Vigango from Kenya


Robin Pogrebin has an interesting article in today’s New York Times on a decision to return 9 wooden grave objects to Kenya. A ceremony at the UN yesterday marked the decision. They had been purchased by Lewis and Jay allen and were on display in their Park Avenue apartment. Their daughter decided to return them to Kenya after learning of their significance to Kenyans. It took her four months to arrange for their return. That seems to be an underconsidered problem with many source nations: they need to make it easy for individuals to repatriate artifacts to ensure they aren’t subject to criminal liability and that there are places to hold the objects.

It seems the statues are used to decorate graves, and often become part of ongoing ceremonies, discussions and celebrations. It would be as if someone took the headstone from your grandmother’s grave and displayed it in their living room. The clear implication is that all vigango are stolen in one form or another. They are valued by collectors in the US, Europe and Japan because they are beautiful works of african art, but they may not know they were meant as grave decoration. This strongly indicates all exported vigango were stolen.

But some US museums have them in their collection, and are loathe to return them. The ethical and legal grounds for their return is very strong, the only thing missing from a repatriation would seem to be an initiative by the African source nations.

Questions or Comments? Email me at derek.fincham@gmail.com

Repatriation and Macchu Picchu


There was an outstanding piece in yesterday’s New York Times magazine by Arthur Lubow on the fate of objects excavated by Hiram Bingham from Macchu Picchu. He found the ancient city in 1911 and excavated the site in 1912 and 1914. The objects he excavated are currently held by Yale University. There is also an excellent slide show of pictures taken during the original excavation. The piece does a great job of highlighting how difficult it can be to generate consensus in cultural policy.

At issue are the artifacts Bingham took back to Yale, which Peru argued were only to be on temporary loan. The excavated artifacts at New Haven are:

a bit of a letdown. Mostly, the pieces are bones, in varying stages of decomposition, or pots, many of them in fragments. Unsurpassed as stonemasons, engineers and architects, the Incas thought more prosaically when it came to ceramics. Leaving aside unfair comparisons to the jaw-dropping Machu Picchu site itself, the pottery of the Inca, even when intact, lacks the drama and artistry of the ceramics of earlier civilizations of Peru like the Moche and Nazca.

However, many Peruvians want the objects returned, in a dispute which echoes the claims made by the Greeks for the return of the Parthenon Marbles. However in this case I think Yale has a much stronger ethical claim.

Hilda Vidal makes the argument for the return of the collection:

“My opinion reflects the opinion of most Peruvians,” Hilda Vidal, a curator at the National Museum of Archaeology, Anthropology and History of Peru in Lima, told me. “In general, anything that is patrimony of the cultures of the world, whether in museums in Asia or Europe or the United States, came to be there during the times when our governments were weak and the laws were weak, or during the Roman conquest or our conquest by the Spanish. Now that the world is more civilized, these countries should reflect on this issue. It saddens us Peruvians to go to museums abroad and see a Paracas textile. I am hopeful that in the future all the cultural patrimony of the world will return to its country of origin.”

Part of that makes a good and sound argument to be sure, but you aren’t going to get far in a repatriation dispute by arguing the museums in Paris, New York, London, etc. should be emptied. Likewise, I have a difficult time lumping Bingham in with the Spanish conquerors who stripped temples and melted down gold to return to Spain. That doesn’t mean Bingham is a revered figure in Peru by any means. Rumors (which have been discredited) suspect Bingham of smuggling out gold during the excavation. Also, some accuse Bingham of not even discovering the ancient complex, which had always been known to local farmers.

Lubow correctly points out though that these antiquities and remnants of ancient cultures are used as objects of political power today. And they also have value for lots of other interest groups. As he said, “Historic relics have pragmatic value: politically, for purposes of national pride and partisan advantage; economically, for display to tourists, museumgoers, magazine readers and TV-program watchers; scientifically, as research material for scholars pursuing academic careers; and, most nakedly, as merchandise for dealers in antiquities.”

That’s exactly right, and all these interest groups make it difficult to forge cultural policy. The strict national patrimony laws of Peru even make it difficult for reasonable compromise with Yale. Yale has generously offered:

The university showed me two letters sent to Peruvian officials in which Yale offered to send back “the museum-quality (that is, whole) objects excavated by Bingham at Machu Picchu” for display in a “state-of-the-art museum exclusively dedicated to Machu Picchu” that would be opened in Cuzco in collaboration with Yale on the centennial anniversary of Bingham’s 1911 discovery of the site. To help raise money for the museum, Yale would resurrect its touring exhibition, which — including dioramas and ceramics — would end up permanently in Cuzco. This represents a significant concession over Yale’s past proposal to divide possession of the approximately 300 display-worthy objects. The research collection, however, would continue to reside in New Haven. “The museum-quality pieces are the ones that people will want to see,” Shailor, the deputy provost, told me. “I don’t think they will want to see the end of a little finger or five dog bones, but these are extraordinarily valuable from a research perspective.” When I spoke with him in early May, Levin said that Yale is prepared to concede Peruvian title to the entire collection, but only after the ultimate physical allocation of the objects has been negotiated. In other words, Peru’s pride will be assuaged if Yale’s research needs can be met. Whether Peru will consent to those terms — indeed, whether the GarcÃa government is at liberty to do so, legally or politically — is uncertain;

The offer strikes me as a fair compromise which would be a win for both sides, especially considering the current state of the museum near the Aguas Calientes train station:

I found evidence of none of those amenities. The doors were open to the air, which was moist from the nearby river, and the sole official was a caretaker who sold tickets and then exited the building. On display in the attractive (if unguarded) museum are the finds that Peruvian archaeologists have made at Machu Picchu in the years since Bingham’s excavations.

And that gets to the heart of repatriation disputes. Like it or not Yale has a great deal of funds at its disposal and is capable of performing good scientific study, while in Peru, the artifacts could be at risk of theft and are not climate controlled. It seems Yale’s offer to fund a museum in Peru would be an excellent opportunity for Peruvians. Yet it seems many of the strident cultural nationalists have a hard time with even this compromise.

Hat tip to Donn Zaretsky at the art law blog for pointing out the article.

Questions or Comments? Email me at derek.fincham@gmail.com

Stolen Greek Statue Returned to Greece


This 1,900 year-old torso has been returned to Athens after it was seized in Switzerland. It was recovered in March from the Swiss city of Basel. It had been taken in 1991 from the island of Crete. Switzerland has historically been a transit state for many antiquities, however it has worked to change that in recent months by signing on to the largely symbolic 1970 UNESCO Convention, but also implementing that convention effectively by signing bilateral agreements with Peru, Italy and Greece.

I wonder why the Swiss dealer David Cahn who had the statue was not subject to any criminal penalties, or indeed why he gave up the object so freely. Had the object been in the United States, he would have been subject to Federal Prosecution.

This object was not illicitly excavated, but rather was stolen along with 9 other items. From the comments of the Greek Culture Minister George Voulgarakis, it seems he is connecting the return of this theft with the Parthenon Marbles in the British Museum. Clearly though, the two cases are much different.

Questions or Comments? Email me at derek.fincham@gmail.com

How to Repatriate?

I got a very interesting email yesterday from someone wondering how they should return a piece of marble to Greece. Apparently the object was given as a gift sometime in the 1960s. She has contacted the Greek embassy but they have not been very helpful it seems. Perhaps she was not speaking to the right people, I don’t know. But in a time when Greece is becoming increasingly vocal about repatriation, shouldn’t it make it easier for individuals who want to do the right thing and send objects back? Also, should she make sure to get some kind of immunity for potential charges? Might a good Samaritan be possibly opening the door for criminal charges by the Greeks, even though that would seem to be a horrible blunder on their part?

I’m afraid I didn’t have any good advice for her. I suggested contacting some museums in her area, who perhaps have some better contacts in the Greek Culture Ministry. Does anyone have any practical suggestions for someone who wants to return a piece of cultural property to a source nation?

Questions or Comments? Email me at derek.fincham@gmail.com

Getty Panel Convened over the "Cult Statue of a Goddess"

The Conference at the Getty Museum which was convened to study the “Cult Statue of a Goddess”, probably of Aphrodite, took place last week. I discussed this before here. The NY Times discussed it last week here. Lee Rosenbaum gives her take here.

As I’ve said, scientific study is welcome, however the dysfunctional antiquities market gave us a situation where we have a very beautiful Greek statue but are unsure about where it came from. The Getty has already agreed to return the statute, but has taken 1 year to study it.

Sharon Waxman wrote in the NY Times: The Getty has not reached a formal conclusion based on the conference, which was convened at the museum on Wednesday and was closed to the public. But museum officials and some of the experts who attended said their discussions buttressed what the museum says are its own suspicions that the statue, acquired by the Getty in 1988, might have been illegally excavated in southern Italy.

So the panel has suspicions that the statue came from Sicily, but no clear evidence. Clearly the Getty has dramatically shifted the way it acquires antiquities. Since last October it has used 1970 and the UNESCO Convention as a starting date for new acquisitions. The Getty does not appear to be contributing to the illicit trade at present, and that may be the most welcome development. It will be interesting to guage Italy’s response in the coming months.

Questions or Comments? Email me at derek.fincham@gmail.com

Italy Agrees to Repatriate a Roman Statue to Libya


In yesterday’s Washington Post, Ariel David has an interesting article on Italy’s decision to repatriate this Roman statue of the goddess Venus. The statue is a copy of a Greek statue which has never been found. It was discovered in 1913 by Italian troops near the ruins of the ancient city of Cyrene on the Libyan coast. It was probably created in the 2nd Century AD. It’s currently housed at the National Roman Museum in Rome.

Libya requested the return of the statue in 1989, however a legal dispute involving a group which considered the statue part of Italy’s heritage has prevented the return for the last 4 years. Last week an Italian Court rejected a plea from the Italia Nostra conservation group, as international agreements “obliged” Italy to return the Greek statue.

Edmondo Zappacosta, counsel for the Libyan government said “This is a granite-like sentence, with solid arguments… On the basis of historical and juridical considerations, it was virtually a foregone conclusion that the Italia Nostra appeal would be rejected.” The statue can now be returned to Tripoli. A date has yet to be set for the return.

The ruling is an interesting one. Many of the news reports indicate that it allows Italy to claim that other nations should return antiquities illicitly taken from Italy. I think a better reading of the decision is that it limits the ability of individuals to challenge the return of cultural heritage. This was a decision about whether the Italia Nostra could block the return. If angry citizens groups were allowed to challenge repatriation decisions, it would be very difficult to effectively repatriate objects, especially if the objects at issue are part of a popular collective heritage, like Greek or Roman civilization.

Questions or Comments? Email me at derek.fincham@gmail.com

Recent Repatriations and the Parthenon Marbles


The TimesOnline had an article last week by Ben Macintyre tying in the recent repatriations and criminal trials in Italy and Greece to the Parthenon Marbles (or the Elgin Marbles as they are often referred to). Here’s an excerpt:

The return to Greece of a spectacular Macedonian gold wreath from the 4th century BC may lead to the repatriation of several looted artefacts worth millions of pounds.

Court cases in Italy and Greece are increasing the pressure on museums around the world and could lead to widespread changes in the handling of ancient treasures.

The campaign to return stolen work to its country of origin has emboldened Costas Karamanlis, the Prime Minister of Greece, to predict that Britain will soon be forced to surrender the Elgin Marbles. Also at stake are hundreds of statues, bronzes, engravings and other artworks from museums in Europe, the US and Japan.

At the heart of this revolution is the landmark case of the funerary wreath, one of the most beautiful surviving examples of ancient craftsmanship, which was looted from Greece more than ten years ago. A delicate spray of gold leaves interwoven with coloured glass paste, the wreath was probably designed as a funeral gift and made soon after the death of Alexander the Great.

It was put on display in Greece for the first time this week after a long campaign to persuade the J. Paul Getty Museum, in California, to return it to its homeland.

Mr Karamanlis welcomed its return as evidence that Britain would soon be forced to relinquish the Elgin Marbles, which were acquired by the British diplomat Lord Elgin between 1801 and 1810 and are currently housed in the British Museum. Britain has argued that they are better preserved in London (continue reading).

These repatriations are an important step, and are an example of stronger action by both Greece and Italy. However, the Vatican is expected to announce that it will refuse to return some fragments of the Parthenon. Parts of the Parthenon are spread all over Europe, including London, Rome, Copenhagen, Berlin.

I was at the British Museum a few weeks ago, and I was reminded how impressive the sculptures still are, even though they are broken and decontextualized. It would be very exciting to see all of the sculptures collected in Athens for display. However, people all over Europe can view parts of them at present, and there is a value in that as well I suppose. In the end, I seriously doubt whether the British Museum will ever relinquish the marbles.

The case for their return seems much different from the gold wreath which the Getty just returned and from the trial of Marion True. The argument for their return is only ethical or moral, there is no legal claim to them which Greece could hope to assert.

Questions or Comments? Email me at derek.fincham@gmail.com

Getty Panel to Study "Cult Statue of a Goddess"


The Getty Museum has today announced it will bring together a panel to study this statue, probably of Aphrodite, known as the “Cult Statue of a Goddess”. Last November, Michael Brand announced the Getty would transfer full title of the statue to Italy. He said the Getty would try to return the statue within 12 months. The Italian Ministry of Culture has demanded other objects though, including the “Bronze Statue of a Victorious Youth” which I’ve discussed here many times.

The experts have expertise in archeology, pollen analysis, stone analysis, and art history. University of Virginia Professor in Art History Malcolm Bell III has signed on to the workshop. He has been critical of the negative impact the antiquities market has had on archaeological context in the past. You can read a 2005 article he wrote here at the Museum Security Network. In it he said this statue “is an extremely rare example of the sort of cult statue that once stood within a Greek temple. While, as some have asserted, this remarkable work may come from Morgantina (a site in Sicily where I serve as co-director of excavations), no proof of its origin is known, and its subject is just as uncertain. The market destroyed the evidence.”

Both the Italian Ministry of Culture and the Sicilian Regional Minister of Culture and Environmental Heritage have been invited to attend as well. The demand for this kind of statue motivated those who illicitly excavated and exported this work from its source nation. This workshop aims to study the statue, with the presumed goal of finding the findspot or provenience of this statue.

Scientific study is of course welcome, and perhaps these experts will be able to look at the soil and other residue removed from the statue when it was cleaned and learn a lot about it. However, if the market only dealt in licit antiquities, chances are we would know a great deal more about this statue. Many have criticized the Getty’s aggressive antiquities-buying in the past, as the large sums of money they were willing to pay for these objects helped to fuel the illicit market.

The workshop is set to take place in May, and the findings will be peer-reviewed and then published.

What will the impact of this workshop be? The Getty has already agreed to return the statue, and the Italian Culture Ministry has insisted more objects should be returned. I am not sure what scientific data can be gleaned from the statue and the concretions at this point. I suspect it will not be conclusive, and will perhaps point to a number of findspots.

Dr. Brand says of the panel “the questions and allegations surrounding the statue’s origins are complex and often contradictory. Our role as responsible stewards demands that we examine these questions in greater detail…We look forward to the opportunity to work with our international colleagues to shed more light on this subject.” I hope both the Getty and Italy are able to work together to reach an effective compromise on this and the other works in the Getty collection.

Italians are very proud of their ancient history and rightly so. These disputes implicate national and cultural feelings. A productive dialogue would seem to be a better solution to this problem than a lot of the rhetoric which seems to fly back and forth in the press by both sides.

If the study is able to show the statue originated in another nation, like present-day Turkey, if the Getty will decide against returning the statue to Italy. The Getty’s message to Italy seems clear, if you aren’t willing to negotiate on these objects, we will look at them ourselves and determine where they should belong. From the legal and policy perspective, it would be much more helpful if the Getty clearly outlined the process an object goes through before it is repatriated. What kind of calculus is involved in deciding to repatriate? It seems that in the Italian case, the Culture Ministry has been extremely vocal and forced the Getty’s hand in recent years.

Lee Rosenbaum over at Culturgrrl has a post on the same topic as well.


Questions or Comments? Email me at derek.fincham@gmail.com

Marischal Museum Returns Maori Remains

The University of Aberdeen’s Marischal Museum has decided to return 9 toi moko, or preserved, tattooed heads. According to the press release, “the University follows a standard procedure when responding to a request for repatriation… [it] involves an expert panel who will consider various issues, for example the history, the status of the people making the request and the importance of the item”. The toi moko will now return to the Museum of New Zealand Te Papa Tongarewa, where they will be cared for under the “protocols established by their Maori elders”. Human remains are a difficult issue, but it appears that the University has gone about this repatriation in the right way. Sometimes the remains have been embalmed in toxic chemicals such as arsenic, or formaldehyde; thus making it difficult to simply bury them. Often times specialist are required. In addition, though this certainly does not appear to be the case here, when native groups seek the return of remains or other objects, it sometimes highlights the dichotomy between the way their ancestors lived and their lives today. Also, institutions need to be careful which tribe they are returning remains or objects to. Often, there may be multiple tribes with a claim. For those interested in this area, Michael Brown’s Who Owns Native Culture is an excellent place to start.

Questions or Comments? Email me at derek.fincham@gmail.com

More on Italy’s Aggressive Repatriation Campaign

Two articles from today’s New York Times further highlight Italy’s aggressive repatriation policies of late.

First, a new sculpture, the statute of Eirene, pictured here, is on extended temporary display until 2009 in the Museum of Fine Arts in Boston. Italy agreed to loan the sculpture after the Museum agreed to return antiquities to Italy. The Museum of Fine Arts held a news conference yesterday with Italian Culture Minister Francesco Rutelli to announce the display. The Met will also receive a temporary exhibition of a 4th century B.C. drinking cup, called a kylix. However it has chosen to downplay the agreement. The granting of these two temporary exhibitions by Italy, further underscores its dispute with the Getty over antiquities. The Museum of Fine Arts and the Met have chosen to cooperate with Italy, and have been granted these works. It gives added emphasis to Italy’s threatened cultural embargo against the Getty, after negotiations broke off between the two parties.

Second, a private collector has been asked by Italy to return 20 artifacts it claims were illicitly excavated. The collector, Shelby White and her late husband, Leon Levy, acquired a significant collection of antiquities over the last 30 years. Maurizio Fiorilli, a lawyer with Italy’s Culture Ministry, has asked Ms. White to return the objects. The Italians have acknowledged that they do not have much legal pressure to force the restitution of these objects. However exerting public pressure may be their best chance at repatriating these objects. Highlighting Italy’s claims is a study conducted by two British archaeologists, Christopher Chippindale and David Gill. It suggested that 84% of objects owned by Ms. White and her husband which were exhibited at the Met in a special 1990 exhibition were illicitly excavated. Whether this Italian campaign will prove successful and will have an impact on the demand for illicit antiquities remains to be seen. It is an interesting move by Italy to attempt to convince private collectors that purchasing these objects without a solid provenance may indeed be unethical, and may be damaging the very tradition and heritage which they wish to preserve and own. Some commentator have argued for stiffer criminal penalties for collectors of these objects. That seems like a difficult thing to enact though, as these individuals are generally the pillars of their community. After all, Ms. White donated $200 million to NYU for a new antiquities department. A more effective approach may be a campaign to associate collecting of unprovenanced antiquities with the destruction of a nation’s heritage and archaeological record.

Questions or Comments? Email me at derek.fincham@gmail.com