After a protracted legal struggle spanning several decades, the Chrysler Museum of Art in Norfolk, Virginia, has agreed to return the historic sculpture titled “The Wounded Indian” to the Massachusetts Charitable Mechanic Association (MCMA) in Boston, according to a recent report by The New York Times.
Crafted in 1850 by sculptor Peter Stephenson from a single piece of pristine white Vermont marble, the statue holds significant historical and artistic value. Initially donated to the MCMA in 1863, it stood prominently at the association’s headquarters for an impressive span of 65 years.
However, the sculpture’s fate took an unexpected turn in 1958 when the MCMA faced financial troubles and had to sell its Boston property. During the relocation process, the MCMA was informed that “The Wounded Indian” had been irreparably damaged. Decades of uncertainty followed, until a startling revelation emerged in 1999 – the statue had found its way to the Chrysler Museum of Art in Virginia. The museum claimed to have legally acquired the work from a New York collector and dealer in 1986, who argued it was abandoned and, therefore, his rightful possession.
The MCMA, led by their general counsel Paul Revere III, a descendant of Paul Revere who founded the association, and attorney Greg Werkheiser, embarked on a determined quest to reclaim what they believed to be stolen property. Negotiations with the museum were initially unfruitful.
In a strategic maneuver, the MCMA reached out to the Washington Post and the FBI’s Art Crime division to apply pressure on the museum. This tactic ultimately proved successful, as the Chrysler Museum eventually agreed to return “The Wounded Indian” to its rightful home in Boston. The statue is expected to be handed over to the MCMA by the end of August.
Erik H. Neil, director of the Chrysler Museum, expressed satisfaction with the amicable resolution, highlighting the importance of collaboration and ethical considerations. The MCMA also lauded the museum’s wisdom and cooperation in arriving at a fair solution.
The involvement of the FBI’s Art Crime division lent further credibility to the MCMA’s claims. The bureau expressed pride in its role in facilitating the return of the 19th-century sculpture to its rightful owner.
Paul Revere III emphasized the significance of “The Wounded Indian” as an essential part of Boston’s artistic heritage, noting that it holds a special place in the hearts of the city’s residents. With the imminent return of this historic artwork, Bostonians will soon have the opportunity to reconnect with an integral piece of their past, bridging the gap between the present and the rich history of their community.
