One of my best pieces for Art & Auction: a long profile on the controversial Clemens Toussaint, whose business was recovering stolen artworks, particularly those that disappeared during World War II. This involved prodigious research and then the mounting of expensive lawsuits against the people and institutions - such as MoMA, the Beyeler and the Stedelijk Museum - that were holding the works, often since decades. What really triggered the artworld was that Toussaint worked with his clients - often the descendants of artists - on a success-only commission basis, meaning he got some huge paydays, like a personal-injury lawyer. As I wrote, 'It’s a messy and emotional—but potentially lucrative—field, and Toussaint ranks among the best at his profession, or worst, depending upon your perspective.' Once again, the artworld not liking new models?
