The Internet, A Resource for the Reporting and Recovery of Objects
by
Anayat Durrani, for Fine Art Registry™
Few would dispute that the Internet has been a boon for criminal activity in the art world. The Internet has provided global access to criminals looking to sell stolen objects or fakes to often unwitting buyers. But by the same token, the Internet can and has worked against art criminals. Lost or stolen paintings, sculptures and other priceless objects that have seemingly vanished into the shadowy underworld of international art thievery have been recovered because of the global reach of the Internet.
Six months after a 1914 work by Marc Chagall "Study for 'Over Vitebsk'," valued at $1 million, was stolen from the Jewish Museum in New York, it resurfaced wrapped in brown paper in a Kansas post office that sorts undeliverable mail. The FBI recovered the painting by Chagall because the postal worker who found it visited the FBI Art Theft Program website and saw the painting listed on there as stolen.
The reporting and posting of images of lost or stolen objects on websites and databases has helped bring these items to the attention of the broadest possible public. As a result, in many cases, it has assisted in the public identifying objects and tracking down the piece. This has oftentimes not only resulted in the return of the piece to its rightful owner, but also ended in the arrest of those involved in these crimes.
"The Internet does help in the recovery of stolen art. Thanks to the Internet, all information about stolen art, including photographs, can be available to a global audience within minutes," says Ton Cremers, founder of the Museum Security Network, and moderator of the Museum Security Mailing List out of the Netherlands. His website collects and disseminates information about incidents and trade involving stolen cultural property and has a collection of links and resources regarding museum security.
Cremers told Fine Art Registry™ (FAR®) that his website aided in the recent recovery of ethnographic objects stolen from the National Gallery in Harare, Zimbabwe in June 2006. They were recovered in Poland in November 2006.
"The thief who stole these objects took them to Poland and offered the objects via the Internet to a collector in the USA. This collector found images of the stolen objects on my site and contacted me. Thanks to a very quick police sting all objects have been recovered and the thief arrested."
Karl-Heinz Kind, specialized officer in the Stolen Works of Art Unit at Interpol told FAR he believes it is "very likely" that stolen objects are recovered as a result of their publication on the Internet or on websites.
"The Internet is a very efficient communication tool that enables the rapid dissemination of information, including on stolen art, to a huge number of people. It also provides access to several websites containing information on stolen works of art," says Kind.
Kind believes beyond websites and much more efficient is the use of databases "where you can conduct thorough and targeted searches, with many security features incorporated." Kind cited Interpol's database with currently more than 30,000 items recorded that is directly accessible to the international law enforcement community. He also cited Interpol's DVD on stolen works of art as a "derivative tool," which is publicly available by subscription.
Internet, A Powerful Tool
Anthony Amore is director of security for the Isabella Stewart Gardner Museum and is coordinating with the Federal Bureau of Investigation to recover the 13 pieces stolen from the museum in 1990, known as one of the biggest art heists in the U.S. On March 18, 1990, two men disguised as Boston police officers strolled into the museum during the city’s St. Patrick's Day celebration. They convinced security guards to unlock the doors of the gallery and escaped with 13 priceless items including works by Rembrandt, Vermeer, Degas and Manet.
"The internet has provided museum security officials - as well as art recovery agents - with a powerful tool," says Amore, who has fourteen years of national security, law, intelligence, and crisis management experience with federal government agencies.
Amore credited Cremers and his Museum Security Network for its work and ability to immediately communicate the latest news from around the world to him and his colleagues. He also praised Cremers for helping keep him abreast of developments in art recovery efforts, news of thefts, and related information.
"Similarly, the Federal Bureau of Investigation has taken great steps over the past couple of years to raise awareness about the large scope of the problem of stolen art by utilizing the internet," says Amore. "The FBI's Art Theft Team and its associated web site and e-mail news delivery service marks an important advance in the agency's efforts to address this serious problem."
He said it is encouraging to see the efforts made by the FBI on their web site and "gratifying to see the emphasis that the site places on our particular situation." The Isabella Stewart Gardner Museum theft of 1990 is listed on the FBI Top Ten Art Crimes list. Amore frequently keeps in contact with the head of the FBI's Art Theft Team, Robert Wittman, electronically who he says has been helpful in providing him with important information.
"The Fine Art Registry™ also utilizes the internet in exactly the manner for which it was created," says Amore. "Though the task of registering works of art is daunting, the goal is commendable and can only help - not hinder - museums to feel secure about acquisitions. Of course, the deterrent value is also important."
Fine Art Registry has followed a proactive philosophy in its approach and services. Artists and collectors, and all who join FAR can establish permanent provenance of their artwork. And should their artwork be stolen or lost, FAR provides a central location where it can be reported, which can aid in its recovery and help prevent its resale.
Fine Art Registry launched the Lost Art Board which allows for details of lost or stolen works of art to be placed and viewed worldwide, details recorded of the incident, photos uploaded of the lost work, and other files uploaded such as police reports, insurance documentation, and personal records. The Lost Art Board will provide worldwide exposure, increasing the chances for recovery.
Internet, a Double Edged Sword
The Internet does indeed hold its share of problems as well. Cremers said the Internet offers several platforms, such as eBay®, to sell stolen objects. Many cases do go under the radar of law enforcement officials. Kind, of Interpol, agrees.
"The sheer volume of the items proposed for sale on the Internet, particularly via online auctions, the lack of precise information about these objects and the short bidding periods make it difficult to check suspicious sales on a regular basis," says Kind.
Kind said police investigations are frequently initiated for suspicious Internet sales. Though he could not discuss the cases, he said some of them have resulted in the seizures of the objects for sale and in the arrests of those involved.
But what about auctions such as those held at Sotheby's or Christie's? Does stolen art ever end up there and how do they monitor it?
"All works of art that are consigned and sold at Christie's are described and illustrated fully in our catalogues which are sent to collectors, dealers, scholars and museum curators worldwide prior to sales," says Christina Freyberg of London's Christie's. "They are also available to view on our website in order to reach the widest audience possible."
Freyberg told FAR that all catalogues are also submitted to the Art Loss Register prior to each sale to check the catalogue entries against its own database of stolen art. "If a work were to be identified by the ALR that had not been identified through our own procedures, we would investigate thoroughly and, if appropriate, withdraw the lot from the sale," she says.
Kind said that aside from lawful operations, the Internet is often used to sell stolen objects that come from clandestine excavations and objects illicitly exported. He said the Internet is used to defraud potential buyers by selling fakes or objects that are too overpriced. Kind said the problem has been addressed at several meetings.
"Interpol, UNESCO and the International Council of Museums are currently working on a common strategy to recommend to their respective membership some basic actions to prevent the sale of illegal cultural property over the Internet."
— by Anayat Durrani
|
May 7, 2008
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