31:(IFAR). The range of functions served by ALR has grown as the number of its listed items has increased. The database is used by collectors, the art trade, insurers, and law enforcement agencies worldwide. In 1991, IFAR helped create the ALR as a commercial enterprise to expand and market the database. IFAR managed ALR's U.S. operations through 1997. In 1998, the ALR assumed full responsibility for the IFAR database, although IFAR retains ownership. In 1992, the database comprised only 20,000 items, but it grew in size nearly tenfold during its first decade.
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In response to the growth and development of IFAR, museum officials revised some policies based on the assumption that discussing theft would scare away potential donors. The AFR initially formed a partnership with the ALR, but they split after disagreements over strategy and control issues. The
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By 1990, IFAR was updating its catalogue of stolen art ten times a year. The magnitude of the problem overwhelmed what had grown to be over 20,000 manual records. While IFAR had successfully recorded the details of losses, that was only a good first step.
27:. A computerized international database that captures information about lost and stolen art, antiques, and collectibles, the ALR is a London-based, independent, for-profit corporate offspring of the New York–based, nonprofit
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In 1991, the ALR was established in London as a commercial company, earning fees from insurers and theft victims. Its founding shareholders included insurance and auction houses, which some think is a conflict of interest
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The approach adopted by the ALR has been criticised. The ALR has contacted owners of stolen art, saying it had information but not revealing it until a fee was paid. In another instance, the ALR lied to
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Among other explicit goals, IFAR was created to compile information about stolen art. In response to the growth of international art thefts, IFAR began publishing the "Stolen Art Alert" in 1976.
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The ALR has been widely criticised for its methods and the actions of its chairman, Radcliffe. The ALR has consistently lost money but for the personal cash infusions of its chairman.
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change from policies of secrecy to ones that emphasize openness was gradual, mirroring an expectation that publicizing theft is likely to promote recovery.
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The Rape of Europa: The Fate of Europe’s
Treasures in the Third Reich and the Second World War.
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Orleans, France. The museum could not afford the fee, and the Sisley was not recovered.
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The first steps toward the ALR began with the establishment of IFAR in New York in 1969.
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and may never be able to satisfy particular standards for completeness. You can help by
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The Lost Museum: The Nazi
Conspiracy to Steal the World's Greatest Works of Art
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The Art Loss
Register is Entangled in Three Major International Art Disputes
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Art Loss
Register faces competition complaint from Art Recovery Group
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Tracking Stolen Art, for Profit, and
Blurring a Few Lines,
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357:"Art Loss Register Claims to Vet Ancient Art, Does it?"
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319:"A Lucrative Crime Grows Into a Costly Epidemic,"
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125:: IFAR received reports of about 5,000 thefts.
404:Museum of the Missing: a History of Art Theft
259:"IFAR Retains Ownership of Art Loss Database"
401:Houpt, Simon and Julian Radcliffe. (2006).
294:"Art Group Is Set Up To Judge Attribution,"
168:Koordinierungsstelle fĂĽr Kulturgutverluste
29:International Foundation for Art Research
23:(ALR) is the world's largest database of
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131:: The ALR obtains information about a
16:World's largest database of stolen art
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137:Musée des Beaux-Arts d'Orléans
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273:Museum of the Missing, p. 8.
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373:Feliciano, Hector. (1997).
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97:: Artworks stolen from the
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428:Nicholas, Lynn H. (1994).
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484:at the Center for Art Law
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271:Houpt, Simon. (2006).
488:The Art Loss Register
245:May 25, 2010, at the
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234:May 1, 2010, at the
144:Criticism of methods
84:adding missing items
101:in Boston includes
518:Database companies
317:Yarrow, Andrew L.
186:Eileen Kinsella. "
115:and five works by
477:The Art Newspaper
444:978-0-679-40069-1
415:978-1-4027-2829-7
389:978-0-465-04194-7
229:Art Loss Register
74:Selected timeline
21:Art Loss Register
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212:. Retrieved
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80:dynamic list
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381:Basic Books
214:20 November
62:Development
502:Categories
368:References
113:Rembrandts
78:This is a
52:Christie's
25:stolen art
513:Art crime
163:Art theft
151:Sotheby's
494:Magazine
452:32531154
423:67375076
397:36446851
243:Archived
232:Archived
157:See also
111:, three
240:History
108:Concert
103:Vermeer
35:History
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133:Sisley
492:Wired
174:Notes
117:Degas
86:with
448:OCLC
440:ISBN
419:OCLC
411:ISBN
393:OCLC
385:ISBN
216:2017
129:2003
123:1989
95:1990
19:The
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