by Amineddoleh & Associates LLC | Dec 17, 2020 |
Monolith of Tlaloc
As many nations around the world prepare for Christmas, this week’s blog post examines an art heist that took place at the Museum of Anthropology in Mexico City on Christmas in 1985. On that day, unknown assailants snuck into the museum before dawn and removed 140 objects hailing from the Mayan, Aztec, and various other native Mexican communities. Because of the objects’ small size (nearly all of them were around 1 inch in size) they were easily removed and transported. The stolen artifacts included a jade mosaic funerary mask and an obsidian monkey-shaped vase worth over $20 million. The thieves knew what they were after, since they took the best objects from each display.
Museum curator Felipe Solís bemoaned the theft as a national tragedy: “[The thieves] robbed a piece of our history. How can we put a price on it?” Similar to the infamous Isabella Stewart Gardner Museum theft in Boston on St. Patrick’s Day in 1990 (when the city of Boston was in the midst of holiday celebrations), the Mexico City heist seems to have been a combination of planning and circumstance. Not only did it take place early on Christmas Day, a holiday widely celebrated across the country that would make the museum vulnerable that day, the museum’s alarm was faulty and the 9 security guards working that day apparently got drunk during the night, as evidenced by cookies and glasses with liquor residue found at the museum.
Fortunately, unlike the Isabella Stewart Gardner case, the thieves were found and all the items were recovered three years later. At the time, the director of collections of the Los Angeles County Museum of Natural History noted that it was like “trying to fence the Mona Lisa.” A former dealer opined that “no reputable dealer” would go near the loot. Many industry professionals were also concerned that the thieves would destroy the artifacts if they went unsold (something often done in order to destroy evidence connecting thieves to their misdeeds). Although the targeted nature of the theft initially led Mexican officials to conclude that seasoned professionals – potentially KGB agents – were responsible and that the objects had been exported immediately to the U.S. for sale, the truth was far different. In fact, it was a pair of amateurs (university dropouts, to be exact) who carried out the robbery. The thieves visited the museum over 50 times before jumping over the fence, crawling through an air-conditioning duct, and looting seven display cases.
Replica of Montezuma’s Headdress (in Museo Nacional de Antropología e Historia, Mexico City)
As one of the largest Pre-Columbian artifact thefts in history, the heist had a profound impact on the collective imagination, spurring a 2017 film titled Museo (Museum) which stars Mexican actor Gael García Bernal. The film recognizes that the Christmas Day theft was not the first instance of plunder from Mexico because the indigenous people of the nation had long faced the tragic theft of their heritage. Quite poignantly, Museo opens with footage of the removal of the Monolith of Tlaloc (the Aztec god of rain). It was discovered in the late 19th century in Coatlinchan, but in 1964 the 168-ton statue was moved to Mexico City to be displayed outside the National Museum of Anthropology. In doing so, the revered statue was removed from its original home, and some locals even protested the move. The film makes several references to the theft of indigenous items of cultural significance, including the statement that Montezuma’s headdress in the Mexico City museum is a copy because the original was “already stolen.” The famed headdress, made of nearly 500 quetzal feathers with sewn-on gold detailing, was removed from Mexico, mostly likely during the 16th century. It likely traveled to Spain, and then ended up in an Austrian collection in Innsbruck in the 1590s. It eventually became part of the Museum of Ethnology in Vienna, Austria. In 1991, the Mexican government formally requested the return of the treasure, but the Austrian museum declined, stating that it was not possible to safely return the cultural jewel. The ownership over this piece is still a source of contention between Austria and Mexico.
Pre-Colombian artifacts have become increasingly popular among collectors, fetching millions of dollars at auction – though not without controversy. In September 2019, a French auction house proceeded with the sale of dozens of such artifacts despite concerns from the Mexican and Guatemalan governments that the items were looted. The lots sold for $1.3 million, twice the initial estimate. These artifacts have also been subject to wider debates on colonialism and illicit trafficking. Now more than ever, it is crucial for collectors, purchasers, and sellers of art and antiques, including archaeological pieces, to do their due diligence and establish the provenance of items. At Amineddoleh & Associates, we assist clients with this process every step of the way, ensuring that transactions comply with applicable regulations so that they can enjoy their collections with peace of mind.
The Amineddoleh & Associates team wishes you all a Merry Christmas and Happy Holidays…without art thefts!
by Amineddoleh & Associates LLC | Dec 14, 2020 |
Street tile in Bonn, Germany (copyright: Leila Amineddoleh)
This month marks the 250th birthday of the legendary Ludwig van Beethoven. (There is no record of his actual birthdate, but his baptism on December 17, 1770 has led many to believe that he was born on December 16.) Recognized as one of the greatest figures in the world of classical music, his compositions are readily recognizable to people all over the world, including his dramatic Fifth Symphony, Fur Elise, the Second Movement of the Seventh Symphony (familiar to some from The King’s Speech), and the Ode to Joy from the final movement of his Ninth Symphony. Beethoven’s genius was instrumental in ushering in a new type of classical music, during a career that straddled the shift from the Classical to the Romantic era.
With his talent obvious from an early age, Beethoven began his musical career as a child. He was a virtuosic pianist and violinist, and clearly a talented composer. He gained fame during his lifetime, but also suffered the tragic loss of his hearing. However, his early life was not free from difficulty. He received harsh and intense musical training, often being dragged from bed in the middle of the night to practice the keyboard. By his late 20s, he began noticing difficulties with his hearing. By his mid-40s, he was totally deaf. Despite his medical condition, he persevered and continued to write staggeringly beautiful music that stirs audiences to this day.
As the writer of emotional and complex music, it is perhaps no surprise that he also wrote beautiful prose. He famously authored a celebrated love letter to a mysterious “Immortal Beloved.” The passionate letter was never sent to its intended recipient, whose identity is still a subject of debate. Beginning with “My angel, my all, my own self” and ending with “Ever thine. Ever mine. Ever ours,” the romantic missive has led to questions about the letter’s inspiration. (A translated copy of the letter can be found here.) Speculation about the woman’s identity inspired the film “Immortal Beloved,” whose theory of the identity is most certainly faulty. (Unfortunately, the film also represented Beethoven as a caricature of a tormented lothario and misunderstood artist.) A discussion about more probable candidates can be found here.
Amineddoleh & Associate’s founder at the Beethoven Haus
Besides the mystery surrounding the inspiration for the letter, its provenance is also interesting. The letter was written in pencil on 10 small pages, in the composer’s inconsistent handwriting. It was found in his estate after his death, and it remained with Anton Schindler, who had served as Beethoven’s secretary for a number of years, until his death. Unfortunately, Schindler was known to alter Beethoven’s personal documents and profited by plundering the composer’s legacy. Upon Schindler’s passing, the letter was bequeathed to Schindler’s sister, who in turn sold it in 1880 to the Berlin State Library. It remains there today. However, the date year of the writing was unclear until the mid-20th Century. An analysis of the paper’s watermark was completed in the 1950s, revealing that it was written on July 6-7, 1812 during a stay in Teplice, in the modern day Czech Republic. This is supported by a later letter by the composer to Rahel Varnhagen, suggesting that he had a meeting with his “Immortal Beloved” on July 3, 1812.
As with other famed composers and artists, forgeries of letters and manuscripts by Beethoven have cropped up over the years. Just four years ago, a purported manuscript by Beethoven failed to sell at Sotheby’s due to doubt cast upon its authenticity by musicologists and Beethoven scholars. One point of contention is the handwriting used in the manuscript; in particular, the notation of the natural sign. At Amineddoleh & Associates, we are proud to assist clients in authentication matters of all kinds, including documents and manuscripts, both musical and non-musical.
2020 was slated to be a year celebrating Beethoven’s birthday as one of the titans of the classical music world, with a calendar of performances and celebrations. Sadly, concertgoers were sorely disappointed as the events were cancelled due to COVID-19. However, in celebration of Beethoven’s staggering genius, WQXR (NY Public Radio) is currently hosting the program Immortal Beethoven. The station is available to listeners around the world. In addition, Beethoven Haus (the composer’s birthplace) in Bonn, Germany is hosting events for the composer this year. Due to the COVID-19 pandemic, the events are hosted online. For more information, visit the museum’s website. And for some lighter Beethoven entertainment, enjoy this clip from SNL.
Happy birthday Ludwig!
by Amineddoleh & Associates LLC | Dec 13, 2020 |
In honor of Hanukkah, this week’s provenance blog post focuses on the work of Jewish artist Marc Chagall. Revered as “the quintessential Jewish artist of the twentieth century,” Chagall is known for his emotive and colorful – or wild and whimsical – works depicting domestic scenes and figures from Eastern European Jewish folklore. One of his best-known commissions is a fresco adorning the ceiling of the Paris Opera. In the course of his 75-year career, Chagall produced approximately 10,000 works in a variety of mediums, including paintings, drawings, lithographs, ceramics, mosaics, tapestries, and stained glass. Some of his works feature religious Jewish elements, including menorahs.
Chagall’s works are very popular and can fetch tens of millions of dollars. In 2017, for instance, a painting titled Les Amoreux (The Lovers) sold for $28.45 million at auction. Therefore, it should come as no surprise that Chagall’s works have been targets for theft. In 1988, a temporary employee of collectors Ernest and Rose Heller stole 14 works, including a Chagall painting depicting Shakespeare’s Othello and Desdemona, from the couple’s New York City apartment. The Hellers had spent a veritable lifetime building up their art collection, and the Chagall possessed sentimental value – Mr. Heller’s father purchased it directly from the artist in 1911 while living in Paris.
The painting remained missing until 2018, when an associate of the thief attempted to sell the work to an art gallery owner in Washington D.C. Fortunately, the gallery owner noticed that the painting was still labeled with the names of the owners and was not accompanied by provenance documents, prompting him to refer the seller to the FBI. There was another twist as well; apparently, the thief may have had connections to a Bulgarian organized crime group and stole the painting with the intention to sell it to the group. After a falling out with the group, the thief kept the painting in a custom-made box in his attic. There were three total attempts to sell the painting to the same art gallery: in 1989, 2011, and 2017. The gallery owner wisely engaged in due diligence and refused to sell the painting without the proper paperwork. He was also instrumental in securing the seller’s cooperation with law enforcement. After the FBI’s seizure, the proceeds of the recovered work went to charity, as the Hellers had passed away some years before.
We hope you have enjoyed this glimpse into the world of Jewish art. The team at Amineddoleh & Associates wishes everyone a Happy Hanukkah.
by Amineddoleh & Associates LLC | Dec 10, 2020 |
The concept of “heritage,” while commonly used in reference to artwork, can also apply to living beings. This includes animals who occupy certain social and cultural functions. Today’s post explores a unique phenomenon in cultural institutions: the role of cats.
One of the Hermitage Cats (courtesy of beautifulrus.com)
Cats have been the subject of fascination – and even worship – for humans since ancient times. In Egypt, the cat-headed goddess Bastet was renowned as a protector. The Temple of Bastet, a 2,200-year-old temple in the city of Bubastis, yielded a treasure hoard in 1906, comprised of gold and silver items. Nowadays, felines can be found protecting cultural institutions in the flesh – or rather, fur. For instance, the Hermitage Museum in St. Petersburg, Russia has a population of approximately 50 cats in its basement, which has hosted feline residents since the mid-1700s. Empress Catherine the Great bestowed them with the status of guardians of the art galleries, as a gesture of gratitude for their eradication of rodents from the premises. The museum’s cats have become extremely popular with the local community, giving rise to the Day of the Hermitage Cat initiative in 1999. Over 800 photographs and prints were submitted and displayed in 2020 as part of the annual tradition. But these cats have captured hearts abroad as well. Recently, a French philanthropist left a provision for the cats in his will. The funds will likely be used to repair their basement home, ensuring that the cats will have shelter for years to come.
Gli in Hagia Sophia (courtesy of TRT Worldwide)
Other cities have also embraced cats as heritage guardians. Rome has supported its feline population by officially declaring that they form part of the city’s “bio-cultural heritage.” The law of the surrounding Lazio region states that stray cats have the right to stay wherever they are born, and are entitled to food and medical assistance. Notably, the worship of cats reached ancient Rome from Egypt; legend has it that these denizens accompanied Cleopatra on her visit to the Eternal City. Cats were particularly valued by the Romans since they helped curb rodent-borne diseases, such as the bubonic plague. Currently, the archaeological site of Torre Argentina – where Julius Caesar was famously murdered – has hosted a Cat Sanctuary since 1993. A revolving group of “cat ladies,” or gattare, from various countries provide the residents with food and care. Interested individuals can even “distance adopt” one of these historical strays. This “suburban oasis” has become a vital part of the community and attracted the patronage of actors, diplomatic families, and even a former opera singer. In the words of the Sanctuary, these “aristocratic cats rule over their temples with pride.” The Protestant Cemetery, the final resting place of Romantic poets John Keats and Percy Bysshe Shelley, has another dedicated sanctuary where cats have a peaceful place to roam. The cats provide an interactive experience for visitors while drawing in donations for the site’s upkeep, thanks to a charitable organization.
Doorkins Magnificat (photo courtesy of CNN)
Perhaps not surprisingly, religious institutions have also welcomed four-legged visitors. This past October, London’s Southwark Cathedral laid to rest Doorkins Magnificat, a former street cat who found a home in the church in 2008. As one might expect from a cat with such an illustrious name, Doorkins was well-loved by visitors, congregants, and clergy; she even met Queen Elizabeth II. As a mainstay of the community, Doorkins found fame in a range of church-sponsored merchandise – including a children’s picture book – and had her own Twitter account with thousands of followers. Doorkins’ farewell was streamed online, and it was the first service held for a cat in the illustrious history of the cathedral. The Hagia Sophia in Istanbul, Turkey also lost its internationally-acclaimed resident cat, Gli, this year. Gli was born in the museum and received much attention on social media and national news channels. She was considered a local celebrity and received a visit from former U.S. President Barack Obama in 2009, gaining over 130,000 followers on Twitter. Upon her death, the beloved cat received thousands of tributes by fans and art historians before being buried on site.
by Amineddoleh & Associates LLC | Dec 3, 2020 |
Amineddoleh & Associates is proud to announce that our founder has been published in a new book by Lund Humphries – Provenance Research Today: Principles, Practice, Problems. The collection is edited by Arthur Tompkins and includes many well-known art and art market experts. The focuses on research and case studies related to provenance (ownership history) in the international art market. It is a practical tool covering basic aspects of provenance research, in addition to methodology, ethics, and challenges. As we explore in our law firm’s Provenance Series, establishing provenance is essential for all kinds of art market transactions. Provenance may uncover forgeries, fakes, or even looted artworks. Leila’s chapter, titled The Provenance Report: using it to resolve disputes, deals with the importance of provenance in legal disputes related to ownership, authentication, and valuation. We urge you to pick up a copy and read on and learn about the work of our other esteemed colleagues!
