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September 27, 2017

Ar-Raqqah Museum - September 2017 Status Update

Image Credit: DGAM, Syria - November 25, 2014
The last time ARCA wrote on the status of the Ar-Raqqah Museum was in November 25,  2014, ten months after the Islamic State of Iraq and the Levant (known also as ISIL, Daesh, IS, ISIS) overtook the city of Raqqa.  In that post we reported on a bomb that had been dropped near Arafat Square which caused structural damage to the museum's facades, as well as damage to its doors, shutters and windows. Used by militants as a military headquarters, the museum already carried heavy scars and its collection had already been subject to plundering.

Image Credit: Twitter User @AfarinMamosta
- September 15, 2017
This month, Kurdish-led Syrian Democratic Forces (SDF) have been making game-altering advances against Daesh in Raqqa's Old City.  At the height of this campaign, an estimated  two dozen air strikes rain down on the city each day.  Others observers (Airwars) have estimated that US-led forces dropped 5,775 bombs, shells and missiles onto the city in the month of August alone.  

Whatever the exact number, the push of Operation Euphrates Wrath seems to be well underway, with SDF forces reporting that 80 percent of the embattled city has now been liberated. Unfortunately much of what remains of the once vibrant community has been left smouldering and in ruin.

ISIL gained full control of Raqqa in January 2014, and made the city the capital of its self-declared "caliphate".  While under Da'esh's control, Raqqa will forever be remembered for being the backdrop of some of the militants' most gruesome executions.  Risking their lives to document these human rights atrocities, citizen journalists focused their efforts on documenting the human tragedy of the city's inhabitants.  Reporting on the status of the city's cultural heritage took an objectively necessary backseat.

But as this September campaign to recapture the city progresses, and hardline militants begin to lose their stranglehold on Raqqa, video and photos have emerged that give us more information on the current condition of Ar-Raqqah Museum.


Video credit: Twitter User @HassounMazen

The Museum of Raqqa was founded in 1981 and was primarily dedicated to the preservation and exhibition of cultural heritage gathered from excavation research from the Ar-Raqqah province.  Its collection included objects from Tell Bi’a, Tell Munbaqa, Tell Sabi Abyad, and Tell Chuera, and artefacts that date from Roman and Byzantine eras as well as objects from the Islamic period (the epoch of Haroun al-Rachid) and from the period of more recent Bedouin domination.

When fully operational, the museum once contained roughly 6,000 artefacts. Many of those now, seem to have been looted, defaced or destroyed.

In Spring 2012 Syria's Directorate-General of Antiquities & Museums (DGAM) reported that an armed group called Ahar al Sham had moved 527 artefacts from the museum under the pretext of protecting them.  In June 2013 robbers seized an additional six containers of museum objects that had previously been stored in the Raqqa Museum’s warehouse.  Through cooperation and negotiations with members of the local community three of these boxes were later identified in Tabaqa under the control of a group called “Cham Free People”.  While the found boxes contained 104 artifacts, no further information is available as to what happened to the remaining objects removed in 2012 and 2013.

A report of the archaeological heritage in Syria during the crisis from 2011 through early 2013 written by Professor Dr Maamoun Abdulkarim, Syria's now former Director General of the country's Directorate-General for Antiquities and Museums (DGAM) can be read here.

After Syrian Democratic Forces (SDF) liberated the area surrounding the Raqqqa museum a delegation from ATPA in Al Jazira Canton represented by Berivan Younes, Ristem Abdo, and Sipan Abdul Ghafoor visited the area on September 20, 2017. Their objective was to do initial damage assessments on some of what remains of the city's cultural heritage.

While SDF fighters have taken the museum under their protection and destroyed many mines around it, ATPA was not allowed to enter the museum itself, as SDF’s special units still need to deal with the mines rigged inside the museum.

ATPA’s initial report can be found here. 

A recently funded project at the University of Leiden called Focus Raqqa is aiming to make a digital inventory of the objects once housed in the Raqqa museum as many of the artefacts plundered were once excavated by Dutch archaeologists.  This digital record may become useful in the future in identifying looted objects should they resurface later on the commercial art market.

Image Credit: Twitter User @AfarinMamosta
 - September 15, 2017
Image Credit: ANF News - September 15, 2017
Image Credit: ATPA in Al Jazira Canton - September 20, 2017
Image Credit: ATPA in Al Jazira Canton - September 20, 2017
Image Credit: ATPA in Al Jazira Canton - September 20, 2017
Image Credit: ATPA in Al Jazira Canton - September 20, 2017
Image Credit: Twitter User @HassounMazen
- September 15, 2017
Image Credit: Twitter User @AfarinMamosta - September 15, 2017
Image Credit: ATPA in Al Jazira Canton - September 20, 2017
Image Credit: ATPA in Al Jazira Canton - September 20, 2017
Image Credit: ATPA in Al Jazira Canton - September 20, 2017
Image Credit: ATPA in Al Jazira Canton - September 20, 2017
Image Credit: ATPA in Al Jazira Canton - September 20, 2017
Image Credit: ATPA in Al Jazira Canton - September 20, 2017
Image Credit: ATPA in Al Jazira Canton - September 20, 2017
Image Credit: ATPA in Al Jazira Canton - September 20, 2017
Image Credit: ATPA in Al Jazira Canton - September 20, 2017
By:  Lynda Albertson

September 25, 2017

Stealing from the past is destroying the future.

Yury Fedotov, Executive Director of the United Nations Office on Drugs and Crime (UNODC) & Director-General of the UN Office in Vienna (UNOV) reminds collectors during the UN General Assembly - to look more closely at their antiquities purchases to ensure they are not contributing to the destruction of world heritage sites or funding organized crime.




The Illicit Passages of a Marble Head of a Bull (ca 500-460 BCE) and some familiar names


Marble Head of a Bull (ca 500-460 BCE),
 (image courtesy the Metropolitan Museum of Art, New York
July 6, 2017 Manhattan prosecutors initiated custody of a 2,300-year-old marble bull's head, that was on loan to the Metropolitan Museum of Art over suspicions that the antiquity had been pillaged from Lebanon.  In additional documents filed with New York’s Supreme Court on September 22, 2018 by Manhattan Assistant District Attorney Matthew Bogdanos, senior trail council in the office of New York County District Attorney Cyrus R. Vance Jr., New York authorities reconstruct the journey of this ancient sculpture from its theft during the Lebanese civil war through its passage in the hands of antiquities dealers well known to readers of this blog.

Damningly, the report further outlines the extreme lack of due diligence on the part of wealthy US collectors who purchased the stolen object for their collections despite the sculpture's alarming lack of legitimate pedigree.

The State of New York's 68-page Application for Turnover goes into painstaking detail on how this plundered antiquity made its way to the United States.  This entire document can be read here.

Jason Felch, has also given an excellent distilled synopsis of this court document on his blog.  His summary can be found here. 

The bull's head sculpture was acquired by Lynda and William Beierwaltes on November 27, 1996 for US$1.2 million from one of the (now) most notorious dealers in the antiquities world, Robin Symes.


Building one of the world's largest ancient art businesses, tainted Symes and Michailidis antiquities also were purchased for museum collections around the globe, including the J Paul Getty Museum, the Minneapolis Institute of Arts and the Metropolitan Museum.   At the height of their unethical enterprise Italian authorities estimated that Symes and Michailidis' jointly-run ancient art business earned them an estimated 170 million euro, but a series of missteps proved the Symes' undoing, literally and figuratively and in 2005 he served 7 months of a 2 year jail sentence for disregarding court orders over the sale of a £3M Egyptian statue.

Art Dealer Robin Symes
In 2006 Symes was further implicated as being part of one of the most sophisticated illicit antiquities networks in the world.   In the book “The Medici Conspiracy: The Illicit Journey of Looted Antiquities from Italy's Tomb Raiders to the World's Greatest Museums” Peter Watson and Cecelia Todeschini outline Symes' assets which included thirty-three known warehouses encompassing some 17,000 objects worth an estimated £125 million ($210 million).The writers also clearly illustrate  Symes ties to traffickers connected through Europe's illicit antiquities trade. Each of the museums mentioned above were subsequently forced to relinquish purchased looted objects that had been laundered illegally and which at one time had passed through illicit networks connected to Symes.  This is likely one of the reasons why the loaned object rang alarm bells with curatorial staff at the Metropolitan Museum. 

It is worth noting in relation to the bull's head that according to Bogdanos' Application for Turnover, the bulk of the Beierwaltes' substantial collection had been sourced through Symes and his partner.  Also of note, it wasn't long after Symes' January 2005 sentencing that the Colorado couple elected to contact Hicham Aboutaam and his brother Ali about the possibility of their firm, Phoenix Ancient Art, acting as their agents in the sale of objects from their collection originally acquired through Symes.

After the Aboutaam's appraisal, the couple elected to consign the marble sculpture and other objects to Phoenix Ancient Art where the brothers' firm would act as the Beierwaltes' exclusive dealer. In 2010, the Aboutaams then brokered the sale of the bull's head to Michael Steinhardt and Steinhardt shortly thereafter, finalized the loan to the Metropolitan Museum of Art.

After learning that the object was to be subject to seizure, Steinhardt then prssured the Beierwaltes to take back the object and compensate him for his losses.

If it seems too good to be true, it probably is.

In their pursuit of the rare and beautiful, both Steinhardt and the Beierwaltes are not amateurs when it comes to collecting ancient art. Both have amassed million dollar collections and both should have been able to recognise the material consequences of the illicit trade in providing material for the market.  Furthermore, the limited collection documentation associated with these objects should have raised further red flags.  With such a spartan amount of documentation, both collectors should have walked away from the object doubting its legitimacy on the licit market.  Yet neither collector put much, if any, emphasis on rigorously researching the provenance of the object prior to its acquisition.

In the case of the Beierwaltes it also seems possible that the couple, having learned of Syme's problems with the law, established a consignor/consignee relationship with Phoenix Ancient Art and the Aboutaams in order to recoup a portion of their their financial investment once they came to see the associated liability of having a $95 million collection sourced by, and purchased through, Robin Symes.

September 21, 2017

September 18, 2017

Monday, September 18, 2017 - , No comments

What's the difference between ARCA's Blog and the Association's Journal of Art Crime?

  • The Journal of Art Crime articles are PDF, while ARCAblog posts are HTML, often with hyperlinks. 
  • The Journal of Art Crime articles usually have a title, abstract, introduction, methods, results (or description), discussion/conclusions, and references. 
  • ARCAblog posts are often simple discussion and conclusions and are frequently short-form. Blogposts are also designed to draw readers attention to current happenings in the field. 
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  • ARCA Blog posts allow and invite reader comments. JAC papers are commented on via academic citation in other academic papers. 
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Want to know more about the Journal of Art Crime? 

The Journal of Art Crime has been published in print and digital format by the Association for Research into Crimes against Art since Spring 2009.   Published twice per year during the Autumn and Spring,  the JAC is edited by Noah Charney, Marc Balcells and Christos Tsirogiannis. Each issue contains a select mixture of peer-reviewed academic articles, regular columns, editorials, and book reviews from contributors actively involved within the art crime and heritage protection sectors.  

More formal than the ARCAblog, the Journal of Art Crime seeks to identify emerging and under-examined trends related to art crime and to develop strategies that advocate for the responsible stewardship of our collective artistic and archaeological heritage.

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September 15, 2017

Recovery: Not all Ecclesiastical art that is stolen is lost forever



The brisk sales of "Individual A" buying objects from "Individual B"

As a result of the complex operation, twenty people are now under investigation by the Italian authorities for robbery, having received stolen goods, or other related violations of the law.  Those that have been charged, some with no prior police records, include middlemen fences who shopped desirable pieces to collectors of religious art who were apparently disinterested in the conspicuous origins of the ecclesiastical pieces they were purchasing.

Modus Operendi

Working to analyze the methodologies used to commit thefts in places of worship in neighboring municipalities, law enforcement officers saw a pattern evolving. 

Each of the thefts had occurred during daytime hours. 

Most of the incidents did not require any type of forced entry. 

To gain access to the objects the thief or thieves preferred to go about their work during opening hours, when the general public had free access to these religious institutions and where they were less likely to be impeded by burglar alarms or video surveillance systems.

Objects Recovered

The objects identified as recovered during this operation is quite extensive and paints a vivid picture of the frequency of church related thefts throughout Italy and in one case Belgium.

One of the more interesting pieces recovered was a 175 × 125 cm a 16th century Flemish panel painting stolen 37 years ago depicting the twelfth station of the cross.  The painting had been taken from the Treasury of the Collegiate of the Church of Sainte-Waudru in Mons, Belgium on July 2, 1980.   Thankfully the church had an inventory of their artworks so the alterpiece has been matched precisely and will be repatriated.

A white marble sculpture depicting a Madonna and child dating from the beginning of the sixteenth century stolen on July 4, 1997 from the church "Santa Marta" (Confraternity Of San Vitale) in Naples.

An 18th century wooden statue, depicting "San Biagio" stolen between May 10 and May 17, 2015 from the church Lady of the Angels located in Barrea.

An 18th century wooden statue of Saint Nicholas of Bari stolen between May 10 and May 17, 2015 from the church Lady of the Angels located in Barrea.

A 16th century stone statue of St Michael the Archangel,  a sword in silver with an ornate blade and a silver oval shield decorated with words "quis ut Deus" stolen on January 19 2016 from the church of San Michele Arcangelo in Monteroduni.

Fifteen 16th century oil paintings on canvas, mounted to panels depicting "The Mysteries of the Rosary", stolen on December 21, 2016 from the Church of Saint Bartolomeo Apostolo in Cassano Irpino.

Two 17th century wooden statues depicting angels, a 17th century gilded throne used for Eucharistic ceremonies, stolen on November 28, 1998 from La Libera church in Montella.

A 19th century monstrance, also known as an ostensorium or an ostensory, in embossed silver stolen on October 11, 2009 from the church "Santa Cristina" in Formicola.

A wooden statue of the baby Jesus and a silver embossed thurible in which incense is burned during worship services, stolen on March 3, 2016 from the church Saint Peter the Apostle in Sala Consilina.

A late 17th century panel painting depicting a river landscape with animals French stolen on July 16, 1990 at the Rome auction house Antonina dal 1890.

A 19th century painted paper mache statue of baby Jesus stolen on January 5, 2010 from the Cathedral of San Cassiano in Imola.

An 18th century silver monstrance, an 18th century silver reliquary with a stippled glass case, an 18th century metal reliquary, stolen on February 10, 2016 from the church of San Lorenzo located in Castelvetere sul Calore.

An 18th century breastplate with helmet, shield and sword, decorated in gold, which once served as ornamentation to a San Costanzo statue was stolen on January 10, 2016 in a burglary of the parish of "Santa Maria Maggiore" in Itri. NOTE:  Many of the other items stolen during this raid have not been recovered.

Two 19th century gilded wood reliquaries stolen on August 25, 2002 from the church of San Giacomo Apostolo in Gaeta.

Four carved and gilded wooden portapalma (holy) vases  stolen on January 31, 2012 from the church of San Francisco in Gubbio.

A gold plated cup,  a gold plated ciborium with matching lid used for eucharistic ceremonies stolen on January 12, 2016 from the church of Saint Lucia located in Olevano sul Tusciano - Salitto fraction.

A pendulum clock with bronze lyre-shaped inlays stolen on August 25, 1994 from a private residence in Rome.

A 19th century paper mache figurine depicting the Christ child stolen on November 5, 2009 from the church of Saint Augustine in Faenza.

Two 18th century winged putti, stolen on January 5, 2016 from the church of Saints John and Paul in Carinola (Ce) - Casale fraction.

An 18th century oil painting on canvas depicting baby Jesus lying with crown of flowers stolen on August 14, 1994 from a private residence in Lanciano.

An 18th century monstrance with silver and gold metal cross stolen September 29, 2015 from the church Santa Maria dell’orazione located in Pontelatone.

An 18th century chalice embossed and engraved in silver stolen on July 15, 2015 from the church of San Quirico and Julietta located in Serra San Quirico (An).

A 19th century monstrance in embossed silver stolen on January 20, 2016 from the church of Santa Maria degli Angeli located in Contursi Terme..

An 18th century silver reliquary engraved with "nm" stolen on October 4, 2011 from the parish of "Santa Maria Assunta" in Filettino.

September 12, 2017

Repatriation: United States will return Iraqi Jewish Archive to Iraq in 2018.

Books and documents from the Iraqi Jewish Archive prior to conservation

On May 6, 2003, in the flooded basement of Saddam Hussein’s Mukhabarat headquarters, American soldiers from MET (Mobile Exploitation Team) Alpha, led by now-retired Chief Warrant Officer Richard “Monty” Gonzales, found thousands of Jewish communal and religious books in Arabic and Hebrew that appeared to record the life of Iraq's Jewish community  which flourished for over 2,500 years in the region of Babylonia. Unfortunately, the cache of historic items was discovered floating in hip-deep wastewater in the recently-liberated, bomb-damaged headquarters.

Former Chief Warrant Officer Richard Gonzales in waist-deep
sewage water in the basement of Saddam Hussein’s
Mukhabarat headquarters in Baghdad. Image Credit: Richard Gonzales

For emergency assistance in preserving the trove of books, manuscripts and documents, some dating from the mid-sixteenth to late twentieth century, Doris Hamburg, then Director of Preservation Programs at the United States National Archives and Records Administration (NARA) preservation program was contacted by the Coalition Provisional Author­ity in Baghdad.



Hamburg and Mary Lynn Ritzenthaler, Chief of the Document Conservation Laboratory, in cooperation with the Iraqi officials, recommended freezing the documents as soon as possible as heat and humidity would produce a conservator's worst enemy: mold.  Freezing as a short-term solution is a common method which can quickly stabilize mold infestations until such time as an appropriate treatment to dry out materials can be undertaken.  The ability to freeze documents buys conservators time, allowing fragile material to be preserved until the documents can be sorted with care and worked on in a priority-centric  and carefully informed pace. 

Heeding NARA's advice, those on the ground moved the waterlogged damaged, and by now moldy documents into 27 large steel trunks.  In turn, these 2,700 books and thousands of Jewish paper documents were placed in a requisitioned freezer truck for storage until August 17, 2003 when a deal was struck between NARA and Iraq’s interim government.    

Citing Iraq's Antiquities Law No. 55, Dr Jaber Khalil Ibrahim, Chairman of the Iraqi State Board of Antiquities and Heritage at the Iraqi Ministry of Culture agreed to send the documents to the United States on a temporary basis, to allow NARA to undertake emergency conservation, on the condition that the material would be returned to Iraq within two years.

As their part of the agreement, NARA agreed to cover overhead costs for administrative functions, lab use, storage and utilities.  The US Military provided the security and transport of the archive from Baghdad to the United States where conservation treatment would occur. 

The trunks were brought to BMS Catastrophe (BMS CAT), a freeze drying company in Ft. Worth Texas utilized by NARA which deals with catastrophic damage and where salvage operations on the documents would start in earnest. Cleaning the documents of mold would be a complicated process, as those working with the materials would be required to wear protective suits for their own health and safety. 

Successful recovery of water-damaged archival materials is usually done in one of two ways: evaporation or sublimation, depending on the state of the water before it passes to vapor and escapes from the materials being conserved.  Water in the wet state can evaporate via air drying but this is not always the optimal method of choice. When freeze dried in controlled atmospheric conditions, water in its solid state, ice, will sublimate and can then be removed from the materials while still in its gaseous phase, without passing through the liquid phase. 

Freeze drying in a vacuum chamber was the conservation method of choice for the Iraqi Jewish Archive given the large numbers of waterlogged and damaged books, some of which had water-sensitive inks and coated paper.  It also limited the problems of bleeding and tidelines on the materials and helps to minimize document shrinkage and brittleness. Ultimately, vacuum freeze drying the texts allowed mold, mud, dirt, and dust to be vacuumed from the surface of the material in a controlled manner, so that conservators could focus their attention on reparations of the archive's contents, prioritizing which objects needed treatment first.  

A lengthy process, the archive's preservation at times has been hampered by funding concerns. As the Iraqi Jewish Archive is not a U.S. govern­ment collection, the United States National Archives and Records Administration funds could not be used for the conservation project.  Outside funding, provided by private donors, foundations or indirectly via other government agencies with authority was needed.

Many philanthropic Jewish organizations balked at funding the conservation and cataloguing initiative knowing that it was highly likely that the collection would ultimately be returned to Baghdad and not remain in the United States or Israel. 

In late 2005, $98,000 was allocated via the National Endowment to the the Center for Jewish History who facilitated the second phase of the preservation project.  To establish preservation priorities for Phase II Susan Duhl and conservation technician were contracted to work under the direction of the National Archives to assess and document the condition of the collection. 

Focusing on proper storage, the pair inventoried the material and took digital photographs used to establish a preliminary digital archive and catalogue, which, with language expertise, could then help set priorities as to what documents were in the collection as well as what actually should be preserved first. 

Experts knowledgeable in Levant and Jewish history met in May 2010 and offered recommendations regarding priorities for preservation, access, and to discuss the potential of an online digital archive and exhi­bitions.

In 2011 the US Department of State allocated an additional 2.97 million for was was to be the final phase of the preservation project.  This funding specified that the project was to be completed in 2014, with the objects to be repatriated June 2014. 

On May 14, 2014, Lukman Faily, the Iraqi ambassador to the US, announced that the Iraqi government had authorized an extension period in which the archive could remain in the United States for a while longer, with key pieces displayed on exhibition.

The four-year extension to keep the Iraqi Jewish Archive in the U.S. is set to expire in September 2018. 

Call it cultural preservation, cultural imperialism, or call it stealing. 

Since the initial transfer of the Iraqi Jewish Archive to the United States, the question of its eventual repatriation to Iraq has been a source of continual contention.  Some argue that Iraq viciously persecuted its Jews and given their displacement, the archive should never be repatriated, belonging instead to the country's displaced jews. 

Others argue that the US is ethically bound to repatriate as they singularly promised the Iraqi Coalition Provisional Author­ity in Baghdad they would do so. 

Speaking to some individuals in Iraq, some feel strongly that the US government intervened solely because of the Jewish nature of the damaged objects.  They resent the special attention this archive received while other important archival documents and rare books belonging to the Iraq National Library and Archive, also impacted by the same type of wastewater flooding, were neglected. [NB the archival materials removed from the INLA were far more extensive than the Jewish documents held by the Mukhabarat and didn't fair as well with regards to preservation]. 

Marc Masurovsky of the Holocaust Art Restitution Project has said that while it appears that the US government is now of a mind to finally return these artifacts to Iraq in 2018, there will be others in clear opposition to that repatriation. 

He writes: 


Sigal Samuel, a self described Iraqi Jew, argues that the archive should go home. 

In a 2014 article in favor of the their return she stated:


On the argument of accessibility by Jewish readers when the artifacts go home Samuel argued:

"I understand that returning the archive to Iraq would make it difficult or impossible for most Jews — particularly Israelis — to safely access it. But even though I myself am saddled with an Israeli name and citizenship, I still don’t think this is an argument for keeping the archive in the U.S. I think it’s an argument for digitization — a process that’s already underway. Or it’s an argument for setting up loans, which would allow the exhibit to be housed permanently in Iraq but travel every few years to this or that Jewish population center.

In digital-age America, we take it for granted that everything we love should be at our fingertips. But relinquishing that luxury sometimes comes with distinct advantages. When it comes to returning this trove to Iraq, the advantages are clear: There, it will serve a vital educational purpose, both for world Jewry and for non-Jewish Iraq."

In a statement to the Jewish Telegraph Service this week, State Department spokesman Pablo Rodriguez said the four-year extension to keep the Iraqi Jewish Archive in the U.S. will expire in September 2018, as will funding for maintaining and transporting the contents of the archive. Outside of a new agreement being drawn up and signed between the Government of Iraq and a temporary host institution or government it looks like the archive is finally going to be repatriated.

Portions of the archive, featuring 23 recovered items and a “behind the scenes” video of the painstaking preservation process will be on display at the Jewish Museum of Maryland from October 15, 2017 until January 15, 2018.

Highlights include:

For more details please see:
https://www.ija.archives.gov/
https://www.archives.gov/files/publications/prologue/2013/fall-winter/ija.pdf

September 5, 2017

Iraqi pawns and an American chess player

Image Credit: U.S. Embassy Baghdad

The United States has returned dictator Saddam Hussein’s chess set to the Iraqi government in Baghdad but has not given much in the way of details as to who the set had been stolen by or where it has been recovered.

Image Credit:
U.S. Embassy Baghdad

The gameboard and its pieces went missing in 2003.  U.S. coalition forces invaded Iraq in an operation dubbed Operation Iraqi Freedom between March 20th and May 2003 signalling the start of the Iraq War.  Hussein’s Ba'athist Iraqi government was deposed less than a month later.   Hussein himself was captured in December 13, 2003 and was executed in December 2006, having been convicted of crimes against humanity by the Iraqi Special Tribunal.

Image Credit:
U.S. Embassy Baghdad
Whoever made off with this little piece of costly war booty had a good eye, even if it appears that the object was not treated gently as it made its passage from the Middle East to the United States. 

A similar Austro-Hungarian enamelled, parcel-gilt silver and stone-inset chess set was sold at Sotheby’s in its New York April 22, 2010 auction for $35,000


Another set sold at Doyle's, New York, Belle Epoque sale on September 23, 2009, lot 209 ($28,125). Provenance: Property from a Private Collection, Fontana, CA. Condition. 

Five years ago a Christie’s consignor (property of a private collector in Pittsburg) made a healthy profit during its New York April 18, 2012 auction selling theirs for $32,500.


All proving that years after the invasion, auction houses in the U.S. wouldn't have had any trouble selling this Saddam-era bauble, which, like many others, may be traceable back to U.S. government employees and contractors who took items as souvenirs or war trophies. 

September 4, 2017

Egyptian Mummy Cartonnage on Pawn Stars


On this blog we spend a lot of time stressing provenance, provenance, provenance, and the need for antiquities collectors and dealers to perform satisfactory due diligence before purchasing or selling an ancient object.  

Now granted one shouldn't judge the efforts of the entire ancient art collecting community against a single episode of a TV program, but this recent clip, showing the sale of Egyptian mummy cartonnage on The History Channel's popular staged reality TV show Pawn Stars serves as a good reminder of how little an object's legitimacy in the art market, enters into the discussion between buyer and seller when art transactions are filmed for television.  


Pawn Stars has been a History Channel staple since 2009. Filmed on site at the Gold & Silver Pawn Shop in Las Vegas, each episode is framed around the buying, selling, and appraising of items of historical value.

To keep their audiences coming back for more, the program is fast paced and edited to fit several transactions into each episode, in some cases sourcing objects in advance of the program's shooting.  For important pieces there is time allocated for pop-in appraisals by "experts" alongside the requisite name dropping of corporate sponsors, spiced up with a dash of comic relief to keep the audience coming back year after year. 

While I can understand that the show's viewers probably wouldn't tune in to a History Channel series for eight years if the show were to spend a chunk of its expensive air time ensuring that the objects being bartered wer not looted or stolen, but sometimes making a fast buck has led to problems.  

One Season 6 episode "Shekel and Hyde" featured a gentleman who sold a shekel of Tyre to the owners of the Pawn Shop for $1,600.  Unfortunately the coin was apparently stolen.

This is the reason why we keep beating the already dead due diligence horse and why we encourage buyers and sellers of ancient objects to look at the origins of an object before they make a purchase.   But not everyone is interested in ensuring that the objects they want to purchase have not been stolen or looted or come with proper documentation showing compliance with export regulations.

In addition to the mummy cartonnage, Pawn Stars has featured other items of the type that are at risk of being trafficked, again without presenting any information as to if the object was appropriately vetted off camera to ascertain its licit status prior to filming.  

Some of these objects include:  



and 



TV shows the History Channel’s Pawn Stars, American Pickers  and PBS’ Antiques Roadshow attract millions of viewers, as everyone likes the idea of a secret treasure.  Unfortunately the producers of these programs miss a valuable opportunity to educate buyers and sellers, promoting ethical trading in the pieces of the past. 

By:  Lynda Albertson




August 31, 2017

UK Art dealer arrested in Los Palacios, Spain for stealing antiques and on an order of extradition to Italy

Objects seized.  Image Credit: Guardia Civil / DGGC
Identified during a routine inspection of guest lists for lodgings in Los Palacios y Villafranca, a city located in the province of Seville, Spain's Guardia Civil, has detained a British citizen on August 16, 2017 on an arrest and extradition warrant from Italy for the alleged theft of antiquities and cultural heritage objects.

Reported Tuesday, August 29, 2017 in a published statement by the Civil Guard, the detainee, was listed simply with his initials, W.T.V.  At the time he was detained, he was found to be in the possession of 140 objects, including ancient oil lamps, ancient Roman and Arab origin coins, rings, clay tiles and five burner phones. Despite the large quantity of artefacts in his possession, authorities have stated the arrestee was unable to show proof of legal ownership.  

While the full name of the individual was not stated in the press release, the arrestee's initials belong to an expatriate Hungarian coin dealer named William Veres who once managed a company named Stedron based in Zurich, Switzerland.  Veres is known to have worked out of both the UK and Spain and has had his name attached to various illicit activities. 

If Vere's name sounds familiar it is because we mentioned him on this blog one week ago.  He is one of two individuals prosecuted for his earlier role in the illicit sale of a $1.2 million fourth century BCE gold phiale forfeited to Italy by Michael Steinhardt following a lengthy court case and appeals in the United States. 

Working with the Carabinieri in Italy it will be interesting to see what Spain's Guardia Civil will be able to determine regarding the provenance of the objects found in this dealer's possession.  

Now in custody, he will likely be sent back to Italy via the European Arrest Warrant (EAW) system, applied throughout the EU to replace Europe's old lengthy extradition procedures within the territorial jurisdiction.  Through the EAW crime suspects are extradited at the request of foreign countries without the evidence against them being examined in the court of the country where they are detained. 

An EAW may be issued by a national judicial authority if:
  • the person whose return is sought is accused of an offence for which the maximum period of the penalty is at least one year in prison;
  • he or she has been sentenced to a prison term of at least four months.
Having appeared before a judge at a closed hearing in Madrid, it is not yet clear if Veres has agreed to being extradited or whether he will fight the attempt to return him to Italy to face prosecution.

Updates on Turkey’s lawsuit over the multimillion-dollar, 5,000-year-old antiquity known as the Guennol Stargazer.


On August 28, 2017 attorneys for Michael Steinhardt and Christie's filed a lengthy, contentious Motion to Dismiss in the US District Court (SD/NY) related to CIV. ACT. NO. 17-cv-3086 (AJN), Turkey’s lawsuit over the multimillion-dollar, 5,000-year-old antiquity known as the Guennol Stargazer

Screenshot from “The Exceptional Sale,” April 2017
Image Credit: Christie’s New York
The "motion to dismiss" in this case seeks a court order to dismiss the plaintiff's claim on the statutory grounds that such a claim was untimely brought.

Under New York law, barring the expiration of the statute of limitations or application of the laches doctrine, one cannot obtain title from a thief unless the present-day possessor's title can be traced to someone with whom the original owner voluntarily entrusted the art.  As a clear title is not possible in the case of the Guennol Stargazer, it will be up to Steinhardt and Christie's attorney to make a case on the laches defense, where it is clear that the plaintiff, in this case Turkey, unreasonably delayed in initiating an action and a defendant(s) are unfairly prejudiced by the delay.

The purpose of the doctrine of laches is to safeguard the interests of good faith purchasers, in this case of lost/stolen art, by weighing in the balance of competing interest, the owner's diligence in pursuing their claim.   

While delay in pursuing a claim for the Stargazer is generally considered in the context of laches under New York law, it has long been the law of this state that a property owner, having discovered the location of its lost property, cannot unreasonably delay making demand upon the person in possession of that property.

Attorneys for the defendants believe that the repatriation lawsuit must fail as there is evidence that Turkey knew about the Stargazer’s location for longer than three years before it sued, providing the court with a graphic charting that shows when the object first became publicized, implying Turkey's claim, twenty years after its first public announcement, is unreasonable.

The auction home points out that given that the idol’s arrival in the US, it has been referenced on numerous occasions  in museum catalogues and educational publications.