Art Loss Register is the world's largest database of stolen art. A computerized international database that captures information about lost and stolen art, antiques, and collectables, the ALR is a London-based, independent, for profit corporate offspring of the New York-based, nonprofit International Foundation for Art Research. 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 Art Loss Register 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.
History
The first steps towards ALR began with the establishment of IFAR in New York in 1969. 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. By 1990, IFAR was updating its catalogue of stolen art 10 times a year. The magnitude of the problem overwhelmed what had grown to be over 20,000 manual records. While IFAR had been very successful in recording the details of losses, that was only a good first step. 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 Christie's#cite note-72. The majority of shares are owned by its founder, Julian Radcliffe. Significant capital investment was needed so that IFAR could be computerised and so that the database made available to worldwide law enforcement agencies and others.
Development
In response to the growth and development of IFAR, museum officials revised some policies based on an assumption that discussing theft would scare away potential donors. The AFR initially formed a partnership with the ALR, but, they later split after disagreements over strategy and issues of control. The change from policies of secrecy to ones which emphasize openness was gradual, mirroring an expectation that publicizing theft is likely to promote recovery. The ALR has been widely criticised for its methods and for the actions of its chairman, Julian Radcliffe. The Register has consistently lost money but for the personal cash infusions of its chairman. ;Selected timeline
1989: IFAR received reports of about 5,000 thefts.
2003: ALR obtains information about a Sisley stolen from the Musée des Beaux-Arts d'Orléans in Orleans. The museum was unable to afford the fee and the Sisley has not been recovered.
Criticism of methods
The approach adopted by the ALR has been criticised. The Register 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 Sotheby’s saying that paintings were not stolen. The paintings were then shipped to London, where they were seized. The ALR has likened this approach to the police misleading a suspect during an investigation.
