[CPProt.net] January 7, 2005: In fine art, many fakes survive; Manischer Kunstdieb vor Gericht: Fast stolz auf Zerstörungstaten; Peru - USA: Altarpiece Theft Inquiry Inconclusive

[MusSecNetworkCulPropProtNet]

January 7, 2005
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- In fine art, many fakes survive

- Manischer Kunstdieb vor Gericht: Fast stolz auf Zerstörungstaten

- Peru - USA: Altarpiece Theft Inquiry Inconclusive

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In fine art, many fakes survive

By RAF CASERT
Associated Press writer

BRUGES, Belgium -- What stands out in the wood panels of the Flemish
Primitives is the immaculate precision of detail and the translucence of
light that has survived the centuries from the pestilence-stricken Middle
Ages to this day.
Now, the Groeninge Museum, home to some of the greatest works of the
15th-century Flemish masters, wants you to take a closer look. Some of the
Primitives may not be what they seem.
A stunning new show, "Fake or Not Fake," assesses the darker side of art
restoration during the mid-20th century, when some great craftsmen stepped
beyond the entrusted task of retouching and succumbed to "hyper-restoration"
-- and, curators say, even painted sheer fakes.
The museum, together with the Catholic University of Louvain, took six
Primitive panels and scientifically analyzed them down to the bare wood on
which they were painted. Then they hung the original alongside a copy
showing the "restored" areas in the harshest of reds.

It hurts the eyes.

"You lose your belief in authenticity, in the aura," Till-Holger Borchert,
the Groeninge's conservator, says.
The "Renders Madonna" was long attributed to Rogier van der Weyden, one of
the greatest Flemish Primitives. Now it bleeds the red of excessive
restoration. The nose, mouth, chin and exposed breast were all scraped down
to the wood, then repainted. The baby Jesus has nothing more authentic than
his eyes peeking out of a sea of red and his toes protruding from the
restoration.
"The Portrait of Architect Carnot," long thought to be a late-15th century
original, is exposed in the show as a fake by Jef van der Veken, Belgium's
standout restorer from the 1930s to 1960s. It was first scraped bare to the
extent that scientific analysis could not make out what was originally
underneath, then painted again from scratch.
Flemish Primitives often stun admirers with the way they can bring a lush
garment to life -- fur, velvet and embroidery so real you can practically
feel it.
In the case of the "Rest on the Flight to Egypt," by an unknown 15th-century
master, the technique is beautifully shown on the Madonna's forearm, where
she cradles the child.
Too bad the detail is van der Veken's work. Joseph with the donkey in the
background? A figment of van der Veken's imagination.
"It might well have been that van der Veken did not so much want to restore
a damaged work as to increase the value of an average work," the catalog
says.
Van der Veken was behind the restorations of four of the six paintings in
the show. But there were other restorers almost as accomplished as him.
Without the help of science, it would be impossible to see the difference
between the restorer's touch and the historic master Petrus Christus in the
two other paintings in the show.

"The use of the paintbrush is so virtuoso, the choice of coloring so perfect
and the command of drawing so complete that one didn't see the difference
between the two-thirds the restorer was responsible for and the one-third
from Petrus Christus," the catalog says.
Van der Veken's best known work from his long career is a total fake -- and
known as such.
After the panel of the Just Judges of van Eyck's masterpiece, "Adoration of
the Mystic Lamb," was stolen in 1934, van der Veken was called upon to paint
a copy.

His work was so perfect that even now tourists gaze at the panel in the
Cathedral of Ghent and find it impossible to spot differences in style
between it and the other panels of the painting. Exactly how many Flemish
Primitives van der Veken restored during his long career, which ended with
his death in 1964, is not known.

For many lovers of Flemish art, the exhibition raises troubling questions.

Some 40 years ago, this Associated Press reporter made regular visits as a
young boy to the Groeninge, always stopping at van Eyck's "Madonna With
Canon van der Paele," perhaps the greatest Flemish Primitive work. I often
gazed at the detail of van der Paele's glasses in front of a prayer book,
the deviation supposedly showing the man's myopia.
Across the centuries, it created a bond between me and history.
Now I learn from Borchert that van der Veken worked on it, too.
It is "shocking for those who believe in authenticity," Borchert said. He
said van der Veken's restoring of the van der Paele work was less intrusive,
but added that a series of other restorers had also worked on it in the
past.
Excessive restoration of the type exposed in the Groeninge exhibition was
specifically a phenomenon of the 1930s to 1950s. "We had a group of
extremely talented conservators who in their restorations crossed what we
would consider an ethical line," Borchert said.
But kings and churches through the ages have had nudity painted over in
times of religious intolerance. More recently, the luminous restoration of
Michelangelo's Sistine Chapel has torn apart the art world, with critics
saying the retouching inevitably washed away original brushstrokes and added
elements of creative interpretation.
Even if some may be outraged, a younger generation raised on digital
enhancers may take it well in stride.
"You would not know the difference," said Robert van Parijs, 16. "I don't
feel cheated."

"Fake or Not Fake" runs at the Groeninge Museum through Feb. 28.

http://www.hollandsentinel.com/


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Manischer Kunstdieb vor Gericht: Fast stolz auf Zerstörungstaten

(Translation at below)


Kunstfreunden stockte der Atem: Zum Prozessauftakt gegen einen der wohl
schlimmsten Kunstdiebe der Kriminalgeschichte wurde heute vor dem
Straßburger Strafgericht noch einmal das ganze Ausmaß des Falles deutlich.
Bis zu 1,5 Milliarden Euro sollen nach einem Gutachten die Kunstwerke wert
sein, die der Angeklagte Stéphane Breitwieser (33) bei seinen jahrelangen
Beutezügen quer der Europa von 1995 bis zu seiner Festnahme 2001 stahl -
auch in Deutschland. Das Unfassliche: Ein Teil der Kunstwerke landete im
Müll oder einem Fluss.

Breitwieser demonstriert vor Gericht ein gutes Gedächtnis und eine große
Leidenschaft: Die Kunst. Ein schlechtes Gewissen scheint der Elsässer, der
zuletzt als Kellner gearbeitet hatte, hingegen nicht zu haben. Geradezu
stolz berichtet er von seinen Beutezügen durch Europa. Seine Stimme ist
fest, der Blick auf Richterin Anne Pauly gerichtet. An jedes Detail seiner
Beutezüge durch Museen, Kirchen, Versteigerungshallen und Galerien kann er
sich erinnern und gibt bereitwillig Auskunft.

«Dieses Stück musste ich klauen, es war unangemessen gelagert und schlecht
gesichert», antwortet er auf Paulys Frage nach seiner Motivation. Er sei
süchtig nach Kunst und habe nur deshalb geklaut. Die insgesamt 239 Werke
hortete er in der gemeinsamen Wohnung der Mutter bei Mülhausen. Verkauft
wurde nichts. Seine Mutter, die genauso wie die Ex-Freundin Breitwiesers
ebenfalls angeklagt ist, warf sie nach der Verhaftung ihres Sohnes südlich
von Straßburg in den Rhein oder in den Müll.

112 Objekte im Wert von schätzungsweise 45,7 Millionen Euro wurden gefunden,
der Rest scheint für immer verloren - darunter Meisterwerke von Albrecht
Dürer und Antoine Watteau. Einige Gemälde zerstörte die 53-Jährige mit einem
Hammer oder einem Messer. «Ich wollte meinen Sohn bestrafen für das Böse,
das er getan hat», sagt sie. Für sie sei das alles alter Kram ohne Wert
gewesen.

Breitwiesers Mutter ist wegen der Zerstörung der Kunstwerke angeklagt.
Außerdem wird ihr und der Ex-Freundin ihres Sohnes vorgeworfen, die
Diebstähle verheimlicht zu haben. Breitwieser muss sich in Straßburg nur für
einen Teil seiner Beutezüge verantworten: 20 Diebstähle in Frankreich und
drei Taten in Dänemark und Österreich aus den Jahren 1999 bis 2001. Der
Schätzwert der dabei gestohlenen Kunstwerke beträgt «nur» 10 bis 15
Millionen Euro. Andere Taten sind inzwischen verjährt.

Die Beziehung Breitwiesers zu seiner Familie steht im Zentrum der
Straßburger Verhandlung. «Meine Eltern sind früher immer mit mir in Museen,
Kirchen und Schlösser gegangen. Ich war begeistert von der Kunst.» Als sein
Vater die Familie verließ, habe er seine Mutter beschützen wollen. 1995 fing
er an, Kunstwerke zu stehlen. Aus Leidenschaft zu den schönen Dingen, die er
sich nicht leisten konnte, gibt der Kunstliebhaber zu Protokoll. «Nur beim
ersten Mal hatte ich Angst», sagt er ruhig.

Breitwieser ging immer am Morgen als erster in die Museen und klaute, was
scheinbar ohne großes Risiko zu stehlen war. Er öffnete Vitrinen und schnitt
Gemälde aus ihren Rahmen, steckte sich die Werke in den Rucksack oder die
Manteltasche und verschwand. Seine 33- Jährige Freundin soll ihn bei einigen
Taten begleitet haben. Vor Gericht streitet sie den Vorwurf allerdings ab.
Vorherige Erkundungen tätigte der Kunst-Kleptomane nie. Dafür ging er an
einige Tatorte zurück, in denen ihm der Diebstahl besonders leicht gefallen
war.

Die Mutter bestreitet ein inniges Verhältnis zu ihrem Sohn. Sie habe sich
vor ihrem zuweilen aufgebrachten Sohn gefürchtet, aber immer geglaubt, die
Kunstwerke seien gekauft. Von 1996 bis 2001 brachte der heute 33-Jährige
regelmäßig Bilder, Statuen, Gefäße und Münzen in die gemeinsame Wohnung bei
Mülhausen.

Breitwiesers Diebesserie fand ein jähes Ende, als er im November 2001 nach
einem Diebstahl aus dem Richard-Wagner-Museum in Luzern verhaftet worden
war. In der Schweiz wurde er wegen Diebstahls von 69 Kunstwerken aus Museen
und Galerien zu vier Jahren Haft verurteilt und im Juli 2004 an Frankreich
ausgeliefert. Nun erwartet ihn eine Gefängnisstrafe von drei Jahren. Die
Urteile gegen ihn, seine Mutter und seine Ex-Freundin werden an diesem
Freitag (7.1.) erwartet.

gs/dpa

http://www.lawchannel.de/


Google translation

Mani art thief before court: Nearly proudly on destruction acts


Art friends came to a hold the breath: The trial prelude against one of the
probably worst art thieves the crime film-alga-laminated today criminal
court became again the whole extent of the case clear before the
Strassburger. Up to 1.5 billion euro the works of art should be worth, those
the accused Stéphane Breitwieser (33) with its booty courses for many years
crosswise that Europe from 1995 to its arrest 2001 stole - also in Germany
after an appraisal. The Unfassliche: A part of the works of art landed in
the garbage or a river.

Breitwieser demonstrates a good memory and a large passion before court: The
art. A bad conscience seems the Native of Alsace, who had worked last as a
waiter not to have however. Almost proudly it reports of its booty courses
by Europe. Its voice is firmly, the view of Richterin Anne Pauly arranged.
Of each detail of its booty courses by museums, churches, auction halls and
galleries he can remind and gives themselves readily information.

"I had to klauen this piece, it was stored and badly secured inadequate",
answer he to Paulys question about its motivation. It is addicted after art
and only therefore geklaut. Those altogether 239 works hoarded it in the
common dwelling of the nut/mother with Muelhausen. Nothing was sold. Its
nut/mother, that is likewise accused exactly the same as the ex friend
Breitwiesers, threw it after the arrest of its son south of Strasbourg into
the Rhine or into the garbage.

112 objects in the value of roughly 45.7 million euro were found, the
remainder seem always lost - under it masterpieces of Albrecht Duerer and
Antoine Watteau. The 53-Jaehrige with a hammer or a measurer destroyed some
paintings. "I wanted to punish mine son for the bad, which he did, says"
her. For it that was all old stuff without value.

Breitwiesers nut/mother is accused of the destruction of the works of art.
In addition you and the ex friend of their son are accused the thefts to
have concealed. Breitwieser must answer for itself in Strasbourg only for a
part of its booty courses: 20 thefts in France and three acts in Denmark and
Austria from the years 1999 to 2001. The estimated value of the works of art
stolen thereby amounts to "only" 10 to 15 million euro. Other acts are in
the meantime fall under the statute of limitations.

The relationship Breitwiesers with its family is located in the center of
the Strassburger negotiation. "my parents in former times always went with
me into museums, churches and locks. I was inspired by the art." When its
father left the family, he had wanted to protect its nut/mother. he began
1995 to steal works of art. Made of passion to the beautiful things, which
he could not afford, the art lover gives to minutes. "only with the first
time I had fear", say he calmly.

Breitwieser always went in the morning as the first into the museums and
klaute, which was to be stolen apparently without large risk. It opened
showcases and cut paintings from their frameworks, was themselves the works
into the backpack or the manteltasche and disappeared. His 33 year old
friend is to have accompanied it with some acts. Before court it argues
however off the reproach. The art Kleptomane never transacted previous
investigations. But it decreased/went back to some scenes, in which the
theft was particularly easily pleased it.

The nut/mother denies an intimate relationship to her son. She was afraid of
her occasionally applied son, but always believed, the works of art are
bought. From 1996 to 2001 that brought today 33-Jaehrige regularly pictures,
statues, containers and coins into the common dwelling with Muelhausen.

Breitwiesers thief series found a sudden end, when he had been arrested in
November 2001 after a theft from the Richard Wagner museum in Luzern. In
Switzerland he was condemned because of theft by 69 works of art from
museums and galleries to four years detention and delivered in July 2004 at
France. Now a term of imprisonment of three years expects it. The judgements
against it, its nut/mother and his ex friend become on this Friday (7,1.)
expected.

gs/gs/dpa

http://www.lawchannel.de/

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Altarpiece Theft Inquiry Inconclusive

By Laura Banish
Journal Staff Writer

    The case of how a stolen 16th century Peruvian altarpiece wound up in
the late Ron Messick's Santa Fe art gallery may never be solved.
    Almost three weeks after Messick's death from cancer, a grand jury
investigation into the transfer of the priceless altarpiece was
discontinued, said Mark Donatelli, the art dealer's lawyer.
    On Thursday, Messick's partner Paul Rochford— on behalf of Rochford &
Messick Fine Arts— entered into an agreement with the U.S. Attorney's
Office, Southern District of New York, in which the altarpiece will be
returned to Challapampa, Peru, and all documents given to the federal
government by the gallery will be returned.
    According to a written statement signed by Rochford, he looks forward,
"as Ron would have also, to confirmation that the altarpiece is placed in
its original location."
    The piece, which depicts a pair of winged saints and cherubs, has been
locked away in El Paso since Messick turned it over to U.S. Bureau of
Immigration and Customs agents in May 2003.
    The altarpiece is believed to be the work of renowned South American
artists Bernardo Bitti and Pedro de Vargas. But it has never been clear how
the piece arrived in Santa Fe, where it was displayed at the Canyon Road
gallery and in Messick's home.
    Federal authorities said it was smuggled illegally into the United
States after being stolen from Challapampa village during church repairs in
2002.
    However, an appraiser's report prepared for Messick maintains that the
piece entered the United States in 1961 as part of a collection from Spain.
The report says the altar was then sold to Vladamir Haustove of Artweave
Gallery in Nyack, N.Y., and purchased in 2000 by Arizona art dealer Paul S.
Shephard.
    Attorneys for Shephard have said Shephard neither owned the piece nor
sold it to Messick.
    A Journal investigation found that there has never been a business
permit for the Artweave Gallery in Nyack, N.Y.
    The Journal also found that the altarpiece— or at least an identical
altar screen attributed to Bitti in the church at Challapampa— was featured
in a well-known art textbook published in 1985.
    Messick's attorneys have never said how he obtained the altarpiece.
    Donatelli, Messick's attorney, said Messick checked official lists of
stolen art and antiquities before acquiring the piece and found no reports
that it was stolen.
    Donatelli said it wasn't until recently that Rochford received
"credible, convincing" information from the U.S. Attorney's Office showing
that the altarpiece belonged to the Peruvian village and should be returned.
    According to a written statement, "Prior to Ron Messick's death, Ron
directed Paul to carry through with their original plan (to return the
altar) in the event such information was received later."
    A grand jury reportedly convened to review the case in May 2003. Federal
authorities have said little about the case since.
    In a telephone interview Thursday, Jane Levine, an assistant U.S.
attorney for the Southern District of New York, said she could not comment
on the investigation or even confirm that an investigation exists.
    "I can't answer or comment on a grand jury investigation, if there is
such an investigation," she said.
    Calls to the U.S. Bureau of Immigration and Customs Enforcement offices
in Albuquerque and El Paso were not returned Thursday.
    Donatelli said that, to his knowledge, no one has ever been charged in
the case.

Albuquerque Journal 

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