
Thieves have stolen works by Pablo Picasso and Candido Portinari from the Sao Paulo Museum of Art. The theft was made known early Thursday morning. The stolen Picasso is pictured here, Portrait of Suzanne Bloch, 1904. Early estimates place the monetary value of the stolen works at $100 million USD. However these are major works, the Picasso is from the artist’s blue period. Portinari is a major Brazilian artist. The AP story is here.
Author: Derek Fincham
Nostoi (UPDATE)

The Nostoi (“Returns”) epic is mostly lost, but the bits and pieces which have survived indicate it tells the story of the return home of the Greek heroes after the Trojan War.
It is perhaps apt then that Italian authorities on Monday called the display “Nostoi: Returned Masterpieces” when they unveiled 68 antiquities which have recently been returned to Italy. Soon to join the list is the Euphronios Krater, which is slated for return from the Met in January.
Livia Borghese and Jason Felch have the story in the LA Times. Elisabetta Povoledo has a similar story in the NY Times, including a slide show by the AP and Italian Culture ministry. This image may be my favorite of the bunch, the Griffins attacking the doe. Objects were returned from the Getty, the Museum of Fine Arts in Boston, Princeton, and the Met. Also, some objects from the Royal Athena Galleries in New York were returned as well.
As might be expected, Francesco Rutelli the Italian culture minister and vice prime minister was quick to point out the significance of these returns saying, “The odyssey of these objects, which started with their brutal removal from the bowels of the earth, didn’t end on the shelf of some American museum… With nostalgia, they have returned. These beautiful pieces have reconquered their souls.”
Ultimately, the display shows the results of the Italian campaign which by necessity eschewed international law, and American law and instead went right to the heart of the matter using public pressure and the media along with the high-profile and ongoing trials of Marion True and Robert Hecht. At the press conference, Rutelli claimed that this strategy has “[brought] about radical changes in the trade of looted antiquities”. That may be true in a limited sense I suppose, but only I think when the antiquities are backed by strong political will in source nations. What about the trade in antiquities from South America or Iran and elsewhere? I’m not sure this strategy will impact those objects. I’m not sure either that this new strategy will alter the idea of the Universal Museum, which seems largely at odds with the policy of many source nations. Ideally the Italian accords will continue to allow the US and Italy to work together to continue to share objects but also to prevent the acquisition of illicit antiquities in the future.
UPDATE:
Sarah Delaney has more in yesterday’s Washington Post, with more pontificating by Rutelli including this: “if we dry up the waters of illegal art trafficking it will be much more difficult for tombaroli and others to operate.” He praised as well the “new standards of ethics that American museums have adopted”. First among these is the Getty’s stringent new acquisition policy. Also, museums who cooperate will earn continued loans.
David Gill has more on the official handlist of objects in the display, including where objects came from, and a breakdown of the type and composition of objects. As he points out, “15 pieces were represented by South Italian pottery.”
Stewart Gardner Resolution?

Is a resolution eminent in the largest art theft in history? Perhaps, with word this morning that a Boston grand jury is scheduled to hear evidence this week into the 1990 theft from the Isabella Stewart Gardner Museum, estimated at between $300-500 million. One of the stolen works is the Concert by Vermeer.
Stephen Kurkjian of the Boston Globe has the story, in which he was given details of a subpoena from a former museum employee who worked there at the time.
The former worker said two FBI agents questioned him about his recollection of the theft several days ago and handed him a subpoena to testify before the grand jury in Boston tomorrow.
The agents told him they were gathering facts on the case and were hoping that the grand jury would “shake things up” in the long-stalled investigation, said the former worker, who asked not to be identified.
The agents did say that they were pursuing the possibility that the theft may have been carried out by three individuals – and not two as has long been publicly believed, the former employee said.
On Friday, a spokeswoman for US Attorney Michael J. Sullivan’s office declined to comment on the grand jury, stating that the office never confirms or denies the existence of such a session.
A spokeswoman for the Gardner Museum also declined comment.
The former museum employee read portions of the subpoena to the Globe and said it was signed by Brian T. Kelly, a veteran prosecutor in the US attorney’s office. Kelly has helped spearhead the federal investigation into and the crackdown of James “Whitey” Bulger’s criminal enterprise.
It is often said that a grand jury is both a sword and a shield. It protects the rights of criminal defendants, but also allows prosecutors to use their subpoena power to compel testimony. Whether a resolution will emerge remains to be seen, but right now there are more questions than answers, most notably: where are the paintings?
A Cultural Property Registry?
On Thursday Donn Zaretsky at the always-enjoyable art law blog continued his discussion of the fake Gaugin Faun statue. Specifically, he wondered what kind of international registry might have prevented this kind of fraud, and asked me how I would envision a registry. I have a few thoughts on the subject, but they’re still in an early stage.
I had originally intended to put discussions of a potential registry and some concrete reforms of the market which are needed in the thesis. It’s not in there though because I simply ran out of space, and I’ll have to save those ideas for some future work I suppose. I don’t have a definitive answer for how an international registry might be constructed. Ideally an international body such as UNESCO would step forwards and create one, however that is far too ambitious an undertaking for that organization given its current state of funding. The industry itself could choose to regulate itself more closely, but it gains more profit by not revealing information information. In the end, the art market needs a registry like MLB, the NFL and other sports leagues need a test for Human Growth Hormone. But neither is likely to arise soon.
It’s a difficult potential issue because there a number of serious obstacles to creating a registry. The Art Loss Register and other databases exist, but they aren’t the answer to the whole problem. The current market structure earns more money without a registry. Here’s how: if I have a painting and want to sell it I can take it to an auction house. Now I’m a lowly PhD student, and that’s certainly not a lucrative career choice. If someone were to purchase the painting from me directly they would have a great deal of bargaining power if they knew my relative financial position. The painting might be worth $20,000; however the purchaser may realize my financial position and negotiate the deal lower. Auctions take place anonymously and avoid this. In many if not most transactions, we are unaware who the buyer and seller are. For the fake Faun, the consignor was Mrs. Greenhalgh using her maiden name. Had the buyer known she was living in council housing, might they have been less inclined to purchase the object, or even have more cause to doubt its authenticity? I think so certainly.
A good recent article in the Florida Law Review proposes a torrens registration scheme for works of art. Bruce W. Burton, IN SEARCH OF JOHN CONSTABLE’S THE WHITE HORSE: A CASE STUDY IN TORTURED PROVENANCE AND PROPOSAL FOR A TORRENS-LIKE SYSTEM OF TITLE REGISTRATION FOR ARTWORK, 59 Fla. L. Rev. 531 (2007). The introduction lays out the main argument:
At least forty percent of valuable artwork circulating in the marketplace is either forged or misattributed. Apart from this significant problem of art authenticity, the chains of title showing current ownership of many genuine and properly attributed objects are defective. These defects are due to incompleteness of the historical records, innocent error, lapse of time, fraudulent manipulation, or theft. This Article explores the dual complexities of properly establishing a valuable art object’s correct provenance-that is to say, determining both the authenticity as well as the chain of legal ownership of the work. This Article also examines the six principal legal doctrines that human society has designed to resolve competing ownership claims and the significant moral shortcomings of each doctrine. Most significantly, this Article presents a proposal for a much-needed reform in the law of art provenance.The proposed reform is modeled on the Torrens land-title registration system in effect in Australia, parts of the United Kingdom, and a handful of states in the United States. The reform would offer the following: (1) a legal system for conclusively registering both the ownership and authenticity of any valuable piece of artwork; (2) fundamental fairness to all parties claiming an interest in the artwork; (3) assured financial compensation to any innocent party whose claim to the artwork has been injured or lost by operation of the Torrens-like system; (4) permanent and visible public records of art ownership; and (5) enhanced market stability because of the certitude and transparency afforded to art consumers by such a title registration system.
Burton makes a good case, but it would rely on individual states to implement the system, creating a patchwork of coverage. That would be better than nothing I suppose. In the end buyers of art, and even authenticators get excited by the prospect of rediscovering “lost” art or works which have gone missing. It can happen in legitimate ways as evidenced by the trash-rescue earlier this year. However, such a system leaves open the possibility of forgers, and also creates havoc in the antiquities trade for source nations and sites. The best advantage of a registration system would not necessarily be that it prevents these kinds of fraudulent transactions today, but that it builds up a body of knowledge about an object’s provenance so as to prevent such mistakes in the future. As it stands now, we still aren’t certain how many more forgeries by Greenhalgh may have been sold.
Italy, Culture and Politics
Barbie Nadeau has an interesting article online at Newsweek. It makes the same kind of point that a number of commentors, me included, have noticed. Namely, that Italian politicians are often adroit at using Italian heritage for political gain.
Last month Veltroni and Rutelli unveiled another gem on the Palatine Hill: the “Lupercale,” the ancient grotto where, legend has it, a she-wolf nursed Rome’s founder, Romulus, and his twin brother, Remus. The showing of the Lupercale delighted Italians with the suggestion that the legend might be true. But while the romantics were studying the mythology, the cynics were asking questions about just why the finds were being shown off at that time. The grotto, after all, was discovered last January, during the restoration of Augustus’s palace and the iconic collapsed wall. Back then Irene Iacopi, the archeologist in charge of the Palatine Hill, said she discovered the cavern, which is covered with frescoes, niches and seashells, after inserting a 52-foot probe into the ground. So why did it take almost a year for the authorities to make a public announcement about the find?
The answer, it would seem, lies in politics and power. Just days before the showcasing of the Lupercale, Silvio Berlusconi had disclosed his plans to form a new political party that would compete with Rutelli and Veltroni. The news about the grotto, however, effectively eclipsed Berlusconi’s news, leading the former prime minister to describe the timing as “suspect.”
It’s an interesting point I think. But when culture is such an important political issue in Italy, it seems only natural for politicians to manage the news in much the same way the President might shape the news with respect to the economy, the War in Iraq, or other matters.
I do have issues with one claim made in the article though. It is claimed that “Getty Museum curator Marion True went on trial in Rome for conspiracy and receiving stolen artworks for the Los Angeles institution. The trial, which began during Berlusconi’s term and is still ongoing, has directly led to the return of more than 100 artifacts from other American museums that purchased items of questionable provenance, including 40 from the Getty.” I think that may be overstating the importance of the True trial. Certainly it has had an impact, but more important is the concrete Polaroids and other evidence detailed in the Medici Conspiracy. That evidence came as a result of investigation of a theft of objects from Italy which were later traced to Switzerland. That investigation, of which the True prosecution has emerged, is the root cause I think.
Forgery Revealed in Chicago

Apologies for the light posting this last week. I’ve been away in Dubai with the wife. I’ll talk about why, and talk a bit about my impressions tomorrow. For now I want to talk about the big story which was revealed while I was away: the forgery by Shaun Greenhalgh, whom I talked about earlier here.
Tyler Cowen first revealed the Paul Gauguin sculpture was a fake after Jim Cuno told the staff of the Art Institute of Chicago was a fake. Donn Zaretsky helpfully collects links to the prominent coverage.
The Art Newspaper has perhaps the best coverage, as it seems it tracked the sculpture to Chicago. Last month the three members of the Greenhalgh family were sentenced over the Amarna Princess. They discovered a Gauguin sculpture had been created by Greenhalgh after talking with Scotland Yard. They then tracked the work to Chicago.
The forged work was consigned to Sotheby’s by “Mrs. Roscoe”, the maiden name of Olive Greenhalgh. It was sold for £20,700. The London dealers Howie and Pillar purchased it, and it was later sold to the Art Institute for $125,000. The purchase was hailed as a success. Martin Bailey asks why nobody questioned the authenticity? The real sculpture has been missing, the forgery was based on a faun sketch dating to 1887. It seems Sotheby’s is expected to reimburse the Art Institute of Chicago. I think this reveals at least two troubling matters.
First, how many more forgeries are out there? How easy is it to trick authenticators? The best in the world looked at this sculpture and were duped. Perhaps they wanted to believe a little too much. Also, when visitors (and even experts) looked at the sculpture did it convey emotion? How much did that have to do with the beauty of the object itself; and how much was related to the idea that this small work was created by a “great” artist, Paul Gauguin?
Second, I think it reveals the continuing need for more provenance information in art and antiquities sales. The answer may be for an international registry which tracks buyers and sellers when objects are bought and sold. Until such a system emerges, the market continues to leave itself open to this kind of embarrassment.
Lex Situs Conference last Friday

Last Friday in London I had the great pleasure to present a bit of my own work at the Lex Situs seminar organized by the Institute of Art and Law and sponsored by Withers LLP. Incidentally there is another seminar tomorrow which looks to be interesting as well, on the consideration of anti-seizure legislation.
It was an enjoyable afternoon, and a lot of fun for me to hear what people like Prof. Norman Palmer, Kevin Chamberlain, and Marc-André Renold had to say on the topic, as I’ve read and relied on their work a great deal in the last few years.
The highlight for me was hearing from Jeremy Scott, of Withers LLP who represented Iran in the recent high court case with Barakat galleries. It may be useful for people to know a bit about what the speakers had to say on this rule. For the non-law readers, apologies if this post is a bit lawyerly, but some of these private legal concepts are a bit involved.
The lex situs rule essentially dictates that when a stolen piece of cultural property crosses national boundaries, and laws conflict, the law of the jurisdiction where the sale took place (i.e. lex situs) will apply. This is a nearly unanimous rule which applies to movable objects. Two speakers gave particularly good insights.
Dr. Janeen Carruthers, a reader at the University of Glasgow gave a very informative overview of the whole scope of the lex situs rule. It was great to hear her thoughts, as an expert on Private International Law. She had some interesting things to say, especially arguing clandestine removal may have many things in common with the clandestine removal of antiquities, and this similarity may be a useful tool for arguing the lex situs rule should not perhaps hold the prominent position it does today.
I also particularly enjoyed hearing Professor Johan Erauw of the University of Ghent in Belgium talk about Talk about a new Belgian amendment to the Code of Private International Law in 2004 which provided for a lex originis choice-of-law rule in certain limited circumstances. It was an interesting amendment of the general rule, but he argued persuasively that the rule was substantially weakened, and the reasons may be tied to certain Belgian museums, who were concerned about losing some or all of their collection with a new more generous rule for source nations.
Given such a distinguished panel, I set the bar pretty low for myself. My main argument, and perhaps its one that’s more common sense than anything, is that the lex situs rule is ill-equipped to regulating and limiting the illicit trade in art an antiquities. I do think a convincing and compelling policy argument can be made that the general lex situs rule governing title to movable objects across national boundaries should be limited in some situations, and in fact this is the approach taken by
When public international law offers no remedy, claimants are often forced to seek redress through private law. Of course all nations forbid theft; and every jurisdiction recognizes that a thief cannot possess superior title to the original owner. The classic dispute in cultural property litigation does not involve the original owner and the thief, but rather the original owner and a subsequent purchaser. Both of these parties are relative innocents. The difficulty in private international law disputes hinges on the ways in which different states have chosen to allocate burdens, rights and responsibilities between these two relative innocents.
States could take the Belgian approach and use another choice of law principle. There could be a call to reform good faith purchaser rules in Civilian jurisdictions. We might decide that art and antiquities should be registered when they are bought and sold. These all strike me as plausible and sensible reforms, however we must start from the position that the current default legal framework does not effectively distinguish illicit objects. The problem, and its one that’s been noted by many cultural heritage scholars, is that nations and lawmakers too often respond to the illicit trade rather than create a workable legal regime to prevent problems before they occur. The Belgian example strikes me as an important and noteworthy exception to this rule.
Should there be an antiquities market in some form? If the answer is yes, as it currently stands there is not a workable system to ensure antiquities are licit. To erect such a system will require substantial compromise on the part of source nations and the antiquities market. The market will have to radically shift the way it conducts itself to provide adequate safeguards that antiquities are legally excavated or from older collections. In turn, it seems likely that source nations will have to find a way to provide licit antiquities to meet market demand. Until such a compromise is brokered, courts in market nations will continue to be faced with difficult issues.
It was a really enjoyable seminar, and I’d like to thank the organizers and the Institute of Art and Law for being kind enough to allow a PhD candidate to present alongside such an impressive panel.
Antiquities Arrest in Greece
The AP is reporting today that 2,308 ancient coins have been seized and a 70-year-old barber arrested in northern Greece. The coins mainly date from the Roman and Hellenistic peroid.
Several coins bore the heads of Alexander the Great, the Macedonian warrior king, and his father King Philip.
The man was arrested Sunday near the town of Veroia, 490 kilometers (305 miles) north of Athens. He has been charged with antiquity smuggling and taken into police custody.
Police said they searched the man’s home and unexpectedly discovered the coins after he had been identified by two juvenile robbery suspects as the person who bought their stolen mobile phones and other items.
Catching Up
Apologies for the light posting in recent days. I’ve been quite busy in the last week. I was fortunate enough to submit my thesis last week, so hopefully the oral examination (with a good result) will take place soon. Also, I had the opportunity to present a bit of my own work at a very interesting seminar on the lex situs rule organized by the Institute of Art and Law, and Withers LLP, which has its own Arts and Cultural Assets Group. I’ll post more on the event later this afternoon. For now I’ll just give a rundown of some very interesting events which have taken place in recent days.
- Donald Trump’s proposed golf-o-rama just north of Aberdeen has been rejected by the Aberdeenshire Council. To be clear, Trump’s development had little to do with golf, and more to do with holiday homes, a luxury hotel, and mega-houses.
- Some of the staff at the Portable Antiquities Scheme have started to map finds with google maps.
- Australian art-authenticator Robyn Sloggett estimates perhaps 1 in 10 works on the market are fake.
- The Hellenic Society for Law and Archaeology reports on the new Greek Cultural Goods legislation, which will appoint a special cultural heritage prosecutor and purports to extend the expansion of Greek penal law even when crimes have taken place abroad.
Spoliation Advisory Panel

The Spoliation Advisory Panel has issued a decision on a claim for three works by Rubens, St. Gregory the Great with Ss. Maurus and Papianus and St. Domitilla with Ss. Nereus and Achilleus 1606–1607; The Conversion of St. Paul, c.1610–1612 (pictured here); and
The Bounty of James I Triumphing Over Avarice, for the ceiling in the Banqueting House, Whitehall, c.1632–1633. The panel’s full report on the case is here.
The panel is an alternative to legal action, which rules on both the legal claims but also the broader ethical questions implicated in these disputes. The panel issued its ruling Wednesday that art collector Franz Koenigs lost these works due to “business/economic reasons” and not to the Nazis. A translation of the Dutch Wikipedia page on Koenigs is here. Christine Koenigs, the granddaughter of the collector sought the three Rubens from the Courtauld Institute of Art in London. The panel ruled these three works had been used as collateral to a bank in Hamburg. The bank then moved to the Netherlands, and in 1940 it liquidated its assets before the Nazi invasion, thereby calling in Koenigs’ loan.