Tag: Italy

Shelby White Returns 10 Antiquities


In a move that had long been suspected, Shelby White has agreed to return ten antiquities from her private collection to Italy. Elisabetta Povoledo has a summary in today’s New York Times. David Gill, who has long been asking about this collection has a summary and helpful links at looting matters as well. Nine of the objects, including this fresco, were given to Italian authorities earlier this week, while a 5th Century BC Greek vessel will be returned in 2010.

The reason these objects were returned is, of course, that photographs show these objects in highly suspicious circumstances. They were discovered in the massive investigation of Giacomo Medici broken and in some cases still encrusted with dirt. They were almost certainly looted. The broader question again is, have future philanthropists been discouraged from acquiring illicit antiquities? Will Shelby White acquire antiquities differently in the future? As a private individual, it’s difficult of us to expect her to adopt an acquisition policy, but to guarantee more acquisitions like this don’t take place there needs to be a continued push for market reform.

Given the impression given by news reports, I find it highly unlikely that White intended to acquire looted objects; however the market fails to effectively distinguish illicit or looted objects. A better system would take the interest and capital of a collector like Shelby White and ensure a substantial portion of those proceeds go towards future excavations and protection of sites. However the current state of the antiquities trade makes that nearly impossible.

White, and her late husband Leon Levy have long collected antiquities, and supported research and other causes. White gave $20 million to the Met to construct a new Greek and Roman Gallery which opened last year. They have also supported antiquities digs in “Israel, the Aegean, Iran, turkey, the Balkans and elsewhere” according to the NYT piece. White won’t be receiving anything in return for her agreement to relinquish these ten objects, save an agreement that Italy will not seek other objects in her collection. However, that may not be such a bad thing, as Lee Rosenbaum pointed out yesterday by showing what the Met got in return for the Euphronios Krater, where it displayed the three loaned objects, and why perhaps it didn’t make much of an announcement about them.

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

Repatriation of the Krater


Pictured here is the Euphronios krater, one of the finest known antiquities. Created in 515 BC, it is the only known complete example of a work painted by Euphronios. The krater was purchased by the Metropolitan Museum of Art for a then-record $1 million from Robert Hecht. Suspicion was aroused as soon as the work was purchased about the provenance of the piece, where it was discovered, had it been in an existing collection etc. The most likely explanation now indicates the krater was purchased from Giacomo Medici, an Italian who was convicted of selling illicit antiquities on 2004. A 2004 article on artnet by the Met director at the time, Thomas Hoving, details his account of the acquisition of the krater. The krater was almost certainly illegally excavated. As a result we know nothing of its archaeological context.

As a result these questions, Italy and the Met agreed to arrange the return of the krater in exchange for other long term loans. Sunday will be the final day to see the krater at the Met before it is returned to Italy’s “Nostoi” exhibition championing the recent repatriation efforts.

In exchange, the Met will be receiving a terracotta cup depicting gods on Mt. Olympus signed by Euxitheos, a jug shaped like a woman’s head, and another krater made in southern Italy. I’ll leave to the art historians and others the question of whether this is a fair bargain, and how much the Met’s antiquities collection has been diminished.

Does this exchange remedy the earlier illegal excavation? The answer is no, it seems to me. It does not punish the illegal excavators. We still do not know anything about the krater’s context. More than anything, this seems to indicate that the Met and other institutions will think long and hard before making another similarly dubious acquisition in the future. That I think is the real relevance, and its one I think has not been discussed amid the retirement of Philippe de Montebello and the stories about these returns. The salient question remains, are there ways to ensure antiquities are licit? The answer it seems to me is still no. Sites are still vulnerable, and the antiquities trade does not promote the careful scientific study of sites. Amid all of this controversy after returns by the Met, the MFA Boston, the Getty, and the University of Virginia, a fundamental conundrum remains. Should the antiquities trade exist in some form? The discussion should, I think, focus now on the next Euprhonios Krater. Is it being protected? Are there new acquisition policies which are sufficient? Will more institutions abroad adopt the standards of the Getty or the Indianapolis Museum of Art? Are source nations effectively regulating their sites? Are they promoting compliance with these regulations?

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

Italy, Culture and Politics

Barbie Nadeau has an interesting article online at Newsweek. It makes the same kind of point that a number of commentors, me included, have noticed. Namely, that Italian politicians are often adroit at using Italian heritage for political gain.

Last month Veltroni and Rutelli unveiled another gem on the Palatine Hill: the “Lupercale,” the ancient grotto where, legend has it, a she-wolf nursed Rome’s founder, Romulus, and his twin brother, Remus. The showing of the Lupercale delighted Italians with the suggestion that the legend might be true. But while the romantics were studying the mythology, the cynics were asking questions about just why the finds were being shown off at that time. The grotto, after all, was discovered last January, during the restoration of Augustus’s palace and the iconic collapsed wall. Back then Irene Iacopi, the archeologist in charge of the Palatine Hill, said she discovered the cavern, which is covered with frescoes, niches and seashells, after inserting a 52-foot probe into the ground. So why did it take almost a year for the authorities to make a public announcement about the find?

The answer, it would seem, lies in politics and power. Just days before the showcasing of the Lupercale, Silvio Berlusconi had disclosed his plans to form a new political party that would compete with Rutelli and Veltroni. The news about the grotto, however, effectively eclipsed Berlusconi’s news, leading the former prime minister to describe the timing as “suspect.”

It’s an interesting point I think. But when culture is such an important political issue in Italy, it seems only natural for politicians to manage the news in much the same way the President might shape the news with respect to the economy, the War in Iraq, or other matters.

I do have issues with one claim made in the article though. It is claimed that “Getty Museum curator Marion True went on trial in Rome for conspiracy and receiving stolen artworks for the Los Angeles institution. The trial, which began during Berlusconi’s term and is still ongoing, has directly led to the return of more than 100 artifacts from other American museums that purchased items of questionable provenance, including 40 from the Getty.” I think that may be overstating the importance of the True trial. Certainly it has had an impact, but more important is the concrete Polaroids and other evidence detailed in the Medici Conspiracy. That evidence came as a result of investigation of a theft of objects from Italy which were later traced to Switzerland. That investigation, of which the True prosecution has emerged, is the root cause I think.

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

Shocking theft… in 1994


Is it any wonder that 7% of the Italian GDP comes from Mafia crime? The Italian city of Catania on Sicily has announced the disappearance of 51 works of art, after a 1995 document regarding their disappearance was recently “rediscovered” and provided to the carabinieri. The works were taken from the art gallery, housed in the Ursino castle pictured here, and were discovered by a new Catania councillor responsible for culture, Silvana Grasso. This is probably not the kind of news Francesco Rutelli wanted on the heels of the discovery of what may be the Lupercale, under Augustine’s palace on the Palatine Hill.

At least one step which should be taken by all museums, and even individuals who own art, is to take a photo of the works. One of the works stolen is a Rembrandt, but there’s no photograph of the work, rendering recovery nearly impossible. If there’s an image, recovery is possible. Ask Peter Crook, who recovered two works by his grandfather GF Wetherbee from the US via the Art Loss Register.

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

The Getty Bronze and "Culture Property Wars"


The “Arts, Briefly” section in today’s New York Times has a couple of interesting points today. First, Marion True went on trial in Greece for conspiring to acquire a gold funerary wreath, alleged to have been removed from Greece. Also, a judge in Pesaro, Italy dismissed a local prosecutor’s claim to the “Bronze Statue of a Victorious Youth” found by fisherman in the Adriatic and currently on display at the Getty. When a repatriation agreement was reached in August for 40 other objects, Italian authorities said they would consider their case after the case in Pesaro was resolved.

Along those lines Lee Rosenbaum has an interesting series of posts on how to create a “ceasefire in the cultural property wars”. She makes a number of excellent suggestions, including a need for full disclosure of acquisition policies, and to create a “consistent handling” of repatriation proposals. I agree with both those suggestions.

I have to raise some issues with her discussion of a consensus for future acquisitions. She gives the three dates normally given as cutoffs for new acquisitions:

  1. 1970, the date of the UNESCO Convention;
  2. 1983, the date the US implemented the Convention with the CPIA; or
  3. A 10-year “rolling rule” advocated by the Association of Art Museum Directors.

Those are all plausible dates, but I think Rosenbaum misses the point in discussing the Getty’s new acquisition policy, and how it relates to the Getty Bronze. First, here’s the Getty’s revised acquisition policy:

For the acquisition of any ancient work of art or archaeological material, the revised policy requires:

* Documentation or substantial evidence that an item was in the United States by November 17, 1970 and that there is no reason to suspect it was illegally exported from its country of origin OR

* Documentation or substantial evidence that the item was out of its country of origin before November 17, 1970 and that it has been or will be legally imported into the United States, OR

* Documentation or substantial evidence that the item was legally exported from its country of origin after November 17, 1970 and that it has been or will be legally imported into the United States.

Rosenbaum then argues, “good faith counts. And it seems to me that this is the best argument for returning the Getty Bronze: There was plenty of ‘reason to suspect it was illegally exported from its country of origin,’ and plenty of people DID suspect it, at the time of the acquisition.”

I think Rosenbaum misses the point of the new acquisition policy, because if the Getty were deciding whether to acquire the Bronze today, based on its new acquisition policy it could certainly do so. To be fair, you have to think like a lawyer. The “or” is critical. The Getty could hypothetically acquire the statue if any one of the three clauses are satisfied; it doesn’t have to satisfy all three. The statue was found in international waters in 1964. Even assuming Italy was its “country of origin” the statue had left Italy by 1970, and it certainly was legally imported into the United States; as at that time the US did not enforce Italy’s export restrictions. It’s also worth remembering that absent a treaty agreement the US does not enforce the export restrictions of another nations. The reasons for that policy are complicated, and often don’t seem to have a solid policy foundation, but that’s the general rule followed in both the US and the UK.

These are difficult issues to be sure, but as I’ve argued I don’t think Italy has a strong ethical or legal claim to the statue. Greece perhaps has an ethical claim, but not Italy. The most likely reason for the statue ending up in the Adriatic is it was taken from Greece, probably by Romans.


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

Results of Italy’s Telethon

Stefano Luppi of the ArtNewspaper (which has made some impressive updates to its website) has the results of Italy’s antiquities telethon which took place Oct. 5-7. Here’s an excerpt:

Culture minister Francesco Rutelli, as well as actors and opera singers, appeared on the state broadcasting channel RAI to describe the plight of the country’s monuments, many left unprotected for lack of funds.Seven monuments were selected to receive the money raised by viewers. These included: Augustus’s villa on the Palatine Hill in Rome, where the frescoes and flooring are decaying from exposure to sun and rain; the village and surrounding area of Santa Maria del Cedro in Calabria, an important site associated with the Enotrians, an early Italic tribe; the Racconigi Royal Park in Cuneo, an English-style romantic 18th-century garden in which the first Italian pineapples were grown, where the 19th-century greenhouse needs conserving; a museum for visually impaired people in Ancona that allows visitors to run their hands along reproductions of sculptures and archaeological finds; a Punic necropolis in Sardinia, dating back to the fourth century BC; Cremona’s centre for the restoration of antique musical instruments which specialises in antique violins and the 19th-century railway line which connects the Sicilian baroque towns of Syracuse, Modica and Ragusa.

Donations are still possible. The fundraising target was $5 million, while it seems close to $4 million has been raised so far. If more funds are needed, might Italy consider selling or leasing some of its antiquities? That probably wouldn’t be a popular decision in Italy, but might help reduce the illicit trade.

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

Antiquities Dealer Returns Italian Antiquities


Antiquities dealer Jerome Eisenberg has apparently agreed to return eight antiquities to Italy. Ariel David has an overview for the AP, complete with photos of all the objects.

According to Ariel, “Eisenberg, who runs galleries in New York and London, said he bought most of the antiquities at auctions in the British capital in the 1980s, and decided to return them after Italian authorities recently turned up evidence that they were looted.” According to Giovanni Nistri, who leads the art squad of the Carabinieri “This is a dealer who since 1999 has returned of his own initiative other artifacts that came into his possession”.

What is the significance of the return? It appears to be one of the only examples of a dealer voluntarily relinquishing allegedly illicitly-excavated antiquities. It seems the Italians had some kind of iron-clad proof that these objects had been wrongfully removed in some way.

David Gill at Looting Matters argues this agreement to return objects is significant because “It is now clear that the Code of Ethics and the due diligence processes conducted by members of the IADAA are not rigorous enough.” I think he’s exactly right about the lack of effectiveness of Codes of Ethics, but this agreement has little to do with them. These objects were acquired at auctions, sometime in the 1980’s. The acquisition of these objects in the 1980’s doesn’t strike me as an accurate indicator of the current state of the antiquities trade, though it’s badly flawed to be sure.

The more relevant point I think is how effectively the Italian Culture Ministry uses the press in painting a picture of a vast Italian repatriation campaign. An agreement seems to have been concluded months ago. Why is the story appearing now? It seems to be a calculated move. Seldom does a week go by that there is not news of an arrest, agreement for repatriation or the like. Italy and cultural property is in just about every news cycle. Believe it or not, public pressure like this is the single best tool a source nation has to secure the return of objects. This fact speaks volumes about the fatally flawed body of law which attempts to regulate the illicit antiquities trade. Italy is not using the law to seek these objects because it cannot; instead it is exerting tremendous public pressure on museums and individuals.

(AP Photo/Alessandra Tarantino)

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

Good Faith Acquisition of Antiquities?


Lee Rosenbaum at CultureGrrl has more on the Italy/Princeton agreement. At the right is a “Apulian red figure loutrophos from South Italy, ca. 335-325 B.C.” This object will remain at Princeton but Italy will gain title.

Importantly, Rosenbaum tells us Princeton’s spokesperson, Cass Cliatt maintains the University had acquired the objects in good faith. Also, further details will not be forthcoming because of a “confidentiality agreement” between the two parties. Also, Princeton is “anticipating posting our acquisition policies, but they are still in the revision stage and will be made available at the appropriate time.” Rosenbaum rightly expresses some skepticism at this reticence.

It seems to me that Princeton will not be the last museum to deal with Italian claims, as Rutelli has indicated it will pursue similar arrangements with the Cleveland Museum of Art, the New Carlsberg Glyptotek in Copenhagen, and the Miho Museum in Japan. These restitutions are a welcome sign, but they will mean very little in the long run if these institutions do not erect appropriate safeguards. At present we are relying on institutions to police themselves. I’m beginning to reach the admittedly pessimistic conclusion that a good-faith acquisition of antiquities may not be possible given the way the market currently operates.

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

Antiquities Telethon

Even in Italy, where cultural policy plays a bigger role in politics than perhaps any other nation, funds for preserving and protecting objects and sites are hard to come by. As such Italy and Culture Minister Francesco Rutelli have resorted to a 3-day telethon to publicize the return of works from the Getty and to raise much-needed funds. One wonders how much of this is needed to raise funds and how much is political posturing. From Tom Kington’s report in today’s Guardian:

To soaring music by Ennio Morricone, seven sites featured in rotating TV spots, including Augustus’s villa where the frescos and flooring are decaying, the Sulky Punic necropolis in Sardinia, dating back to the fourth century BC, and an abandoned Norman fort near Cosenza.

Organisers also made room for more recent sites such as the Racconigi Royal Park in Cuneo, where a restoration project is needed for the 19th-century greenhouse in which the first Italian pineapples were grown. Also to benefit is Cremona’s centre for the restoration of antique musical instruments, as well as a rusty 19th-century railway line which connects the Sicilian baroque towns of Syracuse, Modica and Ragusa. If viewers cough up, the train will be turned into a museum on wheels for visitors.

The most modern candidate was championed by opera singer Andrea Bocelli: a museum for visually impaired people in Ancona lets visitors run their hands along reproductions of sculptures and archaeological finds.

Italy’s culture ministry pointed out that Italians only donated €42m in 2006 to protect their cultural heritage, compared with the €350m handed over by the French.

As the weekend drew to a close, donations were nearing the target, albeit with €300,000 of that coming from a US foundation.

The telethon comes amid rising resentment in Italy at the perceived free-spending habits of privileged politicians.

In an attempt to give an example of honest toil by politicians, Mr Rutelli displayed some of the artworks Italy claims were stolen and smuggled from its shores and has won back through the courts from the Getty Museum in Los Angeles.

Mr Rutelli said the works would go on free display at the Quirinale in Rome, the sprawling presidential palace which has taken centre stage in the row over politicians’ spending after it was revealed that the cost of maintaining the president and his army of guardsmen, gardeners and silver polishers was higher than that of Buckingham Palace.

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

Rare Book Thefts in Italy

Marta Falconi has an interesting AP story, Book Thief Investigation in Italy. An Italian man disguised himself as a priest and stole “dozens of 300-year-old books, drawings and watercolors from top libraries and public archives in Rome”. Italian authorities have recovered items worth close to $1 million.

The suspect, in his mid-40s, used ink remover to delete identification numbers and library stamps from the items, said Gen. Giovanni Nistri, who heads Italy’s police art squad.

When marks were engraved in the paper, he used an iron to smooth them out. He dripped coffee on pages to make them look moldy.

“He showed great competence and even ingeniousness,” Nistri said. “In some cases, he dressed as a priest and even locked himself in a bathroom for one day, besides altering the items to make their identification harder,” Nistri said.

Some items were sold in Italy and abroad, particularly in France, Nistri said. Nistri did not reveal what led police to the man.

The investigation is now aimed at tracing other trafficking channels, police said.

“Even in the libraries, there’s a gigantic cultural heritage that we risk losing for the pleasure of some,” Nistri told a news conference Monday.

The suspect, whom authorities would not identify, has been convicted of similar thefts in Turin and is believed to have stolen papers in Modena, Turin and Florence in recent months, Nistri said.

The suspect, who is cooperating with officers, has not been arrested, but police did not rule out an arrest in the future. Officers said there was no immediate risk he would try to flee the country.

An undersecretary in the Culture Ministry, Danielle Gattegno Mazzonis, said the ministry was planning to increase staff and set up alarm systems to monitor libraries and public archives because the trafficking is increasing.

“There are collectors and amateurs of specific epochs that would spend a fortune to have; for example, the original edition of a newspaper which came out the day Garibaldi was born,” Mazzonis said.

Police said that as of the end of August, 73,000 stolen books and archive documents were recovered across Italy.

That final number is staggering. How many items are still missing? These items are the most difficult to protect, as they are not especially rare or rise to the level of ultra-valuable items. This makes them much easier to sell.

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