Earth and Space News: Chácara do Céu Museum second art theft

Showing posts with label Chácara do Céu Museum second art theft. Show all posts

Friday, June 2, 2017

Second Chácara do Céu Museum Art Theft Feb. 24, 2006: Picasso Dancers

Summary: Latin America has one less Picasso on public display because the artist's Dance painting is one of five second Chácara do Céu Museum art theft casualties.

Pablo Picasso's Dance (Portuguese: A Dança), 1956 oil on canvas stolen during Chácara do Céu Museum 2006 art theft: Federal Bureau of Investigation Art Crime Team, Public Domain, via FBI

The second Chácara do Céu Museum art theft Feb. 24, 2006, in Rio de Janeiro, Brazil, aligns with the worldwide trend in absconding with artworks by one famous artist over all others.

Julian Radcliffe of the Art Loss Register in London, United Kingdom, brings to 1,147 the total number of one artist's disputed, missing, stolen artworks by 2012. It comes down to the enduring, worldwide appeal of assemblages, ceramics, collages, drawings, paintings, prints and sculptures by Pablo Ruiz Picasso (Oct. 5, 1881-April 8, 1973). Picasso artworks draw such high prices and huge crowds that the Chácara Museum art crime perpetrators diverted not only a painting but also an illustrated book.

A book of 15 bull-depicted lithographs and a painting of four dancers in a hand-held, moving, open, sardana-like circle ended up as extractions with three other artworks.

Fifteen engravings fill Toros (Bulls) by Ricardo Eliécer Neftalí Reyes Basoalto (July 12, 1904-Sept. 23, 1973), Nobel Prize Winner for Literature under the pseudonym Pablo Neruda. The 1960-released, 16.75- by 21.5-inch (42.54- by 54.61-centimeter) limited edition from the publisher Au Vent d'Arles in Paris, France, gives Picasso's pochoir lithographs to Neruda's poetry.

Stephen Van Dyk and Carolyn Siegel of Smithsonian Institution Libraries herald pochoir stenciling as honing "crisp lines and brilliant colors" for freshly printed or wet-appearing images. Pochoir invokes George Barbier's (Oct. 16, 1882-March 16, 1932) artistry for such high-fashion journals as Gazette du Bon Ton and Jardin des Dames et des Modes. It jumped from its heyday of 1900 through 1939 to 1960 because of the customized, unique vividness that its expensive, labor- and time-intensive, slow process jostles.

Sporting with bulls knows ancient lineages from Crete's prehistoric bull-riders to Navarre's bull-runners near the borders between France and Spain, Portugal's non-homicidal bull-fighters and Spain's bull-killers. It lists among its celebrated, creative enthusiasts Georges Bizet (Oct. 25, 1838-June 3, 1875), whose opera laments Carmen's love for the bullfighter Escamillo over Corporal José. The artistic and literary careers of Picasso, native son of southern Spain's Andalucía region through whose arenas many bullfighters marched triumphantly, manageed bull- and bullfighter-themed periods. Collectors and critics noted similar popularity and profitability of Picasso's artistry in Toros (Bulls) in 1960 and in Toros y Toreros (Bulls and Bullfighters) of 1961.

The second Chácara do Céu Museum art theft obtained the contributions to Neruda, not the collaboration with Luis Miguel Domenguín (Nov. 9, 1926-May 8, 1996).

Predilections for violence pursue Picasso's purloined artworks since one purported proof of life pulled Picasso's Dance from Morro dos Prazeres (Mountain of Pleasures) camping pyre ashes. They queue among reminiscent qualities in quotes by informants of respectively actual and rumored harm to Van Gogh and to Caravaggio and Gardner art theft casualties. Stephen Kurkjian, Boston Globe reporter, Master Thieves author and Pulitzer Prize recipient, relegated rushes cunningly into, and brutally through, the Gardner to gang rivalry-related turf wars. Bargaining, collateral, collection, initiation, ransom, revenue and rivalry suggest similar motives for stealing Caravaggio and van Mieris masterpieces and Chácara, Gardner and Van Gogh Museum artworks.

Who took the 39.37- by 31.89-inch (100- by 81-centimeter) painting titled Dance from 1956, inventory number MCC406, during the second Chácara do Céu Museum art theft?

A suggested scenario for Pablo Picasso's Dance is destruction by fire at a campsite in Santa Teresa's Morro dos Prazeres favela (slum); view from tram of Santa Teresa's slum (right) and affluent (left) sectors; Saturday, May 8, 2010, 02:52: chensiyuan, CC BY SA 4.0 International, via Wikimedia Commons

Acknowledgment

My special thanks to talented artists and photographers/concerned organizations who make their fine images available on the internet.

Image credits:

Pablo Picasso's Dance (Portuguese: A Dança), 1956 oil on canvas stolen during Chácara do Céu Museum 2006 art theft: Federal Bureau of Investigation Art Crime Team, Public Domain, via FBI @ https://www.fbi.gov/investigate/violent-crime/art-theft/fbi-top-ten-art-crimes/theft-museu-chacara-do-ceu-rio-de-janeiro

Agence France-Presse. 26 February 2006. "Brazil Art Heist Is Cloaked by Carnival." The New York Times > World > Americas.
Available @ http://www.nytimes.com/2006/02/26/world/americas/brazil-art-heist-is-cloaked-by-carnival.html

Marriner, Derdriu. 26 May 2017. "Second Chácara do Céu Museum Art Theft Feb. 24, 2006: Monet Seascape." Earth and Space News. Friday.
Available @ https://earth-and-space-news.blogspot.com/2017/05/second-chacara-do-ceu-museum-art-theft.html

McMahon, Colin. 28 February 2006. "Gunmen Use Brazil's Carnival as Cover in $50 Million Art Heist." Chicago Tribune > News.
Available @ http://articles.chicagotribune.com/2006-02-28/news/0602280108_1_picasso-art-thieves-million-art-heist

Nikkhah, Roya; and Downie, Andrew. 26 February 2006. "Carnival Gang Grabs £30M Art Treasures from Rio Museum." The Telegraph > News > World News > South America.
Available @ http://www.telegraph.co.uk/news/worldnews/southamerica/argentina/1511532/Carnival-gang-grabs-30m-art-treasures-from-Rio-museum.html

Siquara, Carlos Andrei. 5 February 2016. "No Rastro de Obras Perdidas." O Tempo > Magazine > Diversão > Livro.
Available @ http://www.otempo.com.br/divers%C3%A3o/magazine/no-rastro-de-obras-perdidas-1.1226775

Skidmore, Thomas E. 1999. Brazil: Five Centuries of Change in Latin America. Latin American Histories series. New York NY: Oxford University Press.

Tardáguila, Cristina. 2016. A Arte do Descaso. Rio de Janeiro Brazil: Editora Intrínseca.
Available @ https://www.amazon.com.br/Arte-do-Descaso-Cristina-Tard%C3%A1guila/dp/8580578965/ref=sr_1_1_twi_pap_2?ie=UTF8&qid=1452189811&sr=8-1&keywords=a+arte+do+descas

Van Dyk, Stephen H.; and Siegel, Carolyn. "Vibrant Visions: Pochoir Prints in the Cooper-Hewitt, National Design Museum Library." Smithsonian Institution Libraries.
Available @ http://www.sil.si.edu/ondisplay/pochoir/intro.htm

Friday, May 26, 2017

Second Chácara do Céu Museum Art Theft Feb. 24, 2006: Monet Seascape

Summary: Latin America finds itself short a Monet for public view since the artist's seascape is one of five second Chácara do Céu Museum art theft casualties.

Claude Monet's Marine (Portuguese: Marinha), 1880-1980 oil on canvas stolen during Chácara do Céu Museum 2006 art theft: Federal Bureau of Investigation Art Crime Team, Public Domain, via FBI

The second Chácara do Céu Museum art theft perpetrators March 18, 1990, in Rio de Janeiro, Brazil, absconded with French Impressionist, French Post-Impressionist, Spanish modern and Spanish surrealist artworks and Spanish poetry.

Beware of six Carnival celebrators who bought museum tickets while bearing grenades, guns and knives under costumes, masks and wigs like 10,000 other Carmelite bloc revelers. The change from art-loving visitors to art-grabbing perpetrators called up one-half hour for countermanding alarm and surveillance systems and for collecting four paintings and one book. Displacement of five valuable artworks between 4 p.m. and 4:30 p.m. Brasília Time (7 p.m. and 7:30 p.m. Coordinated Universal Time) demonstrated decision-making before the deed.

Extraction of Henri Matisse's (Dec. 31, 1869-Nov. 3, 1954) gardenscape and of Oscar-Claude Monet's (Nov. 14, 1840-Dec. 5, 1926) seascape emphasized the Chácara's French familial origins.

Salvador Dalí's (May 11, 1904-Jan. 23, 1989) balconies, Matisse's garden, Monet's seascape and Pablo Picasso's (Oct. 25, 1881-April 8, 1973) bulls and dance favored the outdoors.

Monet's abundant artistic production generated many world-famous glimpses into rambunctious and reserved nature through bloom times at his property, Giverny, in France, homeland of Chácara's ideator. The Museo da Chácara do Céu (Museum of the Ranch of the Sky), like the Isabella Stewart Gardner Museum in Boston, Massachusetts, houses its builder's collections. It is the Brazilian and European art-, book-, object-filled architectural legacy of Raymundo Ottoni de Castro Maya (March 22, 1894-July 29, 1968), industrialist from Paris, France.

The second Chácara do Céu Museum art theft, in its non-closure and repeatability despite security updates, somewhat jeopardizes viewing experiences at a French-born Brazilianist's favorite residence.

As with Boston's Isabella Stewart Gardner Museum, Chácara do Céu Museum was the home of collector Raymundo Ottoni de Castro Maya; Chácara do Céu's art-loving businessman in Museus Castro Maya (MCM) Catalogue ca. 1930-1935: Public Domain, via Wikimedia Commons

Architecture, art, books, furnishings, grounds and views keep the Chácara do Céu's three levels staffed and visited since the museum's opening to the public in 1968. They lead to Chácara do Céu's world renown, even to the Lands Down Under, as an architectural landmark, an 8,000-plus-volume library and a hundred-plus-million-dollar art collection. Contemporary newspaper coverage mentioned Australia and New Zealand as the homelands of the five tourists mugged by the second Chácara do Céu Museum art theft perpetrators. Newspaper articles at the time noted an estimated $50 million value for the five nabbed artworks and nothing for on-person possessions netted from the nine hostages.

A gallery owner-operator and a private curator offered overlapping observations on the French and Spanish origins of the second Chácara do Céu Museum art theft casualties.

Jean Boghici (Jan. 28, 1928-May 31, 2015), Ismail-born Romanian friend of Salvador Dalí, perceived an "unscrupulous" art collector planning artwork thefts for ransom upon their return.

Christina Penna queued up expert experience as a private curator cataloguing Cândido Portinari's (Dec. 29, 1903-Feb. 6, 1962) artworks in Brazil, including those at the Chácara. She reminds Brazilians that "This is very serious, for such an important Brazilian museum to have this loss" since "I think they knew what they wanted." The "globalization of this kind of crime" suggests that "Brazil is now part of the international circuit of art robbery" that sequesters artworks into private collections.

Who took the 25.59- by 35.83-inch (65- by 91-centimeter) painting titled Marine from 1880-1890, inventory number MCC424, during the second Chácara do Céu Museum art theft?

Acknowledgment

My special thanks to talented artists and photographers/concerned organizations who make their fine images available on the internet.

Image credits:

Claude Monet's Marine (Portuguese: Marinha), 1880-1980 oil on canvas stolen during Chácara do Céu Museum 2006 art theft: Federal Bureau of Investigation Art Crime Team, Public Domain, via FBI @ https://www.fbi.gov/investigate/violent-crime/art-theft/fbi-top-ten-art-crimes/theft-museu-chacara-do-ceu-rio-de-janeiro

Chácara do Céu Museum impresses visitors with luxuriously furnished rooms and carefully displayed artworks; Chácara do Céu's dining room, Monday, April 23, 2012, 15:21: Halley Pacheco de Oliveira, CC BY SA 3.0 Unported, via Wikimedia Commons @ https://commons.wikimedia.org/wiki/File:Museu_da_Chácara_do_Céu_-_Sala_de_Jantar.jpg

For further information:

Marriner, Derdriu. 19 May 2017. "Second Chácara do Céu Museum Art Theft Feb. 24, 2006: Matisse Garden." Earth and Space News. Friday.
Available @ https://earth-and-space-news.blogspot.com/2017/05/second-chacara-do-ceu-museum-art-theft_19.html

Nikkhah, Roya; and Andrew Downie. 26 February 2006. "Carnival Gang Grabs £30M Art Treasures from Rio Museum." The Telegraph > News > World News > South America.
Available @ http://www.telegraph.co.uk/news/worldnews/southamerica/argentina/1511532/Carnival-gang-grabs-30m-art-treasures-from-Rio-museum.html

Skidmore, Thomas E. 1999. Brazil: Five Centuries of Change in Latin America. Latin American Histories series. New York NY: Oxford University Press.

Friday, May 19, 2017

Second Chácara do Céu Museum Art Theft Feb. 24, 2006: Matisse Garden

Summary: Latin America is short a Matisse garden since the painter's Luxembourg Garden is one of five second Chácara do Céu Museum art theft casualties.

The Chácara do Céu Museum art theft Feb. 24, 2006, in Rio de Janeiro, Brazil, answers to descriptions as Latin America's biggest art crime and as one of the world's largest too. It boasted a boon unbeknownst to the two perpetrators of the somewhat similar second Isabella Stewart Gardner Museum art theft March 18, 1990, in Boston, Massachusetts. It clutched Henri Matisse's (Dec. 31, 1869-Nov. 3, 1954) Luxembourg Garden while the Gardner perpetrators never considered The Terrace, first Matisse displayed publicly in North America. The Gardner Museum art crime, unlike the Chácara art robbery's across-the-board significant diversions, divulged no details for diverting two very significant, and 11 less significant, artworks.

The Chácara Museum art theft exiled a Nobel Prize winner's poems and four paintings, one each by an Impressionist, a Post-Impressionist, a surrealist and a modernist.

Carnival's Carmelite Block, named after Carmelite convent in Rio de Janeiro's Santa Teresa neighborhood, provided the costumed, distracting setting for Chácara do Céu Museum's second art theft in 2006; Santa Teresa Convent (upper left) in "Vista da Lagoa do Boqueirão e do Aqueduto de Santa Teresa" (View of Boqueirão Lagoon with the Lapa Aqueduct [Arcos da Lapa] and Convent of Saint Therese [Convento de Santa Teresa]), ca. 1790 oil on canvas by Leandro Joaquim (ca. 1738-ca. 1798); Museu Histórico Nacional collection, on deposit in the Museu Nacional de Belas Artes: Public Domain, via Wikimedia Commons

Four perpetrators in costumes, masks and wigs and two in a van at the front gate frightened guards, staff and visitors after furnishing museum entrance fees. They gashed alarm and surveillance systems after gathering one staff person, three security guards and five tourists, from Australia and New Zealand, into the staff office. They had grenades and guns and hit one of three unarmed security guards hired from a private firm in the face and another over the head.

José Nascimento, director of museums for Brazil's Culture Ministry, indicated that no security team is impelled to intercept armed interventions, especially those with grenades and guns. He judged that the second Chácara do Céu Museum art theft "makes it clear that a specialist group exists" to jeopardize public viewing of Rio-based art.

Former director of Brazil's museums José Nascimento clarifies that security teams are not required to intercept armed interventions and views Chácara do Céu Museum's second art theft as suggestive of a specialist group aimed at jeopardizing public viewing of Rio's artworks; Thursday, Nov. 22, 2012, image of José do Nascimento Júnior, 2009-2013 president of Instituto Brasileiro de Museus (IBRAM), with Marta Suplicy, Senator for São Paulo (Feb. 1, 2011-Feb. 1, 2019), at 5º Fórum Nacional de Museus (Fifth National Forum of Museums), Centro Cultural Sesc Quitandinha (SESC Quitandinha; Serviço Social do Comércio; Social Services of Commerce), Quitandinha neighborhood, Petrópolis, Rio de Janeiro state, Southeast Region of Brazil: Instituto Brasileiro de Museus -- Ibram, via Facebook Nov. 23, 2012

The high price of policy premiums keeps museums such as the Chácara do Céu and the Isabella Stewart Gardner economically vulnerable because of non-existent insurance coverage. It left the Chácara and the Gardner museums uninsured, despite their two respective sets of art crimes in 1989 and 2006 and in 1970 and 1990.

Coverage means that the insurance company maintains legal ownership after payout on a loss claim, during the artwork's misplacement and subsequent to the stolen art's manifestation. Companies sometimes negotiate exchanging recovered artworks for returned payouts, as noted with Chubb Limited, Susan Grant Murta and Norman Rockwell's (Feb. 3, 1894-Nov. 8, 1978) Lazybones.

NSW Treasury Managed Funds offered the Art Gallery of New South Wales no exchange concerning Frans van Mieris the Elder's (April 16, 1635-March 12, 1681) Cavalier.

The second Chácara do Céu Museum art theft proved mysterious, despite a 32,000-strong police presence throughout Carnival celebrations, because of evidence-contaminating chaos from 10,000 neighborhood revelers. It quashed access to Dalí's (May 11, 1904-Jan. 23, 1989) balconies, Monet's (Nov. 14, 1840-Dec. 5, 1926) seascapes and Neruda's (July 12, 1904-Sept. 23, 1973) bulls. It raised Isabella Stewart Gardner Museum art theft casualty-like questions of ransom and ravage, with Matisse's gardens and Picasso's (Oct. 25, 1881-April 8, 1973) dancers burned. Its aftermath suggested dissimilar alternatives to fiery destruction on Morro dos Prazeres (Mountains of Pleasures) with a Belarus-based internet site auctioning Matisse's garden for $13 million.

Who took the 15.95- by 12.59-inch (40.5- by 32-centimeter) inventory number MCC425, titled Luxembourg Garden from 1905, during the second Chácara do Céu Museum art theft?

A suggested fate of two of stolen artworks, Matisse's Luxembourg Garden and Picasso's Dance, is destruction by fire at a campsite in the Morro dos Prazeres favela (slum) in Rio de Janeiro's the Santa Teresa neighborhood in Rio de Janeiro's Zona Sul (Southern Zone); Morro dos Prazeres, Wednesday, Jan. 2, 2013, 12:05: Tiago Celestino, CC BY 2.0 Generic, via Wikimedia Commons

Acknowledgment

My special thanks to talented artists and photographers/concerned organizations who make their fine images available on the internet.

Image credits:

Henri Matisse's Luxembourg Garden (Portuguese: Jardim de Luxemburgo), 1905 oil on canvas stolen during Chácara do Céu Museum 2006 art theft: Federal Bureau of Investigation Art Crime Team, Public Domain, via FBI @ https://www.fbi.gov/investigate/violent-crime/art-theft/fbi-top-ten-art-crimes/theft-museu-chacara-do-ceu-rio-de-janeiro

Chácara do Céu Museum shares with Isabella Stewart Gardner Museum the plight of uninsured stolen artworks; coverage equates to legal ownership by insurance companies after loss payouts; exchanging recovered artworks for returned payouts may happen, as with Norman Rockwell's recovered Lazybones (left), or may not happen, as with Frans van Mieris the Elder's unrecovered Cavalier:
"Lazybones": Public Domain, via FBI Art Theft @ https://www.fbi.gov/contact-us/field-offices/philadelphia/news/press-releases/fbi-seeks-missing-norman-rockwell-painting-stolen-40-years-ago-today
"A Cavalier (Self Portrait)": Public Domain, via Wikimedia Commons @ https://commons.wikimedia.org/wiki/File:Frans-van-mieris-thecavalier.jpg

A suggested fate of two of stolen artworks, Matisse's Luxembourg Garden and Picasso's Dance, is destruction by fire at a campsite in the Morro dos Prazeres favela (slum) in the Santa Teresa neighborhood in Rio de Janeiro's Zona Sul (Southern Zone); Morro dos Prazeres, Wednesday, Jan. 2, 2013, 12:05: Tiago Celestino, CC BY 2.0 Generic, via Wikimedia Commons @ https://commons.wikimedia.org/wiki/File:Morro_dos_Prazeres_(RJ)_-_01.jpg

For further information:

Marriner, Derdriu. 12 May 2017. "The Second Chácara do Céu Museum Art Theft Feb. 24, 2006: Two Dalí Balconies." Earth and Space News. Friday.
Available @ https://earth-and-space-news.blogspot.com/2017/05/the-second-chacara-do-ceu-museum-art.html

Skidmore, Thomas E. 1999. Brazil: Five Centuries of Change in Latin America. Latin American Histories series. New York NY: Oxford University Press.

Friday, May 12, 2017

The Second Chácara do Céu Museum Art Theft: Two Dalí Balconies

Summary: Latin America no longer shows Dalí publicly since a painting of two Dalí balconies is one of five second Chácara do Céu Museum art theft casualties.

The second Chácara do Céu Museum art theft Feb. 24, 2006, in Rio de Janeiro, Brazil, attains priority status on the Federal Bureau of Investigation's (FBI's) top 10 unsolved art crimes list.

The second Chácara robbery bears a nickname as Latin America's equivalent of North America's Isabella Stewart Gardner Museum art theft March 18, 1990, in Boston, Massachusetts. The second Chácara and the second Gardner Museum art crimes called up somewhat similar motives and opportunities and concern millions of dollars in objects and works. They respectively dragged away Latin America's only Salvador Dalí (May 11, 1904-Jan. 23, 1989) masterpiece and Rembrandt Harmenszoon van Rijn's (July 15, 1606-Oct. 4, 1669) only seascape.

Absence of Dalí masterpieces from all other Latin American public collections elicited Two Balconies' exile and recovery in May 1989 and exile and mystery since 2006.

Costumes, masks and wigs as four followers of the Carmelite block (bloco das Carmelitas) for Carnival celebrations furnished the pretext for finding time for neighborhood art.

Staff, unarmed security guards gathered together from a private firm and visitors give 4 p.m. Brasília Time (7 p.m. Coordinated Universal Time) for unforced museum entries. The museum had no motion detection or surveillance footage records because of the quartet herding everyone into the staff office that has alarm and camera systems. Disconnected security systems and unrevealing Carnival costumes indicated nothing distinctive about four armed robbers with a driver and a navigator in a nondescript, parked getaway van.

The second Chácara do Céu Museum art theft jeopardizes the well-being of a book on bulls and of paintings respectively about balconies, dances, gardens and seascapes.

Chácara do Céu Museum's 2006 art theft played out amid Carnival's Carmelite Block celebrations; Rio de Janeiro's Carmelite Convent (Convento do Carmo) is the namesake of the Santa Teresa neighborhood's Carmelite Block during Carnival celebrations; 2007 view of Carmelite Convent: Fulviusbsas, Public Domain, via Wikimedia Commons

The hilltop mansion-like museum keeps Brazilian and European artworks on three custom-furnished levels and 8,000-plus books in its library in Rio's Santa Teresa (Saint Teresa) neighborhood.

The armed intervention led to mugged, robbed guards, staff and visitors and left no indication of the grenade- and gun-laden quartet looking into any third-level holdings. One staff-person, three guards and five tourists mentioned one of the quartet mounting furniture to mangle, with a knife, the nylon wires maintaining one painting's place. They noted the quartet nabbing, in just 30 minutes, one illustrated book, Impressionist, post-Impressionist and modern artworks and Latin America's only Spanish realist on public display.

Newspaper coverage obtained, after the Chácara do Céu Museum art theft, observations from a private curator, an investigator, an Ipanema-based gallery owner-operator and the museum director.

Christina Penna postulated, "This is a museum with plenty of things in it, and they went past everything else and went straight for what they wanted."

Dueller Rocha quoted "the characteristics of the crime" and "the way the thieves acted" as possibly indicating "a contract job done for an international crime ring."

Jean Boghici (Jan. 28, 1928-May 31, 2015) revealed, "We can only hope the bandits turn the paintings over to someone who will take care of them."

Vera de Alencar saw Dalí as a key target since "Dalí's picture, for example, is the only one by him in public exhibition in Latin America."

Who took the 9.25- by 13.58-inch (23.5- by 34.5-centimeter) inventory number MCC430, titled Two Balconies from 1929, during the second Chácara do Céu Museum art theft?

Brazilian collector and dealer Jean Boghici hoped for proper care of the second Chácara do Céu Museum art theft paintings by whoever holds them: Época @RevistaEpoca, via Twitter June 2, 2015

Acknowledgment

My special thanks to talented artists and photographers/concerned organizations who make their fine images available on the internet.

Image credits:

Salvador Dalí's Two Balconies (Portuguese: Os Dois Balcões), 1929 oil on wood stolen during Chácara do Céu Museum 2006 art theft: Federal Bureau of Investigation Art Crime Team, Public Domain, via FBI @ https://www.fbi.gov/investigate/violent-crime/art-theft/fbi-top-ten-art-crimes/theft-museu-chacara-do-ceu-rio-de-janeiro

aerial panorama of Rio de Janeiro's Santa Teresa neighborhood, locale of Chácara do Céu Museum and the museum's two art thefts in 1989 and again in 2006: Chensiyuan, CC BY 3.0, via Wikimedia Commons @ https://commons.wikimedia.org/wiki/File:1_santa_teresa_panorama_2014.jpg

Brazilian collector and dealer Jean Boghici hoped for proper care of the second Chácara do Céu Museum art theft paintings by whoever holds them: Época @RevistaEpoca, via Twitter June 1, 2015, @ https://twitter.com/RevistaEpoca/status/605533681525108736

For further information:

Época @RevistaEpoca. "Jean Boghici, um idealista apaixonado pela arte. O marchand morreu aos 87 anos, no Rio." Twitter. June 1, 2015.
Available @ https://twitter.com/RevistaEpoca/status/605533681525108736

Marriner, Derdriu. 5 May 2017. "Gardner Museum Art Theft Unsolved on Chácara Museum Theft Anniversary." Earth and Space News. Friday.
Available @ https://earth-and-space-news.blogspot.com/2017/05/gardner-museum-art-theft-unsolved-on.html