With the growing profits from Hunt Foods, he began buying stock in other undervalued companies with growth potential, many of which were still undervalued following the loss of confidence in equities after the Great Depression. He diversified through acquisition into well known businesses such as McCall's Publishing, the Saturday Review of Literature, Canada Dry Corporation, Max Factor cosmetics, the television production company Talent Associates, and Avis Car Rental, through his holding company Norton Simon Inc. (Norton Simon Inc. was formed in 1968 through the merger of Hunt Foods, McCalls Publishing and Canada Dry Corporation.) Many of these businesses had extensive interests outside the United States. Norton Simon Inc. was later acquired by Esmark in 1983, which merged with Beatrice Foods the next year. Beatrice was sold to ConAgra in 1990.
Hundreds of bronze works like the Alingana Murthy were buried for centuries and were almost lost to the world because those who buried them probably died during the invasions. The Alingana Murthy and Parvathi are coming back home to take their place – thanks to the India Pride Project. Hundreds of other priceless Indian art treasures await their turn.
My name is BRAD MONTAGUE. I will be speaking at the Solomon R. Guggenheim Museum in New York City this December. While there, I will be using the opportunity to put the spotlight on some of our nation's youngest artists, giving them the chance to say their work has been shown at one of the most celebrated art museums in the world. For too long, people have smuggled art out of museums. It's time to smuggle some hope in.
But Scotland Yard were onto him, and he was arrested while awaiting delivery of large importation. He skipped bail and fled abroad, fitted out a wooden ketch, loaded it with a ton-and-a-half of cannabis resin and crossed the Atlantic, using a sextant and dead reckoning. He eventually sailed up the Hudson and unloaded to a New York distributor, only to be caught in chase through the streets of Manhattan and sentenced to six years in a penitentiary.
It may come as a surprise to even the most art-attuned earthlings that the art world actually extends beyond the limits of our home planet. Unknown to many dealers, curators, and other art-loving terrestrials, there is a micro museum on the moon. Conceived of by artist Forrest Myers in 1969, the Moon Museum was established on the lunar surface after works by six contemporary artists arrived with the Apollo 12 mission, the second moon landing. Drawings by Andy Warhol, Robert Rauschenberg, David Novros, Claes Oldenburg, John Chamberlain, and Myers were inscribed onto a ¾-by-½-inch ceramic chip, which then hitched a ride to the moon, covertly affixed to the leg of the Intrepid lunar lander.
3. Ferromagnetic detectors are becoming a favorite in the contraband smuggling and detection field. The cell phone does not need to be turned on for the detection to happen. The detector picks up the electromagnetic field generated by any mobile phone – even OFF and with the battery removed. The downside is the range is short and sometimes less than a foot.
We went with the police and about 20 Nigerians into the gallery the day before the opening. There were all of these fucking posh people sipping champagne, and in we came to shut it down. You should've seen their fucking jaws! I made a statement: "Don't touch the heritage of these people!" And it's not that I was a white knight-not at all. But I began to come across certain things that I just couldn't step over.
I'm not going to bullshit you. Single shipments from Russia were between one and three million, which in the 60s was a lot of money. And these were regular trips-twice a month. It was raining money so I made my base in Beirut. Moneywise Beirut was a free banking market, so you could exchange a million dollars completely open on the square and no one would ask any questions. Of course you had to play the cat and mouse game with Interpol.
More recently, this year, the Department of Homeland Security seized seven objects in the Honolulu Museum of Art’s collection because they had been notified that the works were smuggled into America. Six of the objects came from Subhash Kapoor, whom authorities believe looted over $100 million in art. After that, the museum’s director, Stephan Jost, returned the works that Greene donated eleven years earlier and found that no signed warranty was given to the museum either.
One of the toughest cases to crack for the group was that of the Alingana Murthy from the Ball State Museum. In July 2015, the group broke the story of the Ball State University Museum of Art’s acquisition of the Chola Bronze Alingana Murthy – Shiva embracing his consort Parvathy. This exquisite piece of art, at least a millennium old, was ‘acquired’ through Subhash Kapoor’s smuggling network.
He hasn't given many interviews over the past six years, but I managed to track him down for a chat. After learning I did a bit of unlicensed boxing before becoming a journalist, Michel took a liking to me, as he is a fighter himself. He once had so many contracts on his head that Scotland Yard detectives allegedly placed bets on how long he had left to live before he was murdered by a hitman.
When a well-known dealer is arrested, what can a museum do in response – both to be diligent and to keep the institution’s best interests in mind? The guidelines of the Association of Art Museum Directors (AAMD) and the American Alliance of Museums (AAM) urge transparency, with AAM specifically recommending that member museums ‘make available the known ownership history of archaeological material and ancient art in their collections.’ To be well-positioned to respond to inquiries from law enforcement or the press, a museum should identify any objects in its collection that were acquired from Wiener and make their provenance information publicly available.
We empirically analyze the illicit trade in cultural property and antiques, taking advantage of different reporting incentives between source and destination countries. We thus generate a measure of illicit trafficking in these goods based on the difference between imports recorded in United States' customs data and the (purportedly identical) trade as recorded by customs authorities in exporting countries. We find that this reporting gap is highly correlated with the corruption level of the exporting country as measured by commonly used survey-based indicies, and that this correlation is stronger for artifact-rich countries. As a placebo test, we do not observe any such pattern for U.S. imports of toys from these same exporters. We report similar results for four other Western country markets. Our analysis provides a useful framework for studying trade in illicit goods. Further, our results provide empirical confirmation that survey-based corruption indicies are informative, as they are correlated with an objective measure of illicit activity.
The first object Greene donated, in 2003, to the Honolulu Academy of Arts, whose holdings are shown at the Honolulu Art Museum, was an 11th-century Cambodian sculpture. After the work was delivered to the museum on time and received in good condition, the museum struck up a deal the following year that Greene would receive an $80,000 annuity for the rest of his life. The museum made this deal because Greene had offered to loan 37 more objects under the condition that he could provide sufficient provenance information.
Buried treasure, mysterious deaths, looting, forged documents, secretive Swiss bank vaults and shadowy intermediaries. This is not a description of a Dan Brown thriller. It’s real life: the trade in illegally exported antiquities. As prices soar into the millions of dollars for the top pieces, so does the incentive to dig up treasures in Italy, Greece, Turkey and farther afield, pass them to “runners” who will sneak them illegally across borders, store them in a Swiss vault and then quietly slip them into the trade. The players in this murky world can make a fortune, but this is a dangerous game.