Sixteen stolen paintings returned for Christmas

The Carabinieri art squad recovered 16 paintings stolen over a period of decades in the house of a Roman designer. The designer has been charged with receiving stolen goods. His collection is enormous. Police found 180 paintings from a variety of periods reportedly purchased in markets and fairs over the past 30 years.

Authorities were tipped off to the collection by a would-be buyer. Unlike the accused, this collector, who was hoping to buy a 15th c. painting of the Sienese school, checked with the Carabinieri art squad to ensure the piece was legitimately owned by the seller. The squad looked into the collection and found one piece listed in their stolen art database: Suicide of Cleopatra, a painting by German renaissance artist Albrecht Dürer, best known for his woodcuts. The Dürer had been stolen from the Palazzo Piccolomini museum in Pienza, outside of Siena, on May 28, 1972.

That discovery set off an in-depth investigation of the rest of the collection. They found another 15 paintings that had been stolen in 10 thefts from churches, museums, and private homes in Rome and central Italy. The estimated total value of the 16 recovered pieces is approximately €1 million ($1.3 million).

Police discovered the thefts in September but only announced their recovery last Friday. The paintings will be returned to their rightful owners in time for Christmas.

Art expert Vittorio Sgarbi examines 'Suicide of Cleopatra' by Albrecht Durer

Vote to put a historical car on display at Smithsonian

The Smithsonian has a large collection of historical transportation, but most of the 73 vehicles have never been on display. The America on the Move exhibit at the National Museum of American History only showcases 14 of them. The rest live under tarps in a storage warehouse miles away from the National Mall.

Now for the first time the Smithsonian is opening the warehouse to let the public vote for two of its cars to roar out of the darkness into the Mall light. Over the past week, Roger White, Associate Curator in the Division of Work and Industry at the National Museum of American History and the man who hunted high and low to acquire famous 80s crash test dummies Vince and Larry for the museum, has been blogging about eight gems from the history of transportation.

Read all the Race to the Museum entries and pick your favorite. Voting opens tomorrow, December 21. The two vote leaders will go on display at the museum from January 22 to February 21.

The problem is trying to narrow down the awesome to just one favorite. I tend to be partial to the earliest pieces just because they look so damn cool. The Long steam tricycle (ca. 1880) is the oldest of the eight and the unique creation of a Massachusetts carpenter.

Long steam tricycleWhat’s made of bicycle parts, weighs 350 pounds, and is self-propelled? Not your typical 1880s vehicle. Before George Long, a carpenter in Northfield, Massachusetts, built this one-of-a-kind experiment, he and other inventors built heavy, steam-powered wagons. So why switch to thin, spidery body materials? Long borrowed technologies developed for the high-wheel bicycle craze, which was just taking off. Bicycles were lightweight; for Long’s three-wheel wonder, a tubular steel frame and spoke wheels meant a better power-to-weight ratio and easier travel on rough dirt roads. Adult-size tricycles were safer, more comfortable, and easier to mount than high-wheel bicycles, so Long’s vehicle pointed the way toward practical, powered road transportation.

Long dismantled it when his horse-riding neighbors complained (boo! hiss!) and even though he patented the design, the Long steam tricycle was never produced again. Steam vehicle collector John Bacon reassembled the original and gave it to the Smithsonian.

I’m also crazy about the Tucker sedan (1948), made famous by the movie in which Jeff Bridges played Preston Tucker, brilliant engineer, automotive innovator and tragically awful entrepreneur.

Tucker sedan, 1948“The First Completely New Car in Fifty Years”—that’s how Preston Tucker billed his audacious assault on Detroit in the late 1940s. He promised that his car would be fresh, advanced, and different, from its futuristic styling to its rear engine and rubber suspension. Tucker laid plans on a massive scale, hiring a design team and an executive staff, obtaining a huge assembly plant, and building a dealer network. For all of Tucker’s brashness and avant-garde outlook, his most important innovation was his obsession with safety. He insisted on a padded dashboard, obstacle-free zone for the front passenger, pop-out windshield, and turning center headlight. But he stopped short of installing seat belts, thinking that they would hurt sales.

Production of tomorrow’s car was cut short by a federal investigation of Tucker’s business practices.

There are only 46 Tucker sedans left in the world; the one in the Smithsonian collection is number 39 of 51 made. A product of a drug forfeiture, the Tucker was given to the museum by the U.S. Marshals Service in 1993.

The GM Sunraycer solar car from 1987 is also highly awesome. If the older ones weren’t so dreamy, I would be sorely tempted to vote for it. I might have to vote early and often to spread around the love.

Click here to cast your vote.

Louvre raises €1 million to get Cranach’s Graces

The Three Graces, Lucas Cranach the Elder’s 1531 masterpiece, has been in private hands since it was first commissioned. A French family has owned it since 1932, but when they sold it this November to a foreign buyer for €4 million ($5.4 million), the French government declared it a “national treasure” (despite its German origin) and gave the Louvre three months to raise the money to buy the 9″ x 12″ oil on wood painting. The museum had €3 million good to go thanks to its acquisition budget and two corporate donors, but to raise the last million the Louvre launched a fundraising campaign.

Although this sort of campaign is fairly common in the US and the UK (the Staffordshire Hoard campaign, for example), France’s tradition of state-sponsored art goes back to Louis XIV, so it is not accustomed to having to make public appeals for donations to purchase historical and artistic masterpieces. There was some grumbling in the press, but the discontent was not widespread enough to interfere with the campaign.

The Three Graces by Lucas CranachDonations from €1 to €40,000 ($52,700) came pouring in from the Louvre’s fundraising website and the shortfall was overcome in just one month. Most of the 5,000 donors were on the low end of that scale, with the average gift being €150 ($195) and fully a quarter of the donations hovering around the €50 ($65) mark. Donors ranged in age from eight to 96, and a quarter of the donations were dedications, some in memory of a loved one, some in the name of a newborn, some to a living person, some in honor of a special event.

The names of all 5,000 donors will be listed in a special exhibition room where the painting will be on display from March 2 to April 4. Donors who gave €200 ($270) will be be invited to a special viewing of the work and donors who gave €500 ($680) will be invited to a special preview before the painting is put on public display. Remember, this painting has always been in private collections, so this exhibit will be the first time the wider public has a chance to see this The Three Graces.

From the Louvre’s website:

The Three Graces is a theme that dates back to Antiquity. It has spun off into a number of mythological variants, but they often personify mirth, abundance and splendor. Artists have often revisited this theme throughout history, right up to the present day.

Lucas Cranach’s art intertwines the realism cherished by Northern European painters and the softer, smoother style verging on the imaginary realm of Italian paintings, with a very personal, strange and deliberately ironic version.

For a Renaissance artist, painting the Three Graces first of all entailed broaching the notion of depicting female nudes. And Lucas Cranach’s take is brimming with virtuosity and a deeply original way of depicting the female form. He shows his ability to use his brush to draw the silky texture of the flesh, the elegance of the faces, and the graceful, flowing sensuality of the bodies. There is something disconcertingly erotic about these female nudes (Lucas Cranach was a master of this discipline, and indeed built his reputation on it). The Three Graces crowns this artist’s musings on other figures such as Eve or Venus. The landscapes that provide the backdrop for those compositions, however, have vanished and the plain dark background in their place brings out the intensity of the flesh and the objects in the painting.

Cranach worked on every detail in this painting with exquisite finesse: the eyes, the elegant noses, the position of the chignons, the pinkish cheeks and the delicate work on the hands.

Each of the Graces has its own distinctive movement, which affords each of them their own independence and sensuality. Their postures radiate extraordinary freedom, and are eminently modern: the one on the left is turning her back and clutching her thigh; the one on the right is facing sideways, standing on her right leg and holding her left ankle with her left hand; the third is the only one facing us, and wears an elegant hat. An extraordinarily ethereal and transparent haze intensifies the seductive aura and underlines the three young women’s nudity.

Cranach’s flair in creating a scene that is at once lively and harmonious is one of the reasons why this painting is considered one of his masterpieces.

Fountain of the 99 Spouts flows again

Fountain of the 99 Spouts reopening ceremonyThe Fountain of the 99 Spouts, a landmark 13th century fountain in the historic center of L’Aquila in the Abruzzo region of Italy, was reopened to the public on Thursday, the first historic monument to be fully restored after the earthquake that devastated the city on April 6, 2009. Under the leadership of the Italian Environmental Fund (FAI), various organizations public and private contributed funds to the €750,000 ($1 million) restoration.

Although at first the fountain’s unique trapezoidal design and 93 stone faces spouting water seemed not to have been severely damaged in the earthquake, upon closer inspection it was found to have severe structural problems from leaking water conduits, a weakened floor and cracked walls. Once those immediate issues were seen to, restorers focused on the decorative elements, repairing the masks, the floral-motif separator stones, and cleaning the lichens and stains from the tanks and marble cladding.

Meanwhile, rubble still peppers the historic center, and the basilica of Santa Maria di Collemaggio which overlooks the fountain and shares its red and white marble color scheme is still roofless and held together by steel beams and giant braces. So sure, it’s a small first step towards recovery, but a significant one nonetheless because the fountain is inextricably linked to the founding of the city.

L’Aquila was founded by Frederick II, “Stupor Mundi,” Holy Roman Emperor, King of Jerusalem, King of Germany, of Italy, of Burgundy and Sicily, as a city-on-a-hill counterpart to the corrupt decay of Rome and geopolitical bulwark against the power of the papacy, Frederick’s greatest enemy in Italy. According to legend, the people from 99 castles (meaning not just the buildings but the mini-towns inside and around them) in the Aquilan Valley closed up shop and moved to L’Aquila. Each castle built its own piazza with a church and houses in the city to accommodate the new citizens.

Fountain of the 99 Spouts, spout detailFrederick’s son Conrad IV finished building the city in 1254 after his father’s death, only to have it destroyed by his half-brother Manfred just 5 years later. King of Sicily Charles I of Anjou rebuilt it shortly thereafter, and the Fountain of the 99 Spouts was completed in 1272. It wasn’t called the Fountain of the 99 Spouts then, probably because there weren’t 99 spouts. It was called the Fountain of the Rivera after the central neighborhood adjacent to the river Aterno in which it was built. The 93 spouts sprang from stone faces, each one different, representing figures from mythology, animals, monks, knights, and more. There are another 6 spouts perched against a flat wall on the side of the piazza, but those were probably added later to make the fountain match the foundational legend.

The striking red and white checkerboard walls made from marble quarried at Genzano di Sassi like the facade of Santa Maria di Collemaggio were added probably in the 15th century. The wide basins underneath the spouts were added in 1578 so that townspeople could do their laundry and then spread it out on the wide, shallow staircases to dry in the whitening power of the sun. In 1657, gripped by a plague that killed 40% of the population, the city put four huge boilers in the middle of the square so all laundry could be sterilized.

There are also mysteries surrounding this fountain. For instance, the source of it is unknown. The Rivera neighborhood was said to have a spring that was a perpetual source of clean water, but over the centuries of construction, the spring has been lost. Now legend has it that the architect of the fountain, Tancredi di Pentima, is buried in the middle of the piazza under the largest stone after having been executed for refusing to divulge the location of the spring or for offering to divulge the location of the spring, nobody knows which.

Oswald’s coffin goes for $87,468

The bidding for Lee Harvey Oswald’s original coffin was quite brisk at the end. Thirty-six people were in the bidding, and the price leapt from $23,000 this morning to $37,000 two hours before closing to the final hammer price of $73,000.

The deadline for bidding was originally set to be 7:00 PM, but the auction house extended the sale until 10:00 to allow the last three competitors to duke it out. The rest of the $87,000 is the 20% buyer’s premium that goes to the auction house.

The buyer has chosen to remain anonymous thus far, although there were rumblings that he might make a statement today.

Laura Yntema, Nate D. Sanders Auctions, with Oswald's original coffinAuction house officials declined Friday to release the name of the bidder who successfully purchased Lee Harvey Oswald’s wooden coffin, saying the purchaser would make an announcement in the coming weeks.

“It’s something he wants to do himself,” said Laura Yntema, manager of the Santa Monica, Calif.-based Nate D. Sanders Auctions.

Yntema declined to offer information about the winning bidder, other than it was an individual collector rather than a museum.

The other JFK assassination memorabilia at the auction also sold extremely well. The piece of blood-stained leather from JFK’s limo sold for $19,036. The first draft of Oswald’s death certificate with Jack Ruby’s name crossed out sold for $49,374.

On a more whimsical note, check out this both insane and awesome blog post from Booktryst’s Stephen J. Gertz who actually got to clamber inside and take a quick nap inside the coffin.

Reporters were enlisted to act as Oswald's pallbearers