The Encino Rembrandt plot thickens

A few weeks ago I blogged about a Rembrandt drawing that was stolen from an LA-area Ritz-Carlton hallway exhibit only to turn up two days later in the pastor’s office of an Encino church. Almost as soon as the story got traction in the press doubts cropped up as to whether the drawing was a Rembrandt at all (see Rowan’s comment on the original entry). No such drawing is listed in the accepted catalogs of Rembrandt’s work, and none of the experts contacted by reporters had ever heard of it. At least one expert thought the pen-and-ink drawing looked like it came from Rembrandt’s school instead of having been done by the master himself.

The Linearis Institute, owners of the drawing and sponsors of the Ritz-Carlton exhibit, made no rebuttal to these charges. Calls and emails from reporters asking for comment went answered, which is a little weird but not unheard of. Calls from police investigating the theft also went unanswered for a while, which is far weirder.

The weirdnesses continue to accumulate. The alleged Rembrandt is still in the possession of Los Angeles County Sheriff’s Department because the Linearis Institute refuses to provide proof of ownership.

[T]he institute’s attorney, William Klein, said Linearis purchased “The Judgment,” from a legitimate seller. He said the institute’s officials just don’t want to say who that was.

“Things like that really are trade secrets,” Klein told The Associated Press. “We don’t believe we need to reveal trade secrets to get back what is ours.”

He acknowledged the institute has no trail of paperwork (called provenance in art-world speak) to prove “The Judgment” really is a Rembrandt. But he added that officials at Linearis believe it is and it shouldn’t matter what authorities think.

😮

Call me psychic, but something is rotten in Denmark. Best case scenario this so-called institute purchased a so-called Rembrandt from the back of a truck. Why else hide the seller from the police? If your sources of high-end art are “trade secrets” who sell Old Master drawings without ownership history then you’re buying on the black market, period. The difference is that a legitimate seller would trouble himself to counterfeit an ownership history replete with anonymous Swiss private collectors and girlfriends from Canada so that the new owners can have plausible deniability should the cops start sniffing around.

On top of that, it Linearis also isn’t interested in pressing charges against the thieves should they be found. Mr. Klein, Esq., says the institute is really only focused on finding a “compromise” that will allow them to get the drawing back. If the police arrest the thieves, the institute’s position is they can “do anything they need to do that’s in the interests of justice.” Sounds legit to me.

First prehistoric engraved clay disks found in Alaska

Archaeologists documenting unusual petroglyphs in the Noatak National Preserve in Northwest Alaska have discovered four prehistoric engraved clay disks that are the first such artifacts ever found in Alaska.

Rock art of any kind is rare in Interior and Northern Alaska. The Noatak petroglyphs are engraved on the foundation stones of prehistoric house pits on the shore of Feniak Lake. Archaeologists found them 40 years ago but then left them undocumented. This summer, a multidisciplinary team of artists and archaeologists from the University of Alaska Museum of the North and the National Park Service went to Noatak to sketch and trace all the petroglyphs on site.

During small-scale excavations in the shallow depressions that mark the remains of prehistoric dwellings, Scott Shirar, a research archaeologist with the UA museum of the North, and his colleagues made an exciting discovery. They found four clay disks decorated with lines, grooves and perforations.

“The first one looks like a little stone that had some scratch marks on it,” Shirar said. “We got really excited when we found the second one with the drilled hole and the more complicated etchings on it. That’s when we realized we had something unique.”

After collaborating with experts and looking up examples in the archaeological record, Shirar said the disks appear to be a new artifact type for Alaska. “We only opened up a really small amount of ground at the site, so the fact that we found four of these artifacts indicates there are probably more and that something really significant is happening.”

The disks have yet to be dated officially. They are at the University of Alaska Museum of the North where they will be analyzed and studied further. Preliminary dating based on the features of the ancient dwellings and other observable data suggests the settlement and clay disks date to the late prehistoric era, approximately a thousand years ago. Radiocarbon dating on organic matter recovered during the excavation will provide more detail.

Feniak Lake is about 100 miles northeast of the Inupiat Eskimo community of Kotzebue. Despite the Arctic climate, the location has been populated for 11,000 years, which means people settled there in the first immigrant wave to cross the Bering land bridge between 16,000 and 10,000 B.C.

New discoveries about the WTC shipwreck

Last summer, construction workers on the World Trade Center site uncovered the remains of an 18th century shipwreck. Since then, researchers have identified the ship type as a single mast sloop around 50 feet long with a shallow draft (the section between the waterline and the bottom of the hull which determined the depth of water the ship could navigate without running aground) and rounded stem and stern both.

Scientists from Columbia University’s Tree Ring Lab have studied samples from the ship’s white oak planks and its hickory keel trying to match it to the known record of tree ring history from different parts of the country and world. Since an 18th century ship in New York City could have been built locally or have come from Europe, that makes for a great many possible matches to go through. The use of hickory for the keel narrowed down the search because unlike the white oak that makes up the planking, hickory has been extinct in Europe for two million years.

The team dried the timbers slowly, sanded the samples so the rings would be countable, then got counting. You need at least 100 years of rings to have a viable sample for comparison, which they were lucky enough to secure. They ran their samples through a database of tree ring chronologies from the Hudson Valley, then hit pay dirt when they compared to the chronologies from Philadelphia. One of the samples had come from a Philadelphia tree was at least 111 years old and still growing when it was felled in 1773. The sample had a thick outer section where rivers of sap had flowed through in its last year.

If the hull was part of the original vessel and not part of a refurbishment, the tree ring data point to a launch date for this shallow-sailing sloop that was sometime after the 1773 winter’s Tea Party in Boston, and likely before the signing of the Declaration of Independence on July 4, 1776, in the vessel’s hometown. This is a boat that sailed during the American Revolution with a crew that traded up and down the Hudson River goods, such as leather shoes, they had collected during several long bouts spent in the Caribbean. But the crew were a bit lousy (but, really, who wasn’t back then?) and, in its own way, so was the boat, having picked up tiny wood-boring Teredinidae mollusks, “the termites of the sea.” But as Kevin Eckelbarger of the University of Maine’s Darling Marine Center, who identified the shell morphology in the bored-out timbers, told Scientific American, “They are really aggressive. They make termites look like amateurs.”

The ship had other structural problems caused by a luxury fitting. The builder used iron fasteners to common the planks of the hull. Iron was far more expensive than wood, and, as it happens, far less efficient. It was both a luxury and a sloppy construction shortcut. It takes a lot less effort to put parts together with an iron fitting than to drill a hole through the inner and outer planks then jam an oak trunnel through it. Those wood trunnels expanded and contracted along with the planking, however, so even though they were a cheaper and more time-consuming material, they kept the ship together better than the iron that would tear, rust and friction-burn wooden hulls.

Historians speculate that the shipbuilder must have gotten his hands on a cheap source of iron, perhaps captured from the enemy during the Revolution, and decided to use them to put the ship together quickly.

As far as what the ship might have carried, what role it might have played in the American Revolution, there are tantalizing clues but nothing we can pin down. It was a mercantile sloop so could have just carried foodstuffs and consumer goods up and down the Atlantic, but it could also have been used in the war. Similar ships served on both sides, carrying ammunition, evacuating Royalist noncombatants during the war and British troops after, even attacking enemy vessels and ports.

One of the puzzle pieces into the history of the discovered World Trade Center vessel includes a pewter button with the number 52, a regiment of the British Army. Whether this is from a captured British soldier or something a superstitious sailor found remains unanswered. Perhaps the British were the last to claim the vessel. As Riess said, the British held New York City throughout the war, and evacuated in 1783 after the treaty in Paris. The last humans on the sailboat left it to sit on the shores of New York harbor where other occupants endemic to saltwater marshes such as horseshoe crabs, sponges, oysters, and snails made the oak planks home.

Bungling art thieves bungle again harder

Ten years ago, three masked men broke into the Fine Arts Museum of Ghent in Belgium and tore two works by Flemish Old Master Peter Paul Rubens off the wall. While beating a hasty retreat, they dropped one of them, “The Flagellation of Christ,” but made away with “The Calydonian Boar Hunt.”

They picked the wrong piece to be clumsy with because as it happens, “The Flagellation of Christ” is a 1614 preparatory oil sketch for a painting that is part of an important series made by 11 luminaries of 17th century Flemish art like Rubens and Antony van Dyck. The completed painting is in St. Paul’s Church in Antwerp, but even the sketch is extremely significant because it shows Rubens’ process and because he himself gave great importance to his sketches, keeping them until his death. It’s far more valuable that “The Calydonian Boar Hunt” which is a common theme that Rubens returned to often.

Still, they managed to steal at least one Rubens and even if it only garnered them a few hundred thousand dollars rather the millions “The Flagellation of Christ” is worth, that’s an entirely respectable payday for butterfingered burglars. Of course, you actually need to sell it to make any money at all. Fast-forward ten years and Athens police get a tip that two people are trying to sell a Rubens stolen from a Belgian museum 10 years ago. On Thursday, September 1, police set up a sting operation during which one women — a 40-year-old Greek TV host — and one man, a 65-year-old former antique store owner — attempt sell the painting to undercover officers for six million euros ($8.4 million).

The couple are arrested, loudly declaiming their innocence. The woman received it from an Italian lover in 2003, she says. He told her it was a copy, she says. She insists neither she nor her antiquarian accomplice had any idea it was a real Rubens or any idea that it was stolen. There’s a wee problem with this story, though. These doofuses left the “SKETCH BY RUBENS – PROPERTY OF FINE ART MUSEUM OF GHENT” label on the back of the painting. Greek National Art Gallery director Marina Lambraki-Plaka described this crack crew best: “amateurs — unless they had some other reason for keeping the identification details on the back of the painting.”

But wait! There’s more! It turns out the painting probably isn’t a Rubens at all. Since its theft, museum experts have reevaluated its provenance and think it’s more likely a copy, the handiwork of one of his students based on the master’s design. It’s like a Guy de Maupassant story, I swear.

The couple have been arrested and charged with attempted money-laundering. Authorities don’t think they were involved with the theft at this point and they’ve released them on bail with a travel ban. Belgium hasn’t filed the official reclamation paperwork yet, but the Belgian ambassador to Greece announced that the Ghent museum will be delighted to have their Rubens-ish painting back and that they will proceed with the business through normal diplomatic channels.

Marine archaeologist buys fierce Oxford emperor

Oxford marine archaeologist Mensun Bound has purchased a bust that once stared, mouth agape, at people outside the Sheldonian Theatre, Oxford University’s ceremonial hall designed by Christopher Wren in the late 1660s. It was only his second public building (the first was the chapel of Pembroke College in Cambridge), designed when he was Savilian Professor of Astronomy at Oxford. (Yes, in addition to being a pioneer and luminary of English architecture, Wren was also a math and science genius.) The D-shape of the building was inspired by Rome’s Theater of Marcellus.

Once the building was close to done, Wren commissioned local stonemason William Byrd to carve busts of 13 figures to glare at passersby from the Broad Street boundary wall. Known alternately as “emperors,” “caesar’s heads,” and “philosophers,” the sculptures’ real identities are something of a mystery.

They took a lot of punishment over the centuries. Byrd’s originals were replaced with copies in 1868 after 200 years. The Victorian copies were then treated to the drunken exuberance of the students who splashed paint on them. The cleaning did more damage than the paint, leaving the replacements already in need of restoration by the end of the century. They were finally replaced again with copies carved by Michael Black in 1970 – 1972. Those are the ones you see outside the Sheldonian now.

The auctioneers estimate that it was made in the 1860s, so that would make it one of the Victorian copies. An unnamed source has told Bound that it might actually be one of the 17th century originals and it certainly looks beat up from the picture. Bound spent £3,000 to secure the piece.

[Bound] said: “They are known as the emperors, but I have seen them referred to as philosophers and even the apostles. I thought it would be good for the bust to remain near Oxford.

“I am, of course, interested in busts and archaeology and the courtyard here is an ideal place to put it. The Worcester College choir will be here singing at the unveiling, which will hopefully raise money for the village church.”

The unveiling will be carried out by the poet and dramatist Francis Warner, of St Peter’s College.

Mr Bound said he was hoping eventually to discover which of the emperors he had acquired.

The three-ton hunk of limestone has already been hoisted onto a pedestal, thanks to a local farmer’s forklift, in its new location, a courtyard on Bound’s estate, historic Horspath Manor.