The Associated Press reported this week that five important works stolen from the Museum of Modern Art in Paris in 2010 may have been destroyed. This work by Léger was apparently stolen to order, and in his zeal to capitalize on his time in the museum, the thief managed to make life considerably more difficult for his alleged co-conspirators because he stole some more very notorious works which only served to attract more attention from the authorities.
At a trial in Paris, one of the defendants, Yonathan Birn, claimed to have destroyed the works after fears that the investigation into their disappearance would lead to him.
Christa Roodt, of the University of Glasgow and the University of South Africa, and Bernadine Benson, of the University of South Africa have an article in the June issue of the South Africa Crime Quarterly examining databases for stolen art with a particular emphasis on the South African position post-Apartheid. They make a good common-sense argument in favor of a centralised database for South Africa which would assist both the market and law enforcement. Here’s the abstract:
Addressing the illicit trade in stolen works of art and other heritage items is notoriously difficult. Before thefts of heritage items can be recorded, the object in question must be identified as having special significance. The investigation of the circumstances in which such an object was acquired and the enforcement of legal and ethical standards of acquisition become unduly complicated in the absence of a comprehensive national inventory of museum holdings and of a database of stolen art and cultural objects. This article considers the development of inventories and databases in South Africa and elsewhere. We argue that cross-sectoral cooperation in sharing databases needs to improve significantly in order to boost compliance with due diligence standards. To help restore the credibility of the trade in art and cultural objects, the South African Heritage Resources Information System site must be endorsed as the centralised database for heritage crime. This would provide ready access to databases, helping art market participants, law enforcement officers and customs officials in the investigation of stolen art works.
25 years ago tonight, the Isabella Stewart Gardner Museum suffered a devastating loss to its collection. 13 works of art led to a FBI investigation, and a new Federal Criminal provision. But the works themselves are still lost. Today brings a slew of examinations of the theft and the subsequent investigation.
This week sees the beginning of the trial of José Manuel Fernández Castiñeiras, an electrician accused of stealing the 12th century illuminated manuscript from the Basilica of Santiago de Compostela. The Codex was taken in July, 2011 and was recovered a year later in the garage of Castiñeiras.
The Codex contains illuminated sermons, music, descriptions of the pilgrimage on the Wa;y of St. James in Galicia in Spain. It is written in Latin, and Christopher Hohler the latin is intentionally bad, so that the text serves as a kind of grammar book. Even in the 12th century it seems students needed a lively picture and satire to get them to learn it seems. Writing in 1972 Hohler wrote that anyone used to reading 12th century Latin (which I am most certainly not) will: Continue reading “Trial Begins for the theft of the Codex Calixtinus”
Back in December, the FBI announced that in coordination with the LAPD’s art theft detail, it had recovered these nine works of art, which had been stolen from an elderly couple’s home in Encino in 2008 while the housekeeper was away grocery shopping. The cell-phone search warrant affidavit offers a rare glimpse into how thieves attempt to sell laundered art.