The Journal of Art Crime Issue 26 Fall 2021 Edited by Noah Charney Published by ARCA Publications JOURNAL OF ART CRIME Editor-in-Chief Noah Charney Founder, ARCA Co-Editors-in-Chief Marc Balcells Professor at Universitat Oberta de Catalunya Editorial Board Lord Colin Renfrew Professor of Archaeology, University of Cambridge Petrus van Duyne Professor of Criminology, University of Tilburg, The Netherlands Matjaž Jager Director, Institute of Criminology, Slovenia Kenneth Polk Professor of Criminology, University of Melbourne, Australia David Simon Professor of Art History, Colby College, US Erik Nemeth RAND Group, US Liisa van Vliet University of Cambridge, UK Dick Drent Director of Security, the Van Gogh Museum, The Netherlands Dennis Ahern Director of Security, the Tate Museums, UK Richard Ellis Director, ArtResolve and Art Risk Consultant, UK Col. Giovanni Pastore Retired, Carabinieri Division for the Protection of Cultural Heritage, Rome, Italy Neil Brodie Professor of Archaeology, University of Oxford, UK David Gill Honorary Professor in the Centre for Heritage at the Kent Law School at the University of Kent, Academic Associate in the Centre for Heritage and Archaeology at the University of East Anglia A. J. G. Tijhuis Attorney, Pontius Lawyers, and NSCR, Amsterdam, The Netherlands Howard Spiegler Attorney, Herrick, Feinstein LLP, US Design & Layout Urška Charney Head of Design, ARCA © 2021 Association for Research into Crimes against Art (ARCA) Apart from fair dealing for the purposes of research or private study, or criticism or review, and only as permitted under the Copyright, Designs, and Patents Acts, this publication may only be reproduced, stored, or transmitted, in any form or by any means, with the prior permission in writing of the Publishers, or in the case of reprographic reproduction, in accordance with the terms of licences issued by the Copyright Clearance Center, Inc. (www.copyright.com). 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Cover Design and Illustration: Urška Charney Printed by Amazon ISSN (PDF): 1947-5934 ISSN (Print): 1947-5926 TABLE OF CONTENTS Letter from the Editor 1 ACADEMIC ARTICLES The Looting of the Spanish Cultural Heritage Antonio Roma Valdés 3 The Relevance of the Falsification of Artworks and the Spanish Criminal Justice System Juan José Periago Morant 13 Art as a Method of Money Laundering: The Malaya Case Patricia Fernández Lorenzo 29 The Prevention of Criminal Activities in Artistic Transactions Cristina Guisasola Lerma 41 Towards a New Content for ‘Due Diligence’ in 21st Century Cultural Goods Transactions Marta Suarez-Mansilla 51 ACADEMIC ARTICLES YOUNG SCHOLARS Art and Copyright: A Matter of Moral Rights Serena Sancataldo 59 The Protection of Portable Art from Public Museum Collections in Florence during World War Two, July 1944 – May 1945 Julia Ranney 67 REGULAR COLUMNS Lessons from the History of Art Crime “In Flames” Noah Charney 81 Context Matters “Reflections on the Várez Fisa Collection in Madrid” David W. J. Gill 85 REVIEWS Mirentxu Corcoy Bidasolo reviews Tutela de los bienes culturales: Una visión cosmopolita desde el derecho penal, el derecho internacional y la crimnología. 95 FOREIGN LANGUAGE CONTRIBUTIONS Expolio del Patrimonio Cultural Español Antonio Roma Valdés La Falsificación de Obras de Arte y Sistema de Justicia Penal Español Juan José Periago Morant 97 107 EXTRAS Marta Suarez-Mansilla interviews Montserrat de Pedro Esteban 123 Cristina Guisasola Lerma interviews Dña. Mónica Redondo Álvarez 127 Cristina Guisasola Lerma interviews Jose Manuel Rodriguez Uribes 131 Acknowledgements 133 Contributor Biographies 139 David W. J. Gill Context Matters “Reflections on the Várez Fisa Collection in Madrid” Regular Columns T The formation of modern collections raises several issues about the sources for objects. Are they derived from old, and documented, collections? Or have they surfaced in recent years? Can those museums be sure that they have not acquired material that has been removed from archaeological contexts by illicit means? How do you conduct appropriate due diligence prior to acquisition? The significant number of returns from North American public and private collections has been a reminder of the scale of the problem (Gill 2018). However there have been fewer returns from European collections though the Ny Carlsberg in Copenhagen has been a significant one with material including Etruscan architectural terracotta’s (Gill 2016). Other clusters of potentially suspect materials have been identified in a number of European collections (see also Gill 2019a). One European collection that has faced scrutiny, though has yet to return any material to Italy, is the Museo Arqueológico Nacional de España in Madrid (Shaya 2017). In particular, it houses the Várez Fisa collection that was purchased for 12 m Euros in 1999 (Cabrera Bonet 2003; García 2014). José Luis Várez Fisa was a businessman and collector (García 2014). The collection contains a significant amount of South Italian pottery, a category of material that has drawn particular concern about the scale of looting (Elia 2001). The antiquities collection formed part of a loan exhibition to the Meadows Museum of Fine Art (Warden 2004; see also Padgett 2005). Objects from Old Collections The Várez Fisa collection was largely derived from material acquired from recently appeared material, though some of the items are known before the implementation of the UNESCO 1970 Convention on the Means of Prohibiting and Preventing the Illicit Import, Export and Transfer of Ownership of Cultural Property. These ‘older’ items include at least nine pieces, including one going back to an 18th century collection: a. a black-figured amphora attributed to the Affecter that had formed part of the Hearst collection in California (inv. 1999.99.54: Beazley 1956, 242, 33; Cabrera Bonet 2003, 166–68, no. 54; BAPD 301321), b. a white ground lekythos attributed to the workshop of the Bowdoin painter and once part of the Embirikos collection in London (inv. 1999.99.78: Münzen und Medaillen A.G., Basel, Kunstwerke der Antike 40, 13 December 1969, lot 82; Cabrera Bonet 2003, no. 235–36, no. 80; BAPD 1434), www.artcrimeresearch.org 85 c. an Attic red-figured column-krater attributed to the Triptolemos painter (inv. 1999.99.89: Beazley 1925, 153, 13; Cabrera Bonet 2003, 266–67, no. 91; BAPD 203804), d. an Attic red-figured column-krater (inv. 1999.99.94: Sotheby’s London 12 June 1967, lot 150; Cabrera Bonet 2003, 268–70, no. 92; BAPD 13795), e. an Attic red-figured neck amphora attributed to the Pig painter that formed part of the Charles Eyre (1806–86) collection at Welford Park, Berkshire (inv. 1999.99.86; Cabrera Bonet 2003, 274–76, no. 94; BAPD 29221), f. an Attic red-figured column-krater attributed to the Pig painter (inv. 1999.99.90: Beazley 1963, 563, 14bis; Cabrera Bonet 2003, 277–78, no. 95; BAPD 206442), g. an Attic red-figured stamnos attributed to the Pan painter (inv. 1999.99.102: Beazley 1925, 101, 15; Cabrera Bonet 2003, 282–85, no. 97; BAPD 206298), h. an Attic red-figured lekythos attributed to the Pan painter (inv. 1999.99.111: Beazley 1963, 557, 119bis; Cabrera Bonet 2003, 292–94, no. 101; BAPD 206363), and i. an Attic red-figured pelike attributed to the Meleager painter that had resided in a Spanish private collection (inv. 1999.99.107: Beazley 1963, 1411, 42; Cabrera Bonet 2003, 341–43, no. 121; BAPD 217960). The fact that the extended history of some items in the collection can be presented in the official catalogue suggests that the absence of history in the rest of the collection is likely to be significant. Objects that Surfaced after 1970 The majority of material where the history of acquisition is noted suggests that the items were added to the collection after 1970. It has been noted: The Várez Fisa collection, compiled from the 1970s and 1980s on the antiquities market, consisted of 188 Egyptian, Iberian, Greek, Etruscan and Roman pieces (Cabrera 2004, 69). In fact, at least 30 items (approximately 15 percent) were added to the collection in the 1990s. Why is there a reluctance to acknowledge publicly that acquisitions were made in that decade? Is it because there was a growing awareness of the nature of the antiquities market? The acquisition of a collection suggests that the pieces had resided together and been cherished by the owner over several years. Yet it is clear that some were purchased immediately prior to the sale to Madrid. At least two pieces were acquired in 1999, the year of the acquisition by Madrid: one amphora, once in the Hearst collection, was purchased from Royal Athena Galleries (inv. 1999.99.54: Cabrera Bonet 2003, 166–68, no. 54), and an Attic red-figured bell-krater attributed to the Christie painter that was sold at Sotheby’s (New York) on 13 June 1999 (lot 64), (inv. 1999.99.100: Cabrera Bonet 2003, 310–11, no. 109). At least six items were acquired for the collection in 1998, and eleven in 1997 (see table 1). Thus at least 10 percent of the collection was acquired by Várez Fisa in the three years prior to the acquisition by Madrid. This phenomenon of adding to a collection just prior to its sale or gift to a museum has been identified for the private collections of Gilbert Denman, and Barbara and Laurence Fleishman (Shapiro, Picón, and Scott 1995; True and Hamma 1994; see also Chippindale and Gill 2000). One-fifth of the Denman collection, 28 pieces, was added in the two years prior to its acquisition by the San Antonio Museum of Art, and 8 items from the Fleischman collection before its acquisition by the J. Paul Getty Museum. 86 www.artcrimeresearch.org Table 1 Items acquired from the Fárez Visa collection in 1997 and 1998 1997 Regular Columns 60: inv. 1999.99.55. Attic bf amphora, compared to the Antimenes painter. BAPD 20425. Royal Athena 1997. Sale: Eisenberg 1997, no. 88. 69: inv. 1999.99.66. Attic bf hydria, compared to the Antimenes painter. BAPD 20427. Royal Athena 1997. Sale: Eisenberg 1997, no. 93. 94: inv. 1999.99.86. Attic black-figured neck amphora attributed to the Pig painter. BAPD 29221. Christie’s 25 November 1997, lot 229. 95: inv. 1999.99.90. Attic red-figured column-krater, attributed to the Pig painter. BAPD 206442. Charles Ede (1997), no. 13. 96: inv. 1999.99.105. Attic rf kalpis, attributed to the Pig painter. BAPD 44096. Royal Athena 1997. Sale: Eisenberg 1997, no. 101. 112: inv. 1999.99.114. Attic white ground lekythos. Christie’s (New York) 30 May 1997, lot 109. 113: inv. 1999.99.83. Attic rf stemless cup. BAPD 44388. New York, market, Robert E. Hecht, Jr.; Royal Athena (1997). Sale: Eisenberg 1997, no. 107. 117: inv. 1999.99.116. Attic red-figured stemmed pyxis, attributed to the Shuivalov painter. Christie’s (New York) 30 May 1997, lot 112. 118: inv. 1999.99.115. Attic red-figured pyxis attributed to the manner of the Meidias painter. Christie’s (New York) 30 May 1997, lot 113. 119: inv. 1999.99.118. Attic red-figured amphoriskos attributed to the circle of the Shuvalov painter. Christie’s (New York) 30 May 1997, lot 111. 120: inv. 1999.99.119. Attic red-figured chous. Christie’s (New York) 30 May 1997, lot 109. 1998 43: inv. 1999.99.63. Black-figured neck amphora, attributed to the Hyblaea class. Christie’s (London) 8 April 1998, lot 202 (£23,000). 44: inv. 1999.99.43. Boeotian terracotta horse and rider. Christie’s (New York) 5 June 1998, lot 114 ($4,600). 75: inv. 1999.99.74. Attic black-figured olpe attributed to the circle of the Andocides painter. Christie’s (New York) 5 June 1998, lot 124 ($57,500). 89: inv. 1999.99.87. Attic red-figured Panathenaic shaped amphora. BAPD 29377. Royal Athena 1998. 100: inv. 1999.99.108. Attic red-figured lekythos. BAPD 18453. Christie’s 8 April 1998, lot 206 (£12,650). 137: inv. 1999.99.142. Apulian pelike attributed to the painter of the Siren Citharist. Christie’s (New York) 5 June 1998, lot 233 ($16,100). Formerly Graham Geddes collection. Sources for the Collection What were the sources for the collection? It is now recognised that the presence of objects derived from specific dealers and private collectors could be an indication of potential ‘toxic’ antiquities within a collection. For example, an Attic red-figured stemless cup was originally in the hands of Robert E. Hecht Jr. on the New York market (inv. 1999.99.83; Cabrera Bonet 2003, 319–21, no. 113; BAPD 44388). One of the Attic red-figured cups attributed to the Euergides painter surfaced with Galerie Nefer in Zurich in 1992 (inv. 1999.99.84: Cabrera Bonet 2003, 248–49, no. 85; BAPD 41408), and was purchased from Christie’s New York on 30 May 1997 (lot 108). The Galerie Nefer has been associated with a number of pieces that have had to be returned to Italy (Gill 2020a). Two items, an Attic black-figured amphora attributed to the Priam painter (inv. 1999.99.53; Cabrera Bonet 2003, 173–76, no. 57; BAPD 20449) and a Laconian cup attributed to the Hunt painter (inv. 1999.99.45: Cabrera Bonet 2003, 145–46, no. 46; Warden 2004, 89–90, no. 11), have been identified from the Schinousa archive showing that they had www.artcrimeresearch.org 87 passed through the hands of Robin Symes (see also Tsirogiannis 2016). The amphora is reported to have resided in a private New York collection before it was placed at auction at Sotheby’s on 17 December 1997 (lot 96); not only did the amphora feature in the Schinousa archive, but also in the Medici dossier suggesting a link between the two dealers. Concerns about the origins of material in the collection have been raised on several occasions (Isman 2010; Shaya 2018; Pellegrini 2020). Specifically, some 22 items in the Várez Fisa collection have been identified from the Medici and Becchina dossiers (Gill 2010). An orientalizing amphora surfaced through Palladion Antike Kunst (inv. 1999.99.159: Cabrera Bonet 2003, 118–19, no. 35), and has been recognized from the seized Becchina archive. Palladion Antike Kunst has been recognised as the source of several returned antiquities. One of the most toxic associations is with material that surfaced through Sotheby’s in London specifically in the 1980s and 1990s. The documentation shows the regular consignment of antiquities to these sales from Giacomo Medici and his associates based in Switzerland (Watson 1997; see also Gill 1997). The seizure of polaroids in the Geneva freeport led to the return of hundreds of antiquities to Italy (Watson and Todeschini 2007). At least 19 pieces form the Várez Fisa collection passed through Sotheby’s in London from 1982 to 1996, and this route is often recognised as the first sighting of the object. Table 2 Objects in the Várez Fisa collection that surfaced at Sotheby’s in London during the 1980s and 1990s 1982, 13–14 December Lot 223: no. 108. Lot 255: no. 53. 1984, 10–11 December Lot 364: no. 129. 1985, 22 May Lot 328: no. 63. 1986, 8 December Lot 328: no. 105. 1988, 11 July Lot 91: no. 104. Lot 108: no. 77. 1988, 12 December Lot 110: no. 121. [Known from old collection.] Lot 128: no. 99. Lot 138: no. 73 Lot 142: no. 72. 1989, 10 July Lot 259: no. 139. 1989, 11 December Lot 102: no. 138 1990, 14 December Lot 296: no. 144. 1991, 3 December Lot 165: no. 102. Lot 199: no. 140. 1995, 14 December Lot 140: no. 107 Lot 143: no. 56 1996, 10 December Lot 170: no. 52 At least eight of these pieces that passed through Sotheby’s in London in the 1980s and 1990s have been identified from the Medici photographic archive, some showing the objects in fragments or still covered in earth suggesting that they had recently been removed from the ground (see Isman 2010; Pellegrini 2020). Does this suggest that Medici was the source for these objects that were then consigned to Sotheby’s in London? The Attic column-krater that surfaced in December 1986, was in same sale as two Apulian pots from the Geddes collection that were withdrawn from the auction at Bonhams in 2008 (see Gill 2009); a marble statue of an athlete, also later offered by Bonhams, appeared in the same sale. The Attic black-figured amphora that surfaced at Sotheby’s in May 1989, was in the same sale as a Campanian bell-krater from the Geddes collection that was withdrawn from the auction at Bonhams. The Gnathian krater that appeared in the December 1990, appears in the same photograph in the ‘workshop’ of Fritz Bürki as an Apulian pyxis attributed to the Baltimore painter that was offered for 88 www.artcrimeresearch.org sale by the Royal Athena Galleries in in 2010. The nature of these sales suggests that Madrid needs to open discussions with the Italian authorities. Table 3 Objects in the Várez Fisa collection that surfaced at Sotheby’s in London during the 1980s and 1990s and identified in the Medici Dossier Regular Columns 56: Attic bf amphora. Inv. 1999.99.51; Sotheby’s 14 December 1995, lot 143; Cabrera Bonet 2003, 171–72, no. 56. Medici dossier. 63: Attic bf amphora. Inv. 1999/99/59; Sotheby’s 22 May 1989, lot 328; Cabrera Bonet 2003, 190–92, no. 63; BAPD 44365. Medici dossier. The polaroid in the Medici dossier is dated to 14 November 1988. 99: Attic rf lekythos attributed to the manner of the Berlin painter. Inv. 1999.99.109; Sotheby’s 12 December 1988, lot 128; Christie’s New York 5 June 1998, lot 138; Cabrera Bonet 2003, 288–89, no. 99; Padgett 2017, 400, no. BNM12; BPAD 9024732. Medici dossier. 103: Attic rf column-krater. Inv. 1999.99.96; Sotheby’s (London) 22 May 1989, lot 348; Christie’s New York 10 July 1992, lot 340; Royal Athena Galleries January 1995, lot 109; Cabrera Bonet 2003, 297–98, no. 103; BAPD 43915. Medici dossier. 105: Attic rf column-krater. Inv. 1999.99.97; Sotheby’s London 8 December 1986, lot 328; Cabrera Bonet 2003, 301–02, no. 105; BAPD 16664. Medici dossier. 123: Sicilian calyx-krater 1999.99.147; Sotheby’s 10 December 1996, lot 187; Cabrera Bonet 2003, 346–47, no. 123. Medici dossier. 129: Apulian bell-krater. 1999.99.124; Sotheby’s 10–11 December 1984, lot 364; Cabrera Bonet 2003, 361–64, no. 129. Medici dossier. 144: Gnathian krater. Inv. 1999.99.138; Sotheby’s (London) 14 December 1990, lot 296; 8 December 1994, lot 154; Cabrera Bonet 2003, 406–07, no. 144. Photograph in the Medici dossier showing the krater being restored by Fritz Bürki. The toxicity of antiquities that surfaced via Sotheby’s in London has been demonstrated by the issues with material acquired by Graham Geddes in Melbourne. The Geddes collection attracted attention when ten lots had to be withdrawn from Bonham’s in London when the collection was offered for sale (Gill 2009; Gill 2019b, 806; Gill 2021). At least four of the pieces in the Várez Fisa collection were derived from the Graham Geddes collection: two Attic black-figured amphorae, one attributed to the painter of Vatican 365 (inv. 1999.99.61: Cabrera Bonet 2003, 163–65, no. 53; BAPD 7462), and another attributed to the manner of the Acheloos painter (inv. 1999.99.56: Cabrera Bonet 2003, 188–89, no. 62; BAPD 351256). The first (no. 53) had surfaced at Sotheby’s (London) 13–14 December 1982 (lot 255) and was resold by the same auction-house on 8 December 1986 (lot 327). The second (no. 62) had surfaced through N. Koutoulakis and was known by 1971 (Beazley 1971, 169, 9bis). A Paestan lebes attributed to Asteas surfaced at Sotheby’s (London) in 21 May 1984 (lot 372) and had been sold at Christie’s (New York) in December 1997 (inv. 1999.99.146: Cabrera Bonet 2003, 413–14, no.147). Koutoulakis has also been recognised as a source for recently surfaced antiquities (Gill 2019a). An Apulian pelike attributed to the Siren Citharist painter had surfaced at Sotheby’s (London) in 9 December 1988 (lot 171) and had once formed part of the Graham Geddes collection; it had then been sold at Christie’s (New York) 5 June 1998 (lot 233) (inv. 1999.99.142; Trendall and Cambitoglou 1991, 165, 334b1; Cabrera Bonet 2003, 384–86, no.137). Six pieces surfaced through four sales at Sotheby’s New York between 1996 and 1997. One of them, an Attic red-figured bell-krater attributed to the Christie painter, is known from images in the Medici dossier dated to 1995 (inv. 1999.99.100: Cabrera Bonet 2003, 310–11, no. 109; BAPD 20360). This raises concerns about who consigned the bell-krater to Sotheby’s on 13 June 1996 (lot 64)? This issue relating to Sotheby’s in New York has been raised by other pieces that surfaced in 1994 and 1995 and have subsequently had to be returned to Italy (Gill 2018). Who was the vendor for the pieces consigned to the three sales: 10 December 1996 (lots 112–113: inv. 1999.99.77, 76: Cabrera Bonet 2003, 230–34, www.artcrimeresearch.org 89 nos. 78–79; BAPD 20420, 201418); 31 May 1997 (lot 77: inv. 1999.99.85: Cabrera Bonet 2003, 322–25, no. 114; BAPD 21845); and 17 December 1997 (lot 96: inv. 1999.99.53: Cabrera Bonet 2003, 173–76, no. 57; BAPD 20449)? Some of the pieces from the Várez Fisa collection had passed through Christie’s, either in London or in New York. These include three Apulian pieces that were acquired at Christie’s (New York) in May 1997 (Cabrera Bonet 2003, nos. 136, 143, 146). Several items in the Várez Fisa collection appear to have been purchased from the Royal Athena Galleries in New York between 1985 and 1998. At least 10 antiquities that were sold by this source have been returned to Italy suggesting that the histories for the Várez Fisa pieces should be explored (Gill 2018). Table 4 Objects in the Várez Fisa collection that surfaced at Christie’s London and New York 1992, 10 July: Lot 340 (no. 103) 1993, 28 April: Lot 8 (no. 80). 1994, 10 June: Lot 129 (no. 87). 1995, 5 July: Lot 174 (no. 59). 1996 14 June, l Lot 78 (no. 67); lot 82 (no. 1996, 3 July: Lot 58 (no. 64); lot 64 (no. 84); lot 42 (no. 71; inv. 1999.99.70). 1997, 30 May (NY): Lot 58 (no. 146), 115 (no. 143), 118 (no. 136). 1997, 25 November 1997: Lot 229 (no. 94). 1997, 30 May 1997 (NY): Lot 109 (no. 120), lot 111 (no. 119), lot 110 (no. 112), lot 113 (no. 118), lot 112 (no. 117). 1998, 8 April: Lot 206 (no. 100). Table 5 Objects in the Várez Fisa collection that passed through the Royal Athena Galleries, New York 1985 76: Attic bf olpe. Inv. 1999.99.75. BAPD 17011. Royal Athena 1985. 1995 70: Attic bf hydria. Inv. 1999.99.68. BAPD 44149. Royal Athena 1995. 80: Attic white ground Lekythos. Inv. 1999.99.78. BAPD 1434. Münzen und Medaillen 1969); Royal Athena (1995). 88: Attic Rf amphora. Inv. 1999.99.88. BAPD 44154. Germany, private collection; Sotheby’s 7 July 1994, lot 343; Royal Athena (1995). 103: Attic rf column-krater. Inv. 1999.99.96. BAPD 43915. Royal Athena 1995. 90 www.artcrimeresearch.org 1997 60: Attic bf Amphora. Inv. 1999.99.55. BAPD 20425. Royal Athena (1997). 69: Attic bf hydria. Inv. 1999.99.66. BAPD 20427. Royal Athena (1997). 96: Attic rf kalpis. Inv. 1999.99.105. BAPD 44096. Royal Athena (1997). 113: Attic rf stemless Cup. Inv. 1999.99.83. BAPD 44388. New York, market, Robert E. Hecht, Jr.; Royal Athena (1997). 1998 89: Attic rf amphora. Inv. 1999.99.87. BAPD 29377. Royal Athena (1998). Table 6 Dates of recent first surfacing for objects in the Várez Fisa collection www.artcrimeresearch.org Madrid inv. no. 1999.99.159 1999.99.63 1999.99.43 1999.99.45 1999.99.46 1999.99.52 1999.99.61 1999.99.54 1999.99.51 1999.99.53 1999.99.55 1999.99.60 1999.99.56 1999.99.59 1999.99.67 1999.99.66 1999.99.68 1999.99.71 1999.99.72 1999.99.74 1999.99.79 1999.99.77 1999.99.76 1999.99.153 1999.99.84 1999.99.82 1999.99.81 1999.99.88 1999.99.87 BAPD 29025 7462 301321 20449 20425 9024714 351256 44365 7324 20427 44149 41554 20420 20418 41408 7465 20316 44154 29377 First surfacing Palladion Antike Kunst Christie’s 1998 Christie’s 1998 [Schinousa archive] Sotheby’s 1989 Sotheby’s 1988 Sotheby’s 1982 Royal Athena Galleries 1999 Sotheby’s 1995 [Medici dossier] Sotheby’s New York 1997 [Schinousa archive] Royal Athena Galleries 1997 [Medici dossier] Koutoulakis by 1971 Sotheby’s 1989 [Medici dossier] Christie’s 1980 Royal Athena Galleries 1997 Royal Athena Galleries 1995 Sotheby’s 1988 Sotheby’s 1988 Sotheby’s 1998 Sotheby’s 1988 Sotheby’s 1996 Sotheby’s 1996 Royal Athena Galleries 1995 Zurich, Galerie Nefer 1992 Münzen und Medaillen 1982 Christie’s 1994 Sotheby’s 1994 Royal Athena Galleries 1998 Regular Columns Cat. no. 35 43 44 46 47 52 53 54 56 57 60 61 62 63 68 69 70 72 73 75 77 78 79 83 85 86 87 88 89 91 94 96 99 100 103 105 109 112 113 117 118 119 120 123 129 137 138 139 140 144 147 149 1999.99.86 1999.99.105 1999.99.109 1999.99.108 1999.99.96 1999.99.97 1999.99.100 1999.99.114 1999.99.83 1999.99.116 1999.99.115 1999.99.118 1999.99.119 1999.99.147 1999.99.124 1999.99.142 1999.99.131 1999.99.132 1999.99.133 1999.99.138 1999.99.146 1999.99.145 29221 44096 9024732 18453 43915 16664 20360 9022229 44388 9022231 9022230 9022228 9022227 Christie’s 1997 Royal Athena Galleries 1997 Sotheby’s 1988 [Medici dossier] Christie’s 1998 Sotheby’s 1989 [Medici dossier] Sotheby’s 1986 [Medici dossier] Sotheby’s New York 1996 [Medici dossier] Christie’s 1997 New York market, Robert E. Hecht Jr. Christie’s 1997 Christie’s 1997 Christie’s 1997 Christie’s 1997 Sotheby’s 1996 [Medici dossier] Sotheby’s 1984 [Medici dossier] Sotheby’s 1988 Sotheby’s 1989 Sotheby’s 1989 Sotheby’s 1991 Sotheby’s 1990 [Medici dossier] Sotheby’s 1984 Münzen und Medaillen 1982 Conclusion It is now over twenty years since Madrid acquired the Várez Fisa collection, and more than ten years since it became clear that a number of objects had been handled by Giacomo Medici, Gianfanco Becchina, Robert Hecht, and Robin Symes (Isman 2010; Gill 2010). What progress has been made by the museum to resolve the dispute with the Italian authorities? Has the museum conducted an appropriate due diligence investigation? During the intervening period, material that surfaced on the antiquities market through exactly the same sales and documented in the same photographic archives have either been returned to Italy or withdrawn from sale. Why have the museum authorities in Madrid been so dilatory in their response to the reports? Are European Museum professionals more reluctant than their north American counterparts to take appropriate action? The Várez Fisa collection highlights, once again, the problems of private individuals forming collections from material that has surfaced on the market (see Chippindale and Gill 2000; Gill 2018). Collectors need to undertake a due diligence process to check the histories of the objects that they seek to acquire. They should seek to contact the authorities that hold the photographic archives seized in Switzerland and Greece to check that the proposed acquisitions were not featured (see Gill and Tsirogiannis 2016). Indicators such as previous owners or appearance in certain sales should flag up potential problems. Academics also need to go beyond identifying the sale origins of objects (e.g. Padgett 2005, 313), and seek to ask searching questions about how that material arrived at the sale room (see also Gill 2020b), and indeed, how the items left the ground. Once again, we see a body of material removed from its archaeological context, and therefore unable to add to the meaningful interpretation of such artefacts. 92 www.artcrimeresearch.org Acknowledgements I am grateful to Christos Tsirogiannis for his discussion of this material, and for some of the identifications made in the seized photographic archives. References www.artcrimeresearch.org Regular Columns Beazley, J. D. 1925. Attische Vasenmaler des rotfigurigen Stils. Tübingen: Mohr. —. 1956. Attic Black-figure Vase-painters. Oxford: Clarendon Press. —. 1963. Attic Red-figure Vase-painters. Oxford: Clarendon Press. —. 1971. Paralipomena: Additions to Attic Black-figure Vase-painters and to Attic Red-figure Vase-painters. 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