OCTOBER 4 - 5, 1997


- Efforts to verify Gardner photos fail / Evidence on stolen art is
called inconclusive

- park's historical legacy is endangered (Everglades National Park)
- Thieves plunder treasure from the ruins of Assisi's glory. (Chorus of condemnation grows as gross inefficiency, neglect and theft take their toll on precious remnants of Italy's vulnerable artistic heritage)
- Fears of 'Big One' fuelled by sheer strength and number of tremors
- Published photos may show stolen Rembrandts (the Gardner secretly met with Youngworth in New York last month and gave him $10,000 to facilitate the return of the stolen paintings)
- Short bibliography of publications about forgery of art
- query: byzantine-art, stolen or looted in northern Cyprus during and after the war.
- Man who stole to buy clocks faces prison time

- Published Photos May Show Rembrandts Museum Pursues Stolen Art
- Agents said to get stolen-art photos

- Tyrannosaurus Rex Fossil Sold for $7.6 Million
- Neolithic gold jewelry to go on display
- National's 40m Rubens could be fake
- books on fakes and forgeries


Efforts to verify Gardner photos fail
Evidence on stolen art is called inconclusive
By Stephen Kurkjian, Globe Staff, 10/03/97

A day after the Isabella Stewart Gardner Museum turned down their
request to examine purported photos of two stolen Rembrandts, ABC
News and the Boston Herald yesterday asked New York's Metropolitan
Museum of Art and Harvard's Fogg Museum to help them authenticate the
pictures. But the efforts failed, according to officials at both
museums. An official at the Metropolitan Museum of Art said the
photos ABC News offered them were not of sufficient quality, and a
preliminary examination was ''inconclusive.'' Meanwhile, James Cuno,
the Fogg Museum's director, said that he had declined a request by
Herald reporter Tom Mashberg to examine copies of the photos - and
grain-sized chips of paint. Yesterday morning, Cuno said, Mashberg
visited the museum and asked the head of its conservation center to
analyze the purported evidence. But Cuno said when he was told of the
request he told the reporter to take the material to the Gardner
Museum or the FBI. ''The [Gardner] museum is the rightful owner of
these paintings and they should be the ones determining whether this
material is authentic or not,'' Cuno said. ''And the FBI has the most
advanced equipment for making such verifications.'' Joan Norris, a
Gardner Museum spokeswoman, criticized Mashberg and the Herald.
''We are amazed and appalled that someone who would claim to have
paint chips from the stolen works of art as well as photographs
[would] not turn them over to the Gardner,'' she said. Earlier
yesterday, Gardner's director Anne Hawley, said any samples taken
from the precious artwork could impair its restoration. ''Any
fragments of paint, ground, fabric or wood should be carefully
retained with the appropriate artwork,'' Hawley said. She said
authenticating a painting by analyzing paint chips is impossible; at
best, she said, it would show only the time period in which that
material was used. ''Positive authentication can only be determined
through an examination of intact artwork,'' she said. Still, Hawley
emphasized that the musuem is anxious to view any photographs of the
paintings - only if the Herald and ABC News both dropped their
conditions. Both news organizations wanted exclusive rights to report
the results of the museum's analysis. ''We ask that such [news]
organizations put civic responsibility before profit motives and
assist the Gardner in restoring its missing works to their rightful
place in the galleries,'' Hawley stated. An ABC News representative
said yesterday that the news organization was in ''ongoing
negotiations'' with the Gardner. A secretary for Herald Editor Andrew
F. Costello Jr. said he would have no comment. But a source familiar
with the case said the Herald is considering turning over the
photographs without any conditions next week - after they are
examined by an independent expert. Earlier this week, according to
the museum, representatives from the Herald and ABC News said they
were in possession of several photos of Rembrandt's ''The Storm on
the Sea of Galilee'' and ''Lady and Gentleman in Black.''
The Rembrandts were among 13 pieces of art stolen from the Gardner
Museum in March 1990. The art heist was the largest in history.
Neither news outlet would say how they obtained the photos. But
William P. Youngworth III, an antiques dealer from Randolph who is at
the center of the controversy, told the Globe in August that he had a
roll of film of the stolen artwork. Youngworth, who has since refused
Globe requests for interviews, has spoken frequently with the Herald
and ABC News. On Wednesday, Youngworth was convicted in Norfolk
Superior Court on possession of a stolen van. A repeat felon,
Youngworth now faces 15 years in prison for being a habitual
offender. While the state charges are unrelated to the Gardner case,
they could be crucial to negotiations between Youngworth and federal
authorities, intent on recovering the art. Before his trial,
Youngworth said he would be willing to help them -if authorities had
the state charges dismissed, and released convicted art dealer Myles
T. Connor Jr. Martin K. Leppo, Youngworth's lawyer, said he has not
spoken with Youngworth or investigators for several weeks. But he
said a compromise on Youngworth's sentence can help both sides get
what they want. This story ran on page B01 of the Boston Globe on
10/03/97. Copyright 1997 Globe Newspaper Company.

(Miami Herald)

Even park's historical legacy is endangered
Herald Staff Writer
Roaches, silverfish and humidity are eating into leather-bound,
gold-leaf copies of volume one, book one of The Auk, first printed in
1884 by the American Ornithologists' Union. A beautifully colored
print of a great white heron, done in 1832 by John James Audubon with
Key West in the background, is kept in a locked steel drawer in a
room with a double-padlocked, jail-cell door. Original journals,
papers and reports by long-dead researchers are stacked about. Some
are undocumented, possibly lost, easily removed. All of it belongs to
you. You just don't know it. Or even about it. Chances of seeing it?
Remote. Hidden away in two research buildings at Everglades National
Park, far from the general public, are twin treasures worth more than
a pirate's hoard: a darkened, locked museum and a defunct library.
Both contain a wealth of historic and scientific material that is
only rarely seen, despite being 10 miles southwest of
Homestead-Florida City. One building, the library, is not
climate-controlled. No one knows for sure what it contains. It was
last inventoried in 1976. Then it held more than 5,000 volumes,
10,000 documents and 75 periodical titles. Shelves are covered in
plastic sheets today. Both buildings, including the museum with some
500,000 archaeological and natural history objects from South
Florida's four national parks, were badly damaged in 1992 by
Hurricane Andrew. No staff librarian has been employed since the late
1970s. No one can remember the date. Subscriptions to periodicals
have been stopped since 1992. The absence of a staff and repeated
budget cuts have spawned a ``silent killer'' that is claiming the
park's intellectual resources, said Dr. Walter Meshaka. A
herpetologist, Meshaka has been given the title of supervisory
curator of the park's three-room museum. ``It's embarrassing,'' said
Bob Doran, the park's assistant research director, as he toured the
disarray of the nearby library. ``I'm showing you our dirty
Putting it on line:
Slowly, some of the rarest information is being placed on line and
made available electronically on a Web-based Internet library under
the direction of Florida International University. This would make
access worldwide. But it is a costly, tedious process with only
partial funding. Doran estimates it would cost $500,000 to
electronically store everything. Meanwhile, insects and the elements
have their way on the books and papers. ``There is a body of stuff
that needs to get moved,'' said Gail Clement, project director of the
new Everglades Information Network and assistant university librarian
at FIU. ``We can't move fast enough.'' Doran says that a 1.5
million-acre wilderness park is not the place for a library.
``We can't afford a library. We don't know crap about managing a
library,'' he said. In his view, the park should keep on hand only
specific scientific reference materials and rely on electronic data
for everything else. ``To have it just to have it, to put it in a box
and store it in a box, we should be soundly criticized.''
Meshaka is opposed to such a notion. He would like to see a full-time
librarian and financial support to better secure and share the
historic material. ``The American public has a real treasure here,''
said Meshaka. ``It belongs in the park. If it's of the Everglades, it
belongs in the Everglades.''
Ecology research:
Research into the fragile and always-changing ecology of South
Florida has been part of the mission of Everglades National Park
since it was dedicated 50 years ago this December by President Harry
Truman. What few know is the extent and character of the materials
stored there. Locked cabinets as well as steel drawers and shelves
hold everything from Calusa Indian pottery to 100-year-old animal
specimens to poisonous snakes preserved in solutions of ethanol to
drawers full of feathered hawks from the 1950s. There is the
silver-tipped, carved walking stick of Dr. Samuel Mudd, the physician
who in 1865 treated the broken leg of Lincoln assassin John Wilkes
Booth and later served time in the federal prison at Fort Jefferson
in the Dry Tortugas. On the shelves is an original copy of Marjory
Stoneman Douglas' River of Grass, with a salutation and signature of
the author. ``The park service owns some of the most amazing,
culturally significant stuff around,'' said FIU's Clement. She said
one national park, Mesa Verde in southwest Colorado, had its
collection appraised and the value was set at $1 million.
The single Audubon print at Everglades National could be worth ``a
five-figure sum,'' according to Becky Smith, archivist at the
Historical Museum of Southern Florida.
Most books and library materials are kept in the unused,
dysfunctional library at the Everglades National's Ironi Building. It
is four miles from the park's main entrance and visitor's center.
The museum, which includes two hand-made wooden Indian dugout canoes,
cannonballs and rare bottles washed up over the years at Biscayne
National Park, is in a climate-controlled (65 degrees), windowless
section at the adjacent Daniel Beard Research Center.
By appointment only:
Technically, all the material is public property and available for
viewing or reading. But by appointment only. Other than park service
or academic users, the number of visitors ``is less than half a
dozen'' a year, Meshaka estimated. The BBC visited last week.
``We don't advertise it. Nor should we,'' said Meshaka. First
priority is park administrators, staff, scientists and academicians.
With no staff, it is difficult to serve the public, he said.
The park's role is to be ``a guardian'' for the American public.
He noted that bird specimens from the turn of the century stored at
the park became invaluable recently during research into mercury
levels. Collecting material, particularly in the area of natural
history, and saving it in the domain of the park ``is like money in
the bank,'' Meshaka said. ``You put money in the bank for a rainy
day. You never know when you may need to use it.''
The historical materials may not even be on display during the park's
celebration of its 50th anniversary in December.
``No. Until there is adequate security, no,'' said Meshaka. ``No
matter how secure it supposedly is, no matter how much insurance it
has, when it's gone, it's gone. ``If we break up any part of the
collection, we can never get it back again.''
This is one of a series of articles about Everglades National Park
that began in September and will continue until the park's 50th
anniversary on Dec. 6. For past coverage, visit HeraldLink, The
Herald's online service:
Thieves plunder treasure from the ruins of Assisi's glory.
Chorus of condemnation grows as gross inefficiency, neglect and theft
take their toll on precious remnants of Italy's vulnerable artistic
heritage, writes Richard Owen in Assisi

THE shafts of light streaming through the high, narrow, stained-glass
windows in the Upper Church of the Basilica of St Francis reveal a
desolate sight: where Franciscan friars showed visitors the wonders of
the beginnings of Western art, rubble now covers the floor. Jagged
triangular holes gape in the ceiling where there were magnificent
frescoes by Giotto and Cimabue, the geniuses of 13th-century painting.
Yesterday the great building shook as another earthquake damaged the
campanile (bell tower), after the first double earthquake a week ago
which brought down the great vaulted ceiling of the Upper Church and
killed four people. More tremors are forecast, and so is rain. "Look
at that arch; one clap of thunder and the whole thing will come down,"
said a tense and red-eyed Costantino Centroni, Superintendent of Fine
Arts in Umbria.
In a frantic attempt to clear up last week's damage before another
collapse, mini-bulldozers are shifting the dust and masonry piled high
in the marble-floored interior, while workers in hard hats sweep up
remnants of fallen frescoes.
"This is scandalous, criminal," said Professor Federico Zeri, Italy's
leading art historian, and an outspoken critic of the art
establishment. "The pieces should be carefully sorted by hand. I saw
similar mistakes after the Second World War, for example when the
Mantegna frescoes in the Eremitani church in Padua were swept up after
bomb damage. But what can you expect? Italy's art treasures are in the
hands of people who are either cretins or corrupt, and in some cases
Guido Botticelli, Italy's foremost art restorer, said the damage was
greater because the frescoes had fallen from the ceiling rather than
the walls, and it would take years to piece together surviving
coloured fragments.
Part of the problem is that vital pieces are missing, either through
clumsiness or theft. Altogether 60 square metres of fresco have
disintegrated. The basilica, built as a double church in the Gothic
style after the death of St Francis in 1226, is cordoned off to keep
people out. But outside Adalberto Falletta, a journalist, holds blue,
green and gold fragments from a fresco, perhaps Cimabue's The Four
Evangelists above the main altar or Giotto's Doctors of the Church
above the door. A figure of St Matthew in the Cimabue work collapsed
into the nave below, as did a figure of St Jerome in the Giotto.
"I was given them by someone who just picked them up," he said in
disbelief. The fragments are now in the hands of the carabinieri. "A
normal guy, not a criminal type, just a tourist I think. But other
bits are in criminal hands. This place should have been guarded like
Fort Knox, instead of which priceless fragments are traded on the
black market".
A week on, Italy is searching its soul over its treatment of its
single most precious asset, its art treasures - il patrimonio. "Italy
just does not pay serious attention to the maintenance of its
monuments," said Bruno Zanardi, a restorer who worked for a decade on
the Giotto frescoes.
Under a shelter with a corrugated-iron roof, just outside the Assisi
basilica, volunteers in white cotton masks are sifting through dusty
mounds of rubble, putting aside anything which appears to be valuable.
"I cannot believe fragments have been stolen," said Paola Passalacqua,
one of the supervisors. "We are vigilant day and night."
But Antonio Paolucci, the former Culture Minister and currently
Superintendent of Arts in Florence, who has been put in charge of
post-earthquake restoration at Assisi, told me theft and mismanagement
"could not be excluded". He added: "Our resources are not enough to
look after the legacy we have been left."
The final tally of damage at Assisi may not be known for some time:
the great cycle of frescoes attributed to Giotto on the life of St
Francis appears intact, but there may be cracks covered by dust. The
frescoes in the Lower Church, which has a low vaulted ceiling and
which absorbed the tremors better, are undamaged. These include
Giotto's Nativity and Flight into Egypt, and Cimabue's Madonna
Enthroned between the Angels and St Francis. Cimabue's great cycle of
faded frescoes on the life of the Virgin in the Upper Church - which
the Renaissance writer Giorgio Vasari noted four centuries ago were
being "ravaged by time and dust" - appear untouched.
But there are structural cracks in many walls and fear of further
earthquakes. Assisi is not only a picturesque hill town, and the
fourth most popular tourist destination in Italy: it is the birthplace
of Western art, the place where the flat, stylised images of Byzantine
art gave way to individual humanistic portrayals, laying the
foundations for the Renaissance.
Professor Zeri's theory is that the humanisation of art at a critical
medieval turning point was not by chance ("Giotto did not get up one
day and say, 'today I paint in a different style',") but was part of
the Church's response to heretical beliefs denying the value of human
life on earth. "I believe Giotto and others were authorised to depict
human beings more vividly and emotionally to counteract infuential
heresies which said only life in the world beyond had meaning."
Professor Zeri is furious that original wooden beams "in perfect
condition" were replaced with reinforced concrete in the 1960s, making
the basilica suddenly vulnerable to earthquakes after hundreds of
years. "The same is true of buildings in Florence, including the Duomo
and the Pitti Palace, and they too are in danger. The elite which once
looked after our treasures has gone. There is no social discipline any
more, no one is punished for misdeeds."
Gianfranco Sassi, the public prosecutor in Perugia investigating the
deaths of two friars and two surveyors who were buried by the rubble a
week ago, is considering the charge that "faulty restoration"
contributed to, or even caused, their deaths.
Vittorio Sgarbi, an Italian MP and art collector, who made an early
inspection of damage to the Upper Church, points to a series of
disasters in the art world over the past 18 months: the fire which
gutted La Fenice opera house in Venice, the fire in the royal chapel
at Turin cathedral, the collapse of the superb Baroque cathedral at
Noto in Sicily. He believes they have "an almost metaphysical meaning,
premonitions of a millennial apocalypse, perhaps".
There has been widespread criticism of the Pope for attending a pop
concert with Bob Dylan in Bologna the day after the earthquake,
instead of going to Assisi. "The Vatican always said rock music was
Satanic," said La Repubblica. "Perhaps Assisi is retribution".
More prosaically, Signor Sgarbi says that priceless artworks are
leaving the country illegally, especially the 20 per cent in private
collections. "We need more controls to ensure that money - state
money, donations - is not spent corruptly or wasted. There are too
many crimes of taste in Italy - restorers using the wrong colours, the
wrong materials." At Nocera, not far from Assisi, a tiny, isolated
church with 15th-century frescoes was demolished after the earthquake.
"It was an international scandal," Signor Sgarbi said. "But no one
noticed. These treasures have never been properly catalogued or
photographed. The Assisi catalogue dates from the 1930s. Human error
does more harm than earthquakes; the church of San Gregorio in Celio
in Rome has been so badly restored it looks like a pizzeria, and the
restoration of the Bramante courtyard of the church of Santa Maria
della Pace [also in Rome] is a catastrophe: wrong flooring, wrong
stucco, they even put in modern lifts."
At Noto, stones from the cathedral dome carefully numbered by
restorers were recently found on a rubbish heap, about to be buried in
the foundations of a new primary school - possibly an attempt to
conceal evidence of Mafia involvement in the siphoning off of
restoration funds, which led to neglect. Even when fragments are
properly collected, says Professor Zeri, they often end up in
storerooms: thousands of pieces of the Tiepolo ceiling from the
Palazzo Canossa in Verona, damaged in the Second World War like the
Mantegna frescoes in Padua and the frescoes in the Camposanto chapel
in Pisa, are still in boxes. As Assisi braces itself for more tremors,
its steep cobbled streets are almost deserted: there are only a
handful of tourists in a town which normally has 4 1/2 million
visitors a year.
"This is an economic and humanitarian disaster as well as an artistic
one," said Lorenzo Capezzali, the spokesman at the Renaissance town
hall, just up the hill from the ruined basilica. All the churches are
closed, and only five "Poor Clare" nuns remain camping out in the
convent garden to guard the Basilica of Santa Chiara, the burial place
of St Clare, St Francis's devoted companion. Many houses bear
handwritten signs saying "uninhabitable" and banks and public offices
have transferred to Perugia, 15 miles away. "They may not be able to
return for three or four years," Signor Capezzali said.
Signor Paolucci vowed that the Government would "restore Assisi" in
time for the millennium when Assisi, like Rome, is expect to attract
millions of pilgrims.
However, Professor Zeri said: "The basilica will never be the same
again. The Assisi we have known, and which was handed down to us by
masters of genius 700 years ago, is no more."

Friday 26-09-97: First earthquake strikes at 2.33am, 5.5 on the
Richter scale. Minor damage. Secondary tremor at 6.49. While monks and
experts are inspecting damage, second, more powerful, earthquake hits
at 11.43, bringing down the ceiling in the Upper Church, killing four
people (two friars and two surveyors) and destroying frescoes by
Cimabue and Giotto.
Saturday 27-09-97: Further aftershocks. Rescue workers begin to
remove rubble from sealed-off basilica. Government sets aside $500
million for restoration and relief work.
Sunday 28-09-97: Church services held in open air, debate begins on
who is to blame and how restoration should proceed.
Monday 29-09-97: President Scalfaro visits earthquake zone. Perugia
public prosecutor opens inquiry into deaths.
Tuesday 30-09-97: Friars complain publicly that the judicial inquiry
is unnecessary, and say the priority should be restoration.
Wednesday 01-10-97: Franco Barberi, head of Civil Protection, tells
Umbrian mayors that he does not have enough resources to house all the
Thursday 02-10-97: Futher minor tremors.
Friday 03-10-97: Earthquake measuring 5.1 on the Richter scale hits
Umbria at 10.55am. Further damage to the basilica.
Saturday 04-10-97: Feast Day of Saint Francis.

Fears of 'Big One' fuelled by sheer strength and number of tremors
THE Assisi earthquake yesterday, measuring 5.1 on the Richter scale,
was felt in neighbouring Tuscany and in Rome. It brought down part of
the campanile on the Basilica of St Francis, and further damaged the
main façade's tympanum. Other historic buildings to be damaged
included the town's art museum, town hall, an institute for
handicapped children and a hospital. All were evacuated.
The National Geographical Institute said the epicentre was in
Colfiorito, a village six miles from Foligno, itself the epicentre of
last Friday's quakes. No deaths were reported, but four firemen were
injured, one seriously. The shock sent people in Perugia running into
the streets in panic, and the belltower on Foligno's town hall,
damaged a week ago, collapsed. An earthquake measuring 4.2 jolted
Arezzo in Tuscany on Thursday night. Enzo Boschi, a seismologist,
said that Umbria and the Apennines were used to small tremors, but
the strength and number of those now hitting Central Italy was
unprecedented. Assisi's basilica has been cordoned off all week while
restorers sift through rubble to try to retrieve 60 square metres of
damaged or destroyed frescoes. Walter Veltroni, the Deputy Prime
Minister, who is touring the area, yesterday praised the dedication
of rescue and restoration workers. Italian newspapers predicted
yesterday that it was only a matter of time before the country was
hit by the "Big One" - a quake comparable with those that struck
Messina in 1908, Friuli in 1976 and Irpinia in 1980.
Franco Barberi, head of the Civil Protection Unit, said that "in
Central and Southern Italy, 70 per cent of the territory is at risk".
The unit has provided "tent cities" for those in Umbria and Marche
whose homes have been declared unsafe. An estimated 150,000 are
sleeping in cars or tents. Franciscan friars at Assisi will still
celebrate the feast day of St Francis today, but in the valley below
the town outside the Church of Santa Maria degli Angeli.
Published photos may show stolen Rembrandts (the Gardner secretly met with Youngworth in
New York last month and gave him $10,000 to facilitate the return of
the stolen paintings)

BOSTON (Reuter) -- More than seven years after the biggest art
theft in U.S. history, the Boston Herald published detailed
photographs Friday which may show two missing masterpieces by
the Dutch painter Rembrandt. Two criminals -- jailed at the time
of the heist -- have said that they could broker the return of 11
stolen paintings, including works by Vermeer, Degas, Manet and the
two Rembrandts. In exchange, they want a $5 million reward,
immunity from prosecution and other legal considerations.
The Boston Herald said an unnamed source close to the two -- William
Youngworth III and Myles Connor Jr. -- supplied 25 photographs that
purport to show the two Rembrandts, as well as a handful of paint
chips and other information. Art experts who examined the
photographs on behalf of the Herald and ABC News, which also
received some of the photos, said they were 90 percent sure of the
authenticity of the paintings -- "Lady and Gentleman in Black" and
"Storm on the Sea of Galilee." "In my opinion, the paintings shown
here could not be forgeries," one specialist on Rembrandt, who
declined to be named, told the Herald. "The nature of the brush
strokes and the layering are convincing. The dimples and creases
visible on the photos are surely indicators that this work is on a
canvas." Officials from the Gardner secretly met with Youngworth in
New York last month and gave him $10,000 to facilitate the return of
the stolen paintings, the Herald said. Six months ago the museum,
which had no insurance on its collection, raised the reward for the
13 stolen works to $5 million from $1 million. Museum officials were
not immediately available for comment.
Copyright 1997 Reuters Limited. All rights reserved.

The following information was contributed by Sam Lanham

Tom Taylor's TEXFAKE.
Taylor), 1991. It is available from Amazon ( at $27.97
(regular price $40). Taylor is a recently retired, very scholarly
book dealer from Austin---dealt mainly in fine literature.
Early Texas material is heavily collected and brings big prices. The
item that eventually brought the forgeries to light was an early
printing of the Texas Declaration of Independence from Mexico. Only
one or two copies were known to exist. Then over a period of a few
years about 15 were sold to wealthy collectors and major libraries at
about $20-$25K each. Eventually, questions arose and TEXFAKE is the
story of that. As that story unfolded, the unprotected nature of many
Texas libraries became evident. Nobody knows how many thefts took
place from country libraries and even the Texas State Archives.
Needless to say, security has improved and purchasers are more
cautious around here now. All but a couple of the documents were
printed items from the Republic of Texas period (1836-1845) or
earlier. The principal later document discussed is Sam Houston's
proclamation calling the election for or against secession at the
beginning of the American Civil War (1861). I have one of the two or
three known originals of that document. I don't know who held the one
from which the forgery was made. A facsimile was produced from mine
in the 1960s by a reputable book dealer. No effort was made to use
old-looking paper and they sold for $1. I examined the forgery
carefully and was able to tell it was not made from the fascimile of
my copy. All in all, it's a sordid story of greed and
carelessness---on a par, I would say, with your current posting about
the Everglades library.
Sam Lanham (
Short bibliography of publications about forgery of art. Prices of
books that are still in print are found at:
('our Price' meaning Amazon's price).
Also see:

The Art Forger's Handbook Eric Hebborn / Hardcover /
Published 1997 Our Price:
$24.50 ~ You Save: $10.50 (30%)
Detecting Forgery : Forensic Investigation of Documents
Joe Nickell / Hardcover /
Published 1996 Our Price:
$18.87 ~ You Save: $8.08 (30%)
Fake? : The Art of Deception
Mark Jones (Editor) / Hardcover
/ Published 1990 Our Price:

The Lost Museum : The Nazi Conspiracy to Steal the World's Greatest
Works of Art.
Hector Feliciano / Hardcover /
Published 1997 Our Price:
$19.25 ~ You Save: $8.25 (30%)
Art Forgery : The Case of the Lady of Elche
John F. Moffitt / Hardcover /
Published 1995 Our Price:
$39.95 (Special Order)
The Commissar Vanishes : The Falsification of Photographs and Art
in the Soviet Union
David King / Hardcover /
Published 1997 Our Price:
$24.50 ~ You Save: $10.50 (30%)

Exhibiting Authenticity
David Phillips / Hardcover /
Published 1997 Our Price:
$59.95 (Not Yet Published)

The Forger's Art
Paperback / Published 1983
(Special Order)
The Forger's Art : Forgery and the Philosophy of Art
Denis Dutton (Editor) /
Paperback / Published 1983 Our
Price: $15.00 (Back Ordered)

Frauds, Myths, and Mysteries : Science and Pseudoscience in
Kenneth L. Feder /
Paperback / Published 1996 Our
Price: $19.95 (Back Ordered)
The Getty Kouros Colloquium : Athens,
25-27 May 1992
Angeliki Kokkou (Editor) /
Paperback / Published 1993
(Publisher Out Of Stock)
The Infanta Adventure and the Lost Manet
Andrew W. Brainerd / Hardcover
/ Published 1989 Our Price:
$49.95 (Special Order)

The Modigliani Caper : Fraud, Fun, Fiasco and Remorse in Modern Italy
Jon Bruce Kite / Hardcover /
Published 1995 Our Price:
$47.95 (Special Order)
Paintings : Genuine, Fraud, Fake: Modern Methods of Examining
R.H. Marinjnissen /
Hardcover / Published 1986

The Plunder of Art
H. Bhisham Pal / Hardcover /
Published 1992 Our Price:
$88.00 (Special Order)

Unmasking the Forger : The Dossena Deception
David Sox / Hardcover /
Published 1988 (Publisher Out
Of Stock)

Corpus Rubenianum Ludwig Burchard,
Part Xxiii : Copies After the Antique
M. Van Der Meulen, Ludwig Burchard (Editor) / Published
1993 (Hard to Find)

The Dali Scandal : An Investigation
Mark Rogerson / Published 1989
(Hard to Find)

Drawn to Trouble : Confessions of a Master Forger : A Memoir
Eric Hebborn / Published 1993
(Hard to Find)

Faking It : An International Bibliography of Art and Literary
Forgeries, 1949-1986
James Koobatian / Published
1987 (Hard to Find)

Faking It : Art and the Politics of Forgery
Ian Haywood / Published 1987
(Hard to Find)

Falsifications and misreconstructions of pre-Columbian art : a
conference at Dumbarton Oaks, October 14th and 15th, 1978
(Hard to Find)

The Genuine Article : The Making and Unmasking of Fakes and Forgeries
John Fitzmaurice and Mansfield,
John M. Mills / Published 1984
(Hard to Find)

The Great Dali Art Fraud and Other Deceptions
Lee Catterall / Published 1992
(Hard to Find)

True or False? Amazing Art Forgeries
Ann Waldron / Published 1983
(Hard to Find)

Why Fakes Matter : Essays on Problems of Authenticity
Mark Jones (Editor) / Published
1993 (Hard to Find)

query: byzantine-art, stolen or looted in northern Cyprus during and after the war.
From: Andreas Lenze <>
Send reply to:

Ladies and Gentlemen,
would you know anything about byzantine-art, stolen or looted in
northern Cyprus during and after the war? I am especially interested
in information about Aydin Dikmen and what his position is or was in
the norhtern part of the island. Please send e-mail messages to or to adress above. Thank you very much,

Man who stole to buy clocks faces prison time
By Larry Lewis
The clock struck midnight yesterday for a New Jersey business
executive who used $12 million he embezzled from his employer over
eight years to amass one of the world's finest collections of antique
European timepieces. Francis X. Vitale Jr., 53, who was a senior vice
president of the Engelhard Corp. in Iselin in Middlesex County,
pleaded guilty in federal court in Camden to diverting the money and
buying precious old clocks.
Prosecutors said Vitale owned more than 140 rare clocks, some dating
to the 17th century, some worth hundreds of thousands of dollars.
The executive told U.S. District Judge Joseph H. Rodriguez that he
had used his post with the New Jersey-based chemicals and metal
products conglomerate to finance his expensive and unusual hobby.
Investigators said Vitale had controlled a multimillion dollar budget
for communications and marketing at Engelhard. Beginning in 1988, they
said, he converted bills for the clocks he was buying into invoices
that appeared to be for company purchases.
All of the clocks were paid for with embezzled Engelhard funds,
prosecutors said.
Vitale also was the proprietor of Vitale & Vitale Ltd., a rare and
antique clock dealership and gallery in Spring Lake. He had the clocks
sent there, the government said, and placed them on display.
Vitale's theft was uncovered in 1996, and he was dismissed from the
company. The clocks were sold at auction through Christie's in New
York and London in October and November 1996. More than $8 million was
raised to help reimburse the company.
The former executive pleaded guilty to committing wire fraud and
evading about $3 million in taxes. He could be ordered to pay
restitution to his one-time employer when he is sentenced on Jan. 9.
Prosecutors said Vitale also could wind up with 10 years of federal
prison time on his hands.

"Antonia Kriks" <100525,>
Please send any information about Cyprus and crime, comitted during
or after the war 1974. I am especially interestes in Aydin Dikmen and
his position. Thank You very much, A.K

Published Photos May Show Rembrandts Museum Pursues Stolen Art
Museum officials secretly met Youngworth and gave him $10,000 to
facilitate return of the stolen paintings.
Connor has a history of brokering the return of stolen art, including
a Rembrandt taken in the 1970s from the Boston Museum of Fine Arts. B
O S T O N, Oct. 3 - More than seven years after the biggest art theft
in U.S. history, the Boston Herald published on Friday detailed
photographs which may show two missing masterpieces by the Dutch
painter Rembrandt. Two criminals jailed at the time of the heist
at Isabella Stewart Gardner Museum in Boston have said that they could
broker the return of 11 stolen paintings, including works by Vermeer,
Degas, Manet and the two Rembrandts. In exchange, they want a $5
million reward, immunity from prosecution and other legal
considerations. The Herald said an unnamed source close to the
two-William Youngworth III and Myles Connor Jr.-supplied 25
photographs that purport to show the two Rembrandts, as well as a
handful of paint chips and other information. 90 Percent Sure of
Authenticity In March 1990, thieves posing as police officers broke
into the Boston museum, tied up two security guards and stole 13
works, now worth more than $300 million. Art experts who examined
the photographs on behalf of the Herald and ABC News, which also
received some of the photos, said they were 90 percent sure of the
authenticity of the paintings . "Lady and Gentleman in Black" and
"Storm on the Sea of Galilee." "In my opinion, the paintings
shown here could not be forgeries," one specialist on Rembrandt, who
declined to be named, told the Herald. "The nature of the brush
strokes and the layering are convincing. The dimples and creases
visible on the photos are surely indicators that this work is on a
canvas." Youngworth Faces Up to 15 Years: Youngworth, 38, an antiques
dealer and convicted check forger, was convicted earlier this week of
possession of a stolen van and faces up to 15 years in prison for
being a habitual criminal. Connor, 54, has less than three years
remaining on a 15-year sentence for interstate transportation of
stolen art and conspiracy to smuggle cocaine. He has a long
history of brokering the return of stolen art works, including a
Rembrandt taken in the 1970s from the Boston Museum of Fine Arts.
Officials from the Gardner secretly met with Youngworth in New York
last month and gave him $10,000 to facilitate the return of the stolen
paintings, the Herald said. The museum, which had no insurance on its
collection, raised the reward for the 13 stolen works to $5 million
from $1 million six months ago. Gardner officials were not
immediately available for comment. Copyright 1997 Reuters. All rights
reserved. --------------------------------------

Agents said to get stolen-art photos
By Stephen Kurkjian, Globe Staff, 10/04/97
Photographs purportedly of two Rembrandt paintings stolen from the
Isabella Stewart Gardner Museum in 1990 were turned over to the US
attorney's office by the Boston Herald yesterday. According to sources
who asked not to be identified, the Herald provided a series of
photographs of the two paintings - ''The Storm on the Sea of Galilee''
and ''Lady and Gentleman in Black'' - to federal agents. However, the
Herald failed to turn over miniscule paint fragments that one of its
reporters showed to the head art conservator at Harvard's Fogg Museum
Thursday in an attempt to determine if they came from the stolen
paintings. Herald editor Andrew F. Costello Jr. declined to comment
last night. The federal agents are expected to turn over the
photographs to the Gardner early next week, possibly as early as
Monday, sources said. The photographs then will be analyzed and
compared with a series of color slides the museum has of the two
paintings. The Herald published several of the photographs yesterday,
with assessments from two unidentified art conservators attesting to
their likenesses to the authentic paintings. Joan Norris, a museum
spokesperson, declined to comment late yesterday on when the museum
expected to get the photographs. US Attorney Donald K. Stern also had
no comment on yesterday's developments, according to spokeswoman Amy
Rindskopf. The Herald reported it had received the photographs of the
two paintings - among 13 pieces of art stolen from the Gardner in a
daring heist March 18, 1990 - from a confidential source connected
with William P. Youngworth III and Myles J. Connor Jr. ABC News also
received a series of photographs from the same confidential source,
but its copies were not as clear as those given to the Herald. A
spokesperson for ABC News, who said Thursday that the network was in
''negotiations'' with the Gardner about turning over the photographs,
declined to comment yesterday. Both Youngworth and Connor have said
they could facilitate the return of the art if their demands are met.
Among those demands: the release from prison of Connor, a renowned New
England art thief; the dropping of unrelated state charges against
Youngworth, a Randolph antiques dealer with a long criminal record;
and payment to them of the $5 million reward offered by the museum for
the return of the art. A small part of the reward money already may
have been given to Youngworth. The Herald reported yesterday that a
museum representative had given Youngworth a check for $10,000 as a
downpayment on the reward a month ago in an unpublicized meeting with
museum officials in a New York hotel room. Persuaded by Youngworth's
assertions that he had access to the paintings, and that he was in
desperate financial straits with mounting legal and personal bills,
one of the officials wrote him the check. Later, Youngworth refused a
request from Rudolph Pierce, the museum's lawyer in the negotiations,
to turn over one of the lesser-valued artworks as a sign of good
faith, the Herald said. Martin K. Leppo, Youngworth's lawyer, said
yesterday he was unaware of the meeting or that money had been paid.
Leppo also said he did not believe federal officials had approved the
meeting or the paying of the money. Norris declined to comment on the
meeting yesterday. Youngworth's demands may change, however, with his
conviction in Norfolk Superior Court in Dedham earlier this week on a
charge of possession of a stolen van. That conviction, his third for a
major crime, makes him vulnerable for prosecution under the state's
Habitual Offender statute. If convicted, he would receive a mandatory
15-year prison sentence. Youngworth is being held in the Norfolk
County House of Correction awaiting trial on the habitual offender
charge this month. With negotiations between Youngworth and federal
officials stalled for several weeks, Leppo said he expected Youngworth
will now ask that the habitual offender charge against him be dropped
in exchange for his help in getting the artwork back. For that
scenario to take place, federal prosecutors would have to gain the
cooperation of Norfolk District Attorney Jeffrey Locke, whose office
is prosecuting Youngworth. Locke, who told The Globe that his office's
conviction of Youngworth had put federal prosecutors back in the
''driver's seat'' in their negotiations over the artwork, was
unavailable for comment yesterday.
This story ran on page B01 of the Boston Globe on 10/04/97. Copyright
1997 Globe Newspaper Company.

Tyrannosaurus Rex Fossil Sold for $7.6 Million
By Patrick Rizzo
NEW YORK (Reuter) - A dinosaur's 65 million-year journey reached
another milestone at a New York auction blockSaturday when the most
complete skeleton of a Tyrannosaurus Rex ever found was sold for $7.6
million. The fossilized bones of the Cretaceous-era carnivore, dubbed
''Sue'' after her discoverer Susan Hendrickson, were acquired by The
Field Museum of Natural History in Chicago, Illinois, after heated
bidding at Sotheby's Holdings Inc. Corporate sponsors backing The
Field Museum included McDonald's Corp, Ronald McDonald House
Charities, Walt Disney Co, the California State University System and
private individuals. The total price for the fossil after the auction
house's fee was $8,362,500. It was the highest price ever paid in
public auction for a fossil, a Sotheby's spokesman said.
``The original ``Sue'' skeleton will become a permanent component of
The Field Museum's world-class paleontology collections,'' said a
statement from the museum read by its president John McCarter.
``We see this as McDonald's gift to the world for the millennium,''
said McDonald's chairman Jack Greenberg in the statement.
Some 100 reporters, photographers and camera crews from international
news organizations attended Saturday's auction, almost outnumbering
the audience and potential bidders. The skeleton will be prepared in
public at the McDonald's Fossil Preparatory Laboratory to be
developed at The Field Museum. A replica of the completed skeleton
will go on display at Dinoland U.S.A. in Disney's Animal Kingdom at
Walt Disney World, Florida. The Tyrannosaurus Rex was auctioned for
Maurice Williams, a native American from the Sioux nation who lives
in Faith, South Dakota. Williams will receive most of the proceeds.
``Sue'' was excavated in 1990 and is nearly complete by
paleontological standards. The specimen is missing only her left arm,
left foot, a few verterbrae and a few dorsal ribs. The T-rex's bones
reveal evidence of a rough life. One of its leg bones shows signs of
healing after a break -- a life threatening injury for a predator. A
tooth fragment from a rival Tyrannosaur is stuck in a rib and it has
bite marks on its skull from what may have been her last struggle.
The auction of the Tyrannosaur caused vigorous debate about the
wisdom of selling large, rare fossil specimens. Scientists argue
while it would be nearly impossible to stop the sale of all fossils
-- the Empire State building is made of a stone containing millions
of small fossils -- there are dangers to scientific inquiry when
specimens like ``Sue'' are sold. ``Here's a spectacular specimen ...
virtually complete ... which tells a great deal about how dinosaurs
lived. And it has the potential to disappear from public view,'' said
Paul Olsen, professor of Earth and Environmental Sciences for
Columbia University's Lamont Doherty Observatory.
The Field Museum said the specimen will complement existing programs
in verterbrate paleontology at the museum.
Reut23:29 10-04-97

(Athens News Agency)

Neolithic gold jewelry to go on display
Athens, 04/10/1997 (ANA)
A unique, priceless collection of Neolithic gold artifacts seized by
police in a swoop operation as it was about to be sold overseas by
smugglers, was turned over to the State yesterday in a ceremony at the
culture ministry.
The priceless collection will be put on permanent display at the
National Archaeological Museum in early December.
The collection of 54 gold rings, beads and pendants, dating back to
the 5th millennium B.C., was about to be sold to a 'customer' abroad
for an estimated 2 billion dr.
Undercover police officers, posing as buyers, confiscated the
collection and arrested a private security guard and a Greek-Canadian
four days ago, after a six-month surveillance operation.
"The (objects) are of unique value, and fell victim to the most
extreme form of crime against our cultural heritage," said Culture
Minister Evangelos Venizelos at the ceremony, adding that they were of
"immense archaeological significance". This is the largest quantity of
gold jewelry of the Neolithic era ever found, according to Dr.
Ekaterini Dimakopoulou, director of the National Archaeological Museum
in Athens, an expert on the prehistoric period. The treasures weigh a
mere 232 grams in total, but their value to researchers of the
Neolithic age is immeasurable.

(Sunday Times)
National's 40m Rubens could be fake
by John Harlow and Waldemar Januszczak
SAMSON and Delilah, the Rubens masterpiece and one of the National
Gallery's most popular paintings, is unlikely to be the work of the
old master, according to a new analysis. The 17th-century picture,
which shows the biblical hero being shorn of his strength-endowing
locks by his enemies, is attributed by the London gallery to the
Flemish painter Sir Peter Paul Rubens. However, a fresh study of both
the painting and its history by a Polish scholar adds further
evidence to a growing suspicion in the art world that the National
Gallery's Samson and Delilah is more likely a copy by a student
working in Rubens's workshop in Antwerp. When the National Gallery
paid 2.5m for it at Christie's in 1980, it was the second most
expensive painting in the world, and - as an original Rubens - would
be worth at least 40m today. But as a near-contemporary copy it
would be worth less than a tenth of that. Neil MacGregor, director of
the National Gallery, admitted this weekend that the latest study was
a serious assault upon the authenticity of the painting. "Some of the
allegations about this painting, such as the recent suggestion that
we tampered with the evidence by changing its backing, were wild. But
this new evidence is respectable, and the scholar raises some serious
questions I cannot answer easily," he said. The Polish art historian,
Kasia Pisarek, who trained at the Sorbonne in Paris, has made a
lifetime study of Samson and Delilah. She has traced the history of
the painting, which was commissioned by Nicolaas Rockox, a wealthy
burgher of Antwerp, to hang above his fireplace in 1609.
The original painting vanished after the death of Rockox in 1640.
A similar painting, always credited to Rubens's pupil Jan van
Hoecke, was bought and sold throughout the next 200 years. It was
this painting, Pisarek argues, that was attributed to Rubens only
in 1929 when a Parisian auctioneer was desperately trying to sell
it to a German tobacco tycoon. In the National Gallery picture the
foot of a slumbering Samson is sliced off by the frame, but in a
facsimile of the original engraved in 1613 and today in the British
Museum, the entire foot is there. The number of soldiers lounging in
the background is different in the gallery's picture. Also, the
painting is in garish colours not typical of Rubens. "All this makes
it unlikely that this Samson was painted by Rubens," concluded
Pisarek. Her theory is supported by an increasing number of scholars.
Michael Reynolds, an award-winning member of the Royal Society of
Portrait Painters, believes it is too clumsy for Rubens and must
have been painted by a pupil. Michael Daley, director of ArtWatch UK,
which campaigns to expose bogus masterpieces, said: "Its look is not
consistent with a single bona fide Rubens." This is not the only
"misattributed" painting in the Trafalgar Square collection, argue
scholars. Leo Stevenson, a British Museum-trained expert on
forgeries, raised doubts last week about a Velazquez portrait of
Philip IV of Spain and a portrait of St Ivo by early Dutch painter
Rogier van der Weyden. Such accusations are rare but not
unprecedented. Over the past 20 years the National Gallery has itself
downgraded a Rembrandt to "follower of Rembrandt" before, upon fresh
reconsideration, reattributing the painting back to the hand of the
old master. It has also promoted a Raphael copy of a portrait of Pope
Julius II to a Raphael original. Yet Samson and Delilah remains the
most heated of the controversies. Stevenson, who has drawn up his own
list of dubious works, said that the National Gallery had too much
invested in the picture to be able to admit it was questionable.
"When they bought it at Christie's, they rushed it around to the
gallery and put it on display that same afternoon. They were, and
are, very proud of it, but it still does not feel right," he said.
"Nor is it alone. The Velazquez called Study in Brown and Silver has
also been quietly questioned since it was cleaned up before the last
war. Then scholars realised it was a botched job, maybe also by a
student. And St Ivo has been accused of being a straightforward
forgery." MacGregor denies there are any clouds hanging over the
Velazquez and Van der Weyden but accepts there are legitimate
questions about the Rubens. "It is very different from his later
works, but not unlike his other paintings of that period. And I don't
think you can rely on the accuracy of the engraving. It was made
outside Rubens's studio. We stand by Samson and Delilah as an unusual
but authentic Rubens."


(ANSA) - Rome, October 4 - The Italian Cultural Heritage
Ministry's director-general Mario Serio said today that meetings would
be held tomorrow and on Monday to gather up-dated information on the
extent of earthquake damage to Italy's cultural patrimony. Serio said
that the purpose of the meetings was to ''ascertain the condition of
the monuments in the earthquake zones'' and decide which were
critical. The first meeting will take place tomorrow morning at the
badly-damaged Basilica of San Francesco in Assisi and will
include Fine Arts Superintendent Antonio Paolucci who is in
charge of restoration work on the basilica. The current state of the
basilica and the progress of restoration work will be discussed.
The second meeting will be held in Perugia on Monday
morning to assess the situation in Umbria, followed by a third
meeting in Ancona to assess the situation in the Marches.
The final meeting will take place in Rome on Monday
evening and will seek to coordinate restoration projects.
Meanwhile, the Italian Deputy Premier and Cultural Heritage
Minister Walter Veltroni told reporters today that the number of
monuments in question totalled 1,600 and that the work ''to restore
our cultural heritage to future generations'' would therefore need to
be ''intense and extensive.'' The European Commission and the
European Parliament have offered to help finance restoration work.
Deputy chairman of the European Parliament's cultural committee
Monica Baldi visited Assisi today and told reporters that the
European Commission had already contributed 100,000 Ecu (200 million
lire) to the restoration of the facade of the Assisi basilica. The
basilica did not suffer further damage in this morning's tremors,
according to Father Nicola Giandomenico, head of the local Fanciscan
community. But he warned that: ''Continuing seismic activity is
worrying because, in the long run, it risks worsening the

books on fakes and forgeries
To: "Museum Security Mailinglist" <>
From: Joslin Hall Rare Books <> Subject:
Re: Books on Fakes

Thanks to Sam Lanham for his excellent review of TEXFAKE, and the
interesting bibliography of books on fakes and forgery.
I thought I would mention that anyone interested in delving further
into this subject is invited to visit our website; books on fakes and
forgeries are one of our specialties, and we have a file devoted to
them- the address is
Forrest Proper
Joslin Hall Rare Books
PO Box 516
Concord, MA 01742 USA
(781) 860-0665

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