Kunsthal Rotterdam Art Heist: Looking at the Paintings Stolen from the Triton Foundation (Provenance Information Added)

Lucian Freud, Woman with Eyes Closed

by Catherine Sezgin, ARCA Blog Editor

The seven paintings stolen from the Kunsthal Rotterdam on October 16 remain missing. On January 21, Romanian police arrested three men in connection with the gallery heist. March 4, Dutch police arrested a Romanian woman believed to be an accomplice. On March 13, a German man who arrested for blackmail after an alleged attempt to sell the Triton stolen paintings back to the foundation. The mother of one of the defendants arrested for the theft has claimed that she destroyed two of the paintings.

Last December Yale University published Avant-Gardes 1870 to the Present: The Collection of the Triton Foundation which offers more information on the stolen paintings stolen from the Triton Foundation. This catalogue is written by Sjraar van Heugten, former head of collections at the Van Gogh Museum, Amsterdam, and an independent art historian. Here the catalogue's information on the stolen paintings:

Lucian Freud: Woman with Eyes Closed (2002), oil on canvas, 30.5 x 25.4 cm. Provenance: Triton Foundation, acquired from the artists, 2002.

Paul Gauguin, La Fiancée 

Paul Gauguin, Woman Before a Window, 'The Fiancée, 1888, an oil on canvas. annotated in the lower right in red paint (damaged) La Fiancée; signed and dated lower right beneath annotation in black paint P Go 88, 33.8 x 41 cm. Provenance: Private collection, England; Kunsthandel (art dealer) Franz Buffa, Amsterdam; collection Allan and Nancy Miller, Solebury, Pennsylvania, 1949; auction Galerie Charpentier, Paris, 17 June 1960, no. 87 (unsold); auction Sotheby's, London, 4 July 1962, no. 75 (unsold); auction Christie's, Tokyo, 27 May 1969, no. 302; collection Samuel Josefowitz, Lausanne, circa 1981; auction Drouot-Montaigne, Paris, 3 April 1990, no. 58; Triton Foundation, 1997.

Matisse's Reading Woman

Matisse's Reading Woman in White and Yellow, 1919 was painted in the South of France in the suburb of Cimiez. The 31 x 33 cm work is "oil on canvas mounted on board" and "signed lower left Henri Matisse". Comment: Certificate of authenticity by Wanda de Guébriant, 12 Mar. 1996. Provenance: Galerie Bernheim-Jeune, Paris, acquired from the artists on 23 June 1919, no. 21624; Bernheim-Jeune Frères, acquired on 20 May 1931; collection Josse and Gaston Bernheim-Jeune, 1931; Bignou Gallery, New York; private collection, New York, 1947; collection Dr. Peter Nathan, Zurich, 1953; collection Emil G. Bührle, Zurich, acquired from the above on 8 December 1953; Foundation Emil G. Bührle Collection, since 1960; Triton Foundation, 1999.

Jacob Meyer De Haan, Self-Portrait

Jacob Meyer De Haan (Amsterdam 1852 - Amsterdam 1895), Self-Portrait against Japonist Background, circa 1889-1891, oil on canvas, 32.4 x 24.5 cm. Provenance: Collection Marie Henry, Le Pouldu; collection Ida Cochennec, daughter of the artists and Marie Henry; auction Cochennec Collection, Hôtel Drouot, Paris, 24 June 1959, no. 77; Marlborough Fine Art Ltd, London; collection Mr. and Mrs Arthur G. Altschul, New York, acquired in July 1961; Triton Foundation, 2002 (on long-term loan to the Van Gogh Museum, Amsterdam, 2002-2004).

Sideways view of Monet's Waterloo Bridge

Claude Monet: Waterloo Bridge, London (1901), pastel on brown laid paper, signed lower right Claude Monet, 30.5 x 48.0 cm. Provenance: Collection Werner Herold, Switzerland, circa 1917; private collection, USA, 1970; Triton Foundation, 1998.

Another sideway's view: Monet's
Charing Cross Bridge, London

Claude Monet's Charing Cross Bridge, London, 1901, pastel on brown gray laid paper, annotated and signed lower right à J. Massé/au jeune chasseur/d'Afrique Claude Monet, 31.0 x 48.5 cm. Provenance: Collection J. Massè, gift from the artist; auction Hôtel des Ventes, Enghien-Les-Bains, 24 Nov. 1985, no. 39; auction Hôtel des Ventes, Enghien-Les-Bains, 18 Mar. 1989, no. 6; private collection, Triton Foundation, 1998.

Picasso's Head of a Harlequin

Painted the year before the artist's death, Picasso's Head of a Harlequin (1971) is in "pen and brush in black ink, colored pencil and pastel on thick brown wove paper" (38 x 29 cm) and is "signed and dated in the lower right Picasso/12.1./71. Provenance: Galerie Louise Leiris, Paris; private collection, Europe; Michelle Rosenfeld Gallery, New York; private collection, USA; Finartis Kunsthandels AG, Zug; private collection, USA, 2004; Triton Foundation, 2009.

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Rotterdam Art Heist: The Day After

by Catherine Sezgin, ARCA Blog Editor-in-Chief

Questions remain the day after seven stolen paintings estimated to be worth "tens of millions" remain missing from the Kunsthal art gallery when yesterday morning the 20-year-old building's "state of the art" security system alerted private security, then the Rotterdam police, that the contemporary art space had been robbed.  A Picasso, two Monets, a Gauguin, a Matissee -- five of the paintings were attributed to artists favored by thieves for their fame and perceived value -- plus another by Lucien Freud (famous contemporary artist) and Meijer de Haan (1852-1895), whose name may not be as recognizable but the Dutch artist's paintings are in the Musée d'Orsay in Paris and the Norton Simon Museum in Pasadena (Meyer de Haan painted with Gauguin in Brittany).

Here are links to CBS News (video and text) on the heist and speculation as to whether or not it was an inside job because, as discussed by Chris Marinello of The Art Loss Register, the theft "just went too smoothly".   In the later segment, CBS News correspondent John Miller, a former FBI deputy director, describes art thieves not as sophisticated urbanites (see Pierce Brosnan in The Thomas Crown Affair) but "knuckleheads" who put a lot of time into taking the paintings but will either seek assistance in selling the paintings that usually involves undercover agents, or will try to ransom the paintings back to the insurance company, or will keep the paintings for years as a 'get out of jail card'.

The question after an art heist is more overwhelmingly not who took the paintings but when or if they will ever be recovered.  Listing the stolen paintings into the database of The Art Loss Register, with the media, and other law enforcement agencies is meant to stop the sale of the works through legitimate art dealers and auction houses.

In Kate Connolly's piece yesterday in The Guardian ("Rotterdam art thieves take valuable paintings in dawn heist"), "security experts speculated that the thieves might have taken advantage of Rotterdam's port -- one of the largest in the world -- to swiftly move the paintings abroad" and that the paintings could have been "stolen to order" or held for ransom.

According to the Associated Press (published online here with the Winnipeg Free Press), Dutch police are following up on "15 tips from the public", "studying video surveillance images", and have "focused their attention on a rear door that thieves most likely used to get into the gallery before snatching the paintings."

Here DutchNews.nl reports that the Kunsthal reopened Wednesday and replaced the spaces formerly occupied by the stolen paintings with works from the Triton Foundation (and notes that journalists outnumbered visitors inside the museum).

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