1 A portion of this introduction first appeared on Salon.com: ‘ISIS and the corrupt art trade: We know cultural crimes fund terrorism – now what?’, 12 April 2015, http://www.salon.com/2015/04/12/isis_and_the_corrupt_art_trade_we_know_cultural_crimes_fund_terrorism_now_what/.
1 A. Danto, ‘The artworld’, Journal of Philosophy, vol.61, issue 19, 1964, pp 571–84.
2 Collins English Dictionary online, http://www.collinsdictionary.com/dictionary/english/world (accessed 8 February 2016).
3 H.S. Becker, Art Worlds, University of California Press, Berkeley and Los Angeles, 2008 (1982); G. Dickie, Art and the Aesthetic: An Institutional Analysis, Cornell University Press, Ithaca, New York, 1975.
4 L. Shiner, The Invention of Art: A Cultural History, University of Chicago Press, Chicago, 2001.
5 O. Velthuis, Talking Prices: Symbolic Meanings of Prices on the Market for Contemporary Art, Princeton University Press, Princeton, New Jersey, 2005.
6 M. Gerlis, Art as an Investment: A Survey of Comparative Assets, Lund Humphries, London, 2014.
7 P. Bourdieu, The Field of Cultural Production, Polity Press, Cambridge, 1993; T. Van Laar and L. Diepeveen, Artworld Prestige: Arguing Cultural Value, Oxford University Press, New York, 2013.
8 See, for example, the financial assistance offered to the Impressionists by the nineteenth-century French dealer Paul Durand-Ruel, in P. Assouline, Discovering Impressionism: The Life of Paul Durand-Ruel, Vendome Press, New York, 2002, p.87, and the stipends given to post-war American painters by the New York dealer Leo Castelli, in A. Cohen-Solal, Leo and his Circle: The Life of Leo Castelli, Knopf, New York, 2011, p.248.
9 C. Mason, The Art of the Steal: Inside the Sotheby’s–Christie’s Auction House Scandal, Putnam’s (Penguin), New York, 2004, p.69.
10 Cézanne’s The Card Players: A. Peers, ‘Qatar purchases Cézanne’s The Card Players for more than $250 million, highest price ever for work of art’, 2 February 2012, http://www.vanityfair.com/culture/2012/02/qatar-buys-cezanne-card-players-201202; Gauguin’s Nafea Faa Ipoipo (When Will You Marry?): S. Reyburn and D. Carvajal, ‘Gauguin painting is said to fetch $300 million’, 5 February 2015, http://www.nytimes.com/2015/02/06/arts/design/gauguin-painting-is-said-to-fetch-nearly-300-million.html?_r=0; Picasso’s Les Femmes d’Alger (Version O): T. Jenkins and S. Crompton, ‘Is any painting really worth $179 million?’, 16 May 2015, http://www.theguardian.com/commentisfree/2015/may/16/is-any-painting-worth-179-million-picasso-auction-world-record; Giacometti’s L’Homme au doigt: K. Tully, ‘The $100 million art club swells: Picasso and Giacometti set new records at Christie’s’, 12 May 2015, http://www.forbes.com/sites/kathryntully/2015/05/12/the-100-million-art-club-swells-picasso-and-giacomettiset-new-records-at-christies/#7458b8792926; Giacometti’s L’Homme qui marche: C. Vogel, ‘Giacometti bronze breaks world record auction price’, 3 February 2010, http://artsbeat.blogs.nytimes.com/2010/02/03/giacometti-bronze-breaks-world-record-auction-price/ (all accessed 8 February 2016).
11 HNWIs are defined as those with a net worth of at least US$1 million (after accounting for shares in public and private companies, residential and passion investments such as art, aeroplanes and real estate), while UHNWIs (Ultra High Net Worth Individuals) are those with a net worth of US$30 million (excluding the same assets referred to above). Source: World Ultra Wealth Report 2013, quoted in TEFAF Art Market Report 2014, p.56. For world HNWI data, see: https://www.worldwealthreport.com/Global-HNWI-Population-and-Wealth-Expanded (accessed 6 August 2015).
12 See the annual global art market reports compiled by Arts Economics for the European Fine Art Foundation (TEFAF).
13 China was the strongest growing art market in the world from 2008 to 2013, and the most important of the emerging markets, according to the TEFAF Art Market Report, 2013, p.97.
14 A.R. Esman, ‘China’s $13 billion art fraud and what it means for you’, 13 August 2012, Forbes Online, http://www.forbes.com/sites/abigailesman/2012/08/13/chinas-13-billion-art-fraud-and-what-it-means-for-you/ (accessed 10 September 2015); T. Flynn, ‘Negotiating authenticity: contrasting value systems and associated risk in the global art market’, in A. Dempster (ed.), Risk and Uncertainty in the Art World, Bloomsbury, London, 2014, pp 109–24.
15 F. Haskell, Past and Present in Art and Taste: Selected Essays, Yale University Press, London, 1987, p.186.
16 The first guarantee was offered by Sotheby’s in 1956. F. Herrmann, Sotheby’s: Portrait of an Auction House, Chatto & Windus, London, 1980, p.330. See also R. Lacey, Sotheby’s: Bidding for Class, Little Brown, London 1998, pp 108–12.
17 ‘Loeb backs management of auction house Sotheby’s after bruising fight’, International New York Times, 11 June 2014, http://dealbook.nytimes.com/2014/06/11/loeb-backs-sothebys-management-after-bruising-fight/ (accessed 10 September 2015).
18 See SEC filing of Loeb’s Third Point letter to Sotheby’s, October 2013, http://www.sec.gov/Archives/edgar/data/823094/000119312513388165/d605390dex993.htm (accessed 10 September 2015).
19 A.E. Roth., Who Gets What and Why: The Hidden World of Matchmaking and Market Design, William Collins, London, 2015, p.31.
20 M.J.J. Martin (Deloitte Forensic), ‘How to protect your art business against money laundering: an introduction’, paper given at 2015 Art Business Conference, London, 3 September 2015.
21 F.M. De Sanctis, Money Laundering Through Art: A Criminal Justice Perspective, Springer, New York, 2013. See also the intervention by American economist Nouriel Roubini at a meeting of the World Economic Forum in Davos in 2015, which emphasised the threat posed by money laundering in the art market: http://www.ft.com/cms/s/0/992dcf86-a250-11e4-aba2-00144feab7de.html#axzz3i1tg6IAn (accessed 6 August 2015).
22 T. Mashberg and M. Bearak, ‘The ultimate temple raider? Inside an antiquities smuggling operation’, New York Times, 23 July 2015, http://www.nytimes.com/2015/07/26/arts/design/the-ultimate-temple-raider-inside-an-antiquities-smuggling-operation.html?_r=0 (accessed 10 September 2015).
23 T. Lenain, Art Forgery: A History of a Modern Obsession, Reaktion Books, London, 2011
24 For a discussion of ‘localized conformity of behavior’, see S. Bikhchandani, D. Hirshleifer and I. Welch, ‘A theory of fads, fashion, custom and cultural change as informational cascades’, Journal of Political Economy, vol.100, no.5, October 1992, pp 992–1026.
25 G. Feigenbaum and I. Reist (eds), Provenance: An Alternative History of Art, Getty Research Institute, Los Angeles, 2012.
26 A. Appadurai (ed.), The Social Life of Things: Commodities in Cultural Perspective, Cambridge University Press, Cambridge, 1986.
27 L. Salisbury and A. Sujo, Provenance: How a Con Man and a Forger Rewrote the History of Modern Art, Penguin, London, 2010. See also T. Flynn, ‘Faking it’, Art Quarterly, London, Summer 2007, pp 56–59.
28 Article 7 of the 1970 UNESCO ‘Convention on the Means of Prohibiting and Preventing the Illicit Import, Export and Transfer of Ownership of Cultural Property’ prohibits the acquisition of cultural property illegally exported from its country of origin after 1970. See http://unesdoc.unesco.org/images/0013/001333/133378mo.pdf (accessed 31 September 2015).
29 T. Flynn, ‘Nevada judge rules in title dispute over Norman Rockwell’s Russian Schoolroom’, 9 April 2010, http://tom-flynn.blogspot.co.uk/2010/04/nevada-judge-rules-in-title-dispute.html (accessed 12 September 2015).
30 Olav Velthuis has offered a more historical nuancing of our understanding of the concept of globalisation. See O. Velthuis and S.B. Curioni (eds), Cosmopolitan Canvases: The Globalisation of Markets for Contemporary Art, Oxford University Press, Oxford, 2015, pp 1–28.
31 See J. Brewer, The Pleasures of the Imagination: English Culture in the Eighteenth Century, HarperCollins, London, 1997.
1 J.E. Conklin, Art Crime, Praeger, Westport, Connecticut, 1994; T.D. Bazley, Crimes of the Art World, Praeger, Santa Barbara, California, 2010.
2 See http://www.INTERPOL.int/Crime-areas/Works-of-art/Frequently-asked-questions.
3 See Conklin 1994, op.cit.; Bazley 2010, op.cit.
4 See http://www.ifar.org.
5 See https://www.fbi.gov/about-us/investigate/vc_majorThefts/artTheft/art-crime-team.
6 Bazley 2010, op.cit., p.6.
7 J.J. Barelli, On Understanding the Business of Art and Antique Theft: An Exploratory Study, PhD dissertation, New York, Fordham University, 1986, pp 11–12.
8 Bazley 2010, op.cit., pp 10–11; See also http://www.INTERPOL.int/Crime-areas/Works-of-art/Frequently-asked-questions.
9 See http://www.INTERPOL.int/Crime-areas/Works-of-art/Frequently-asked-questions.
10 T.-N. Ho, Art Theft in New York City, PhD dissertation, Rutgers: The State University of New Jersey, Newark, 1992; S. Houpt, Museum of the Missing: The High Stakes of Art Crime, Pan Macmillan, Sydney, 2006; N. Charney, ‘Art crime in context’, in N. Charney (ed.), Art and Crime: Exploring the Dark Side of the Art World, Praeger, Santa Barbara, California, 2009, p.xviii; D. Lane, D. Bromley, R. Hicks and J. Mahoney, ‘Time crime: the transnational organisation of art and antiquities theft’, Journal of Contemporary Criminal Justice, vol.24, no.3, 2008, pp 243–4.
11 H.R. Dammer and J.S. Albanese, Comparative Criminal Justice Systems, Wadsworth Cengage Learning, Belmont, California, 2011, p.18.
12 E. Dolnick, The Rescue Artist: A True Story of Art, Thieves, and the Hunt for a Missing Masterpiece, HarperCollins, New York, 2005.
13 See A. Kisluk, ‘Stolen art and the Art Loss Register’, paper presented at the ‘Art Crime: Protecting Art, Protecting Artists and Protecting Consumers’ conference, Australian Institute of Criminology, Sydney, 2–3 December 1999; A.J.G. Tijhuis, Transnational Crime and the Interface between Legal and Illegal Actors: The Case of the Illicit Art and Antiquities Trade, Wolf Legal Publishing, Leiden, 2006.
14 See https://www.fbi.gov/news/videos/fbi-art-Theft-program.
15 See K.H. Kind, ‘The role of INTERPOL in the fight against illicit trafficking of cultural property’, in S. Manacorda and D. Chappell (eds), Crime in the Art and Antiquities World, Springer, New York, 2011, pp 176–9; see also http://www.INTERPOL.int/Crime-areas/Works-of-art/Frequently-asked-questions.
16 See N. Charney, ‘Art crime in context’, in Charney 2009, op.cit., p.xvii.
17 K.H. Kind, ‘The role of INTERPOL in the fight against illicit trafficking of cultural property’, in Manacorda and Chappell (eds) 2011, op.cit., pp 179–80; see also http://www.INTERPOL.int/Crime-areas/Works-of-art/Frequently-asked-questions.
18 J. Kerr, The Securitization and Policing of Art Theft: The Case of London, Ashgate, Farnham, 2015, pp 4–6.
19 See S. Mackenzie, ‘Criminal and victim profiles in art theft: motive, opportunity and repeat victimisation’, paper presented at the AXA Art Conference, London, 1 November 2005, http://traffickingculture.org/wp-content/uploads/2012/07/2005-AXA-art-theft.pdf (accessed 7 February 2016).
20 J.H. Merryman, ‘The good faith acquisition of stolen art’, Stanford Law Review working paper, no.364, 2007, pp 1–25; L. Massy, ‘The antiquity art market: between legality and illegality’, International Journal of Social Economics, vol.35, no.10, 2008, pp 729–38; Kerr 2015, op.cit.
21 M. Hart, The Irish Game: A True Story of Crime and Art, Penguin, New York, 2004; A. Boser, The Gardner Heist: The True Story of the World’s Largest Unsolved Art Theft, HarperCollins, New York, 2009; R.K. Wittman with J. Shiffman, Priceless: How I Went Undercover to Rescue the World’s Stolen Treasures, Broadway Paperbacks, New York, 2010; S. Nairne, Art Theft and the Case of the Stolen Turners, Reaktion Books, London, 2011.
22 M. Esterow, The Art Stealers, Macmillan, New York, 1966; B. Burnham, The Art Crisis: How Art has Become the Victim of Thieves, Smugglers and Respectable Investors, St Martin’s Press, New York, 1975; K. Middlemas, The Double Market: Art Theft and Art Thieves, Saxon House, Chatham, 1975; H. McLeave, Rogues in the Gallery: The Modern Plague of Art Thefts, David R. Godine Publisher, Boston, Massachusetts, 1981.
23 See Dammer and Albanese 2011, op.cit.; regarding art thieves’ autobiographies, see D. Leitch, The Discriminating Thief, Holt, Rinehart & Winston, New York, 1968; S. Breitwieser, Confessions d’un voleur d’art, Éditions Anne Carrière, Paris, 2006; or E. Vanden Berghe, Por amor al arte: memorias del ladrón más famoso del mundo, Editorial Planeta, Barcelona, 2012.
24 Conklin 1994, op.cit., p.2.
25 T. Newburn, Criminology, Willan Publishing, Portland, Oregon, 2007, pp 84–5.
26 Kerr 2015, op.cit., p.5.
27 See http://www.artdaily.org, or http://theartnewspaper.com.
28 Kerr 2015, op.cit., p.6.
29 See http://www.INTERPOL.int/Crime-areas/Works-of-art/Works-of-art; https://www.europol.europa.eu; http://www.beniculturali.it/mibac/export/MiBAC/sito-MiBAC/MenuServizio/TutelaCulturale/; http://www.policia.es/org_central/judicial/udev/patrimonio.html; or http://www.police-nationale.interieur.gouv.fr/Organisation/Direction-Centrale-de-la-Police-Judiciaire/Lutte-contre-la-criminalite-organisee/Office-central-de-lutte-contre-le-trafic-de-biens-culturels.
30 See http://icom.museum; https://www.aamd.org; and http://en.unesco.org.
31 Bazley 2010, op.cit., pp 14–16; for example and/or access to databases, see https://www.artloss.com/search; https://www.fbi.gov/about-us/investigate/vc_majorThefts/artTheft/national-stolen-art-file; http://www.INTERPOL.int/Crime-areas/Works-of-art/Database; or http://tpcweb.carabinieri.it/SitoPubblico/search.
32 See http://www.INTERPOL.int/Crime-areas/Works-of-art/Frequently-asked-questions (accessed 21 January 2016).
33 D. Straus, ‘Implication of art theft in the fine art insurance industry’, in Charney 2009, op.cit., p.100.
34 See http://www.INTERPOL.int/Crime-areas/Works-of-art/Frequently-asked-questions (accessed 21 January 2016).
35 M. Maneker, ‘Art Loss Register data dump’, Art Monitor, 23 April 2009, http://www.artmarketmonitor.com/2009/04/23/art-loss-register-data-dump (accessed 7 February 2016); Bazley 2010, op.cit., pp 30–31.
36 Bazley 2010, op.cit., p.33.
37 See http://www.INTERPOL.int/Crime-areas/Works-of-art/Frequently-asked-questions (accessed 21 January 2016).
38 Maneker 2009, op.cit.; Bazley 2010, op.cit., p.34.
39 Hart 2004, op.cit., p.59; Wittman with Shiffman 2010, op.cit., p.15; J. Knelman, Hot Art: Chasing Thieves and Detectives through the Secret World of Stolen Art, Tin House Books, Portland, Oregon, 2011, p.51.
40 See Barelli 1986, op.cit., pp 194–5; Ho 1992, op.cit., p.141; Dolnick 2005, op.cit., p.57.
41 D. Straus, ‘Implication of Art Theft in the Fine Art Insurance Industry’, in Charney 2009, op.cit., p.98.
42 H. Abadinsky, Organized Crime, Wadsworth, Belmont, California, 2010, pp 14–16; J.S. Albanese, Organized Crime In Our Times, Elsevier, Burlington, Massachusetts, 2011, pp 211–12; K. von Lampe, Organized Crime: Analyzing Illegal Activities, Criminal Structures, and Extra-legal Governance, Sage, Thousand Oaks, California, 2016, p.293.
43 P. Williams, ‘Emerging issues: transnational crime and control’, in G. Newman (ed.), Global Report on Crime and Justice, Oxford University Press, New York, 1999, p.58; G. Mueller, ‘Transnational crime: definitions and concepts’, Transnational Organized Crime, vol.4, no.3, 2001, pp 13–21.
44 V. Ruggiero, ‘Transnational criminal activities: The provision of services in the dirty economies’, International Journal of Risk, Security and Crime Prevention, vol.3, no.2, 1998, pp 121–9.
45 Kerr 2015, op.cit., p.15.
46 See http://www.INTERPOL.int/Crime-areas/Works-of-art/Frequently-askedquestions; Houpt 1996, op.cit., p.150; Dolnick 2005, op.cit., p.57; Tijhuis 2006, op.cit., p.130; N. Charney, ‘Art Crime in Context’, in Charney 2009, op.cit., p.xvii.
47 See P. Williams, ‘Organizing transnational crime: networks, markets and hierarchies’, in P. Williams and D. Vlassis (eds), Combatting Transnational Crime: Concepts, Activities and Responses, Frank Cass Publishers, Portland, Oregon, 2001, p.79.
48 Lane et al. 2008, op.cit., p.249.
49 Kerr 2015, op.cit., p.17.
50 T.J. Bernard, J.B. Snipes and A. L. Gerould, Vold’s Theoretical Criminology, Oxford University Press, Oxford, 2010, p.7.
51 Kerr 2015, op.cit., p.17.
52 Esterow 1966, op.cit.
53 Conklin 1994, op.cit., p.130.
54 Mackenzie 2005, op.cit..
55 D. Chappell and K. Polk, ‘The peculiar problem of art theft’, in D. Chappell and S. Hufnagel (eds), Contemporary Perspectives on the Detection, Investigation, and Prosecution of Art Crime. Australasian, European and American Perspectives, Ashgate, London, 2014, p.55.
56 A reference to the 1962 James Bond film Dr No, for which a copy of Goya’s Portrait of the Duke of Wellington was made to be displayed in the eponymous villain’s lair, the actual painting having been stolen from London’s National Gallery shortly before commencement of filming.
57 A.J.G. Tijhuis, ‘Who is stealing all those paintings?’, in Charney 2009, op.cit., p.48.
58 Hart 2004, op.cit., p.59; Wittman with Shiffman 2010, op.cit., p.15; Nairne 2011, op.cit., p.12.
59 See D. Chappell and K. Polk, ‘The peculiar problem of art theft’, in Chappell, Duncan and Hufnagel (eds) 2014, op.cit., pp 52–4.
60 Bazley 2010, op.cit., p.43.
61 K. Polk and D. Chappell, ‘Art theft and time limits for recovery: do the facts of the crime fit the limits in law?’, in J. Kila and M. Balcells (eds), Cultural Property Crime: An Overview and Analysis of Contemporary Perspectives and Trends, Brill, Boston/Leiden, 2014, pp 16–18.
62 Bazley 2010, op.cit., p.43.
63 D. Chappell and K. Polk, ‘The peculiar problem of art theft’, in Chappell, Duncan and Hufnagel (eds) 2014, op.cit., p.38.
64 L. Aarons, ‘Art theft: an exploratory study of the illegitimate art market in Australia’, Australia and New Zealand Journal of Criminology, vol.34, no.1, 2001, pp 34–5.
65 L. Cohen and M. Felson, ‘Social change and crime rate trends: a routine activity approach’, American Sociological Review, vol.44, 1979, p.595.
66 Conklin 1994, op.cit.; M. James, ‘Art crime’, Trends and Issues in Crime and Criminal Justice, no.170, 2000; K. Polk, ‘Art crime and prevention: Best practices’, paper presented at the ‘Art Crime: Protecting Art, Protecting Artists and Protecting Consumers’ conference, Australian Institute of Criminology, Sydney, 2–3 December 1999.
67 Ho 1992, op.cit., p.54.
68 M. Felson, and R. Boba, Crime and Everyday Life, Sage, Thousand Oaks, California, 2010, p.185.
69 Mackenzie 2005, op.cit..
70 Kerr 2015, op.cit., p.11.
71 Ibid. p.12.
72 Lane et al. 2008, op.cit., p.245.
73 M. Smith, R. Clarke and K. Pease, ‘Anticipatory benefits in crime prevention’, Crime Prevention Studies, no.13, 2002, p.72.
74 Polk 1999, op.cit., p.3.
75 G. Farrel and K. Pease, ‘Once bitten, twice bitten: repeat victimisation and its implications for crime prevention’, Police Research Group, Crime Prevention Unit Series paper no.46, Home Office, London, 1993.
76 Mackenzie 2005, op.cit..
77 N. Charney, ‘Lessons from the history of art crime: ten cost-effective steps to improve security at your museum’, Journal of Art Crime, vol.2, no.1, 2009, p.60.
78 D. Ahern and A. Amore, ‘Q&A with two innovative security directors’, in Charney 2009, op.cit., p.127.
1 Quoted in The Art Detectives, Inside Story episode 5, BBC TV, 1995, as quoted in S. Nairne, Art Theft and the Case of the Stolen Turners, Reaktion Books, London, 2011, p.234.
2 Responsibilities differ quite considerably between the private and public sectors – i.e. between loss adjusters (who work for the insurance companies) and the police. The former are primarily concerned with the recovery of the items or, if this is not possible, honouring the policy and paying out the claim; the latter are mainly concerned with the arrest and sentencing of the felons responsible, the return of the art work being a secondary factor.
3 For an in-depth study on the 1911 theft of the Mona Lisa, see Noah Charney’s succinct account in his book, The Thefts of the Mona Lisa: On Stealing the World’s Most Famous Painting, ARCA, Amelia, 2011.
4 N. Ogi, ‘Waiter jailed in art theft spree across Europe’, The Guardian, 7 February 2003, http://www.theguardian.com/world/2003/feb/07/artsandhumanities.arts (accessed 25 January 2016).
5 For the Goya theft and Dr No film connection, see the account in Nairne, op.cit., p.222.
6 See N. Keeling, ‘Stolen Lowry paintings are being used as currency by drug-dealing crime bossess says victim of £1m art heist’, Manchester Evening News, 6 May 2015, http://www.manchestereveningnews.co.uk/news/greater-manchester-news/stolen-lowry-paintings-drug-gangs--9188161 (accessed 25 January 2016).
7 As quoted in Nairne 2011, op.cit., p.212.
8 Anon., ‘Master pieces, master criminals’, Market News, Lloyd’s, 22 July 2014, http://www.lloyds.com/news-and-insight/news-and-features/market-news/industry-news-2014/master-pieces-master-criminals (accessed 25 January 2016).
9 As quoted in Nairne 2011, op.cit., p.225.
10 Ibid.
11 E. Dolnick, The Rescue Artist: A True Story of Art, Thieves, and the Hunt for a Missing Masterpiece, HarperCollins, New York, 2005, p.134.
12 Ibid. p.72.
13 See M. Hart, The Irish Game: A True Story of Art and Crime, Chatto & Windus, London, 2004.
14 A. Dymoke, ‘The art of theft: Why do thieves steal famous paintings when they’re so hard to sell?’, City A.M., 28 October 2014, http://www.cityam.com/1414521244/art-theft-why-steal-famous-paintings-hard-sell (accessed 25 January 2016).
15 Ibid.
16 Ibid.
17 Brad Lendon, ‘Reward beats risk for art thieves’, 14 February 2008, http://edition.cnn.com/2008/CRIME/02/14/art.theft/ (accessed 25 January 2016).
18 Hart 2004, op.cit., p.xii.
19 West’s Encyclopedia of American Law, edition 2, 2008, http://legal-dictionary.thefreedictionary.com/reward (accessed 25 January 2016).
20 See Collins English Dictionary. Harper Collins, Glasgow, 2006.
21 Talk by Mark Dalrymple of Tyler & Co. entitled ‘Virtue has its own reward (Cicero): The law and practice of rewards to recover stolen art’, delivered at ‘Rogues Gallery: An Investigation into Art’, Third AXA Art Conference, British Museum, London, Tuesday 1 November 2005, at which the author was present.
22 As quoted in Nairne 2011, op.cit., p.243.
23 Dalrymple 2005, op.cit. Plus, see The Chartered Institute of Loss Adjusters Technical Bulletin 36: ‘The offering and payment of rewards in insurance claims’, July 2012, http://www.cila.co.uk/files/Technical%20Bulletins/Technical%20Bulletin%2036%20-%20 The%20Offering%20and%20Payment%20of%20Rewards%20in%20Insurance%20Claims. pdf (accessed 25 January 2016).
24 Nairne 2011, op.cit., p.243. See also Anon., ‘Duke rejects £4.25m claim over return of stolen da Vinci’, The Telegraph, 6 June 2015, http://www.telegraph.co.uk/culture/art/leonardo-da-vinci/11655653/Duke-rejects-4.25-million-claim-over-return-of-stolen-da-Vinci.html (accessed 25 January 2016), plus ‘Legal action against Duke of Buccleuch over Da Vinci theft fails’, 18 June 2015, http://www.bbc.com/news/uk-scotland-south-scotland-33184626 (accessed 25 January 2016).
25 As quoted in Nairne 2011, op.cit., p.157.
26 As quoted in ibid. p.244.
27 F. Martin, The History of Lloyd’s and of Marine Insurance in Great Britain, Adamant Media Corporation, London, 2005.
28 For more information on the origins of The Gazette, as well as on rewards and thief-takers and some of the great scandals of the time, see ‘A history of The Gazette’, https://www.thegazette.co.uk/history, and ‘Crime, justice and punishment – Policing in London’, http://www.oldbaileyonline.org/static/Policing.jsp (accessed 4 February 2016).
29 A distinction should be made here with the more modern offence of money laundering, which is an offence under Sections 327/9 and 340 (3) (b) of the Proceeds of Crime Act (2002), the difference being that the handling depends on whether the arrested person’s intention was to launder the proceeds of crime or merely to assist a thief. Plus, see http://www.legislation.gov.uk/ukpga/1968/60.
30 See Dalrymple 2005, op.cit.
31 See UK Legislation, available at: http://www.legislation.gov.uk/ukpga/1968/60/section/23 (accessed 25 January 2016).
32 Dalrymple 2005, op.cit.
33 Ibid.
34 See Will Bennett, ‘Art sales: theft’, Daily Telegraph, 7 April 2003, http://www.telegraph.co.uk/culture/art/3592422/Art-sales-theft.html (accessed 25 January 2016), plus for other references to criminal and Serbian gang links, see ‘Memorandum submitted by Charles Hill’, 25 June 2007, http://www.publications.parliament.uk/pa/cm200607/cmselect/cmcumeds/176/176we27.htm (accessed 25 January 2016).
35 See Nairne 2011, op.cit., p.158.
36 Author’s interview with Mark Dalrymple on 15 July 2015 and 29 September 2015.
37 As quoted in Nairne 2011, op.cit., p.162.
38 See Henri Neuendorf, ‘Mysterious thief surfaces and demands ransom for Klimt painting stolen in 1997’, Artnet, 5 November 2015, https://news.artnet.com/art-world/ransom-stolen-klimt-painting-356045#.VkC_CdbuESk.linkedin (accessed 25 January 2016).
39 Nairne 2011, op.cit., p.163.
40 As quoted in Bennett 2003, op.cit.
41 See Anon., ‘The Gardner Museum theft: Reward offered for return of artwork’, 18 March 2013, https://www.fbi.gov/news/stories/2013/march/reward-offered-for-return-of-stolen-gardner-museum-artwork/reward-offered-for-return-of-stolen-gardner-museum-artwork (accessed 25 January 2016).
42 See Anon., ‘Art theft reward set – no questions asked’, The Blade: Toledo, Ohio, 21 March 1990, https://news.google.com/newspapers?nid=1350&dat=19900321&id=QzJPAAAAIBAJ&sjid=BwMEAAAAIBAJ&pg=3041,196215&hl=zh-TW (accessed 25 January 2016).
43 As quoted in D. Feldman and S. Gorman, ‘Bond fund star Gundlach offers $1.7 mln reward for stolen art’, 24 September 2012, http://www.reuters.com/article/2012/09/24/usa-art-theft-idUSL1E8KOFTX20120924 (accessed 25 January 2016).
44 As quoted in Nairne 2011, op.cit., pp 243–4.
1 J. Maloney, ‘The deep freeze in art authentication’, Wall Street Journal, 24 April 2014, http://www.wsj.com/articles/SB10001424052702304279904579518093886991908 (accessed 26 January 2016).
2 The estates and foundations of Amedeo Modigliani, Cy Twombly, Alexander Calder, Alberto Giacometti and Robert Motherwell are just a handful of organisations that are still active but are currently embroiled in ongoing litigation suits over disputed works. The Old Masters market has also witnessed the disappearance of several authentication boards: the Rembrandt Research Project, for example, recently closed after forty-two years.
3 Maloney 2014, op.cit.
4 A recent complaint against the Foundation alleges that the withdrawal of works from a Miami exhibition and ‘libellous public statements’ resulted in the inability to sell the works. The suit notes that the Foundation had only viewed transparencies of the works in question and had failed to review the information supporting their provenance. See E. Kinsella, ‘Authenticity fight over Keith Haring paintings raises complex questions’, ArtNet News, 26 February 2014, https://news.artnet.com/market/authenticity-fight-over-keith-haring-paintings-raises-complex-questions-2641 (accessed 26 January 2016).
5 Senator B. Little and Senator G. Latimer, ‘1229--A’, New York State Senate, 9 January 2015, http://legislation.nysenate.gov/pdf/bills/2015/S1229A (accessed 26 January 2015).
6 N. O’Donnell, ‘Recap of “Rethinking Art Authentication” at the New York City Bar’, Art Law Report, 10 December 2015, http://blog.sandw.com/artlawreport/2015/12/10/recap-of-rethinking-art-authentication-at-the-new-york-city-bar/ and ‘Always read closely: New York Senate passes authentication bill, but enhanced burden of proof stripped from earlier proposal and fee-shifting is diluted’, Art Law Report, 22 June 2015, http://blog.sandw.com/artlawreport/2015/06/22/always-read-closely-new-york-senate-passes-authentication-bill-but-enhanced-burden-of-proof-stripped-from-earlier-proposal-and-fee-shifting-is-dilute (accessed 26 January 2016).
7 L. Hurwitz, ‘If it doesn’t dance, it’s not Corot’, ArtNews, June 2012, http://www.artnews.com/2012/06/27/if-it-doesnt-dance-its-not-corot/ (accessed 26 January 2016).
8 M. Spiegler, ‘Modigliani: the experts battle’, ArtNews, January 2004, pp 124–9 (p.126), http://www.marcspiegler.com/Articles/ArtNews/ArtNews_Feature_Modigliani_2004_01.pdf (accessed 4 February 2016).
9 Little and Latimer 2015, op.cit.
10 See chapter 9: V. Curry, ‘Art Crime and Law Enforcement: Villains, Thieves and Scoundrels’, pp 134–147.
11 Maloney 2014, op.cit.
12 According to René Allonge, chief inspector of the Berlin police art-fraud division: see J. Hammer, ‘The greatest fake-art scam in history?’, Vanity Fair, 10 October 2012, http://www.vanityfair.com/culture/2012/10/wolfgang-beltracchi-helene-art-scam (accessed 26 January 2016).
13 H. Hansson, ‘International art forgery ringleaders charged’, ArtNet News, 16 September 2014, https://news.artnet.com/in-brief/international-art-forgery-ringleaders-charged-103625 (accessed 26 January 2016).
14 Photographs by Lewis Hine (born 1874, died 1940), a pioneer of early twentieth-century social documentary – which had risen steeply in value in the 1990s and were a fixture at auctions – came under closer scrutiny towards the end of the century. It was discovered that from 1979 to 1999, as many as 500 Hine ‘original prints’ were in fact made after his lifetime: the AGFA photographic paper and the detected brightening agents did not come into use until the 1950s. The man accused of this twenty-year swindle was Walter Rosenblum, a long-time Hine authority and collaborator, retired Brooklyn College professor and president of the Photo League cooperative, where Hine had left his archives. See R. Blumenthal, ‘Shadows cast by forgery; The F.B.I. investigates complaints about Lewis Hine prints’, New York Times, 16 August 2001, http://www.nytimes.com/2001/08/16/arts/shadows-cast-by-forgery-the-fbi-investigates-complaints-about-lewis-hine-prints.html (accessed 26 January 2016).
15 This is an indirect reference to the waves of forgeries that entered the US during the Gilded Age, the same period as the ‘Grand Tour’ that took wealthy Americans around Europe – often on art-acquisition sprees.
16 J. Yabroff, ‘The case of the questionable Frida Kahlo paintings’, Newsweek, 26 August 2010, http://www.newsweek.com/case-questionable-frida-kahlo-paintings-71721 (accessed 26 January 2016).
17 H. Neuendorf, ‘Collectors alarmed as Gerhard Richter disowns early works from West German period’, ArtNet News, 21 July 2015, https://news.artnet.com/people/gerhard-richter-omits-art-from-catalogue-318665 (accessed 26 January 2016).
18 H. Neuendorf, ‘Meet Karl Waldmann, the made-up Dada artist who fooled the German art world’, ArtNet News, 1 September 2015, https://news.artnet.com/art-world/karl-waldmann-fictitious-dada-artist-329204 (accessed 26 January 2016).
19 Dr C. McAndrew, ‘TEFAF Art Market Report 2014: The global art market, with a focus on the US and China’, European Fine Art Foundation, Maastricht, 2014, http://www.touchofclass.com.br/_main/exposicoes/tefaf/TEFAF%20Art%20Market%20Report%202014.pdf (accessed 26 January 2016).
1 L. Amineddoleh, ‘Purchasing art in a market full of forgeries: Risks and legal remedies for buyers’, International Journal of Cultural Property, (2015) vol.22, 2015, pp 419–35 (p.420).
2 R. Sharp, ‘The counterfeiters: Inside the world of art forgery’, The Independent, 10 December 2007, http://www.independent.co.uk/arts-entertainment/art/features/thecounterfeiters-inside-the-world-of-art-forgery-764032.html (accessed 15 November 2015); J L Shreeve, ‘Art forgers: What lies beneath’, The Independent, 3 September 2008, http://www.independent.co.uk/arts-entertainment/art/features/art-forgers-what-lies-beneath-917067.html#gallery (accessed 5 February 2016).
3 Biro v. Conde Nast et al., no. 1:2011 CIV 4442(JPO) 883 F.Supp.2d 441, 2012.
4 Ibid. p.453.
5 See chapter 4: C. Loll, ‘Art, Anxiety and the Online Marketplace’, pp 60–71.
6 L. Albertson, ‘Highlights from “Conflict Antiquities: Forging a Public/Private Response to Save Iraq and Syria’s Endangered Cultural Heritage”’, ARCA Blog, 30 September 2015, http://art-crime.blogspot.co.nz/2015/09/highlights-from-conflict-antiquities.html (accessed 30 September 2015).
7 ‘Art theft’ section of the FBI website, https://www.fbi.gov/about-us/investigate/vc_majorthefts/arttheft (accessed 2 December 2015).
8 http://www.interpol.int/Crime-areas/Works-of-art/Database (accessed 5 February 2016).
1 The Marquis de Somerules (1813), Reports of Cases Argued and determined in the Court of Vice-Admiralty at Halifax, in Nova Scotia (1814), pp 482ff, https://books.google.co.nz/books?id=5M0vAAAAIAAJ&printsec=frontcover&source=gbs_ge_summary_r&cad=0#v=onepage&q&f=false (accessed 1 February 2016).
2 J.H. Merryman, ‘The Marquis de Somerueles: Vice-Admiralty Court of Halifax, Nova Scotia Stewart’s Vice-Admiralty Reports 482 (1813)’, International Journal of Cultural Property, vol.5, no.2, July 1996, pp 319–29 (p.323).
3 Developments in the Law – Statutes of Limitations’, Harvard Law Review, vol.63, 1950: 1177, at 1185; see also J.G. Petrovich, ‘The recovery of stolen art: Of paintings, statues and statutes of limitations’, UCLA Law Review, vol.27, 1980: 1122, at 1127. The quote within the extract comes from the judgment of the US Supreme Court in Order of R.R. Telegraphers v. Railway Express Agency, Inc., 321 U.S. 342 (1944), p.349.
4 Kunstsammlungen Zu Weimar v. Elicofon 678 F.2d 1150 (2d Cir. 1982); R.S. Kaufman, Art Law Handbook, Aspen, New York, 2000, pp 290ff.
5 Solomon R. Guggenheim Foundation v. Lubbell 77 N.Y.2d 311; 569 N.E.2d 426 (1991).
6 Erisoty v. Rizik No. CIV.A.93-6215, 1995 US Dist. LEXIS 2096, as discussed in P.Y. Reyhan, ‘A chaotic palette: Conflict of laws in litigation between original owners and good-faith purchases of stolen art’, Duke Law Journal, vol.50, no.4, February 2001, pp 955–1043 (p.993), http://scholarship.law.duke.edu/cgi/viewcontent.cgi?article=1102&context=dlj (accessed 1 February 2016)
7 Bishopsgate Motor Finance Corpn Ltd v. Transport Brakes Ltd [1949] 1 KB 322, 336–337
8 An overview of the UNIDROIT Convention, and links to the official and unofficial translations, are available at http://www.unidroit.org/english/conventions/1995culturalproperty/main.htm (accessed 27 January 2016).
9 ‘The 1995 UNIDROIT Convention on Stolen or Illegally Exported Cultural Objects – an overview’, http://www.unidroit.org/overviecp/english (accessed 1 February 2016).
10 Menzel v. List, New York Supreme Court, 1966; 267 N.Y.S. 2d 804
11 Menzel v. List (Interest judgment re claim by List against Perls Galleries), NY Court of Appeals, 26 February 1969. Available at http://www.uniset.ca/other/cs3/298NYS2d979.html (accessed 27 January 2016).
12 Menzels v. List, New York Supreme Court, 1966; 267 N.Y.S. 2d 804, para 14.
13 http://www.commartrecovery.org/docs/CassirerCV05-3459OrderGrantingThyssen-BornemiszasMotionJune-4-2015.pdf (accessed 1 February 2016).
14 At p.8 of 20 of the judgment.
15 A. Tompkins, ‘A permanent international art crime tribunal?’, chapter 24 in N. Charney (ed.), Art Crime: Terrorists, Tomb Raiders, Forgers and Thieves, Palgrave Macmillan, Basingstoke, 2015, p.330. The US Supreme Court’s decision in Republic of Austria v. Altmann 541 U.S. 677 (2004) is available at https://supreme.justia.com/cases/federal/us/541/677/ (accessed 1 February 2016).
16 S. Houpt, Museum of the Missing, Pan Macmillan, Sydney, 2006, p.67.
17 Arbitral ruling, as cited at http://opiniojuris.org/2006/01/20/translation-of-altmann-award-for-klimt-paintings/ (accessed 1 February 2016).
18 http://www.neuegalerie.org/collection/Austrian/Fine%20Arts?page=1 (accessed 27 January 2016).
19 Kaufman 2000, op.cit., p.327.
20 Spoliation Advisory Panel, Constitution and Terms of Reference, https://www.gov.uk/government/groups/spoliation-advisory-panel#constitution-and-terms-of-reference (accessed 1 February 2016).
21 Report of the Spoliation Advisory Panel in Respect of a 12th Century Manuscript now in the Possession of the British Library, 23 March 2005, paras 20 and 21, https://www.gov.uk/government/publications/report-of-the-spoliation-advisory-panel-beneventan-missalin-the-british-library (accessed 1 February 2016).
22 Ibid. paras 73 and 79.
23 A-G v. Trustees of the British Museum [2005] EWHC 1089 (Ch).
24 https://www.gov.uk/government/uploads/system/uploads/attachment_data/file/78078/Benevento_5119_HC448_7-9.pdf, para 8 (accessed 1 February 2016).
25 https://www.gov.uk/government/publications/report-of-the-spoliation-advisory-panel-drawings-in-the-possession-of-the-samuel-courtauld-trust (accessed 1 February 2016).
26 Ibid. para 16.
27 Ibid. para 37, p.7.
28 No criticism could, in the Panel’s view, be directed at the buyer of the prints at the two auctions, the buyer’s adviser, or at the Courtauld, who received the prints as part of a very large bequest, comprising: ‘126 paintings, 361 drawings, 276 prints, 4 manuscripts, 29 bound volumes and 11 antique picture frames. Accompanying the collection were the catalogues referred to above, running to some dozen volumes detailing each object’s provenance, with individual plates illustrating them, together with a book detailing every known fact about them. These volumes were the fruit of Seilern’s [the buyer of the prints at the auctions] scholarly research over a lifetime of collecting. The Courtauld had no reason to single out these drawings for special consideration, or any reason to suspect that the acquisition of such carefully catalogued works was other than above board. If, however, the Courtauld had focused special attention on them, as we have done, we conclude on balance that it would have reached the same conclusion as to Seilern’s integrity.’ (Ibid., para 46.)
1 S.P. Layne, ‘Exercises in futility: The pursuit of protecting art’, in N. Charney (ed.), Art and Crime: Exploring the Dark Side of the Art World, Praeger, Santa Barbara, California, 2009, pp 137–42.
2 Quoted in S. Mandel, ‘Insider theft, fires, and vandals top list of museum concerns’, Security Management, June 2008, https://sm.asisonline.org/Pages/Insider-Theft-Fires-and-Vandals-Top-List-of-Museum-Concerns.aspx (accessed 27 January 2016).
3 Vernon CMS is a database for collection management, used internationally. Other databases used are eHive and PastPerfect. The latter are suitable for smaller organisations and collections. There are good support services for each of these databases.
4 See chapter 8: D. Drent, ‘Security for Protection of Art: Strategy, Tactics, Technology and Making New Paths’, pp 110–120.
5 ‘Strike action statement’, http://www.nationalgallery.org.uk/strike-action-statement (accessed 4 February 2016).
6 J. Kerr, The Securitization and Policing of Art Theft: The Case of London, Ashgate, Farnham, 2015, p.55.
7 For further instruction see the Museum of New Zealand Te Papa Tongarewa’s website: http://www.tepapa.govt.nz/NationalServices/Resources/ExhibitionsVisitors/Pages/Exhibitiondevelopment.aspx (accessed 26 January 2016).
8 For further instruction on font size and type see the Smithsonian Institution’s website: https://www.si.edu/Accessibility/SGAED#page_21 (accessed 26 January 2016).
9 Kerr 2015, op.cit., p.55.
10 For appropriate lighting levels see Auckland Art Gallery’s website: http://www.aucklandartgallery.com/page/artcare-the-care-of-art-and-artefacts-in-new-zealand (accessed 4 February 2016).
11 See R. Luz, ‘Michael Parekoqhai’s Security Guard figure: What’s it about?’, 26 May 2014, http://journalsfromoceania.com/michael-parekowhais-security-guard-sculptures/ (accessed 26 January 2016).
1 K.E. Weick, K.M. Sutcliffe and D. Obstfeld, ‘Organizing for high reliability: Processes of collective mindfulness’, in B.M. Staw and R. Sutton (eds), Research in Organizational Behavior, vol.21, JAI Press, Greenwich, Connecticut, 1999, pp 81–123.
2 K.E. Weick and K.M. Sutcliffe, Managing the Unexpected: Assuring High Performance in an Age of Complexity, 1st edn, Jossey-Bass, San Francisco, California, 2001; and K.E. Weick and K.M. Sutcliffe, Managing the Unexpected: Resilient Performance in an Age of Uncertainty, 2nd edn, Jossey-Bass, San Francisco, California, 2007.
3 Weick and Sutcliffe 2001, op.cit.
4 In cooperation with N.P.C. Conijn BSc, Senior Consultant at SoSecure, core trainer in Predictive Profiling, Red Teaming and Security Intelligence.
5 The FING-ART-PRINT project was supported by the European Commission Sixth Framework Programme (FP6), Priority 8.1.B.3.6 on a topic of protection of cultural heritage and conservation strategies. It was coordinated by the Rijksdienst voor het Cultureel Erfgoed, based in the Netherlands.
6 DNA coding for art is developed by Trackart art risk consultancy in Hong Kong: www.trackart.com.
7 In cooperation with N.P.C. Conijn BSc, Senior Consultant at SoSecure, core trainer in Predictive Profiling, Red Teaming and Security Intelligence.
1 This chapter is a continuation of a presentation made by this author to Cambridge University’s ‘Art and Law, Art in Peril’ conference in June 2015, in which I urged a return to the development of art history scholarship and connoisseurship since the evil horde will not be dissuaded by the current tradition of mere rhetoric. ‘Villains, Thieves and Scoundrels’ is the name of cartoon character Boris Badenov’s trade union, Local 12, property of Jay Ward Productions.
2 M.J. Connor Jr, The Art of the Heist: Confessions of a Master Thief, Rock-and-Roller, and Prodigal Son, HarperCollins, New York, 2009.
3 My own FBI interviews with Marion True at the Getty Museum pursuant to an International Mutual Legal Assistance Treaty Request from the Italian Department of Justice, regarding True’s purchases of an Etruscan candelabrum and a tripod without receipt or provenance from Giacomo Medici et al. See also P. Watson and C. Todeschini, The Medici Conspiracy: The Illicit Journey of Looted Antiquities – From Italy’s Tomb Raiders to the World’s Greatest Museums, Public Affairs, New York, 2006 and J. Felch and R. Frammolino, Chasing Aphrodite, Houghton Mifflin Harcourt, Boston, Massachusetts and New York, 2011. Referring to the Euphronios Krater, Thomas Hoving states: ‘We had landed a work that I guessed would be the last monumental piece to come out of Italy’ – Thomas Hoving, ‘Super art gems of New York’, Artnet.com magazine, July 2011, http://www.artnet.com/Magazine/features/hoving/hoving7-5-01.asp (accessed 14 June 2015).
4 T. Hoving, King of the Confessors, Ballantine Books, New York, 1981; T. Hoving, Making the Mummies Dance: Inside the Metropolitan Museum of Art, Touchstone, New York, 1994.
5 P. Elkind, ‘The law firm of Hubris Hypocrisy and Greed’, Fortune, November 2006, pp 155–76 (cover story); P. Dillon and C.M. Cannon, Circle of Greed, Broadway Books, New York, 2010.
6 The writer is an active member of UNESCO ICOM and presented papers at international conferences on cultural property protection and collections in 2014 in Celje, Slovenia and in 2015 at Seoul, South Korea.
7 See chapter 12: A. Tompkins, ‘Art in War’, pp 163–179.
8 The writer is an active member of the American Association of Museums and reviews the active membership bulletins.
9 US Department of State website, http://www.state.gov/p/eur/rt/hlcst/122038.htm (accessed 26 January 2016).
10 G. Vasari, Le vite de’ più eccellenti architetti, pittori, et scultori italiani, da cimabue insino a’ tempi nostri, Torrentino, Florence, 1550 (published numerous times in English as Lives of the Artists), parts 6 and 4 respectively.
11 C. Munro, ‘Ab Ex scholar hired by Knoedler Gallery admits he can’t tell two Rothko paintings apart’, artnet news, 2 February 2016, https://news.artnet.com/market/knoedler-forgery-trial-fake-rothko-418661 (accessed 8 February 2016).
12 M. Esterow, ‘The real thing?’, ArtNews, 1 January 2010, http://www.artnews.com/2010/01/01/the-real-thing/ (accessed 14 June 2015).
13 Ibid.
14 Ibid.
15 E. Povoledo, ‘A portrait by Leonardo? Scholars and skeptics differ’, New York Times, 22 August 2008, http://www.nytimes.com/2008/08/23/arts/design/23leon.html?pagewanted=print (accessed 14 June 2015).
16 D. Grann, ‘The mark of a masterpiece’, New Yorker, 20 July 2010, http://www.newyorker.com/magazine/2010/07/12/the-mark-of-a-masterpiece (accessed 14 June 2015).
17 Ibid.
18 Ibid.
19 A. Samaha, ‘Art authenticator loses defamation suit against the New Yorker’, Village Voice, 5 August 2013, http://www.villagevoice.com/news/art-authenticator-loses-defamation-suit-against-the-new-yorker-6725291 (accessed 14 June 2015).
20 E. Kinsella, ‘The trouble with Warhol’, ArtNews, 1 April 2011, http://www.artnews.com/2011/04/01/the-trouble-with-warhol/ (accessed 14 June 2015).
21 Grann 2010, op.cit.
22 Ibid.
23 Letter from Bernard Berenson to Isabella Stewart Gardner dated 12 December 1897, from Villa Kraus, Fiesole, Italy: ‘I have done my best and now the Giorgione is yours, if you are willing to accept the conditions, and willing to have me smuggle it out of the country, as pictures almost invariably are.’ Letter from Isabella Stewart Gardner, Paris, 13 Decembe 1897: ‘I have seen wonderful things in Paris bought by those Jews Kann and Dreyfus. They have had great luck and have packed up and walked off with the things they bought in Italy. Don’t you think the best way is to do that? Put the Giorgione in a trunk and presto! … I have no more illusions.’ R. van N. Hadley (ed.), The Letters of Bernard Berenson and Isabella Stewart Gardner, 1887–1924. (Boston, North Eastern University Press) 1987, p. 109-110.
24 ‘I had the largest Rolodex of smugglers in the country,’ Hoving said. If he learned of a piece of interest to the museum, ‘I could immediately contact an ace arranger of smugglers, and it was in Switzerland in two days.’ J. Weickgenant, ‘Former director of the Metropolitan Museum speaks to SCAD students’, Savannah Morning News, 21 April 2008, http://savannahnow.com/joel-weickgenant/2008-04-21/former-director-metropolitan-museum-art-speaks-scad-students (accessed 8 February 2016)
25 https://www.ifar.org/cat_rais.php (accessed 14 June 2015).
26 See www.artloss.com and www.artclaim.com (accessed 14 June 2015).
27 http://www.artclaim.com/LawEnforcement (accessed 14 June 2015).
1 See chapter 3: T. Bull, ‘Methods of profit: Rewards, ransoms and buy-backs – Knowing the rules of engagement’, pp 45–59 and chapter 9: V. Curry, ‘Art Crime and Law Enforcement: Villains, Thieves and Scoundrels’, pp 121–133.
1 This chapter is written as part of the Marsden-funded project ‘Toi Te Mana: A History of Indigenous Art from Aotearoa New Zealand’, directed by Deidre Brown, Jonathan Mane-Wheoki (1943–2014) and myself, and based at the University of Auckland. We are all Ngapuhi tribal scholars and art historians.
2 There are many types of art crime, but for the purposes of this essay I will only be looking at theft and illicit antiquities. Vandalism and forgery will not be addressed.
3 One example is the refusal by Te Pahi of Whangaroa to join Hongi Hika in November 1825 in his taua to the Kaipara (which ultimately led to the defeat of Ngati Whatua, Te Roroa and Te Uri-o-Hau in the Battle of Rangahau) – see A. Ballara, Taua, Penguin, Auckland, 2003, p.107).
4 P. Tapsell, Ko Tawa: Maori Treasures of New Zealand, David Bateman, Auckland, 2005, p.47.
5 J. Baker, ‘Te Kupenga: Re-casting entangled networks’, Australian Journal of Anthropology, no.20, 2009, pp 112–30 (p.120).
6 N. Te Awekotuku and L. Nikora, Nga taonga o Te Urewera: A Report Prepared for the Waitangi Tribunal’s Urewera District Inquiry, August 2003 (Wai 894, doc B6), p.55.
7 Ibid.
8 http://www.justice.govt.nz/tribunals/waitangi-tribunal/about/frequently-asked-questions (accessed 2 February 2016).
9 D. Mihesuah (ed.), Repatriation Reader: Who Owns American Indian Remains?, University of Nebraska Press, Lincoln, Nebraska and London, 2000, p.13.
10 Australian Government, Department of Families, Discussion Paper on a Review of the International Repatriation Program, 2010, p.4.
11 Ibid.
12 J. Weaver, ‘Indian presence with no Indians present: Nagpra and its discontents’, Wicazo Sa Review, vol.12, no.2, 1997, pp 13–30 (p.15).
13 Mihesuah (ed.) 2000, p.11.
1 The Convention and both Protocols are available at http://portal.unesco.org/en/ev.php-URL_ID=13637&URL_DO=DO_TOPIC&URL_SECTION=201.html (accessed 3 February 2016).
2 See chapter 14: A. Gillespie, ‘Intentional Destruction of Cultural Property’, pp 191–206.
3 The Nuremberg Trial Proceedings can be consulted on the website of Yale Law School’s Avalon Project at http://avalon.law.yale.edu (accessed 31 January 2016).
4 W. Sandholtz, Prohibiting Plunder: How Norms Change, Oxford University Press, Oxford, 2007, p.176.
5 Sandholtz 2007, op.cit., p.180.
6 Ibid. p.178.
7 ‘Principles of International Law recognized in the Charter of the Nürnberg Tribunal and in the Judgment of the Tribunal, with commentaries’, Yearbook of the International Law Commission, 1950, vol.II, 1950, p.377, http://untreaty.un.org/ilc/texts/instruments/english/draftarticles/7_1_1950.pdf (accessed 31 January 2016).
8 The texts are at http://portal.unesco.org/en/ev.php-URL_ID=13637&URL_DO=-DO_TOPIC&URL_SECTION=201.html (accessed 31 January 2016).
9 For this, and all ICTY material relating to the proceedings against Strugar, see http://www.icty.org/case/strugar/4; for related ICTY material later referred to regarding Jokic´, see http://www.icty.org/case/miodrag_jokic/4 (accessed 31 January 2016).
10 Jokic Sentencing Judgment, 18 March 2004, paragraph 24.
11 Jokic Sentencing Judgment, 18 March 2004, paragraph 28.
12 ICTY’s Case Information Sheet, http://www.icty.org/cases/party/786/4 (accessed 31 January 2016).
13 Preamble to the Rome Statute of the International Criminal Court, https://www.icc-cpi.int/NR/rdonlyres/ADD16852-AEE9-4757-ABE7-9CDC7CF02886/283503/RomeStatutEng1.pdf (accessed 3 February 2016).
1 D.E. Bar-Yosef Mayer, B. Vandermeersch and O. Bar-Yosef, ‘Shells and ochre in Middle Paleolithic Qafzeh Cave, Palestine: Indications for modern behavior’, Journal of Human Evolution, vol.56, issue 3, March2009, pp 307–14.
2 T.E. Peet, The Great Tomb-Robberies of the Twentieth Egyptian Dynasty: Being a Critical Study, with Translations and Commentaries, of the Papyri in which these are Recorded [1930], reprint edition, Martino Publishing, Eastford, Connecticut, 2005.
3 See chapter 11: N. Ellis, ‘Looting and Theft in Colonial-era Aotearoa/New Zealand’, pp 148–160.
4 A. Morrissey-Brown, Repatriation of Mokomakai, unpublished ARCA Project Presentation, 4 August 2015.
5 L. Johnson-Kelly, unpublished presentation to the Annual Meeting of the New York State Archaeological Association, Watertown, New York, 27 April 2013.
6 S. Arsu, and C. Robertson, ‘Wealth of Croesus, returned by the Met, stolen from a Turkish museum’, New York Times, 29 May 2006, http://www.nytimes.com/2006/05/30/arts/design/30muse.html?_r=0 (accessed 5 September 2015).
7 P.G. Guzzo, F. Spatofora and S. Vassallo, 2010, ‘Una phiale d’oro iscritta dall’entroterra di Himera: Dalla Sicilia a New York, e ritorno’, Mélanges de l’École française de Rome – Antiquité, vol.122, no.2, 2010, pp 451–77, http://mefra.revues.org/303 (accessed 21 August 2015).
8 C. Todeschini, personal communication, informal conversation with Laurie Rush, 24 April 2011.
9 G. Marseglia, personal communication, interview with Laurie Rush, Himera, Sicily, 23 March 2011.
10 M. Rose, 2000, ‘1.2-million dollar phiale returned to Italy’, Archaeology, 11 February 2000, http://archive.archaeology.org/online/news/phiale.html (accessed 5 September 2015).
11 T.G. Wakeling, Forged Egyptian Antiquities [1912], reprint, Coachwhip Publications, Ohio, 2006.
12 F. Rossi, personal communication, guided tour of Porta Portese market, 8 May 2011.
13 C. Power, ‘Just out of jail: a smuggler’s story’, Newsweek, 13 May 2001, http://www.newsweek.com/just-out-jail-smugglers-story-153163 (accessed 13 September 2015).
14 G. Emberling, ‘Archaeologists and the military in Iraq, 2003–2008: Compromise or contribution?’, Archaeologies: Journal of the World Archaeological Congress, 2008, pp 445–59.
15 D. Segal, ‘Swiss Freeports are home for a growing treasury of art’, New York Times, 21 July 2012, http://www.nytimes.com/2012/07/22/business/swiss-freeports-are-home-for-a-growing-treasury-of-art.html?_r=0 (accessed 13 September 2015).
1 See UNESCO, Bureau of the World Heritage Committee: 4th Session, Paris, 19–22 May 1980, CC-80/CONF.017/4, pp 4–5, and World Heritage Centre, World Heritage Sites: A Complete Guide, UNESCO Publishing, Paris, 2015, p.100.
2 M. Meehan, ‘An Islamic response to Modernism’, CrossCurrents, vol.65, no.1, 2015, pp 145–60; R. Estes and M. Sirgy, ‘Radical Islamic militancy and acts of terrorism: A quality-of-life analysis’, Social Indicators Research, vol.117, no.2, 2014, pp 615–52; F. Naijar, ‘Whither the Islamic religious discourse?’, Middle East Policy, vol.21, no.1, 2014, pp 168–82; A. Noi, ‘A clash of Islamic models’, Current Trends in Islamist Ideology. vol.15, no.7, 2013, pp 89–101.
3 UNESCO, World Heritage Committee: 12th Session, Brasília, 23 December 1988, SC-88/CONF.001/13, pp 78–9.
4 I. Thaoor, ‘Timbuktu’s destruction: Why Islamists are wrecking Mali’s cultural heritage’, TIME, 2 July 2012, p.12.
5 Omar, quoted in S. Coll, Ghost Wars: The Secret History of the CIA, Afghanistan and Bin Laden, from the Soviet invasion to September 10, 2001, Penguin, London, 2005, p.554.
6 Resolution 1483 on Iraq, 22 May 2003. All of the United Nations Security Council Resolutions can be found at http://www.un.org/en/sc/documents/resolutions/ (accessed 31 January 2016).
7 http://#unite4heritage.org (accessed 31 January 2016).
8 A. Besançon, The Forbidden Image: An Intellectual History of Iconoclasm, Yale University Press, New Haven, Connecticut, 2007, pp 4–7.
9 M. O’Neil, ‘The new iconoclasm’, Journal of Objects, Art and Belief, vol.10, no.3, 2014, pp 1743–55.
10 The Hymn to Ishbi-Erra in F. Baez, A Universal History of the Destruction of Books, Atlas, New York, 2008, p.22. Also, R. Knuth, Burning Books and Levelling Libraries, Praeger, New York, 2006.
11 Baez 2008, op.cit., p.12.
12 Polybius, The Histories (trans. R. Waterfield), Oxford University Press, Oxford, 1973, book v, section ii.
13 Belisarius, quoted in J. Fuller, Armaments and History, Scribner, New York, 1945, p.viii.
14 Omar quoted in Baez 2008, op.cit., pp 50–51. See also J. Noyes, The Politics of Iconoclasm: Religion, Violence and the Culture of Image-Breaking in Christianity and Islam, Tauris, London, 2013.
15 M. Luther, Against the Jews and Their Lies [1543], in Luther’s Works (trans. M. Bertram), Methuen, London, p.17.
16 H. Grotius, The Rights of War and Peace, Dunne, London, 1904, pp 365–8; cf p.333.
17 E. de Vattel, The Law of Nations or the Principles of Natural Law [1758], in The Classics of International Law (trans. C. Fenwick), Slatkine Reprints, Henry Dunant Institute, Geneva, 1983, p.367.
18 H. Wheaton, Elements of International Law, Carey, Lea & Blanchard, Philadelphia, 1836, p.395.
19 Ruskin, quoted in A. Vrdoljak, International Law, Museums and the Return of Cultural Objects, Cambridge University Press, Cambridge, 2008, p.41. See also R. Bevan, The Destruction of Memory: Architecture at War, Reaktion, London, 2007.
20 See chapter 12: A. Tompkins, ‘Art in War’, pp 163–179.
21 Ibid.
22 D. Gillman, The Idea of Cultural Heritage, Cambridge University Press, Cambridge, 2010.
23 The 1976 International Covenant on Civil and Political Rights, 999 UNTS 171 and 1057 UNTS 407 / [1980] ATS 23 / 6 ILM 368 (1967).
24 The 1970 Convention on the Means of Prohibiting and Preventing the Illicit Import, Export and Transfer of Cultural Property, 823 UNTS 231.
25 1972 Convention for the Protection of the World Cultural and Natural Heritage. 1037 UNTS 151 / 27 UST 37 / 11 ILM 1358.
26 The 2003 Convention for the Safeguarding of Intangible Cultural Heritage, http://www.unesco.org/culture/ich/en/home (accessed 31 January 2016).
27 The 2005 Convention on the Protection and Promotion of the Diversity of Cultural Expressions, http://en.unesco.org/creativity/convention (accessed 31 January 2016).
1 As quoted in C. Strickland, The Annotated Mona Lisa: A Crash Course in Art History from Prehistoric to Post-Modern, 2nd edition, Andrews McMeel, Kansas City, Missouri, 2007, p.106.