A New Handbook, a Dutch Trial, and the Mona Lisa on Stage

A new Research Handbook on Art, Culture and Heritage Law has just been published by Edward Elgar, co-edited by Sophie Vigneron, Janet Ulph, and Antoinette Maget Dominicé. The volume is a substantial one — 682 pages — and it brings together an impressive range of scholars to examine art, culture, and heritage law through four broad challenges: sustainable development, intergenerational equity, decolonisation, and cultural rights. The publisher describes it as both interdisciplinary and practical, with chapters addressing the definition, protection, and contestation of cultural heritage, alongside subjects such as provenance research, repatriation, trafficking in peacetime, wartime looting, and the intentional destruction of heritage.

The table of contents alone gives a good sense of the range. There are chapters by Patty Gerstenblith on the 1970 UNESCO Convention, Emma Cunliffe on the 1954 Hague Convention, Anne-Marie Carstens on international cultural heritage crimes, Sophia Labadi on world heritage and sustainable development, Neil Brodie on EU Regulation 2019/880 on the import of cultural goods, Emily Peacock and Donna Yates on the online antiquities trade, Evelien Campfens on cross-border restitution, and Andrea Wallace, Francesca Farmer and Mathilde Pavis on restitution beyond the object. My own contribution is a chapter on “Cultural heritage law in the United States.”

In a field that often splinters into separate conversations — market regulation over here, armed conflict there, restitution somewhere else — there is real value in a volume that tries to gather these debates into one place.

For those interested, the publisher’s page is here: Research Handbook on Art, Culture and Heritage Law.

The more immediate news item is the start of the Dutch trial over the theft of major Romanian gold artefacts from the Drents Museum, including the celebrated Coțofenești Helmet, a 5th-century BCE object, and three Dacian gold bracelets. Dutch prosecutors have reportedly sought sentences ranging from 44 to 66 months, and specifically asked for three years and eight months for Jan B. (21) and Douglas Chesley W. (37) after plea agreements aimed at securing the return of the helmet and two of the bracelets.

That cooperation matters. Dutch prosecutors said earlier this month that the Coțofenești Helmet and two of the three bracelets were recovered after discussions with defence counsel and agreements with the suspects; the Public Prosecution Service made clear that a condition of those agreements was the return of the artefacts. Reuters likewise reported that the recovery came with the help of information from the suspected thieves. One bracelet is still missing.

The case is a useful reminder that criminal prosecutions in cultural objects are often doing more than assigning blame after the fact. Sometimes they are structured, explicitly, to recover objects first and punish later. That may be unsatisfying in one sense — especially where the penalties sought do not seem especially severe given the cultural stakes — but it also reflects a hard truth: once an object like this disappears, the first priority is often simply getting it back before it is damaged, dispersed, or lost entirely. In this instance, the helmet was recovered slightly dented, though museum officials say it can be restored.

And then, because the art world never misses a chance to become faintly ridiculous just when things have turned serious, there is this: Andrew Lloyd Webber is apparently working on a musical about the theft of the Mona Lisa. According to The Art Newspaper, the project is based on the 1911 theft by Louvre employee Vincenzo Peruggia, who removed the painting and it later resurfaced in Italy. Lloyd Webber described it as “the true story” of how the painting disappeared for roughly three years and ended up in Italy.

Sophie Vigneron et al., Research Handbook on Art, Culture and Heritage Law (Edward Elgar Publishing, Incorporated Mar. 2026).

Stealing the Show: Mona Lisa Heist Inspires Andrew Lloyd Webber Musical, The Art Newspaper – International art news and events, https://www.theartnewspaper.com/2026/04/13/stealing-the-show-mona-lisa-heist-inspires-andrew-lloyd-webber-musical (last visited Apr. 14, 2026).

Dutch Prosecutors Urge Long Jail Terms for Romanian Helmet Theft, France 24, https://www.france24.com/en/live-news/20260414-dutch-trial-over-theft-of-golden-romanian-helmet-begins (last visited Apr. 14, 2026).

A Return to Illicit Cultural Property

It has been a while. I’ve been writing here at Illicit Cultural Property since 2006, which has somehow made this blog one of the longer-running habits of my professional life. The site has been quiet for the last few years while I took on a big administrative role at my law school. That work was rewarding in its own way, but I’m very happy to be stepping back from it and returning to this corner of the internet.

So this is a bit of a welcome back, and a bit of a statement of purpose. For now, I’m going to aim for weekly posts: short roundups of developments in cultural heritage, art crime, restitution, museums, the antiquities trade, along with the occasional oddity.

There is, unfortunately, no shortage of material.

A recent Guardian piece on the side hustles of artists felt like a fitting way back into things after my own administrative detour. I’ve spent the last few years buried in meetings, spreadsheets, and the assorted dignities of academic administration, so it was a pleasure to be reminded of some people’s extracurricular labors, some legal, some not. French writer Jean Genet, for example, allegedly stole books from family, from friends, and eventually became remarkably skilled at it, reportedly even devising a special briefcase for taking valuable books and reselling them after he had read them.

Cultural sites in Iran have sustained damage during recent American and Israeli strikes. The Art Newspaper reported damage to Tehran’s Golestan Palace. Located near Arg Square in Tehran’s historic district, the 400-year-old palace reportedly suffered shattered windows, debris strewn across the complex, and damage to its distinctive mirror work. UNESCO joined other United Nations bodies and senior officials, including Secretary-General António Guterres, in condemning the strikes which also have allegedly struck a girls school. These episodes tend to expose just how fragile legal and institutional protections for heritage become once armed conflict accelerates.

Debris at the historical monument Golestan Palace after it was damaged in an Israeli and U.S. strike, amid the U.S.-Israeli conflict with Iran, in Tehran, Iran, March 3, 2026. Majid Asgaripour/WANA (West Asia News Agency) via REUTERS.

The damage in Ukraine also continues to mount. UNESCO’s running tally now reports 523 cultural sites verified as damaged as of 11 March 2026, including religious sites, museums, monuments, libraries, archaeological sites, and an archive. The scale of that number is numbing.

On the art-crime front, The Art Newspaper reports that Yves Bouvier will stand trial in Paris over the alleged disappearance of dozens of Picasso works belonging to Catherine Hutin, Picasso’s stepdaughter. The case has been grinding along for years.

The empty frame which once held “Storm on the Sea of Galilee” at the Isabella Stewart Gardener Museum

March also brings the annual return of the Isabella Stewart Gardner Museum theft to public attention. Tom Mashberg rounds up the current state of the likely theories and speculation. The theft remains one of the foundational myths of American art crime, and it has now been thirty-six years since those works were taken.

And in a fitting anniversary of another kind, a major Brazilian museum theft from 2006 remains unsolved just as the legal window for prosecution has expired. As The Art Newspaper notes in its report on the Museu da Chácara do Céu heist, works by Monet, Matisse, Dalí, and Picasso were stolen in Rio two decades ago and have still not been recovered. No one, it seems, will serve prison time for the theft.

By Claude Monet – Scanned from MCM catalogue (1996), Public Domain, https://commons.wikimedia.org/w/index.php?curid=3413164 This painting was stolen from the Museu Chácara do Céu, Rio de Janeiro, in 2006, together with three other works by Pablo Picasso (A dança, 1956), Salvador Dalí (Os dois balcões, 1929) and Henri Matisse (Jardim de Luxemburgo, 1903). The paintings haven’t been recovered yet.

The International Journal of Cultural Property has now published Volume 32, Issue 4, and the issue includes a number of open-access pieces worth a look. These include an article on underwater cultural heritage in the World Heritage framework by Arturo Rey da Silva, Elena Perez-Alvaro, Martijn Manders, Mariano J. Aznar, and Christopher Underwood; an essay by Alberto Frigerio asking whether cultural heritage might be understood through the language of legal personhood; and an article by Errol Francis, Chloe Asker, and Victoria Tischler on ethical disagreement over ancestral human remains in museums. The issue also includes reviews of recent books by Maud Webster, Patty Gerstenblith, and Shea Elizabeth Esterling.

I also want to keep an eye on current fights over the built environment and public symbolism. PBS NewsHour recently ran a piece on efforts to slow the Trump administration’s sweeping redesign ambitions for federal buildings in Washington, including interventions touching places like the Kennedy Center and even the White House itself.

And one final note: assuming I can navigate the TSA shutdown, survive the reportedly epic airport lines, and actually make it to Newark, I’ll be speaking this Friday, March 27, at the Rutgers International Law and Human Rights Journal symposium, Law, Heritage, and Identity: International Legal Frameworks for Cultural Preservation. I’ll be joining Anne-Marie Carstens and James K. Reap on a panel on “Trafficking, Destruction, and Institutional Protection of Cultural Property,” and the day also features a keynote by Matthew Bogdanos and panels on intangible cultural heritage and ocean heritage. The event is free and available by Zoom if you are not in the area.

In any event, I’m glad to be back. Thanks for still being here.

***

Mason Currey, Shoplifting, Sex Shows and Sheepdog-Breeding: Great Artists and the Side-Hustles They Did to Get By, the Guardian, https://www.theguardian.com/culture/2026/mar/24/artists-side-hustles-john-cage-jean-genet-kathy-acker-shoplifting-sex-shows-sheepdog-breeding, archived at https://perma.cc/N43N-42C9 (last visited Mar. 25, 2026).

Farnaz Fassihi, Strikes on Iran Damage Cultural Heritage Sites, Infuriating Iranians, The New York Times (Mar. 11, 2026), https://www.nytimes.com/2026/03/11/world/middleeast/iran-heritage-sites-damaged.html.

Tom Mashberg, Got an Idea About Who Robbed the Gardner Museum? Get in Line., The New York Times (Mar. 18, 2026), https://www.nytimes.com/2026/03/18/arts/design/gardner-museum-heist-theories.html.

Deadly Bombing of Iran Primary School ‘a Grave Violation of Humanitarian Law’: UNESCO | UN News, United Nations, https://news.un.org/en/story/2026/03/1167063, archived at https://perma.cc/B26H-3NXX (last visited Mar. 25, 2026).

Tehran’s Unesco-Listed Golestan Palace Reportedly Damaged by US-Israeli Strikes, The Art Newspaper – International art news and events, https://www.theartnewspaper.com/2026/03/03/us-israeli-strikes-damage-unesco-listed-golestan-palace-tehran?fbclid=IwY2xjawQT5NNleHRuA2FlbQIxMQBzcnRjBmFwcF9pZBAyMjIwMzkxNzg4MjAwODkyAAEeY5canXmpJAol6Tp2X-yRcTAW1NVzIp94iyOreGnfibYNbuxcsuYHrrj0XtA_aem_PLVrty3ueJmU8pgEMoNIGw&ref=pasts-imperfect.ghost.io, archived at https://perma.cc/3K5C-DQYC (last visited Mar. 24, 2026).

Major Brazilian Art Heist Still Unsolved as Statute of Limitations Expires, The Art Newspaper – International art news and events, https://www.theartnewspaper.com/2026/03/05/museum-heist-2006-museu-chacara-ceu-rio-statute-limitations, archived at https://perma.cc/AVV8-XB62 (last visited Mar. 24, 2026).

Dealer Yves Bouvier to Stand Trial in Paris over Missing Picassos, The Art Newspaper – International art news and events, https://www.theartnewspaper.com/2026/03/13/yves-bouvier-to-stand-trial-in-paris, archived at https://perma.cc/97MH-2EWD (last visited Mar. 24, 2026).

Damaged Cultural Sites in Ukraine Verified by UNESCO | UNESCO, https://www.unesco.org/en/ukraine-war/damaged-cultural-sites?hub=180699&ref=pasts-imperfect.ghost.io, archived at https://perma.cc/UL6L-QWP5 (last visited Mar. 24, 2026).

US-Israeli Strikes Damage Iran’s Cultural Heritage Sites, dw.com, https://www.dw.com/en/us-israeli-strikes-damage-irans-cultural-heritage-sites/a-76350565, archived at https://perma.cc/3U4F-PMBE (last visited Mar. 24, 2026).

Elizabeth Marlowe’s Review of ‘The Brutish Museum’

Elizibeth Marlowe reviews The Brutish Museum for the International Journal of Cultural Property:

Dan Hicks’s new book, The Brutish Museums: The Benin Bronzes, Colonial Violence and Cultural Restitution, has made a splash. Designated by the New York Times as one of the best art books of 2020, featured on blogs, podcasts, webinars, and in mainstream newspapers, the book and its author, the professor of contemporary archaeology at the University of Oxford and curator at Oxford’s Pitt Rivers Museum, are suddenly everywhere. This Zoom-enabled ubiquity can be understood in the context of the larger historical reckonings of 2020 and 2021 – a global pandemic fueled by global capitalism, climate change, and incompetent governance; a breaking point in the long saga of police brutality against racial minorities and white indifference to it; a toppling of statues to colonialist and Confederate leaders around the world; and, as I was finishing the book, a final attempt to impeach a hate-mongering US president for fomenting rebellion against the very democratic institutions he swore to serve. In its passionately argued call for the restitution of cultural artifacts looted in one of the most notoriously brutal episodes of colonial violence, The Brutish Museums encapsulates the zeitgeist.

Continue reading, no paywall…

What your next Museum visit may be like

This is as close as we’ll be able to get to the MFA Houston for a while…

I miss museums, and it sounds like the next time I visit one I’ll look like I’m trying to rob the place.

Garty Tinterow, the director of the Museum of Fine Arts, Houston offered some insights into how his institution is planning to safely reopen, whenever that may be. He did a useful Zoom interview with the Houston Chronicle’s Molly Glentzer, and here’s a brief excerpt:

Q. When do you expect the museum to reopen, and what will be different?

I check my mail every day but the crystal ball hasn’t arrived yet. Opening by July 1 seems to be feasible, given our most pessimistic models. The pandemic will bring permanent change to art museums such as ours. We’re going to have to live with this virus for quite some time. Our biggest challenge is learning gradually; it’s going to have to begin with baby steps. We’ll all learn how to visit a museum differently. We are adopting procedures for low-touch entrances, exits and visits. We’re going to change the way we deliver information so individuals so they won’t have to touch things or pick up things that aren’t their own. An attendant with a mask and gloves will open the door. You’ll probably be wearing a mask. We won’t hand you gallery guides unless they can be sanitized; you’ll probably download material on your own device.

Many museums provide a textbook case of how to live in this new world. For a survey of the Association of Museum Directors, we calculated how many visitors we could admit based on the square feet in our display spaces. If they have six feet of circumference around them and move through the space as equally distributed as atoms of oxygen, how many people would there be? Probably 800 at a time. We can easily accommodate that. They won’t be in one space; they’ll be throughout our campus in multiple buildings. Maybe, if we have a film program in Brown Auditorium, people can be seated on every other aisle and alternate seats. There is room at the MFAH for social distancing.

Gary Tinterow

Molly Glentzer, What Will Your next Visit to the Museum of Fine Arts, Houston Be Like?, Houston Chronicle, Apr. 23, 2020, https://www.chron.com/life/article/What-will-your-next-visit-to-the-Museum-of-Fine-15223418.php [https://perma.cc/4S7T-8VLT].

Matthes on ‘Radical Redistribution of Art’

The Ilissos sculpture, on display in London, originally adorned the Parthenon

Erich Hatala Matthes, a Prof. of Philosophy at Wellesley College has authored an argument for the radical redistribution of wealth in the open source journal Ergo. From the abstract:

Museums are home to millions of artworks and cultural artifacts, some of which have made their way to these institutions through unjust means. Some argue that these objects should be repatriated (i.e., returned to their country, culture, or owner of origin). However, these arguments face a series of philosophical challenges. In particular, repatriation, even if justified, is often portrayed as contrary to the aims and values of museums. However, in this paper, I argue that some of the very considerations museums appeal to in order to oppose repatriation claims can be turned on their heads and marshaled in favor of the practice. In addition to defending against objections to repatriation, this argument yields the surprising conclusion that the redistribution of cultural goods should be much more radical than is typically supposed.

An interesting argument, and it sounds to me like he is making a case for cultural justice.

Erich Hatala Matthes, Repatriation and the Radical Redistribution of Art, 4 Ergo (2017).

‘Art is Therapy’ at the Rijksmuseum

A blinking neon green sign greets visitors at the Rijksmuseum
A blinking neon green sign greets visitors at the Rijksmuseum

 

What should a museum be? Should it be a collection of the world’s masterpieces accumulated in great cities? Should it be a smaller museum devoted to showing the history of a region, town or culture? We think a lot about these big questions around here by responding to questions like ‘Who Owns Antiquity?‘ or what does property and justice require when resolving art disputes.

But in a new project Alain de Botton and John Armstrong have made the case that art can and should be more. Their argument is simple: art can help people leave more interesting and fulfilled lives. Art History as a discipline has much to offer, but the authors argue it should not be the only way to enjoy and experience works of art. Rather than focusing on art historical periods and dates, we can also think more broadly about how the image resonates with the viewer. That’s a bold claim to be sure, but the attempt is exciting and novel in a way that few art museums are able to achieve consistently. De Botton is known for a string of works including: How Proust Can Change Your Life, The Architecture of Happiness, Religion for Atheists, and the terrific The Art of Travel.

The project takes many forms including a website, apps for your phone, a book which makes the full case, and even a new exhibition at the Rijksmuseum.

The exhibition intervention takes the form of large yellow notes which inform and comment on the works on display. Perhaps most remarkable of all, the Rijksmuseum gave these writers access to intervene in the museum on this scale after a lengthy restoration.

So what exactly did they do? Here is one example which reads:

On the wall behind you, probably behind three rows of people, hangs one of the most famous works of art in the world.IMG_2661

This is bad news. The extreme fame of a work of art is almost always unhelpful because, to touch us, art has to elicit a personal response – and that’s hard when a painting is said to be so distinguished. This paintins is quite out of synch with its status in any case because, above all else, it wants to show us that the ordinary can be very special. The picture says that looking after a simple but beautiful home, cleaning the yard, watching over the children, darning clothes – and doing these thngs faithfully and without despair – is life’s real duty.

This is an anti-heroic picture, a weapon against false images of glamour. It refuses to accept that true glamour depends on amazing feats of courage or on the attainment of status. It argues that doing the modest things that are expected of all of us is enough. The picture asks you to be a little like it is: to take the attitudes it loves and to apply them to your life.

If the Netherlands had a Founding Document, a concentrated repository of its values, it would be this small picture. It is the Dutch contribution to the world’s understanding of happiness – and its message doesn’t just belong in the gallery.

Sickness:

Life is elsewhere.

I have a misplaced longing for glamour.

And here, on the day we visited is the view behind us, jam-packed with visitors eager to see Vermeer’s works:

IMG_2659

And a close-up version of the terrific Vermeer described in the intervention:

Johannes_Vermeer_-_Gezicht_op_huizen_in_Delft,_bekend_als_'Het_straatje'_-_Google_Art_Project

This note resonated with me, and I’m sure many others. How strange that sometimes it is easier to achieve the kind of personal connection to a work of art via technology than fighting cell phones and fellow museum-goers.

Continue reading “‘Art is Therapy’ at the Rijksmuseum”