Four pieces of art by the 15th-century artist Antonello da Messina were stolen from the Museo Regionale di Messina, as confirmed by Italy’s culture minister on Sunday. Alessandro Giuli expressed his shock and sorrow upon learning about the theft. The stolen artworks included significant pieces by the Renaissance painter that were part of the only existing collection in his hometown and a painting acquired by the Sicilian Region twenty years ago.
The incident occurred on a national holiday in Italy, with the theft taking place late on Saturday night. Marisa Mercurio, the museum director, described the event as devastating, noting that the stolen pieces were among Antonello da Messina’s most important and renowned works. The loss of these artworks is seen as a significant blow to the museum, the city, and the art community.
Enzo Caruso, a local councilor responsible for culture, likened the situation to a movie plot and suggested that the recent purchase of a Messina artwork by the Italian government for $15 million may have attracted the attention of the thieves. Three out of the five remaining panels of an altarpiece known as “Polittico di San Gregorio” were among the stolen pieces. Originally consisting of six panels, the altarpiece was the only work by the Sicilian artist that had never left his birthplace.
Another artwork, a small two-sided painting depicting the Virgin with Child and a Franciscan monk on one side and Christ on the other, was also taken from a secure display case. The stolen painting was part of the Wilhelm Soldan collection and was acquired by the Sicilian Region in 2003. The recent theft follows the recovery of paintings by French masters Cézanne, Renoir, and Matisse, which were stolen from a museum near Parma in March.
Art-crime analyst Lynda Albertson pointed out that the stolen works, being instantly recognizable, would be difficult to sell through legitimate channels. She warned that while stealing an Antonello da Messina painting might be relatively easy, selling it would prove challenging. Albertson emphasized that such renowned artworks often circulate among criminals, serving as collateral for illicit activities.
Antonello da Messina, born around 1430, received his training in Naples, where he studied the works of Provençal and Flemish artists, whose influence is evident in his art. He returned to Messina in 1457 and continued working there until 1474.