This past Thursday, November 19th, what may turn out to be the biggest art theft in Italian history – apart from Napoleon’s efforts of course – took place at the Museo Civico di Castelvecchio, in the city of Verona. Three armed men overcame the museum’s security guard at closing time, and stole 17 paintings from the museum’s collection, before making their getaway in the security guard’s own car. So far, the robbers have not been apprehended.
Some in the press are suggesting that, as in the famous heist at the Isabella Stewart Gardner Museum in Boston, the paintings stolen from the Castelvecchio were taken to order. Presumably, given the list of what was taken, the underworld kingpin who selected these items has a particular penchant for Venetian art. The majority of the works stolen were by the great Venetian Old Master painter Jacobo Tintoretto (1518-1594), and of the remaining pieces, three were by his son Domenico (1560-1635) or his associates, another by Jacobo Bellini (c. 1400-1470), the progenitor of the Renaissance style in Venice, and another by Bellini’s son-in-law, Andrea Mantegna (c. 1431-1506).
The stolen works are estimated to be worth between $11-16 million, but this seems a figure based purely upon conservative speculation. For example, works by Mantegna are not only rare in themselves, they almost never come up for sale on the open art market. Mantegna’s painting of “The Descent of Christ Into Limbo”, a very interesting picture but certainly not pretty to look at, sold at Sotheby’s over a decade ago for around $28.5 million. The work of Antonio di Puccio Pisano (c. 1395-1455), or “Pisanello” as he is commonly known, is even rarer: apart from some of his bronze medals and drawings, I could not even find a recent auction result for one of his paintings.
You can see photographs of each of the stolen paintings by visiting this link. I imagine that they will soon appear on the Art Loss register, if they have not already. Here’s a translated list of what was taken:
The Madonna of the Quail by Pisanello
St. Jerome Penitent by Jacopo Bellini
The Holy Family with St. Mary Magdalene by Mantegna
Portrait of a Child Showing a Child’s Drawing by Giovanni Caroto
Portrait of a Young Benedictine Monk by Giovanni Caroto
The Madonna Nursing the Christ Child by Jacobo Tintoretto
The Carrying of the Ark of the Covenant by Jacobo Tintoretto
The Banquet of Belshazzar by Jacobo Tintoretto
Samson by Jacobo Tintoretto
The Judgment of Solomon by Jacobo Tintoretto
Portrait of a Man by Circle of Domenico Tintoretto
Portrait of a Venetian Admiral by Studio of Domenico Tintoretto
Portrait of Marco Pasqualigo by Domenico Tintoretto
The Lady of the Campions by Rubens
A Landscape by Hans de Jode
A Seaport by Hans de Jode
Portrait of Girolamo Pompei by Giovanni Benini
I chose the missing Tintoretto “Samson” to illustrate this post, because he accurately reflects in this picture the attitude of frustration we all ought to have toward stolen art. Certainly, the loss of these works highlights the ongoing problem of art and antiques theft in Italy and elsewhere, which is quite a lucrative black market business and often used for money laundering purposes. Yet more importantly, this act removed from the shared patrimony of both the people of Verona and indeed of the world, the opportunity to study, appreciate, and learn from these paintings.
These works of art not only represent people and events important to the Catholic faith and to Italian culture, they are also tangible fragments of our shared human history. Each tells a story of how and where they were made, by and for whom, using what materials and methods were commercially available and scientifically understood at the time, and what happened to them after they left the artist’s studio. Without the paintings themselves, we may still have words on a page to tell us these things, but words alone cannot make up for their loss as objects of both visual beauty and historic significance.