I’ve written a great deal here about the ongoing dispute between the Getty Museum and officials in Italy over this ancient Greek statue.
In the wake of a pair of regional court rulings in 2010 and 2012 in Pesaro, Italy there seemed a chance that Italy would secure a trans-Atlantic forfeiture of the athlete (which I considered in an article).
But now those Italian court orders have been ruled in violation of the European convention on human rights because the cases were not heard in open court. This should not come as a great surprise, as the Italian court of cassation remanded the case to an Italian constitutional court in 2014, and a favorable result seemed remote. And Italy is now left with an embarrassing and incomplete forfeiture effort, which was only ever going to be the first step of a legal strategy which would be given high marks for degree of difficulty. So this “Fano Athelete” as the Italians describe him will likely not be taking a trip to Italy any time soon.
At present the bronze is a part of the “Power and Pathos” exhibition currently on display at the National Gallery in Washington.
In 2008 a massive federal investigation unfolded in a coordinated series of searches that produced dramatic images of federal agents standing outside prominent Southern California Museums. As Jason Felch points out:
The investigation sent shockwaves through the art world, suggesting that even amid an international scandal over the Getty Museum’s role in looting, other local museums had continued to do business with the black market. Some critics later called the raids over-zealous, noting that despite that the massive investigation, the government had failed to win jail time in the long-delayed criminal trials that followed.
The museums which were targets of the search included the Los Angles County Museum of Art, Pasadena’s Pacific Asia Museum, the Bowers Museum, and the Mingei Museum in San Diego. One of the antiquities dealers responsible for facilitating moving material from Southeast Asia to the United States was Jonathan Markell. This week he was sentenced to 18 months in prison. An extremely rare occurrence. Markell and his wife Cari were both sentenced this week. They were ordered to return hundreds of objects seized from their gallery, and were ordered to pay the shipping costs and tax penalties. So at long last a successful prosecution in these raids, which at the time in 2008 seemed destined to produce a number of prosecutions and fundamental changes.
Rick St. Hilaire this week heaped praise on the prosecutors and investigators:
In the annals of cultural property law, prosecutions targeting transnational antiquities trafficking networks are rare. Even more rare are felony convictions. Scarcer too are prison sentences. . . . So what happened this week to a pair of California gallery owners tied in with the “Museum Raids” cases is a momentous achievement, an example of careful and intelligent case development by the U.S. Attorney’s Office for the Central District of California, resulting in felony convictions for antiquities traffickers rather than a “seize and send” photo-op that cultural property watchers are accustomed to witnessing.
Whatever you think of the antiquities trade will probably dictate whether you agree with St. Hilaire or not. But this is one of the exceedingly rare prosecutions of an actor in a transnational antiquities network.
Scott Reyburn aptly summarizes the range of possibilities with respect to the controversial work of art known as “La Bella Principessa” in his report for the New York Times:
By various accounts, then, it would seem that “La Bella Principessa” is either a real Leonardo worth tens of millions; a 19th-century Italian Renaissance style drawing worth tens of thousands; or a modern fake worth hardly anything at all.
The Sunday Times has published a report that claims Shaun Greenhalgh, a prolific art forger who has fooled the Art Institute Chicago, the British Museum, and countless others may be the creator of this work. He claims he created the work in the 1970s, depicting a “bossy” supermarket clerk named Alison.
Doubts should now increase as to whether this is an authentic Leonardo da Vinci. It was purchased by a Canadian, Peter Silverman, who has been trying to demonstrate the authenticity of the work. It seems the work was made on vellum, but may have been done on the wrong side. The art critic Waldemar Januszczak, part of a consortium publishing a limited run of Greenhalgh’s memoirs, writes in the Sunday Times that Greenhalgh “bought an old land deed that had been written on vellum, and finding the ‘good’ side to be too ink stained to use turned it over and drew on the rough side instead, as Leonardo would never have done”.
For now Silverman will keep the work of art at the Geneva freeport. In an attempt to burnish the reputation of the work, he claims he will offer 10,000 pounds to Greenhalgh if he could reproduce the work on vellum, and criticized Januszczak as “shameless”.
Ben Taub reported for the New Yorker on the real market value of the antiquities which are being looted and sold from ISIS-controlled territory. It seems the estimates are very, very inflated. Not a surprise given what we know about estimates of looting.
Taub reports on the event organized at the Metropolitan Museum of Art earlier this Fall: