice Artists”; chapter 3 “Copies for the Colonies”; chapter 4 “Paintings-Within-Paintings”; chapter 5 “Education and Entertainment”; chapter 6 “Copies in Public Collections”; chapter 7 “Protecting the Past”; chapter 8 “Cash for Copies”; and then a summation in the last chapter, “Afterword: Separating the Wheat from the Chaff”. The substantive part of the book is some 220 pages and amply illustrated. 

Originals and copies of Adele Younghusband’s Floral Still Life (1958 and 2016) and Ida H Carey’s Interior (1946 and 2016) in ‘An Empty Frame: Art Crime in New Zealand’ exhibition (2016–7). Image Credit: Waikato Museum Te Whare Taonga o Waikato

We tend to forget, that prior to photography, scanning, and photocopies, the only way art could be known was through copies. Throughout history, many artists have only had access to signature artworks this way, lacking the visceral advantage of being exposed to the “real thing” in terms of context, quality, and scale. Thus, subsequent developments in art have been sometimes been affected by access to only inferior, or incomplete copies of signature works.  I found chapter 3 particularly instructive.  It explores the role played copies of artworks in the colonies, in terms of educating localised population to key works of art. Obviously some copies were better than others, and this led to the various developments discussed in the book. Chapter 4 is equally thought provoking.  It discusses the extent to which lost masterpieces are only now known through copies, sometimes by being referenced in other artists’ paintings. A rich resource for art historians looking to scope, study, locate, and better appreciate those lost works!

Front and Verso of William Dargie's The Wattle Portrait (1954). Collection of National Museum of Australia, Canberra Image Credit: National Museum of Australia, Canberra

Jackson makes the point that our current fixation with autograph, unique works, is a modern phenomenon (chapter 9). Painters sometimes operated workshops, reproducing their signature works for further distribution to collectors. Such copies were prized, often as equals to autograph works. It is only in more recent times that our mania for unique expression, and proved authenticity, has made copies seem somehow uninteresting, and second rate. Jackson points out even though this view prevails, the retention of copies remains important. What is a fake, forgery, or a mere copy, often rests on expert opinion. Whilst an institutional collector may recategorise a collected work as a copy, further study and science can reverse this judgment. Also, as Jackson argues that fakes and frauds also have a legitimate place. They remain a source of fascination and are necessary for historical context. An illustration of this this are van Meegeren’s fake Vermeers, that are now collectable in their own right  Thus the destruction of fakes and forgeries (as presently dictated by the French State) comes at a cost.  It not only risks destroying unproven authentic works, but damages our sense of art history. This is perhaps a point that requires more emphasis when we ponder on policing art crime.

It is a strength of this book that the content suggests further fields for consideration. With our present preoccupation fixation with authenticity, we tend to forget that masters’ copies of earlier artists’ masterpieces were often more valued (and valuable) than the historic original.  This was under the belief that the later copy enabled the “genius” inherent in the earlier work to be further developed and interpreted. Especially, when it came to issues of developing original concept, or designo (entails fidelity to an original concept). Think Rubens’ copies of Titian, and (perhaps) Van Gogh’s copies of Delacroix and Millet.  I would have welcomed such a more in depth discussion surrounding this issue. However, this is not a criticism.  As Jackson herself would no doubt point out, she has had to contain her subject matter to some 220 pages.  

I would strongly recommend this book for those interested in art, as well as those with a general interest in cultural history. The work is equally, if not more important, than her Females in the Frame.  It makes a robust argument for the better appreciation of copies as a field of study, collection, and educated enjoyment. 

Book Review by:

According to the Dutch Politie, in today's early morning hours, around 3:45 am an alarm sounded which alerted them that, a burglar or burglars robbed the The Princessehof Ceramics Museum in the city of Leeuwarden in the Netherlands.

This is the second of two attempted break-ins in 2023, the first being unsuccessful, two weeks ago, on February 1 before 6 am. 

The perpetrator or perpetrators is today's theft are believed to have accessed the galleries inside the museum after entering via the roof of the building.

The Princessehof Ceramics Museum is known for its extraordinary ceramics, with objects representative of European, Middle Eastern and Asian ceramics making up parts of the collection. 

According to the museum a total of eleven objects from a Chinese ceramics installation were stolen during the burglary, seven of which were destroyed with abandoned or droped during the escape.  Dutch news sites are reporting that the  abandoned material, presumed to have been removed from the museum, was found in the Doelestraat, close to the museum. 

This is not the first incident of Chinese material being brazenly stolen from museums across Europe and the UK. The first recorded incident in a spate of thefts occurred in Stockholm at the Chinese Pavilion on the grounds of Drottningholm Palace in 2010.  Despite police arriving on the scene in just 14 minutes, thieves still managed a quick smash and grab, escaping with Chinese imperial seals and vases.   

Next, that same year, thieves hit in Bergen, Norway, where, like in today's theft, the burglars entered the building from the roof, with the intruders rappelling down from a glass ceiling into the KODE Museum.  In that theft, the burglars made off with 56 objects from the museum's China Collection. 

Crossing over the pond, another incident occurred at the Oriental Museum at Durham University, in 2012 when an 18th-century jade bowl and a Dehua porcelain figurine, worth an estimated £2m were stolen in a well-planned heist that investigators believe to have been a theft to order.   That same month burglars struck again, stealing a dozen objects from the Fitzwilliam Museum worth an estimated £15m, including artefacts from the Ming and Qing dynasties, a jade 16th century carved buffalo, a carved horse from the 17th century, a green and brown jade carved elephant.

Then the KODE Museum was struck again in 2013, where despite a heightened awareness to the recurring thefts of Chinese material, thieves still managed to grab another 22 objects in porcelain, jade, bronze and paper from the Norwegian museum, adding further insult to injury.  In 2015, this time striking in France, in a lightening raid that lasted just seven minutes,  thieves stole 22 objects from the Chinese Museum that houses works once belonging to Empress Eugenie, wife of Napoleon III at the Château de Fontainebleau.  In that theft, thieves made off with a Chimera in cloisonné enamel, a mandala made of coral, gold, and turquoise, porcelain vases, and other rare items.  In 2018 another 40 Chinese artefacts, including ceramics, jade, and gold pieces, were stolen from the Museum of East Asian Art in Bath, in southwest England.

For now, the Princessehof Ceramics Museum in the Netherlands will remain closed until February 21st to allow the police to conduct their investigation.  Eye witnesses or those with camera footage from the area of ​​the Grote Kerkstraat are asked to contact the local law enforcement authorities. 

The site of Chavín de Huantar

What we know about the monumental ruins of Chavín de Huantar, thousands of feet up in the Cordillera Blanca, the Andean highlands of Peru, is spartan.  Here, members of a pre-Inca culture, left us with what archaeologists believe to be a temple complex, consisting of a maze of ruined granite and sandstone structures – or step pyramids, cyclopean walls, and wonderful carved sculptures which date from around 1000 BCE. 

Already mentioned in the sixteenth-century chronicles of Pedro Cieza de León, the site of Chavín de Huantar, is located kilometers north of Lima.  It's unique architecture resulted in it being declared a World Cultural Heritage Site by the United Nations Educational, Scientific and Cultural Organization (UNESCO) in 1985.  

Distinct, not only for its massive flat-topped pyramid temple, but also for what archaeologists call its "cabezas clavas," more commonly called temple nail heads.  These front-facing, pumpkin sized heads, were architectural elements, usually carved from volcanic tuff, and made to resemble zoomorphic faces.   They were positioned horizontally and equidistant from each other along the temple walls. 

These nail heads frequently depict zoomorphic heads, carved with open eyes, closed mouths, crushed noses, and contracted muscles. When found intact, they also have an elongated stone extension bracket on the back.  This wedge was used to insert the sculptural element, like a nail, into the wall, hence their name.  Many of the Chavín de Huantar nail heads were originally positioned along the south, east and west façade of the Chavín temple, garnishing the building in a horizontal row and positioned evenly under the temple's carved stone cornices.   

Some 42 nail heads were originally recorded and identified between 1919 and 1941 by Julio C. Tello, America's First Indigenous Archaeologist.  Most of which were lost in the aftermath of a 1945 flood that covered the archaeological site.  Others have been lost to looters. 

Over time, as many as 100 complete or almost complete nail heads, discovered after 1950 have been found and preserved from the Chavín culture, with almost all of those accounted for coming from official excavations.  These are now part of the collection of the National Museum of Chavín.  Sadly, only a single original nail head remains in situ. 

Yesterday, in a ceremony conducted at the Swiss customs office, Basel/Weil am Rhein-Autobahn, the president of the Office fédéral de la culture (OFC), Carine Bachmann, returned a smuggled nail head to Peru's Ambassador HE Luis Alberto Castro Joo.  According to the OFC, this ancient architectural element, which weighs in at nearly 200 kilograms, was discovered by Swiss customs officials during a routine customs control check in 2016 of a corrier transporting the object from Germany into Switzerland.

Suspicious of the statements declared by the freight forwarder, who had tried to introduce the artefact into Switzerland as a "non-cultural good," not subject to the law, employees of the Federal Office for Customs and Border Security - BAZG,  stopped the object's entry to examine it more closely.  Over time, they came to the conclusion that the artefact was unregistered cultural property and moved for seizure in accordance with the Cultural Property Transfer Act.

As a result,  during a cantonal criminal proceeding an order of confiscation was entered by the Basel public prosecutor in 2017.  This in turn allowed the artefact to be eventually restituted to the Government of Peru in the formal ceremony held yesterday.  

The heart of the accusations has been the costly purchases of several Egyptian artefacts between 2014 and 2018, including:

The brokers and handlers of these artefacts include French intermediary Christophe Kunicki, himself already under indictment for having sold illicit Egyptian material,  Lebanese art dealer Roben Dib who is currently in French custody awaiting trial and Dib's Germany-based business partner Serop Simonian.

Today, the Investigating Chamber of the Paris Court of Appeal rejected both defence counsels' request to lift the “mise en examen” (the indictment by the investigating judge in the context of a judicial investigation) and confirmed that both the former president of the Louvre and the former scientific director remain under indictment.   Thorugh their lawyers, both Martinez and Charnier will appeal today's court decision, and will remain free on judicial supervision while their case proceeds through the French court.

The OCBC's investigation built upon collaborative investigations with the New York County - Manhattan's Antiquities Trafficking Unit, who first unravelled the network of traffickers during their investigation into the illicit trafficking of the ancient gold mummiform coffin, inscribed in the name of Nedjemankh.  Like in the New York case, the French case centers on artefacts which were laundered by means of falsified documents, in particular false invoices and export licenses.