IFAR Journal

<body background="backfade.gif">  <table width=700 border=0 cellpadding=0 cellspacing=0>  <tr> <td colspan=3 align=left valign=top><img src=top_bar.gif></td> </tr> <tr> <td colspan=3><img src=spacer.gif></td> </tr>  <tr> <td width=100 align=left valign=top> <a href="index.htm" onMouseOver="document.homebutton.src = home2.src" onMouseOut="document.homebutton.src = home1.src"><img name="homebutton" src=http://www.ifar.org/navs/home_btn.gif border=0></a><br clear=left> <a href="what_main.htm" onMouseOver="document.whatbutton.src = what2.src" onMouseOut="document.whatbutton.src = what1.src"> <img name="whatbutton" src=http://www.ifar.org/navs/what_btn.gif border=0></a><br clear=left> <a href="back_main.htm" onMouseOver="document.backbutton.src = back2.src" onMouseOut="document.backbutton.src = back1.src"> <img name="backbutton" src="http://www.ifar.org/navs/back_btn.gif" border=0></a><br clear=left> <img src=http://www.ifar.org/navs/joun_on.gif border=0><br clear=left> <a href="prog_main.htm" onMouseOver="document.progbutton.src = prog2.src" onMouseOut="document.progbutton.src = prog1.src"><img name="progbutton" src=http://www.ifar.org/navs/prog_btn.gif border=0></a><br clear=left> <a href="auth_main.htm" onMouseOver="document.authbutton.src = auth2.src" onMouseOut="document.authbutton.src = auth1.src"><img name="authbutton" src=http://www.ifar.org/navs/auth_btn.gif border=0></a><br clear=left> <a href="memb_main.htm" onMouseOver="document.membbutton.src = memb2.src" onMouseOut="document.membbutton.src = memb1.src"><img name="membbutton" src=http://www.ifar.org/navs/memb_btn.gif border=0></a> </td>   <td width=10><img src=spacer.gif></td>  <td width=590> <br> <b><font size=+2>The <i><font color=#CB0000 size=+3>IFAR Journal</font></i></font></b><hr> <p>In Spring 1998, IFAR introduced a quarterly journal featuring information on art authentication, art fraud, art and cultural property law and ethics, World War II-era art restitution issues, and art theft. A special feature is the Stolen Art Alert, published by IFAR since 1977. <i>IFAR Journal</i> replaced IFAR's previous publication, <i>IFARreports</i>.<br><br></p>  <table cellpadding=0 cellspacing=10 border=0> <tr> <td colspan=2> <font size=+1><b>Highlights from the Current Issue:</b></font><hr> </td> </tr> <tr> <TD vAlign=top align=left width=250><IMG alt="IFAR Journal Vol. 5 No.4" src="photos/volume5no4.jpg"> <FONT size=-2><BR><I>IFAR Journal</I> Vol. 5, No. 4 2002/03<BR>Cover: Henri Matisse (1869-1954). <I>Odalisque with Red Pantaloons</I> (cropped), 1925. o/c. 60.5 cm x 73.7 cm. Signed lower left "Henri Matisse." Stolen from the Museum of Contemporary Art, Sofia Imber [MACCSI], Caracas, Venezuela. See story on p. 4, this issue. ? Succession H. Matisse/A.R.S New York 2003. <BR></FONT></TD> <TD vAlign=top align=left><B>Volume 5, No. 4, 2002/03</B><BR><BR><B>News & Updates:</B> <FONT size=-1> <TABLE> <TBODY> <TR> <TD>Art Theft-and-Switch -- Matisse and Dal?</TD></TR> <TR> <TD>Two New Rembrandts Admitted to Canon</TD></TR> <TR> <TD>IFAR Statement on Iraq</TD></TR> <TR> <TD>Supreme Court Upholds Copyright Act</TD></TR> <TR> <TD>Schultz Appeals in Federal Court</TD></TD></FONT></TR></TBODY></TABLE> <BR> <P><B>Features:</B> <TABLE><TBODY> <TR> <TD><B>Beware: Heliogravures Can Fool the Unwitting</B><BR> -- <I>Sharon Flescher</I><BR></TD></TD></TR> <TR> <TD><B>Beyond Connoisseurship? The Future Study of Master Drawings</B><BR> -- <I>David Rosand</I><BR></TD></TD></TR> <TR> <TD><B>The Anatomy of an Etruscan Tomb Forgery: Case Unresolved</B><BR> -- <I>P. Gregory Warden</I><BR></TD></TD></TR> <TR> <TD><B><BR>Stolen Art Alert</B></TD></TD></TR></TBODY></table><BR> <BR> <BR> <BR>   <TR> <TD colSpan=2><FONT size=+1><B>Highlights from the Special Double Issues:</B></FONT> <HR> </TD></TR> <TR><TD colSpan=2 align=center><FONT size=+1><B>The 9/11 Double Issue:<BR>Volume 4, No. 4 / Volume 5, No.1</B></FONT></TD></TR> <TR> <TD vAlign=top align=left width=250><IMG alt="IFAR Journal Vol. 4 No.4/ Vol.5 No.1" src="photos/Volume4no45.jpg"> <FONT size=-2><BR><I>IFAR Journal</I> Vol. 4, No. 4/Vol. 5, No.1,2001/2002<BR>Cover: Jackson Pollock,<I> Blue Poles, Number 11,1952</I> (Detail),1952. Enamel and aluminum paint with glass on canvas. 82 7/8" X 191 5/8" . National Gallery of Australia, Canberra.? 2002 The Pollock-Krasner Foundation/Artists Rights Society (ARS), NY<BR>See Article, p. 34.</FONT> </TD> <TD vAlign=top align=left><B>News & Updates:</B> <TABLE> <TBODY> <TR> <TD>Judge Goes into Reverse in Egon Schiele Case</TD></TR> <TR> <TD>Mediation over Disputed Klimts Ends</TD></TR> <TR> <TD>The French Waiter and His Vengeful Mom</TD></TR></TBODY></TABLE><BR> <CENTER><B>Edited Proceedings:</B><BR></B></CENTER> <TABLE cellSpacing=1 cellPadding=1 border=2> <CAPTION><B>IFAR Symposium</B><BR><B><I><A href="http://www.ifar.org/911intro.htm" target="_parent">SEPTEMBER 11TH: ART LOSS, DAMAGE, AND REPERCUSSIONS</A></I><BR><B> <P>To read the transcripts, please click on the desired topic below. </P></B></B></CAPTION> <TBODY> <TR> <TD><B><A href="http://www.ifar.org/911_public1.htm" target="_parent">Public Art at the World Trade Center</A></B><BR><I>-Saul S. Wenegrat</I></TD> <TD><B><A href="http://www.ifar.org/911_response1.htm" target="_parent">Response from the Insurance Industry</A></B><BR><I>-Dietrich von Frank</I></TD></TR> <TR> <TD></TD> <TD></TD></TR> <TR> <TD><B><I><A href="http://www.ifar.org/911_memorial1.htm" target="_parent">The World Trade Center Memorial, 1993</I></A></B><BR><I>-Elyn Zimmerman</I></TD> <TD><B><A href="http://www.ifar.org/911_adjust1.htm" target="_parent">The Insurance Adjuster's Role</A></B><BR><I>-Gregory J. Smith</I></TD></TR> <TR> <TD></TD> <TD></TD></TR> <TR> <TD><B><A href="http://www.ifar.org/911_residency1.htm" target="_parent">The Artist Residency Program in the Twin Towers</A></B><BR><I>-Moukhtar Kocache</I></TD> <TD><B><A href="http://www.ifar.org/911_downtown1.htm" target="_parent">The Downtown Institutional Impact</A></B><BR><I>-John Haworth</I></TD></TR> <TR> <TD></TD> <TD></TD></TR> <TR> <TD><B><A href="http://www.ifar.org/911_citi1.htm" target="_parent">The Art Lost by Citigroup on 9/11</A></B><BR><I>-Suzanne F.W. Lemakis</I></TD> <TD><B><A href="http://www.ifar.org/911_heritage1.htm" target="_parent">The Heritage Emergency National Task Force</A></B><BR><I>- Lawrence L. Reger</I></TD></TR> <TR> <TD></TD> <TD></TD></TR></TBODY></TABLE><BR> <TABLE> <TBODY> <TR> <TD><B>Jackson Pollock's Studio Floor:<BR>Uncovering the Secrets</B><BR>--Pollock's Studio and Evolution<I>--Helen A. Harrison</I></TD></TR> <TR> <TD>--The Scholarly Potential of Jackson Pollock's<BR>  Studio Floor<I>--Francis V. O'Connor</I></TD></TR> <TR> <TD><B>Putting the IFAR Cuzco Inventory to Work</B><BR>-- <I>Frederic J. Truslow</I></TD></TR> <TR> <TD><B>Del Sarto Rediscoveries Aided by Science: Workshop Practices Redefined</B><BR>--<I> Gertrude Wilmers</I></TD></TR> <TR> <TD><B>Stolen Art Alert</B></TD></TR> <TR> <TD><B>In Memoriam-- Arthur G. Altschul</B></TD></TR></TBODY></TABLE></TD></TR></TBODY></TABLE> <HR> <TABLE cellSpacing=10 cellPadding=0 border=0> <TBODY> <TR> <TD colSpan=2> <CENTER><FONT size=+1><B>The <I> Provenance and Due Diligence</I> Double Issue:<BR>Volume 3, Nos.3&4</B></FONT> </CENTER></TD></TR> <TR> <TD vAlign=top align=left width=175><IMG alt="IFAR Journal Vol. 3 No.3/4" src="photos/due.jpg"> <TD vAlign=top align=left><B>Provenance Research</B> <UL> <LI>A Dialogue on Provenance and Due Diligence<I>--Constance Lowenthal and Stephen E. Weil</I> <LI>Looted Art Research at the National Archives<I>--Greg Bradsher</I> <LI>Provenance Research--Looking for Looted Art<I>--Sarah Jackson</I> <LI>Provenance Research Tools<I>--Inge Reist</I> <LI>Lost and Sometimes Found:<I>Findspots and Pedigrees of Ancient Art--Robert Cohon</I> <LI>Provenance: A Dealer's View<I>--Peter Marks</I> </LI></UL><B>Due Diligence-- Legal Issues</B> <UL> <LI>A First Hand Account of the MFA&A<I>--Craig Hugh Smyth</I> <LI>Due Diligence?<I>--John Henry Merryman</I> <LI>Forfeiture of Artworks<I>--Alexander H. Shapiro</I> <LI>Due Diligence for Acquiring Cultural Property in the New Millennium <I>--Linda F. Pinkerton</I> <LI><FONT+1>LEGAL PANEL:<I>PROVENANCE AND LEGAL RESPONSIBILITY: WHAT CONSTITUTES DUE DILIGENCE?</I></FONT> <UL> <LI><B>Introduction:</B>The Tale of the Two Chagalls or How N.Y. State Got its Statute of Limitations Rule<I>--Herbert Hirsch</I> <LI><B>Panel Discussion:</B> Herbert Hirsch [Moderator], John Henry Merryman, Linda Pinkerton, Alexander H. Shapiro, Stephen E. Weil<B> <LI>Audience Questions</B></FONT></LI></UL><BR><BR><FONT size=-1><B>Individual copies of <I>Provenance and Due Diligence</I> are available for $20, plus postage.</B> </FONT></LI></UL></TD></TR>   <table cellpadding=0 cellspacing=10 border=0> <tr> <td colspan=2> <table width=590><td align=left><font size=+1><b>Highlights from other <i>IFAR Journal</i> Issues:</b></font></td><td align=right></td></table><hr> </td> </tr>  <TR> <TD vAlign=top align=left width=175><IMG alt="IFAR Journal Vol. 5 No.3" src="photos/volume5no3.jpg"> <BR><BR></TD> <TD vAlign=top align=left><B>Volume 5, Number 3:</B><BR> <UL> <LI>California Appeals Court Gives Green Light to Suit Against Austria <LI>Egon Schiele Painting Pulled from Vienna Auction in WWII Restitution Case <LI>A Rash of Thefts -- Lesser Known Works by Major Artists <LI>Four Thefts in 20 Years: The Saga of the Beit Collection <LI>U.S. Cultural Property Import Agreement with Canada Ends <LI>Hassam Painting Recovered After 17 Years <LI>Copyright or Copywrong? The Supreme Court, Copyright Term Extension, and the Arts <I>An IFAR Evening -- November 6, 2002</I> <LI>Holocaust-Era Looted Art: The Routes in the U.S. -- <I>Lucille A. Roussin</I> <LI>The Debate Over Cleaning Paintings: How Much Is Too Much? -- <I>Joyce Hill Stoner</I> <LI>Stolen Art Alert </LI></LI></UL></TD></TR>   <tr> <td width=175 align=left valign=top> <img src=photos/volume5no2.jpg alt="IFAR Journal Vol. 5 No.2"> <br><br> </td> <td align=left valign=top> <b> Volume 5, Number 2:</b><br> <ul> <li> New Attribution to Rubens Changes an Ugly Duckling into a Swan <li> Conflicting Decisions on Foreign Sovereign Immunity Affect Holocaust Restitution Cases <li> U.S. and Cyprus Sign Agreement to Limit Import of Antiquities <li> Decision in Human Rights Suit Over Van Gogh's <i>Gardener</i> <li> New Italian Monuments Law Causes Stir <li> Daring Heist of Two Maxfield Parrish Murals <li> Stolen Titian Recovered <li> Japan Signs on to UNESCO Convention <li> Recent UK Initiatives Against Illicit Trade in Antiquities: Including Accession to the 1970 UNESCO Convention-- <i> David Gaimster</i> <li> Solving Puzzles, Discovering O'Keeffe: The Georgia O'Keeffe Catalogue Raisonné <br>Part I -- <i>Barbara Buhler Lynes</I><br>Part II -- <i> Judith Walsh</i> <li> Stolen Art Alert </ul> </td> </tr>  <tr> <td width=175 align=left valign=top> <img src=photos/Volume4no3.jpg alt="IFAR Journal Vol. 4 No.3"> <br><br> </td> <td align=left valign=top> <b> Volume 4, Number 3 :</b><br> <ul> <li> September 11th and the Art World <li> Verdict in New York Antiquities Trial <li> Swiss Considering New Cultural Property Law <li> Stolen Chagall Makes Odyssey from New York to Kansas and Back <li> Two Museum Insiders Give in to Temptation <li> Mobster Pleads Guilty in Fake Art Scam <li>Early Netherlandish Paintings or 20th-Century Fakes?<i>--Maryan W. Ainsworth</i> <li> Lost, Stolen and Destroyed Pictures by Sir Joshua Reynolds-- <i>David Mannings</i> <li>The UNESCO Convention on the Protection of the Underwater Cultural Heritage--<i> James A. R. Nafziger</i> <li>Authenticity and the Statute of Limitations in Art Sales: A Suggestion--<i> Franklin Feldman</i> <li>Book Review: <i>The AAM Guide to Provenance Research--Evie T. Joselow</i> <li>Stolen Art Alert </ul> <tr> <td width=175 align=left valign=top> <img src=photos/rembrandt.jpg alt="IFAR Journal Vol. 4 No.2"> <br><br> </td> <td align=left valign=top> <b> Volume 4, Number 2 :</b><br> <ul> <li>French Court Finds Art Dealer Guilty of Handling War Loot <li>Postscript in Cooperman Art Fraud Case <li>Prominent Dealer Charged with Selling Illegal Egyptian Antiquities <li> Journalist Hector Feliciano Sues Rosenberg Family for Share in Profits from Restituted Art <li> Twice-Stolen War Loot Returns Home to Bremen <li>First Painting from Famed Goudstikker Collection Returned to Family <li>U.S. Museums to Provide Expanded Information About Objects Transferred in Europe During the Nazi Era<i>--Stephen E. Weil</i> <li> Thirty Years of the Rembrandt Research Project: The Tension Between Science and Connoisseurship in Authenticating Art: An <i>IFAR Evening--Ernst van de Wetering</i> <li>Book Review: <i>Seeing Through Paintings--Joyce Hill Stoner</i> <li>Stolen Art Alert </ul> <tr> <td width=175 align=left valign=top> <img src=photos/oldfraud.jpg alt="IFAR Journal Vol. 4 No.1"> <br><br> </td> <td align=left valign=top> <b> Volume 4, Number 1:</b><br> <ul> <li>New York State Settles Internet Art Fraud Suit <li>Consignor of Fakes to Florida Auction Fined and Sentenced <li>Art Scholar and Dealer Confront New Twists to an Old Scam <li> U.S. and Italy Sign Agreement to Limit Import of Antiquities <li> Denver Museum Brings Mile-High Joy to Oregon Woman: Painting Returned to Daughter of Holocaust Victims <li>De Chirico Forgeries: The treachery of the Surrealists<i>--William H. Robinson</i> <li> The FBI's Role in Art Fraud and Theft: An <i>IFAR Evening</i> <li>A Puzzle Resolved: Duke's Portrait Identified<i>-- Gertrude Wilmers</i> <li> The Laches Defense in Art Theft Litigation<i>--Jeremy G. Epstein</i> <li>Book Review: <i>More on Looted Art--Lucille A. Roussin</i> <li>Stolen Art Alert </ul> <tr> <td width=175 align=left valign=top> <img src=photos/newspring2000.jpg alt="IFAR Journal Vol. 3 No.2"> </td> <td> <b>Volume 3, Number 2:</b> <ul> <li>Looted Waldm?ller Landscape Returned to Berlin Museum <li>Shchukin Heir Claims a Matisse Masterpiece Confiscated by Lenin <li>Copying Chinese Paintings: Flattery or Forgery? <li>Calder's Artistic Development and Authenticity <li>A Legal Decision in New York Gives Experts Protection for Their Opinions on Authenticity <li>A Copyright Primer for the Protection and Use of Fine Art Images <li>Stolen Art Alert </ul> <tr> <td width=175 align=left valign=top> <img src=http://www.ifar.org/photos/winter1999-2000.jpg alt="IFAR Journal Vol. 3 No. 1"> </td> <td> <b>Volume 3, Number 1:</b> <ul> <li>Kirk Varnedoe on Art, Law, and Ethics <li>Original Print or 19th-Century Copy? How To Tell <li>The de Young Museum "Rabbi" Returned After 20 Years: No Longer a "Rembrandt" <li>British and U.S. Museums List Works with Provenance Gaps <li>Rash of Thefts of Copernicus' Scientific Treatise <li>1980's Con Man, Charles Heller, Indicted for Art Fraud <li>New U.S. Import Restrictions on Art <li>Stolen Art Alert </ul> </td> </tr> <tr> <td width=175 align=left valign=top> <img src=http://www.ifar.org/photos/autumn1999.jpg alt="IFAR Journal Vol. 2 No. 4"> </td> <td> <b>Volume 2, Number 4:</b> <ul> <li>SPECIAL 30th ANNIVERSARY ISSUE! <li>Highlights of IFAR's Activities in Art Fraud, Theft, Authentication, and Law. <li>From our Stolen Art Alert -- Top Ten Thefts, Recoveries, and Unsolved Cases </ul> </td> </tr> <tr> <td width=175 align=left valign=top> <img src=http://www.ifar.org/photos/summer1999.jpg alt="IFAR Journal Vol. 2 No. 3"> </td> <td> <b>Volume 2, Number 3:</b> <ul> <li>The Gachet Collection -- The "Fakes" Question <li>Expert Art Opinions and Legal Liabilities <li>Decision in the "Steinhardt Case" <li>Bas-Reliefs from Nimrud Offered on the Antiquities Market <li>Book Review: World War II-Era Art Restitution; Some Recent Publications <li>Stolen Art Alert </ul> </td> </tr> <tr> <td colspan=2> <hr> </td> </tr> </table>   <table width=590><td align=left><b><font size=+1>Journal Subscriptions:</font></b></td><td align=right><font size=-2><i><a href="#top">Return to Top</a></i></font></td></table> <p>Subscriptions to the <i>IFAR Journal</i> are available at a rate of $65 per year for four quarterly issues (overseas subscribers please add $20 for mailing). Subscribers also receive notices about programs and discounted admissions to <i>IFAR Evenings</i>.</p> <p>If you are interested in subscribing to <i>IFAR Journal</i>, please follow the instructions on our <a href=becomeamember.htm target=#_top>Invitation to Join</a> Page.</p> <p>For more information, feel free to send us an e-mail:<br> <a href=mailto:kferg@ifar.org>E-mail to IFAR Webmaster</a>.</p> <hr>  <br> <b><font size=+1>Manuscript Submissions:</font></b> <p>Authors should inquire by telephone or letter prior to submission. Unsolicited manuscripts will be considered; however,we will not contact you unless interested. Address inquiries to:<br><br> Tel: 212-391-6234<br> Dr. Sharon Flescher<br> Editor-In-Chief, IFAR Journal<br> International Foundation for Art Research<br> 500 Fifth Avenue<br> NY, NY 10110<br></p> <hr> <div align=center> &#149 <a href=index.htm>Home</a> &#149 <a href=what_main.htm>What Is IFAR?</a> &#149 <a href=back_main.htm>Background</a> &#149 IFAR Journal &#149 <a href=prog_main.htm>IFAR Programs</a> &#149 <a href=auth_main.htm>Authentication</a> &#149 <a href=memb_main.htm>Membership</a> &#149<br> </div> </td>  </tr> </table>  </body>