Collecting ancient art can be an extension of a personal passion, a status symbol or a piece of cultural currency but it also serves as a defacto calling card for the current-day purchaser's own collecting ethics.

As this new video, produced by the UNESCO Beirut Office in the framework of the Emergency Safeguarding of the Syrian Cultural Heritage project, underscores, conscientious and ethical antiquities collectors can and should demand that their source dealer or auction house provide a full and complete provenance record before making a purchase. 

UNESCO reminds collectors to keep an eye out for these red flags:

- Is there dirt on the object? 
- Does the object seem like a broken fragment of what could be a larger artifact? 
- Is there a reference number painted on the base of the object that could indicate it was looted from a museum? 
- Does the object's price seem too good to be true?

and finally...
- Can the seller provide you with the object’s provenance paperwork?

Likewise, ARCA reminds its readership that an object's reported collection history as reported by a dealer or auction house should not always be taken as complete or accurate.  Collection histories can, and often are, faked.

As this blog has reported frequently, many consignors and auction houses omit passages that sometimes reflect irregularities in acquisition or fail to advise would-be purchasers that an antiquity they wish to purchase has passed through the hands of a tainted individual or art dealer already known to have a reputation for illicit trafficking in the antiquities art market. 

The art market’s appetite for antiquities, and the profits to be had from this appetite, will always be a motivation for others to loot them.

It is ultimately up to the collector to demand ethical selling practices from the dealers or collectors they purchase antiquities from.  Prospective buyers should demand to see import and export licenses for the object they are considering and they should require the seller/consignor/auction house make those documents available.

The prudent purchaser should vet the trophy works that they purchase for their collections, cross checking all of the accompanying documentation.  Is there an export license? Does that document look authentic? Has the license been falsified?  Has the country of origin been falsified? Does the country of export match with the country of the object's origin?  Does the object have a find spot?   How far back does the chain of ownership go? and are there any other red flags like "property of an anonymous collector"?

Collectors should not discount the unacceptable buying and selling habits of those profiting from the ancient art market and they should especially be careful when purchasing antiquities from regions of conflict.

Just as property investors thoroughly vet the status and ownership of a property they are interested in, before entering into a business transaction, so should art collectors remember that it is their responsibility to conduct adequate due diligence on the artworks they purchase.