Bill Anderson, Art Guard

 

On Friday, two paintings by Vincent Van Gogh stolen in a 2002 major art theft were

	Congregation Leaving the Reformed Church in Nuene.

recovered following an investigation into a group linked to the Italian mafia. The Naples-based Camorra crime clan was discovered to be in possession of the "Congregation Leaving the Reformed Church in Nuene" and "View of the Sea at Scheveningen" stolen from Amsterdam's Van Gogh Museum.

The Art of Selling Stolen Art

Once again we saw experts in the field question the rationale of thieves who think they can profit from the theft of such works. It is certainly true that very few dealers would even entertain the idea of transacting a sale of works of this order of value and prominence. The vast majority of dealers would report even a sniff of illegality.  In that sense it would appear to be a dead end game for anyone thinking they can make a quick $30 million. Therefore, the conclusion is that people who attempt to steal or succeed in stealing and holding stolen art for a period of time are unsophisticated and naïve to the workings of the art market.

 

A Change in the Playing Field?

But hold on. Is that to say the frequency of major art thefts will decline? Or that we should take comfort in the fact that stolen works will invariably resurface? Or that people who steal are smart enough to see the writing on the wall? I would not bet on it, nor should the art world.

A host of potential disappointments awaits those who think the climate has changed. We know with pretty much certainty how the 14 works were stolen from the Gardner in 1990. By now we're also pretty certain of who did it and that a person or persons associated with the art theft know where the paintings are. If a $5 million reward isn't enough to cough them up, the chances that they will be found diminishes greatly. Insurance companies will claim that they no longer pay ransom for stolen art. But why would they admit to that? Any knowledge of that policy would simply encourage more attempts.

 

A Zero-sum Game

If the Gardner works are found they will have been out of the public eye for over 25 years. The Van Gogh's found in Italy were gone for a mere 14. It's likely that the Warhols stolen from the Springfield Art Museum will surface. But when? And at what cost? There is always the possibility that masterpieces will suffer the fate of those stolen from Rotterdam's Kunsthal Gallery, including works by Lucian Freud, Gauguin, Matisse, Monet and Picasso. The evidence is very strong they were incinerated to cover the tracks of the thieves. There are over 100,000 works of art in the Art Loss Registry. All but a few pieces are likely never to be seen again.

It's not okay to be sanguine about the threat of major art theft. The downside is too great to feel there's no rational motivation for theft, and recent history shows that incidents of art theft are in fact on the rise. Fine art works are treasures that the world values very highly, and to dismiss their vulnerability simply because it doesn't make sense to steal them is a losing bet.

 

Used with permission. Posted October 4, 2016 on the Art Guard Blog 

To learn more visit the Art Guard website at http://www.artguard.net/ 

 

MS 008: Buy In: Getting All of Staff to Support Preservation

March 6 to 10, 2017

Instructor: Helen Alten

Description:

To get anything done in your museum, you often need to get other staff to support the idea. All too often, preservation is left to one or two staff members and others believe it doesn't apply to them. For example, it is hard to successfully implement a pest management plan without full staff support. Everyone must buy into the notion of preservation. But how? Readings will introduce some ideas and participants in this course will brainstorm with Helen about what works, what might work - and what doesn't.

 

March 6 to 31, 2017

Instructor: Karin Hostetter

Description:

Volunteers are essential for most non-profit institutions. But good volunteers aren't born -- they are made. Even though they don't get paychecks, it takes time and money to have effective volunteers. Fundamentals of Museum Volunteer Programs teaches the basics of a strong volunteer program. Topics include recruiting, training and rewarding volunteers, as well as preparing staff. Instruction continues through firing and liabilities. Participants will end up with sound foundational knowledge for starting a new or strengthening an existing volunteer program based on a nine-step process.

 

MS 203: Museum Storage Techniques

March 6 to 31, 2017

Instructor:  Helen Alten

Description:

Is your collection stacked, packed and stressed? Museum Storage Techniques has the solution. The course builds on its sister course, Museum Facilities and Furniture, which looks at the bigger storage environment.. The Museum Storage Techniques course emphasizes the needs of individual objects and collection groupings. Guidelines for specific materials are provided. Participants learn about storage materials and mounts and the most effective use of trays, drawers, shelves and cabinets.

 

MS 215: Care of Archaeological Artifacts from the Field to the Lab

March 6 to 31, 2017

Instructor: Diana Komejan

 

MS 001: The Problem with Plastics

April 10 to 14, 2017

Instructor:  Diana Komejan

Description:

As we march boldly toward the 22nd century, artifact collecting includes that most fragile of materials - plastic. Not only is it in our collections, but it is used to house our collections, too. What problems have you seen? What problems have others seen? What materials are best? What can we, as caretakers, do to minimize long-term damage? Join Diana in this mini-course for discussing care and deterioration of plastics. Bring any questions you have about plastics in your museum.

 

MS 104: An Introduction to Collections Preservation

April 3 to 28, 2017

Instructor:  Helen Alten

Description:

Every museum professional needs a solid foundation in preservation principles and techniques. Introduction to Collections Preservation provides an overview of current preservation issues from environmental monitoring to collection cleaning, exhibit mounts and storage furniture. Participants learn about every aspect of the modern museum and how the building, staff and fixtures affect preservation. Subjects include the agents of deterioration, risk management, object handling and transport, object labeling, exhibit lighting, security, emergency preparedness, materials for storage and display, storage and exhibit philosophies, and condition assessments.

 

 

MS 209: Collections Management Policies for Museum and Related Institutions

April 3 to May 12, 2017

Instructor:  Kimberly Kenney

Description:

Acquiring and holding collections impose specific legal, ethical and professional obligations. Museums must ensure proper management, preservation and use of their collections. A well-crafted collections management policy is key to collections stewardship. Collections Management Policies for Museums and Related Institutions helps participants develop policies that meet professional and legal standards for collections management. Collections Management Policies for Museums and Related Institutions teaches the practical skills and knowledge needed to write and implement such a policy. The course covers the essential components and issues a policy should address. It also highlights the role of the policy in carrying out a museum's mission and guiding stewardship decisions. Participants are expected to draft collections management policies.

 

MS 214: Collections Management Databases

April 3 to 28, 2017

Instructor: Sarah Kapellusch

Description:

A collection database is a necessary tool for accurate and efficient collections management. In Collection Management Databases you will learn what characteristics distinguish one database system from another; how a database can be used to manage inventory, conservation, pest management, and other aspects of collections management; as well as how to prepare your collection and documentation for entry into a database.

 

MS 223: Care of Metals 

April 3 to May 12, 2017

Instructor:  Fiona Graham

Description:

Outdoor sculpture, silver tea service, gold jewelry, axe head, wheel rim - metals are found in most museum collections and may be stored or displayed indoor or outdoors depending on the object. Learn how to identify different types of metal and their alloys. Gain an understanding of how and why metals deteriorate and methods for preventing deterioration from occurring or continuing. The pros and cons of different popular treatments will be covered along with recommendations for the least damaging approach to treatment. Care of Metals provides a simplified explanation of the chemistry and structure of metals, explaining the importance of the galvanic series and electrochemistry in care strategies. Starting with an overview of the history and function of metals and how they are made, the course will cover guidelines for handling, labeling, exhibiting and storing metals. An overview of treatments, including cleaning, used on metals and how appropriate they are for the long-term preservation of the metal object will help students make care decisions when consulting with conservators.

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