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"abstractNote": "This exhibition explores the vital contributions of applied science to the understanding of Old Master paintings in the National Gallery. A world leader in its field, the Gallery employs advanced techniques in scientific examination, conservation and art historical research to investigate a painting’s physical properties. The exhibition will showcase some of the most intriguing stories behind paintings in the Gallery, as it explores the ways in which advances in scholarship and technology can reveal the misconceptions of the past. Read a series of case studies on the paintings Uncovering the past Working together, Gallery experts can uncover the true origins of works with disputed authorship or authenticity, ranging from workshop collaborations and straightforward period copies to modern forgeries. Sometimes scientific investigation has uncovered fakes. A painting acquired as a 15th-century work in 1923 was proven to be a 20th-century forgery after scientific analysis of the materials used. Occasionally science also betrays the errors of past research. At the time of its purchase in 1845, A Man with a Skull was attributed to Hans Holbein. A recent analysis of the painting’s wooden panel support has shown that the work actually postdates the artist’s death. Ongoing advances in scientific technology open the way for new discoveries. The exhibition additionally highlights the often surprising results of cleaning and conservation, and presents a number of tantalising unsolved conundrums. EPSRC supports scientific research at the National Gallery EPSRC",
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9 figs., 7 tables, refs.
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9 figs., 7 tables, refs.
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"abstractNote": "AFTER thieves broke into the Kunsthal Museum in Rotterdam, the Netherlands, on Monday night and stole a king’s ransom’s worth of paintings by the likes of Picasso, Monet, Matisse and Gauguin, the public and the press were shocked. As usual, a combination of master art thieves and faulty security was blamed. But this seductive scenario is often, in fact, far from the truth. Most of us envision balaclava-clad cat burglars rappelling through skylights into museums and, like Hollywood characters, contorting their bodies around motion-detecting laser beams. Of course, few of us have valuable paintings on our walls, and even fewer have suffered the loss of a masterpiece. But in the real world, thieves who steal art are not debonair “Thomas Crown Affair” types. Instead, they are the same crooks who rob armored cars for cash, pharmacies for drugs and homes for jewelry. They are often opportunistic and almost always shortsighted. Take the 1961 theft of Goya’s “Duke of Wellington” from the National Gallery in London. While all of Britain believed that the Goya was taken by cunning art thieves, it was actually taken by a retired man, Kempton Bunton, protesting BBC licensing costs. (He apparently stole the painting by entering the museum through a bathroom window.) In 1973, Carl Horsley was arrested for the theft of two Rembrandts from the Taft Museum in Cincinnati. Later, after serving a prison term, he was arrested for shoplifting a tube of toothpaste and some candy bars. The illicit trade of stolen art and antiquities is serious, with losses as high as $6 billion a year, according to the F.B.I. There have been teams of thieves who have included art among their targets, like the ones who stole a Rembrandt self-portrait from the National Museum in Stockholm in 2000. (The only buyer they found was an undercover F.B.I. agent.) But in general, it is incredibly rare for a museum to fall victim to a “professional” art thief. The reason is simple: the vast majority of people who steal art do it once, because it is incredibly difficult and because it is nearly impossible to fence a stolen masterpiece. The wide attention that a high-value art heist garners makes the stolen objects too recognizable to shop around. And there are very few people with enough cash to purchase a masterpiece — even for pennies on the dollar — that they can never show anyone. Once an art thief realizes this, he turns to other endeavors. Meanwhile, the stolen treasures lie dormant in a garage or crawl space until he figures out what to do with them. It’s easy — and sometimes justified — to criticize security systems as flawed or inadequate, but securing a museum is uniquely challenging. Consider this: The goal of an art museum is to make priceless and rare art and antiquities accessible to the public. They are among society’s most egalitarian institutions. Contrast that with a jewelry store or a bank, where armed guards and imposing vaults are the norm. No one expects to be able to be alone with diamonds worth thousands, but museumgoers do expect an intimate experience with masterworks worth millions. Clearly, it is a daunting task to provide robust security without disturbing the aesthetics of the artwork and its environment. So what is the remedy for the all-too-frequent scourge of art theft? Museums must build systems that cannot be compromised by a single error or failure. Thieves should have to overcome several layers of security before they can reach their target and several more on the way out. At the Isabella Stewart Gardner Museum, we took such an approach after the 1990 theft of several masterpieces — a crime that hasn’t been solved. This not only makes it more difficult to steal and get away with stolen art, but it gives the police precious extra minutes to respond to alarms, especially if, as in Rotterdam, they sound at night. When art is stolen, local law enforcement should focus on the right sort of criminals rather than conjecture about multinational art theft rings. The key to finding these missing needles in the haystack is to make the haystack smaller; homing in on the most likely suspects quickly is essential to recovering the stolen item. The F.B.I.’ s Art Crime Team has gathered impressive intelligence on who steals art and what becomes of it. For instance, they’ve learned that upward of 90 percent of all museum thefts involve some form of inside information. So often the best approach is to look at active local robbery gangs, and to investigate connections between past and present employees and known criminals. Enhanced employee background checks and discreet observation of visitor behavior also help to deter thefts. Confronting these realities is essential to preventing more pieces of our cultural heritage from being lost. Anthony M. Amore is the director of security at the Isabella Stewart Gardner Museum and the author, with Tom Mashberg, of “Stealing Rembrandts: The Untold Stories of Notorious Art Heists.”",
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"abstractNote": "It was a quiet, humid Monday morning in Paris, 21 August 1911. Three men were hurrying out of the Louvre. It was odd, since the museum was closed to visitors on Mondays, and odder still with what one of them had under his jacket. They were Vincenzo Perugia and the brothers Lancelotti, Vincenzo and Michele, young Italian handymen. They had come to the Louvre on Sunday afternoon and secreted themselves overnight in a narrow storeroom near the Salon Carré, a gallery stuffed with Renaissance paintings. In the morning, wearing white workmen’s smocks, they had gone into the Salon Carré. They seized a small painting off the wall. Quickly, they ripped off its glass shadow box and frame and Perugia hid it under his clothes. They slipped out of the gallery, down a back stairwell and through a side entrance and into the streets of Paris. They had stolen the Mona Lisa. It would be 26 hours before someone noticed that the painting was missing. It was understandable. At the time the Louvre was the largest building in the world, with more than 1,000 rooms spread over 45 acres. Security was weak; fewer than 150 guards protected the quarter-of-a-million objects. Statues disappeared, paintings got damaged. (A heavy statue of the Egyptian god Isis was stolen about a year before the Mona Lisa and in 1907, a woman was sentenced to six months in prison for slashing Jean Auguste Ingres' Pius VII in the Sistine Chapel.) At the time of the “Mona Lisa” heist, Leonardo da Vinci's masterpiece was far from the most visited item in the museum. Leonardo painted the portrait around 1507, and it was not until the 1860s that art critics claimed the Mona Lisa was one of the finest examples of Renaissance painting. This judgment, however, had not yet filtered beyond a thin slice of the intelligentsia, and interest in it was relatively minimal. In his 1878 guidebook to Paris, travel writer Karl Baedeker offered a paragraph of description about the portrait; in 1907 he had a mere two sentences, much less than the other gems in the museum, such as Nike of Samothrace and Venus de Milo.",
"publicationTitle": "Smithsonian Magazine",
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"title": "Cultural Losses and Cultural Gains : Ethical Dilemmas in WWII-Looted Art Repatriation Claims against Public Institutions",
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"abstractNote": "\"The problem of stolen art must be recognized as a moral issue that can be solved only with morality as its primary basis.\" 1 Parallel to their campaign of physically exterminating the Jewish population of Europe, the Nazis carried out a highly organized plan of cultural genocide that involved the confiscation or forced sale of hundreds of thousands of pieces of art. The Allied forces returned a sizable number of these works to their owners or their heirs after the war, but many disappeared into the hands of private possessors. While some remain hidden in private collections, a number of these artworks were given to, or purchased by, museums or other public institutions. In recent decades, the heirs of Holocaust victims have been using the American court system to make claims for the return of these works. This paper investigates one little-examined, but ethically problematic, aspect of these claims: the fact that the vast majority of these claims are made against public institutions rather than private collectors. The paper begins with a short survey of the history of World War II art looting and the current legal responses. This introduction makes the dilemmas inherent in this legal response more concrete through descriptions of claims made against the Israel Museum of Jerusalem and the Jewish Museum of Prague. Part II discusses the public interest in keeping art in museums, and is followed by Part III, an analysis of the practical reasons explaining why claims are easier to ...",
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"abstractNote": "Since the establishment of UNESCO, the organization has engaged in the protection of cultural property during armed conflict. Recently, however, an increased incidence of intentional cultural property destruction and looting has been observed during such conflicts. This article, therefore, evaluates UNESCO activities relating to the protection of cultural property during armed conflicts. It finds that the ineffectiveness of the measures employed is largely due to a lack of adjustment to the nature of contemporary conflicts and to changes in the profiles and motives of the perpetrators. Further problems, such as the slow operation and implementation procedures of the organization and its lack of pre-emptive actions, are also addressed.",
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"title": "The Vinland Map: An Authentic Relic of Early Exploration or a Modern Forgery–Raman Spectroscopy in a Pivotal Role?",
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"lastName": "Chalmers"
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"lastName": "Edwards"
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"abstractNote": "The Vinland Map (see Figure 7.2.1) is a vellum map of the Old World, measuring approximately 28 x 40 cm, that identifies an area in the Western Atlantic, Vinilanda Insula, the so-called Vinland of the Scandinavian Viking saga folklore, an area to the north-east of North America, described thereon as \"a new and fertile land to the west\". It first appeared in the 1950s bound together with a manuscript known as the Tartar Relation (the Historia Tartarorum), which had an unusual composition of vellum and paper, two leaves of vellum alternating with six of paper, the latter exhibiting bulls-head watermarks which were identifiable with the Basie Council of the 1430s. An accompanying manuscript appeared later, the Speculum Historiale, which was part of a celebrated mediaeval work by Vincent of Beauvais and had a similar construction to that of the Tartar Relation with a similar bulls-head watermark from 1434. Of distinct relevance was the location of wormholes, which suggested that these three manuscripts were originally associated together. The cartographic impor- tance of the Vinland Map, therefore, centred upon its pre-dating the voyage of Christopher Columbus and his epic discovery of the New World in 1492 by approximately 50 years and fed the rumour that Columbus could have used such a map based on earlier Viking seafaring exploits, notably by Leif Ericsson [1, 2].",
"bookTitle": "Infrared and Raman Spectroscopy in Forensic Science",
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"tags": [
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{
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"tag": "authentic relic of early explorat"
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"tag": "chemical identity and spa"
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"tag": "furore of controversial issues"
},
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"title": "Book Review: Trade in Illicit Antiquities: The Destruction of the World's Archaeological Heritage.",
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"abstractNote": "Foreward / Colin Renfrew -- Illicit antiquities / Neil Brodie & Jennifer Doole -- The destruction of cultural heritage in Thailand and Cambodia / Rachanie Thosarat -- Illicit excavation in Contemporary China / He Shuzhong -- Recording and preserving Gandhara's cultural heritage / Ihsan Ali & Robin Coningham -- The threat to cultural sites in India from illegal excavation / Ajai Shankar -- Examples from Kenya and Somalia / George H.O. Abungu -- Destruction of archaeological heritage in Tanzania: the cost of ignorance / Bertram B.B. Mapunda -- The republic of Niger / Boubé Gado -- Looting and the market for Maya objects: a Belizean perspective / Elizabeth Gilgan -- The destruction, looting and traffic of the archaeological heritage of Peru / Walter Alva -- Protecting the past for the future: federal archaeology in the United States / Veletta Canouts & Francis P. McManamon -- The new Syrian law on antiquities / Ammar Abdulrahman -- One damn illicit excavation after another: the destruction of the archaeological heritage of Jordan / Ghazi Bisheh -- Some remarks on the destruction of Turkey's archaeological heritage / Engin Ozgen -- American litigation to recover cultural property: obstacles, options and a proposal / Howard N. Spiegler & Lawrence M. Kaye -- The destruction of the archaeological heritage of Cyprus / Sophocles Hadjisavvas -- Antiquities without archaeology in the United Kingdom / Peter Addyman -- Analysis of the looting, selling and collecting of Apulian red-figure vases: a quantitative approach / Ricardo J. Elia -- The looting of archaeological sites in Italy / Giovanni Pastore -- Altering information from the past: illegal excavations in Greece and the case of the early Bronze Age Cyclades / Marisa Marthari --Appendix: The Cambridge Resolution.Papers presented at a symposium held Oct. 1999 in Cambridge, England.",
"publicationTitle": "Journal of Field Archaeology",
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"title": "Determination of the radiocarbon age of parchment of the Vinland Map",
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"firstName": "Douglas J DJ",
"lastName": "Donahue"
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"abstractNote": "The Vinland Map, drawn on a 27.8 × 41.0 cm parchment bifolium, is housed in the Beinecke Rare Book and Manuscript Library at Yale University. In the northwest Atlantic Ocean, it shows \"the Island of Vinland, discovered by Bjarni and Leif in company.\" Skelton, Marston, and Painter firmly argued the map's authenticity, associating it with the Council of Basle (AD 1431-1449)–that is, half a century before Columbus's voyage. Nevertheless, vigorous scholarly questioning of the map's authenticity has persisted. The authors have determined the precise radiocarbon age of the map's parchment by accelerator mass spectrometry (AMS). The one-sigma calibrated calendrical date range is AD 1434 ± 11 years: the 95% confidence level age range is AD 1411-1468.",
"publicationTitle": "Radiocarbon",
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"DOI": "10.1017/s0033822200064651",
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"extra": "00036",
"tags": [
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},
{
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},
{
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{
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"abstractNote": "With this eighth issue of \"Spoils of War\", the Editorial Board presents to you after the last published Special Edition on the Magdeburg Conference 2001 again a number of international contributions dealing with selected topics regarding cultural losses due to World War II. Thereby, this issue, gathering articles by authors from seven states, shows the still actual meaning of the problems also more than 58 years after the end of World War II. As a consequence, it also demonstrates the international need of a publication as Spoils of War is: Only with such a wide range of information and perspective, the basis for a discussion not only within experts but also - and perhaps: especially - within the public opinion can be build. Against this background, the Editorial Board would like to thank each of the authors you will find in this issue for their fine support and their efforts regarding their articles. This eighth issue has been made possible only through the help and assistance of Ms Janner and Ms Sommermeyer at the Koordinierungsstelle für Kulturgutverluste in Magdeburg. As with regard to the last issues of Spoils of War, als this one would not have been realized neither in the form as it is available now nor in time. As the last issues, also this one will be available also on the official website of the Koordinierungsstelle für Kulturgutverluste at www.lostart.de. Furthermore, it will be available in its Russian translation on the website of the Russian Editorial Board part, the All Russia State Library for Foreign Literature, at http://spoils.libfl.ru. With regard to the future of Spoils of War and the above mentioned need of information, please feel free to send comments, contributions, and suggestions to the Editorial Board member of your choice.",
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"abstractNote": "July 31 SIENA, Italy— A curious but, until recently, never systematically investigated spin-off of the 19th-century Gothic Revival was a thriving industry in fake pictures and sculptures. The epicenter of this activity was Siena, as the products of the workshops here ended up in just about every major museum, gallery and private collection in the world. The story of these fakes and their creators now unfolds in an immaculately researched and visually sumptuous exhibition curated by the Sienese art historian Gianni Mazzoni, \"Falsi d'autore\" (Fakes by Master Artists), which continues at Santa Maria della Scala until October 3. The show coincides with the reissue of the autobiography of Siena's most celebrated faker, Icilio Federico Joni. Originally published in 1932, it is for the first time being printed with a full English parallel text, \"Le memorie di un pittore di quadri antichi\" (Memoirs of a Painter of Old Pictures). The unification of Italy in the second half of the 19th century led to the closure and downsizing of many religious institutions, which resulted in the dispersal of thousands of art works dating from the Middle Ages and early Renaissance. There were also numerous sales of private collections and family heirlooms by aristocratic and bourgeois families struggling to pay off debts and make ends meet. This influx of goods into the antiques market provided a great deal of work for Italy's restorers and craftsmen, since many of these pieces were in need of cleaning, repair, and in keeping with the interventionist tastes of the times, radical restoration, before they could be sold on, often to foreign buyers. But so fashionable did these Italian \"primitives\" become that demand was soon outstripping supply, giving rise to a new type of artist-craftsman capable of turning out from scratch increasingly convincing reproductions, imitations and out-and-out fakes. Siena became the capital of this cottage industry, above all because of the extraordinary continuity in traditional craft skills there — painting in tempera, for example, and gilding. With this technical expertise handed down from generation to generation, all that was required were artists with real flair and a genuine love and understanding of antique Sienese art. Late 19th-century Siena seems to have abounded in them, and it is these artist-craftsmen — Icilio Federico Joni, Igino Gottardi, Alceo Dossena, Fulvio Corsini, Umberto Giunti, Bruno Marzi and others — who are the stars of \"Falsi d'autore.\" As Joni's memoirs and Gianni Mazzoni's excellent commentary in both show and catalog make clear, at the supply end these artists operated so openly that it would be hard to represent their activities as clandestine. When most of the works were delivered to dealers in Florence, Venice, Rome and elsewhere, they were sold for what they were: modern imitations of early old masters. Typically, it was only later that the dealers sold them to their clients as the real thing. One of the many rich documentary sources Mazzoni has drawn upon are the records of Siena's \"Office for the Export of Art Objects,\" which was located close to the Fine Arts Academy. It was to this office that the producers of \"antique\" pictures and carvings had to repair to obtain export licenses, which they could only do by proving that the work was not an original but, in fact, a fake. According to Joni, Bernard Berenson was at first fooled by Joni's imitations when he started buying them in Florence, but eventually realized that they were painted by the hand of a modern master. Berenson duly journeyed to Siena and tracked him down in no time. Afterward, Berenson appears to have divested himself of these pictures by Joni, offering them as genuine, but keeping a couple for himself as reminders of his own youthful inexperience, and also, it seems, as a means of testing the expertise of his rivals. In the early 1930s Joni revealed his intention to publish his life story; a group of Italian antique dealers got together and offered him a substantial sum to desist, but he went ahead regardless. When the English version, entitled \"The Affairs of a Painter,\" came out in 1936, it was cut in several places, and Berenson's name did not once appear in the text. The book vanished with remarkable rapidity from sale, very likely, according to Mazzoni, because Berenson's colleague Joseph Duveen managed to purchase and destroy most of the copies. Joni and his fellow \"fakers\" were sometimes quite legitimately called upon to apply their skills to make faithful copies of genuine works — for instance, when an owner wished to sell an original but keep a less valuable version. The existence of such copies has led to a considerable degree of confusion, and Mazzoni displays some fascinating examples of copies that came to be regarded as originals and vice versa. In some cases there is no doubt that the making of a copy provided the opportunity of spiriting away the original undetected, and leaving in its place the copy. However, only a relatively small part of Joni's production consisted of direct copies, his \"original\" fakes being harder to detect. Indeed, he took some pride in the idea that he was making something new. In contrast to a counterfeiter of bank notes or coins, he writes in his memoirs that an artist \"who creates a work of art of his own, in imitation of the style of an old master, is not a forger; he is at worst an imitator, and he is creating something of his own.\" Some of Joni's works were so admired — whether with or without the knowledge that they were fakes is unclear — that they were assiduously copied by other artists, creating a subgenre of fakes of fakes. Increasingly sophisticated scientific techniques have made it easier to separate the sheep from the goats, but as more than one expert contributor to the catalog emphasizes, the application of science alone cannot always give a definitive answer. (Although the use of X-rays certainly proved decisive when a panel painting purporting to be an antique likeness of the 15th-century ruler Sigismondo Malatesta turned out to have been painted over a portrait of the 19th-century revolutionary Giuseppe Garibaldi.) Whereas microscopic examination of wood can, for example, reveal that a wooden panel has had the worm holes filled in on the painted side before being reused, or that it is held together with modern machine-made nails, when dealing with sculptures carved in stone, the challenges can be much greater. Had Alceo Dossena, the brilliant imitator of the 14th-century sculptor Giovanni Pisano, stuck to one artist, for example, it is possible he would never have been detected. (So convincing was his touch that Dossena even managed to sell sculptures attributed to the painter Simone Martini, who as far as is known never carved a sculpture in his life.) As it was, Dossena's fakes were only exposed by their maker. After a \"Donatello\" he had made was sold by an Italian merchant to a London dealer in 1927 for 3 million lire, Dossena, who received a fraction of the sum, fell on hard times. The Italian middleman refused him a loan to pay for his companion's funeral expenses, and in revenge Dossena blew the whistle on himself. There were also cases of fakers exposing their own works out of professional vanity, having been accused of lacking the talent to produce work of such high quality. Berenson intensely irritated Joni when the artist pointed out one of the pictures on the critic's wall as his handiwork, and Berenson refused to believe him. Mazzoni argues that it is time for the works of the great fakers to take their place in the general history of 19th- and 20th-century Italian art. Given the undeniable beauty of some of the works by these master imitators, it is not surprising that there is a burgeoning market in the best of these pieces. They now have a rarity value of their own, with collectors willing to pay substantial sums for the \"genuine article.\"",
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