Tag: Princeton

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Princeton Curator the Focus of Criminal Investigation

In 2007 Princeton University Art Museum agreed to return four antiquities to Italy, and hold four others on loan for four years.  This came during a wave of negotiated returns from American museums like the MFA Boston, the Met, the Getty, and others. 

Now the N.Y. Times is reporting that Italian prosecutors are focusing on Michael Padgett, an antiquities curator at Princeton University along with Edoardo Almagià, an antiquities dealer. 

It should come as no surprise that Italian authorities are investigating Almagià, as ICE agents seized “archaeological material” from his apartment in 2006.  More surprising perhaps are the charges brought against Padgett, the curator at Princeton.  Charges were brought against Marion True, a curator at the Getty, whose trial has been slowly progressing for the last five years.  There were indications or perhaps only assumptions that she would be the lone curator charged. 

This should be an interesting investigation to watch develop.  The True investigation has certainly had a dramatic impact on the antiquities trade. 

From a practical matter, I wonder what was contained in the settlement agreements with Italy and these museums.  Was there no discussion of immunity for curators who may have acquired some of these objects which are being returned?   

  1. Hugh Eakin, Italy Focuses on a Princeton Curator in an Antiquities Investigation, The New York Times, June 2, 2010, http://www.nytimes.com/2010/06/03/arts/design/03curator.html?pagewanted=all (last visited Jun 3, 2010).
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Nostoi (UPDATE)


The Nostoi (“Returns”) epic is mostly lost, but the bits and pieces which have survived indicate it tells the story of the return home of the Greek heroes after the Trojan War.

It is perhaps apt then that Italian authorities on Monday called the display “Nostoi: Returned Masterpieces” when they unveiled 68 antiquities which have recently been returned to Italy. Soon to join the list is the Euphronios Krater, which is slated for return from the Met in January.

Livia Borghese and Jason Felch have the story in the LA Times. Elisabetta Povoledo has a similar story in the NY Times, including a slide show by the AP and Italian Culture ministry. This image may be my favorite of the bunch, the Griffins attacking the doe. Objects were returned from the Getty, the Museum of Fine Arts in Boston, Princeton, and the Met. Also, some objects from the Royal Athena Galleries in New York were returned as well.

As might be expected, Francesco Rutelli the Italian culture minister and vice prime minister was quick to point out the significance of these returns saying, “The odyssey of these objects, which started with their brutal removal from the bowels of the earth, didn’t end on the shelf of some American museum… With nostalgia, they have returned. These beautiful pieces have reconquered their souls.”

Ultimately, the display shows the results of the Italian campaign which by necessity eschewed international law, and American law and instead went right to the heart of the matter using public pressure and the media along with the high-profile and ongoing trials of Marion True and Robert Hecht. At the press conference, Rutelli claimed that this strategy has “[brought] about radical changes in the trade of looted antiquities”. That may be true in a limited sense I suppose, but only I think when the antiquities are backed by strong political will in source nations. What about the trade in antiquities from South America or Iran and elsewhere? I’m not sure this strategy will impact those objects. I’m not sure either that this new strategy will alter the idea of the Universal Museum, which seems largely at odds with the policy of many source nations. Ideally the Italian accords will continue to allow the US and Italy to work together to continue to share objects but also to prevent the acquisition of illicit antiquities in the future.

UPDATE:

Sarah Delaney has more in yesterday’s Washington Post, with more pontificating by Rutelli including this: “if we dry up the waters of illegal art trafficking it will be much more difficult for tombaroli and others to operate.” He praised as well the “new standards of ethics that American museums have adopted”. First among these is the Getty’s stringent new acquisition policy. Also, museums who cooperate will earn continued loans.

David Gill has more on the official handlist of objects in the display, including where objects came from, and a breakdown of the type and composition of objects. As he points out, “15 pieces were represented by South Italian pottery.”

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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