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.

«Con il traffico di opere d'arte ci manteniamo la famiglia.»

"With the trafficking of works of art we support our family."  So read a purported intercepted pizzini, stated to have been written by Cosa Nostra boss Matteo Messina Denaro to one of his men.

Pizzini, literally little messages, are generally codified messages which represent the orders, thoughts and concerns of the mafia's men in power. Provenzano for instance, was known to write his on a small typewriter, folding and taping them into tiny squares, so that he could communicate his orders among the uomini d'onore through these tiny secret messages while on the run as a mafia fugitive.

When captured and deciphered by law enforcement, pizzini like these can serve as evidence, paper accomplices, which like informants, give concretised clues on mafia operations and in some cases, outlining specific orders given in the commission of crimes by clan bosses. 

News of this leaked message was first published in a 2021, in a Huffington post article by Vincenzo Musacchio, a Jurist and Professor of Criminal Law.  It is now making the airwaves again, following Messina Denaro's arrest.

But even if this pizzini turns out to be real evidence, proven to have been written by Messina Denaro, it merely confirms what we already know.  

The trafficking of art as a form of "currency" has already been concretised through other well known organised crime cases in Italy.  One of the more dramatic examples, a few years back, is that of Camorra clan boss, Raffaele Imperiale, who held on to two Van Gogh paintings, first stolen in Amsterdam and later recovered at a property connected to him in the Bay of Naples.

While both were potent actors in Italy's organised crime syndicates, Imperiale and Messina Denaro are not the only mobsters who have used art for illegal means. The art market is a global one, allowing for easy movement of assets across borders. 

Art and antiquities are attractive financial instrument, especially for the underworld, as it can be used by criminals as a means of concealing the proceeds derived from illicit activities.  This can also include purchasing legitimate works of art with dirty money, selling it at a later date for a profit and thereby "washing" the money so that it appears that the funds come from a legitimate, and now more traceable, source. 

Criminals may also use art and antiquities as a means of transferring large sums of money across international borders, as art is not subject to the same regulations and scrutiny as financial banking transactions. 

Art and antiquities can also been used as collateral for underworld loans, or when the location of stolen material is disclosed during plea deals, may sadly serve as a bargaining chip used by charged offenders as a means of negotiating lower prison sentences, as we have just seen in Germany this week.

What comes out publicly in the Messina Denero investigation, related to art and antiquities crime, which might back up this slip of paper should be interesting. 

For now, we will have to settle with seeing the back side of the Sicilian crime boss' wardrobe, in one of his hideouts.  A space where Messina Denero could access - via a sliding wooden wall - an armoured room, complete with boxes of jewels, precious stones, and it seems, paintings...but also empty boxes. 

This month, has proved an interesting month in the ongoing trial of six burglars, believed to be responsible for the theft of 18th-century jewels stolen from the Green Vault (Grünes Gewölbe in German) museum within the Dresden Castle in Saxony.  This week, four out of six members of the large Remmo family, brothers Wissam and Mohamed, and cousins Rabieh and Bashir Remmo entered formal confessions before the district court in Dresden, in hopes of receiving lighter sentences for their cooperation. 

Family members Abdul Majed and Ahmed Remmo have seemingly been exonerated by the confessions of the others. 

Family members who have confessed to active roles in the museum burglary, stated that they orchestrated the theft after Mohamed Remmo, twin brother to Abdul Majed Remmo, received a photo from an unnamed person who had visited the museum during a school outing. That photo was apparently of the Dresden Green Diamond. 

Set in a hat clasp, this dramatic 41-carat, 8.2 gram natural green diamond, from the mines of India, is the largest green diamond in the world.  Too well guarded, the team of would-be burglars turned their sights to other jewels which they believed would be easier to access.

Abdul Majed Remmo's role, had been stated as having been to gather supplies used for the theft, though his family members on trial downplayed his role, saying he performed inadequately, purchased inferior tools, and wasn't present on the day of the heist. 

After scouting the building in a lead up to the November 25th 2019 theft, Rabieh Remmo, caught on CCTV footage with a flashlight, entering the closed museum shortly before 5 a.m.  He admitted that he is the thief depicted in video footage and to smashing the display case, struck an estimated 56 times in less than 30 seconds.  Rabieh also admitted to filling a sack with €113.8m. worth of pieces from the Green Room's historic jewellery collection.

Pieces stolen during the theft include:

• a Hutkrempe der Diamantrosengarnitur by Christian August and August Goffhelf Globig, Dresden, 1782-1789;
• a Shoulder loop (epaulette) (diamond rose set) (part available) by 
• Christian August Globig and August Gotthelf Globig. Dresden 1782-1789;
• Christian August and August Gotthelf Globig's Sword (diamond rose), 1782-1789, inv. no. VIII 16 with a diamond-studded hilt containing nine large and 770 smaller diamonds as well as its scabbard;
• the Jewel of the Polish Order of the White Eagle (diamond rose set) by Christian August and August Gotthelf Globig, Dresden, 1782-89
• Breast Star of the Polish Order of the White Eagle (set of brilliants) Jean-Jacques Pallard. Geneva/Vienna between 1746 and 1749;
• Queen Amalie Auguste's Great Pectoral Bow by Christian August Globig, Dresden 1782, 51 large and 611 small diamonds, silver;
• Necklace of 177 Saxon River Pearls, obtained from Vogtland waters before 1734, lined up in 1805;
• 10 Rock Buttons from the Diamond Rose Set (each preserved)
• Jean Jacques Pallard, Geneva 1753, inv. no. VIII 9/1-10;
• Two arched shoe buckles from the Diamond Rose Set, workshop of Christian August Globig, Dresden 1782-1789, inv. no. VIII 12/ a,b;
• Large Diamond Rose (Diamond Rose Set)inventory no. VIII 15;
• Piece of jewelery in the form of palmettes (set of diamonds)
• Jean Jacques Pallard, Vienna, 1746-1746;
• Epaulette with the so-called "Saxon White" from the diamond set
• Franz Diespach; Christian August or August Gotthelf Globig; Jean-Jacques or André Jacques Pallard; 1782-1789;
• Hat decoration, so-called heron tail from the diamond set
• August Gotthelf Globig, Dresden between 1782 and 1807, inv. no. VIII 26; 
• Part of a muff hook, workshop of Jean Jacques Pallard, Geneva/Vienna 1746 and 1749, inv. no. VIII 34;
• Queen Amalie Auguste's diamond necklace (preserved in parts), 
• Ignaz Konrad Plödterl, Dresden 1824, inv. no. VIII 38;
• Aigrette for the hair in the shape of a sun by August Gotthelf Globig, Dresden, 1782-1807;
• Aigrette for the hair in the shape of a crescent moon (The diamond jewelry and the pearls of the queens)
• August Goffhelf Globig, Dresden, 1782-1807;

Wissam and Mohamed Remmo informed the court, through their lawyers, that they too were immediately involved in the heist. Wassim copped to having cut the bars on a window in the vault prior to the burglary and also to standing guard outside of the museum to receive the stolen items and tools used in the break-in.  Mohamed Remmo admitted, through his lawyer, to being outside the museum on the morning of the theft and to to receive the stolen items.

In a later than the others admission, Bashir Remmo, through his lawyers, told the court on Friday, that he had not been initially involved in the preparations for the burglary, but admitted to standing guard on the morning of the theft and to receiving the stolen items.

The thieves involved then made their getaway in an Audi A6 which they set fire to some four kilometers away from the palace in an underground car park, in Dresden-Pieschen, hoping by doing so, to any destroy evidence they may have theft behind.  They then proceeded back to Berlin in a Mercedes disguised as a taxi.

In an early Christmas present to Dresden, German authorities have been able to retrieve 31 of the jewellery pieces stolen in the 2019 robbery between December 16th and 17th.  Several of the most valuable pieces are still unaccounted for. 

Conservators testified during the trial that several of the recovered diamond-encrusted jewellery pieces had been broken and all bear traces of a whitish substance. This could be discharge residue from the fire extinguisher that the burglar discharged in an attempt to destroy traces of the team's DNA.  Some of the recovered diamonds also appear to have been damaged and it is believed that they were submerged in water for an extended period of time.

All of these confessions were spurred by efforts to lower time in prison, where the maximum period of incarceration could be up to 15 years for the museum theft and the accompanying charge of aggravated arson in the underground car park. 

The thief that burgled Greece’s National Gallery-Alexandros Soutsos Museum in Athens eleven years ago has been sentenced.  

Citing that the Court recognised the thief's good behaviour after his arrest for the heist, the Single-Member Court of Criminal Appeals of Athens handed down a six-year suspended probationary sentence with limited electronic monitoring, which will allow George S., a circulating distance of three kilometres from his residence so that he can hold down a job and care of his elderly and sick parents. Previously, during the trial phase, he had been on complete house arrest.

On 9 January 2012, George S set off the security alarm at the Greek museum by opening a door 6 or 7 times, until the guard believed that the alarm system was malfunctioning and disabled the system. Then, at 4:30 a.m., he entered the museum through an separate unlocked balcony door and swiftly stripped four artworks from their frames, knocking others off the wall in doing so. 

Originally he selected: 

Head of a Woman, 1934 by Pablo Picasso

Stammer Windmill with Summer House, 1905 by Piet Mondrian 

Landscape with a Farm by Piet Mondrian 

St Diego de Alcala in Ecstasy with the Holy Trinity and the Symbols of Passion by Guglielmo Caccia, who was known as il Moncalvo.

On Monday, January 23, 2023, at 1 pm in Rome, a formal ceremony will be held regarding the return to Italy, from the United States, of 58 antiquities valued at nearly $19 million.  This event will be held at the Ministry of Culture's Sala Spadolini inside the Consiglio Nazionale al Collegio Romano.

The objects returned are the direct result of investigations in the United States regarding international traffickers of antiquities conducted by the Antiquities Trafficking Unit at the District Attorney's Office in New York in Manhattan, in collaboration with the Comando Carabinieri Tutela Patrimonio Culturale (TPC).  

Present for the event will be the Italy's Minister of Culture, Gennaro Sangiuliano,  the Deputy Prosecutor of the Republic at the Court of Rome, Angelantonio Racanelli; the Commander of the Carabinieri TPC, General B. Vincenzo Molinese; and New York Assistant District Attorney Col. Matthew Bogdanos. 

This event will be direct streamed via the YouTube channel of Italy's Ministry of Culture for those who wish to attend the ceremony digitally. 

https://www.youtube.com/watch? v=x-RcYKNBHtk

Marble head of Athena, ca. 200 BCE

In discussing these returns in a press release issued by the New York County District Attorney's Office, the New York authorities stated that these artefacts had been trafficked by Giacomo Medici, Giovanni Franco Becchina, Pasquale Camera and Edoardo Almagiá.  Twenty one of the pieces had been seized from the Metropolitan Museum of Art while the other thirty-seven were recovered from a New York collector and an antiquities dealer.

When speaking of these objects homecoming to Italy, Manhattan District Attorney Alvin L. Bragg, Jr., was quoted as saying:

“These 58 pieces represent thousands of years of rich history, yet traffickers throughout Italy utilised looters to steal these items and to line their own pockets. For far too long, they have sat in museums, homes, and galleries that had no rightful claim to their ownership.”  

Discussing the recent Italian restitutions Bragg also addressed the difficulty and time needed to work these complicated cultural property crime cases stating:

“Exposing these schemes takes years of diligent and difficult investigative work, and I applaud our team of prosecutors and analysts, who in coordination with our law enforcement partners, are continuing to make unparalleled progress in returning stolen antiquities.”  

Assistant US District Attorney Col. Matthew Bogdanos, who heads up the Manhattan Office's Antiquities Trafficking Unit, and who will be present at Monday's ceremony, has often related his department's work to an axiom of jurisprudence “that justice should not only be done, but should manifestly and undoubtedly be seen to be done.” R v. Sussex Justices, ex parte McCarthy, 1 KB 256, 259 (1924).  Something this publicly streamable restitution will undoubtedly demonstrate.  

Each of these objects should be viewed as a reminder to collectors, dealers, and art institutions, that the US authorities treat stolen cultural property seriously and public prosecutors continue to pursue the rightful return of plundered goods.

Police standing watch outside Messino Denaro's residence in Campobello di Mazara

Following the arrest of fugitive mafia super boss Matteo Messina Denaro, captured after 30 years on the run, there are some interesting avenues worth exploring regarding the diversification of mafia holdings. One of which may, or may not, strike close to home with regards to the similar economic activities of 83-year-old former antiquities dealer Gianfranco Becchina.

Back in May 2022 Italy's Direzione Investigativa Antimafia, the country's Anti-Mafia Investigation Department issued a confirmation confiscation decree on Gianfranco Becchina's property, based upon a request from the Public Prosecutor's Office of Palermo.  As per that decree, the action finalised the confiscation of a significant portion of Becchina's movable, real estate and corporate assets "attributable to a well-known international trader of works of art art and artefacts of historical-archaeological value" who had long been suspected of having links with the Sicilian Cosa Nostra.  While the DIA's seizure announcement didn't name Becchina as the businessman living in Castelvetrano whose assets were seized, the regional and national newspapers did.   

But back to yesterday's arrest of the mafia crime boss

According to searches coordinated by the Deputy Prosecutor Paolo Guido, Matteo Messina Denaro had been staying, for the most recent period of his time on the run, at a residence located on Vicolo San Vito, in the heart of Campobello di Mazara, the same town where his driver and fiancheggiatore (flanker), Giovanni Luppino, resided.  Campobello di Mazara is in the province of Trapani, a short 7.7 km from Castelvetrano where Becchina lives and where Messina Denaro grew up. 

Campobello di Mazara is also a town of 11 thousand inhabitants. It is also the same town where mafiosi Raffaele Urso, AKA Cinuzzo, lived.   Urso is a staunch loyalist of the former-fugitive Messina Denaro and the boss's ambassador to business in Italy's capital. Arrested in April 2018, Urso was sentenced to 18 years and 4 months in prison for his role in the Trapani clan. 

Another Campobello di Mazara resident, former city councilor Calogero Jonn Luppino had 6 million euros in assets seized for mafia association, including 10 companies and related business complexes, 6 parcels of land, 14 bank accounts, 1 motor vehicle, 1 racehorse, cash, and gold bars,  He was involved in mafia rackets which forced various businesses in the Trapani area to install gambling devices in their businesses or risk threatening retaliation.  So all in all, not your quiet, sleepy little Sicilian town. 

This Luppino is not believed to be a relation to another Messina Denaro loyalist Franco Luppino, also of Campobello di Mazara. Or to an olive oil producer of the same name.  However, the driver, Giovanni Luppino also worked in the olive oil biz and reportedly had storage warehouses in Campobello di Mazara and Castelvetrano while working with wholesalers buyers from the Bay of Naples as well as local producers of Nocellara del Belìce olives, a protected denomination of origin (PDO), for an olive varietal consumed as table olives and for the production of extra-virgin oil.

If this olive sounds familiar to ARCA's blog readers it is because Gianfranco Becchina also invested in the money-making business of Sicily's agriculture, beginning in 1989 to produce his is own Nocellara del Belìce olive oil, harvested from the olive trees on Tenuta Pignatelli, a one-hundred-acre expanse of olive groves and lemon trees with a historic main villa from the early 1800s on the outskirts of Castelvetrano, once owned by the Princess Pignatelli of Spain.  

Sold in upscale boutiques, Becchina's olive oil was marketed to USA-based customers for an eye-popping $36 a bottle and is known to have medalled in the New York International Olive Oil Competition over the course of three years, 2018, 2019, and 2021.  

Nocellara del Belìce olives are cultivated in the area which encompasses the municipalities of Castelvetrano, Campobello di Mazara, Partanna, Poggioreale, Salaparuta and Santa Ninfa, all towns in the province subject to the heavy influence of the Trapani mandamento of the Cosa Nostra.  With some 5,000 olive growers who produce this olive, the province of Trapani in the west of Sicily is a lucrative market, as well as an important stop in the seasonal labor cycle, with the majority of harvesters being sub-Saharan Africans who are all too often exploited, treated as human farming tools, no different than tractors. 

Whether or not there is a connection between the mafia boss, his driver/olive oil merchant, and the former antiquities dealer remains to be explored, but what is known is that in November 2017 Italy's Anti-Mafia Investigative Directorate, through the Court of Trapani's penal and preventive measures section, filed a seizure order for all movable assets, including real estate and corporate enterprises attributable to Gianfranco Becchina on the basis of an order issued from the District Attorney of Palermo based upon investigations conducted by Italy's anti-mafia DIA, under the coordination of the Palermo Public Prosecutor's Office.  That order resulted in the seizure of Becchina's cement trade business, Atlas Cements Ltd., Demetra srl., Becchina & company srl., and his olive oil venture, Olio Verde srl.   

Olive oil as a highly lucrative income stream for Italy’s organised-crime syndicates

Police data shows that there is a known and profitable agromafia active in Italy related to olive cultivation.  Data also shows that all of Italy’s major crime syndicates — the Neapolitan Camorra, ’Ndrangheta, and Cosa Nostra each have their own  farming investments.  

The economic importance of agriculture for mafia organisations like Messina Denero's can be deduced from the frequency of ongoing trials and the confiscation sentences of agricultural or agro-industrial assets in and around the province of Trapani.  Many of which have been tied to trials and seizure orders involving individuals found to be associated with Messina Denaro's enterprises. 

With respect to olives specifically, it has long been the common view that the Neapolitans control the distribution of olives and the olive oil market in Sicily, via a price fixing of sorts, mutually condoned between the Cosa Nostra and the Camorra.  And studies have shown that members of both organised crime organisations have been involved in the selling counterfeit extra virgin olive oil, controlling farmlands, price fixing, and in some cases labor exploitation.   

How important, Becchina's holdings were to the mechanisations of Messina Denaro's Trapani cosca has never been publicly disclosed. But we do know that this his syndicate's reach extends beyond the underworld, beyond Italy’s illicit antiquities trade and into the very path our food travels before reaching our supermarket trolleys and our dinner tables.  And with margins as high as 700 percent, profits from olive oil are higher than cocaine — making it the perfect channel for money laundering. 

"Ali Aboutaam knew or must have assumed that they had been wrongfully acquired". 

"Ali Aboutaam, in his capacity as administrator of Phoenix Ancient Art SA, has asked art experts, or has asked employees of Phoenix Ancient Art SA to obtain from art experts: produce and/or sign false invoices; and/or produce or cause others to produce documents indicating source that are contrary to reality, sometimes contained directly in invoices; and/or provide untrue source indications for use by others."

"a pedigree aimed at dispelling suspicion of illicit provenance and/or to facilitate their customs transfer with a view to their sale on the art market through Phoenix Ancient Art SA, Tanis Antiquities LTB and Inanna Art Services SA, i.e. companies of which Ali Aboutaam has Control."

This is a timeline of the two Washe investigations.

"We are selling 2 Andy Warhol paintings from our private collection. We are parting with these pieces only because we need the money for renovations to our house. Our loss is your gain. Pieces bought from a former Martin Lawrence art dealer in California. We over paid terribly in 2007 for the art. Price paid $240,000. We have enclosed the Christie's estimates as of 2011 for the art as well.  Auction range $120,000 to $180,000. We are trying to sell on Ebay because it is much cheaper and because Christie's won't be able to auction our pieces till May 2017. The pieces are numbered and registered with the Warhol Foundation. Pieces are from 1979. Size 14 inches by 11 inches. Synthetic Polymer Paint and Silkscreen ink on canvas. Warhol Foundation # PA65.049 & PA65.032."

"Hello [redacted], Thank you for calling my wife. She said you were very kind and respectful, which is how I remembered you from our first interaction. I was going to call on Tuesday (election day) to ask about the 'shadows', but because of the time difference I was unable. I was in meetings and buildings all that day which did not allow me to have my phone. Once I saw your messages, things had already escalated to an uncomfortable level. Mr.  [redacted] is our family lawyer. He was trying to resolve the matter without unnecessary litigation. He was not going to represent me formally in any civil or criminal proceedings, but was hoping to satisfy you as a client. On Friday he did offer a full refund to your lawyer, but from your Saturday email it seemed it was too late to resolve this matter without a drawn-out court case. The information you explained to my wife is very troubling. If the photos I sent you are clearly different then the ‘Shadows' you have now, then that is a serious problem. However, regardless of the problems with the 'shadows', you have a right to a full refund according to our written agreement in section 9.3. I have no reason to believe that you would mis-represent any information. When I spoke to you last I had the impression that you were a fair and honest businessman. My wife has the same impression since your conversation yesterday. I was just surprised with how quickly things escalated. I am traveling this week, but I would like to return your $80,000 ASAP. Please send me your Bank of America information and I will send you the money. Once you receive your money please send me the 'shadows'. I need to investigate what happened on my side of this transaction. Once I have the ‘shadows' and can confirm your information, I will also refund the cost of sending [redacted] to Boston. I don't want you to suffer financially from this transaction. Especially, if the fault is on my side. Thank you again for reaching out to my wife. I will be in touch directly with you later this week. Best Brian".

one count of wire fraud, 

one count of interstate transportation for a scheme to defraud, 

one count of possession of converted goods and an unlawful monetary transaction. 

While most in the world can remember the fracturing of politics in the United States on January 6, 2021 following the defeat of then-U.S. President Donald Trump in the 2020 presidential election, this week made way for a grim copycat incident, equally violent in nature in the Capital of Brazil this week. 

During the more than three hour long incident on Sunday, supporters of Jair Bolsonaro, protesting the October 30, 2022 runoff vote for the 2022 Brazilian general election which replaced the former president with Luiz Inacio Lula da Silva, swarmed over the Praça dos Três Poderes (Square of the Three Powers).  Protesters then invaded and damaged the Palácio do Planalto (Presidential Palace), which is the seat of government, where the President of the Republic meets with advisors and visitors.  

The riots quickly spread to the seat of the Supremo Tribunal Federal, Brazil's Supreme Court and the highest authority of the judicial power as well as to the buildings of the Congresso Nacional do Brasil, Brazil's Congress which houses the legislative body of Brazil's federal government.  There some protesters attempted to set the carpet on fire, which flooded rooms in the building when the fire suppression systems activated.  

Protesters swarming the Congresso Nacional do Brasil

Video provided by Twitter account @ALendaDePassos documents extensive damages to the Great Hall of the Superior Federal Court (STF). A largely ceremonial room, it was decorated with furniture from the 19th century, and housed works of art over 100 years old, as well as gifts given to the Brazilian Government by more than 20 countries. 

In another area, Paulo Pimenta, chief minister of the Social Communication Secretariat of the Presidency of the Republic, walked reporters through the destruction caused by the insurrection to his office where videos recorded vandalism to the tables, chairs, documents, printers, computers, televisions and artwork.  Later, on his Twitter account Pimenta called the invasion a coup, and urged Brazilians to unite against domestic terrorism. 

As depicted in the photo below, the Sala de Armas do GSI at the Palácio do Planalto was also ransacked, with protesters even attempting to burn chairs in the outer control room.  In a second video released by Pimenta he shows empty weapon boxes which which could point to theft of arms the GSI's usually uses to maintain building security. 

The total historic assets damaged in Sunday's riot are yet to be documented and ARCA will update this blog post as further details emerge. 

For the first time, the United States of America has handed over a rare artefact that was smuggled from the ruins of the Com in Hebron into the United States.  Carved from ivory, this object dates to circa 800-700 BCE and features an engraving of a winged creature.

This artefact is one of the 180 seized antiquities, valued at $70 Million purchased by Michael Steinhardt which were trafficked by a total of 12 different criminal smuggling networks. 

As the result of the District Attorney of New York - Manhattan investigations compelling evidence demonstrated that this, and other pieces were stolen from their country of origin, none of which had any specific provenance that could be verified by the collector or the DA's investigative team.

According to an invoice, Steinhardt purchased this ancient artefact on 21 January 2003 with no prior provenance for $6,000 from (then) licensed Israeli dealer Gil Chaya. While Chaya had listed his dealer’s license on his invoice to Steinhardt, the artefact was never registered (as required by Israeli law) with the Israeli Antuities authorities. 

Evidence as to its origins is documented in an email sent to Michael Steinhardt’s then-Collection Manager by Gil Chaya's then-wife Lisa, which stated:

“Cosmetic Spoon is from the Hebron area, a place called El Kom, this is the area of the richest Iron age Jewish tombs (many royal).” 

Map of the Hebron district

If Chaya's statement is to be believed, this artefact may come from Khirbet el-Qom, (خربة الكوم), an archaeological site in the village of al-Kum, between Lachish and Hebron.  The Hebron district (al-Khalil) itself is located 30 km south of Jerusalem where Chaya sold pieces he sourced illegally. Hebron is the largest governorate in the Palestinian territories, not only in terms of size and population (PCBS, 2009: 55-60), but also in its richness of cultural and natural heritage and is noted for being one of the oldest continuously inhabited areas in the world, sacred to the three monotheistic religions.

Over the last year, as museums were forced to grapple with the question of how to to handle illicit antiquities in their collections, this year we see some of the more interesting pieces beginning to make their way home.  One of which is the 500 kilogram Late Period (747-332 BCE) "green sarcophagus" of a priest named Ankhenmaat, which was received by the Egyptian Ministry of Tourism and Antiquities in a formal handover ceremony in Cairo on January 2nd.  

Acquired by the Houston Museum of Natural Science in Texas in 2013, the artefact was looted, likely from a shaft tomb, at the Memphis necropolis at Abusir Al Malaq in Egypt, an archaeological locality on the western bank of the Nile River, approximately 25 kilometers southwest of Cairo.  Investigations overseen by the New York District Attorney’s Office in Manhattan determined that the sarcophagus had been illicitly exported out of Egypt and subsequently smuggled into Germany before eventually passing onward to the United States in 2008. 

January 2, 2023 ceremony at the Ministry of Foreign Affairs hosted handing over the "green sarcophagus" to the Ministry of Tourism and Antiquities after it was recovered in the United States.

2023 may also be the year where some of the same museums which grappled with their illicit antiquities in 2022 also begin, this year, come to terms with their acquisition of Nazi-stolen art or art sold by members of the Jewish community under Nazi duress.

In the last week of 2022 Judith Silver, her sister Deborah Silver, and seven other individuals from Los Angeles, Seattle and Israel, named in a lawsuit as the surviving heirs of Jewish collector Hedwig Stern, filed a claim in the Northern District of California District Court, against the Metropolitan Museum of Art in New York and the Athens-based Basil & Elise Goulandris Foundation.  

Their lawsuit, surrounding the museum's deaccessioning of Van Gogh's "Olive Picking, 1889, contends that the Met's (then) chief curator Theodore Rousseau, “knew or consciously disregarded that the painting had been looted from Hedwig Stern by the Nazis” but still approved the Van Gogh painting's purchase and its later deaccessioning and sale. 

The painting's World War II era owner, Hedwig Stern, escaped Germany in December 1936 leaving behind a collection of artworks, which a Nazi-appointed trustee then sold onward.  The painting named in the lawsuit was deaccessioned by the Metropolitan Museum of Art in 1972 and after a series of transactions is now part of the collection of the Goulandris Museum of Contemporary Art, an Athens museum run by the family foundation of the late Greek shipping magnate Basil Goulandris and his wife, Elise Goulandris.   The lawsuit further contends that the Foundation continues to hold the painting despite its known provenance problems. 

Not counting this deaccessioned work, the Metropolitan Museum of Art reported that it has identified 53 works in its collection as having been seized or sold under duress during the Nazi era, excluding Picasso's painting “The Actor.”

Elsewhere, Timothy Reif and David Fraenkel, heirs of another collector persecuted during the Nazi regime, Fritz Grünbaum, have also filed lawsuits against the Museum of Modern Art in New York and the Santa Barbara Museum of Art in California seeking to recover a 1912 painting and 1915 pencil drawing, by Egon Schiele, each of which depict a woman. Grünbaum's art collection was looted by Nazis before he died on January 14, 1941 while held at Dachau Concentration Camp.

On the side of building capacity and advancing knowledge, later this month on January 18, 2023, at 5:00 pm, London time The Institute of Art and Law will host its next instalment of The Restitution Dialogues conference series.  This event will take place in the form of an online seminar investigating the Vatican Archives and its holdings of Indigenous items, including questions of returning items to communities of origin.

"The panel will discuss items such as the broader impact of the contemporary ‘restitution revolution’, the nature and provenance of Indigenous material in the Vatican collection, institutional best practices in restitution and repatriation, and the cultural impact of return and renewal."

The webinar is free for to anyone who registers.

January also marks the month when the Association for Research into Crimes against Art will accept general applications for admission to its 2023 Postgraduate Certificate program in Art Crime and Cultural Heritage Protection.  Back in 2009, ARCA started the very first interdisciplinary program designed to study art crimes holistically, in a structured and academically diverse format which includes eleven interconnected courses focusing on important theoretical and practical elements related to identifying, combatting, and studying art and heritage crime. 

Taught in Italy, over the course of one summer, the General Applications Period runs through 30 January 2023.  Late applications will be considered after, subject to remaining census availability. 

ARCA will also post information later this month regarding its annual Amelia Conference (and its call for presenters).  This event will be held the weekend of June 23- 25, 2023 in the beautiful town of Amelia, Italy, the seat of ARCA’s summer-long PG Cert program. 

Debris covering stairs inside the Donetsk Academic Regional Drama Theatre following a March 16, 2022, bombing in Mariupol, Ukraine. Image Credit AP - Alexei Alexandrov

As the year comes to a close, it's time to highlight (some) of the losses, and a few of the successes from the year 2022 before we look ahead to what 2023 will bring.  

In 2022 we witnessed Russia’s invasion of the Ukraine, taking thousands of lives and creating a tragic humanitarian crisis.  One symbol of both heritage and human loss was the airstrike upon the historic Donetsk Academic Regional Drama Theatre in Mariupol, a cultural landmark where hundreds of people had been sheltering as a result of the city's siege.  The theatre strike serves as painful testimony to the cost of war and the painfully permanent scale of destruction to the Ukrainian port city and ints inhabitants, as Russia's primary target in Ukraine's southeastern region of Donbas.  

Evidence collected by the AP estimates that as many as 600 civilians may have died as a result of the theatre's March 16th double airstrike, which placed this cultural institution directly in the crosshairs of the conflict.  This despite the centre's obvious civilian character and the fact that the displaced individuals who sought refuge there had plainly marked the pavement, in front of each entrance to the structure, with the word дети (children), written in Cyrillic and could be seen cooking daily meals outside.  

Five days later and just a few blocks away, Russia's bombardment also heavily damaged the Kuindzhi Art Museum, dedicated to the life and work of local realist painter Arkhip Kuindzhi.  Kuindzhi’s works were not in the museum at that time,  however, the fate of other artworks in the museum remains difficult to ascertain. 

It total UNESCO has documented 64 damaged or destroyed sites of historical and/or artistic interest in the Donetsk Region alone. 

As of December 23rd, throughout Ukraine, again according to UNESCO, the agency has verified damage at 102 religious sites, 18 museums, 81 buildings of historical and/or artistic interest, 19 monuments, and 11 libraries.

Outside Ukraine, two themes for 2022 are museums, and those in charge of them, behaving badly, and crime doesn't pay. 

On the West Coast, the J. Paul Getty Museum in Los Angeles saw its hand forced by the same East Coast prosecutor, following an ongoing criminal investigation by DANY.  That investigation resulted in the California museum relinquishing, post-seizure, its looted group of life-size terracotta figures known as Orpheus and the Sirens back to Italy. 

Things were no quieter for museums over in Europe and the Middle East, where over the summer, France saw its former director of the Musée du Louvre, Jean-Luc Martinez and archaeologist-curator Jean-Francois Charnier formally charged for “complicity“ in having facilitated $50 million in acquisitions of illicit material by the Louvre Abu Dhabi, connected to investigations of suspect antiquities dealers Roben Dib (currently in French custody) and Germany-based dealer Serop Simonian.

As legal investigations usually take several years to unfold in France, Martinez and Charnier have been released under judicial supervision while a ruling of the examining chamber is expected in the new year, which some say, may see these preliminary charges dropped.

Dealers who behaved badly include Inigo Philbrick who received an 84 month prison sentence in May in connection with a multi-year scheme to defraud various collectors and business entities in order to finance his art business.

Eighty year old Raffaele Monticelli, a man considered by various Italian prosecutors to be one of the biggest middle-tier traffickers of archaeological finds in Europe, died in October.  Still active in smuggling illicit material out of Italy, he had only recently returned home to Taranto following the conclusion of a short prison sentence involving a looted helmet in circulation in the Netherlands. 

Also in the Netherlands, the Dutch appeals court confirmed the 8 year prison sentence in July for 59 year old Nils Menara, a professional burglar known on the street as 'Gauwtje' for his role in the thefts of two paintings, The Parsonage Garden at Nuenen in Spring (1884), by Vincent van Gogh, and Two Laughing Boys with a Mug of Beer by Frans Hals.  The two paintings, worth $20 million are still missing. 

In France, the 33rd criminal chamber of the Paris Judicial Tribunal held a decision in October in a case where Egypt requested the restitution of Egyptian antiquities within a criminal proceeding against Didier Wormser, who was accused of dealing stolen cultural property from the Saqqara necropolis. The director of the Star of Ishtar gallery, was given a three-year suspended prison sentence. 

In India, November saw disgraced antiques dealer Subhash Kapoor convicted of burglary and the illegal export of 19 antique idols during his first completed trial to date, held in the town of Kumbakonam in the Indian state of Tamil Nadu.   With more court cases to follow, Kapoor was handed a 10-Year jail sentence for this first conviction.  The judge also imposed sentences on Kapoor's accomplices: Sanjivi Asokan, Marichamy, Packiya Kumar, Sri Ram alias Ulagu and Parthiban. 

In happier news, the last month of the 2022, marked the month where German police successfully recovered 31 of the priceless 18th-century jewellery pieces stolen from  the Royal Palace that houses the historic Green Vault (Gruenes Gewoelbe) in Dresden in 2019.   

Let's hope 2023 is a year of recoveries, more successful prosecutions and an end to conflicts. 

On 25 November 2019, burglars entered the Green Vault (Grünes Gewölbe in German) museum within Dresden Castle in Saxony, Germany and smashed open exhibition cases using an axe. In only a few minutes, the precision coordinated team of thieves slipped away with an outstanding cache of jewellery, including the 49-carat Dresden White Diamond, the diamond-laden breast star of the Polish Order of the White Eagle, a 16-carat diamond hat clasp, a diamond epaulet, and a diamond-studded hilt containing nine large and 770 smaller diamonds, as well as its jewel-encrusted scabbard.  

Despite having torching the motor vehicle used in the getaway to any destroy evidence they may have theft behind in its interior, clues surrounding the spectacular art theft, lead German authorities to investigate the purchase of SIM cards by members of a clan known to have been involved in a series of criminal offenses which eventually resulted in the arrest of several members of the Remmo clan, one of the grandfamilies of Lebanese-Kurdish descent who immigrated to Germany during Lebanon's 1975-1990 civil war. 

Members of this clan have been criminally conspicuous, gaining reputations for trafficking, racketeering and robbery, some of which have been spectacular in their execution. Their complicated family ties and property ownership structures, have made it possible for the tightly knit groups to launder money - and sometimes, but not in this case, have made it considerably more difficult for investigators to entangle who is involved and in what capacity. 

Today, during a press conference held by the Ministry of the Interior of Saxony, jointly with the Dresden Public Prosecutor's Office and Police, German officials announced that between December 16th and 17th, the Dresden public prosecutor, Soko Epaulette and the LKA Sachsen seized 31 of the stolen Green Vault jewels in Berlin  Several of the pieces appeared to be complete including the hat decoration (heron tail) and the breast star of the Polish Order of the White Eagle from the diamond set. 

The items recovered will now go beforespecialists from the Dresden State Art Collections to ensure their authenticity and completeness.  The epaulette with the "Saxon White" that was damaged during the theft and the large breast bow of Queen Amalie Auguste remain missing.

On September 2, 2021, six members of the Remmo family were formally indicted in Dresden for serious gang theft and arson for their alleged involvement in the 25 November 2019 burglary of the Green Vault (Grünes Gewölbe in German) museum within Dresden Castle in Saxony.

Wissam Remmo, Rabih Remmo, and Bashir Remmo, were arrested in 2020.  Wassim was arrested in his car in Berlin while Rabih and Bashir were picked up when police stormed apartments in the densely populated suburbs of Neukölln and Berlin-Kreuzberg. 

On 14 December 2020 and 18 May 2021 twin cousins Mohamed Remmo and Abdul Majed Remmo were also placed in handcuffs.  Later that summer, law enforcement officers in Saxony arrested the sixth suspect, Ahmed Remmo on 19 August 2021 at an apartment in Berlin-Treptow.  

German authorities have stated that the jewellery was recovered following ongoing negotiations with defence counsel for members of the Remmo clan. While information pertaining to what plea deal, if any, has been agreed upon regarding the charges faced by the six defendants, a followup hearing  is scheduled for Tuesday, December 20th, 2022. 

Previously, members of the Remmo clan were charged and sentenced in another audacious heist, which took place at the Bode Museum.  In that theft, the thieves made off with a 100 kilo gold coin on 27 March 2017 which has never been recovered and is believed to have been melted down. 

In July 2018 the Berlin public prosecutor's office and the state criminal police provisionally seized 77 properties, including apartments, houses and land belonging to members of the "Lebanese" Kurdish extended family "Remmo" worth an estimated 9.3 million euros.  These seizures were based on evidence that the properties was likely purchased with proceeds from crime using new rules under the German Criminal Code (StGB) and Criminal Procedural Order (StPO) enacted 1 July 2017.  Modelled after Italy's own organised crime laws on property seizure,  where the state may order the seizure of property that a person of interest is able to dispose of when the value of the property is disproportionate to the person’s declared income or economic activity, Germany's new law regulates the recovery of criminal proceeds and serves to effectively confiscate illegal proceeds from offenders or third beneficiaries who can be tied to proceeds from criminal transactions. 

According to an earlier article by Der Spiegel it is estimated that while that clans make up just four percent of Berlin's inhabitants, 20 percent of suspects in organized crime cases belong to one of the city's well-known clan groups.  The trio arrested this week have been charged with serious gang theft and arson.  

To learn more about the structure of the Berlin clan groups, German readers can read Ralph Ghadban's Arabische Clans: Die unterschätzte Gefahr.  Ghadban, who has spoken out about the criminal machinations of the Arabische Großfamilie clans which dominate Berlin's underworld, is now under permanent police protection, for his criticism of the clans and the power of the Lebanese mafia in Europe.