Orpheus, the poet, and his two sirens are going home

Back in August, ARCA wrote about a 11 August 2022 announcement made by the J. Paul Getty Museum where the museum publically stated its intention to relinquish its nearly-lifesize Apulian sculptural group "Seated Musician and Sirens" to the Italian authorities "after evidence persuaded the museum that the statues had been illegally excavated."  

In elaborating on the three sculptures' return, directors Timothy Potts, Maria Hummer-Tuttle and Robert Tuttle of the J. Paul Getty stated "Thanks to information provided by Matthew Bogdanos and the Antiquities Trafficking Unit of the Manhattan District Attorney’s Office indicating the illegal excavation of Orpheus and the Sirens, we determined that these objects should be returned." 

Their announcement strategically omitted that the New York Attorney's office had already seized the terracotta sculptures back in the Spring, in April 2022, as part of the Manhattan office's investigation into an accused Italian antiquities smuggler, Gianfranco Becchina. 

Friday, September 9, 2022, Manhattan District Attorney Alvin L. Bragg, Jr.,  announced the return of these three artworks formal handover to the people of Italy. They were given over in a formal ceremony held at the J. Paul Getty Museum lead by Assistant District Attorney Matthew Bogdanos and Special Agent Robert Mancene from Homeland Security Investigations and attended on the Italian side by General Roberto Riccardi, Commander of the Carabinieri’s Command for the Protection of Cultural Heritage (TPC), Warrant Officer Angelo Ragusa, and Silvia Chiave, Los Angeles-based Consul General for the Republic of Italy.

Originally brightly painted, this large-scale sculptural ensemble was purchased by John Paul Getty Sr.,  the founder of Getty Oil Company, in the spring of 1976 days after they were stolen from a plundered chamber tomb near Taranto, Italy.  Broken into hundreds of dirt-encrusted clay fragments and ultimately reconsolidated, American-born, British petroleum industrialist purchased the 3-statue group, sculpted in Tarentum at the end of the 4th century BCE for $550,000 from Bank Leu, A.G with no known provenance aside from the Swiss bank seller.

The investigation by the Manhattan District Attorney’s Office, working in collaboration with the Carabinieri Command for the Protection of Cultural Heritage, confirmed that the three terracotta artworks at the  Pacific Palisades' museum were sourced by local grave robbers working for Raffaele Monticelli, an intermediary trafficker who today is believed to be one of the biggest fences of archaeological finds coming from Italy, and perhaps one of the top three in Europe.

Raffaele Monticelli, sometimes referred to as the “professor from Taranto” is a former elementary school teacher now in his eighties.  He once controlled and financed clandestine excavations which systematically looted large swaths of southern Italy, particularly in Puglia, Calabria and Campania.  Listed on the now famous trafficking organigram, in which two cordata lead to Robert Hecht but by different routes, Monticelli was an active member of Gianfranco Becchina’s cordata.  Numerous transactions between the pair have been well-documented in the Becchina archive.

According to the findings of the DANY investigation and its international law enforcement partner, the broken sculptures were illegally exported out of the Italian territory in contravention of Italian laws and into Switzerland.  Once there, Becchina and Monticelli paid for the nearly-lifesize terracotta sculptural group of a Poet and Sirens to be restored.  Afterward, the sale of the sculptures was arranged through Leo Mildenberg, a Swiss numismatist, antiquities collector, and identified handler of illicit antiquities, via the Swiss private Bank Leu A.G. 

According to the Manhattan District Attorney's Office's Michael Steinhardt statement of facts, we can concretise, on page 36, that Raffaele Monticelli had known  relationships with Leo Mildenberg as well as the Sicilian dealer Gianfranco Becchina. 

As mentioned in an earlier article, John Paul Getty Sr., wrote in his dairy that these three sculptures were purchased on the recommendation of Jiří Frel, the J. Paul Getty's first Curator of Antiquities, showing how sometimes museum insiders have skin in the game.  Frel, as most Italian trafficking experts know, was later implicated in a number of controversies that ultimately destroyed his career and tarnished the California museum's reputation.  He was ultimately placed on paid leave from the Getty in 1984, before being allowed to quietly resign two years later. 

After leaving the Getty, Frel shuttled between residences in Budapest and Italy and at one point even registered himself as being domiciled at the home of Gianfranco Becchina in Castelvetrano, underscoring the closeness of the curator's relationship with the suspect dealer.

In making his announcement of this This successful multi-jurisdictional investigation on Friday, Manhattan District Attorney Alvin L. Bragg, Jr., named those attorneys, officers and agencies who made this seizure and utimately this restitution possible. Those were, in order:  Assistant District Attorney Matthew Bogdanos, Chief of the Antiquities Trafficking Unit; Assistant District Attorney Yuval Simchi-Levi; Supervising Investigative Analyst Apsara Iyer and Investigative Analysts Giuditta Giardini and Daniel Healey; and Special Agent Robert Mancene of Homeland Security Investigations. Investigative support was provided by TPC Warrant Officer Angelo Ragusa.

When Orpheus, the poet, and his two sirens eventually fly, they will initially go on display in the Museo dell'Arte Salvata (Museum of Rescued Art), housed in the Octagonal Hall at the Baths of Diocletian in Rome. 

5+1+9+1= 16 plundered Egyptian artefacts restituted to their rightful owners in New York

On the US side of the ocean, antiquities restitution ceremonies continue at a brisk pace.  This afternoon, another fifteen looted antiquities, stolen from Egypt and recovered, following extensive and complex investigations conducted by the Antiquities Trafficking Unit at the New York District Attorney's Office in Manhattan, will be the next to go home. 

Six of these pieces were seized while on display at the Metropolitan Museum of Art.  And like the restitutions returned to Italy yesterday, these pieces have likewise been linked to extensive criminal investigations into international antiquities-trafficking networks which have impacted multiple museum collections. Though in this case, the Egyptian artefats were handled by contemporary traffickers and looters, those whose networks have resulted in high level arrests in both France and Germany.  

Five of these antiquities, worth more than $3 million in total, were confiscated from the Metropolitan under a May 19 court order as having been looted from archaeological sites in Egypt, then eventually smuggled through Germany or the Netherlands before moving on to France.  These were sold by traffickers through the Paris-based Pierre Bergé & Associés to the Metropolitan Museum in New York.  

It should be noted that information gathered in this investigation has also resulted in the arrest of nine individuals in France including most strikingly, Jean-Luc Martinez, the former Chairman and CEO of the Musée du Louvre in Paris. 

The six artefacts from the Met's collection that were seized and are now going home are:

1 of 6 - A Monumental Stela of Kemes, ca. 1750–1720 BCE

Before the Met took down its accession page for this artefact, the provenance listed for this stela as listed in 2019 stated the following:

Purchased February 1969 by Uwe Schnell, Germany, from Heinz Herzer Gallery in Munich. Purchased in the 1970s by a private collector (probably Serop Simonian, Hamburg, Germany). Published fully in 1994, exhibited in Bonn University Art Museum 2006 through at least 2008 and published in the catalog. Acquired by the Museum at auction Pierre Bergé, 2014.

A check of open source records using the names Ewe Schnell, Heinz Herzer and Pierre Bergé & Associés combined only turns up one other antiquity, a Fayum panel painting of a woman in a blue mantle, which was also acquired by the Metropolitan Museum and one we will speak about later in this article.

Heinz Herzer, as many followers of ARCA's blog know, has his own interesting history in dealing with ancient objects with fabricated provenance.

Serop Simonian is an art dealer of Armenian origin at the fulcrum of the Met's gold-sheathed mummiform coffin of Nedjemankh restitution case as well as other pieces already seized and returned by the DANY or identified in other jurisdictions. His name comes up repeatedly in relation to suspect artefacts identified during police, and public prosecutor investigations, as well as academic forensic research.  Simonian has also been tied to numerous suspect acquisitions approved for purchase at the Louvre Abu Dhabi and is quite famous for having stirred up quite a bit of controversy in Italy regarding the sale of the disputed Artemidorus papyrus in 2004 for €2.75 million to the Compagnia San Paolo Art Foundation.  

But back to the Stela of Kemes.  On April 25, 2016, the Metropolitan's accession page for this Egyptian artefact stated the provenance quite differently.  Listing its collecting history as:

Believed to have been in the Todrous Collection, Luxor. Purchased February 1969 by Uwe Schnell, Germany, from Heinz Herzer Gallery in Munich. Purchased in the 1970s by the owner of the Tamerit Collection, Germany. Acquired by the Museum at auction Pierre Bergé, 2014.

This earlier collection history mentions a "Todrous Collection" of which there is nothing documented in open source records anywhere on the web for any other ancient objects.  A late antique textile fragment of a tunic with the inventory number T 34, from "the Tamerit collection" is on record at the at the Papyrussammlung der Österreichischen Nationalbibliothek at the Austrian National Library, though not much else.

Note that this Met record spells the collection's name Todrous, while the recently restituted golden coffin spelled the name Tawadrus, and trade journals have spelled the name Tawadros.  Later in this article you will also see the name spelled Tadross. All refer to the deceased Luxor dealer Habib Tawadros.

Christophe Kunicki's own website listed the provenance for this stela as:

Ancient european private collection, 1969.
With Tadross, Luxor, 1960’s

But stepping back even farther, outside of the Met Museum's and the seller's respective websites, the Monumental Stela of Kemes was published in the 2014 Volume 25 Number 5 issue of the journal Minerva: The International Review of Ancient Art & Archaeology.

This trade magazine listed the provenance for the stela as:

A rare Egyptian limestone chapel-stele of Kemes, superior of musicians (3), from the 13th Dynasty, circa 1770 BC (H. 73cm), in the form of a quadrangular naos resting upon a base carved with façades, was purchased from the Luxor dealer Tawadros during the 1960s. The cover-piece of the sale, it was estimated at €300,000-€400,000, but brought in a hammer price of just €200,00 from the Metropolitan Museum of Art. The expert for both sales was Christophe Kunicki.

Screen Shot: Volume 25 Number 5, Page 53
Minerva: The International Review of Ancient Art & Archaeology

It is important to recognise that the involvement of the French dealer Christophe Kunicki via Pierre Bergé & Associés does not appear in any of the Metropolitan Museum's provenance records for the 13th Dynasty Egyptian limestone chapel-stele of Kemes, despite what this trade journal says and despite the Met's curators in the Egypt department having direct and frequent contact with him as he brokered pieces to the museum directly.

Purchased on 21 May 2014, the Met's record also left out the "Luxor dealer Tawadros" connection on this object.  That name, if you will recall, is also the name associated on the  now restituted 1st century B.C.E mummiform coffin, inscribed in the name of Nedjemankh.

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2 of 6 - Panel painting of a woman in a blue mantle

Painted Fayum panel portraits of Egypt are among the few preserved examples of ancient Greek-style paintings on panel and canvas.  Prior to its seizure, this one was on view at The Met's Gallery 137.  The woman in the blue mantle was purchased in 2013 via Pierre Bergé auction house in Paris, with Christophe Kunicki, working as expert. 

When the Metropolitan's accession page was still live, the museum first listed its provenance as:

Purchased 1968 by Uwe Schnell from Heinz Herzer Gallery, Munich. Purchased 1972 by the owner of the Tamerit Collection. Purchased by the Museum from Pierre Bergé & Associés, Paris, 2013.

This was later changed to:

Purchased 1968 by Uwe Schnell from Heinz Herzer Gallery, Munich. Purchased 1972 by Serop Simonian, Hamburg Germany, who owned it until 2013. Published 1997 and 2003, exhibited in Frankfurt in 1999 and Vienna in 2003 and published in exhibition catalogs. Consigned to Pierre Bergé & Associés by a private collector; purchased by the Museum from Pierre Bergé at auction, Paris, 2013.

In trade catalogues for this artefact Kunicki listed only “a European collection“ as the Fayum portrait's sole provenance. 

3 of 6 - Stela Dedicated to the Goddess Hathor by the Temple Singer in the Interior of Amun

Prior to its seizure, this Third Intermediate Period (Kushite) to Late Period stela was on view at The Met's Gallery 137.  This Egyptian artefact was purchased in December 2015 (accessioned in 2016) via Pierre Bergé auction house in Paris, with Christophe Kunicki, working as expert. 

Just before the Met took down this object's accession page, the museum listed the stela's provenance as:

In the Khashaba Collection, Assyut, by 1910. Permission granted to heirs to export through the Egyptian Museum Cairo for sale abroad by 1969. Exported abroad with license in 1972. Purchased by Adolf Smith (Schmidt), Germany, 1975, and descended in the family. Collection of Serop Simonian, Hamburg, Germany, 2015. Consigned to Pierre Berge & Associates by a private collector; auctioned at Pierre Bergé, Paris, December 2015, where it was purchased by the Museum. 

The 2015 Pierre Berge catalogue listed the provenance as:

Ancienne collection Sayed Pasha Khashaba, années 1910. Ancienne collection Smith, Allemagne, 1975.

Collection européenne.

Between 1910 and 1914, Sayed Bey Khashaba, AKA Sayed Pasha Khashaba, AKA Saiyid Khashaba Pasha, with other various subtle misspellings obtained from the Antiquities Service concessions to excavate at Assiut, Meir, Deir el-Gabrawi, Tihna and at Soknopaiou Nesos, in the Fayum.  I will leave whether or not this steal came from any of these places to the Egyptologists. 

4 of 6 - A face from a painted wooden Egyptian coffin

Before being sundered in two, this Egyptian face once belonged to an anthropoid wood coffin decorated with plaster and then delicately painted in polychromy.  

This artefact was purchased by the Metropolitan during the same December 2015 sale as the previous stela, (accessioned in 2016) via Pierre Bergé auction house in Paris, with Christophe Kunicki, working as expert. 

Just before the Met took down this object's accession page, the museum listed the stela's provenance as:

Collection of Robert Boyd, originally from Scotland and living in Indonesia, from about 1890, possibly acquired through Eugene Dubois. Brought to the Netherlands by Boyd's descendants about 1950. Sold in 1968 by Galerie - 2000 annex Curiosa, Rotterdam, to Mr. Jan Veneman, Oegstgeest, the Netherlands. Subsequently sold again on the art market in The Netherlands. Placed by a Dutch dealer at auction, Pierre Bergé & Associés, Paris, December 16, 2015, where it was purchased by the Museum.

5 of 6 - Exodus Painting, five elements from a painted hanging depicting the Crossing of the Red Sea

The first appearance of the Exodus Painting in five fragments, depicting the Crossing of the Red Sea, occured in a 1998 publication, Alexandria: Die erste Königsstadt der hellenistischen Welt : Bilder aus der Nilmetropole von Alexander dem Grossen bis Kleopatra VII, written by Günter Grimm.   Grimm, who died 17 September 2010, is the same egyptologist who had a working relationship with Serop Simonian regarding the authentication of the suspect “Artemidorus” and other papyri while at the Archaeologisches Institut at the  Universität Trier.

Head of the University Institute in the mid-1980s, Grimm opened a small Late Period gallery in the Institute with objects from Serop Simonian’s stock.

On 26 November 2013 these five fragments came up for auction at Hôtel Drouot via Pierre Bergé & Associés with Christophe Kunicki listed as expert. At that Paris sale, Simonian's footprint was omitted and the only provenance given was: 

Collection particulière européenne. Ancienne collection européenne, 1936.

Purchased by the Metropolitan Museum of Art in 2014, the five fragments are initially detailed in the museum's accession record without mention of Simonian, listing the provenance solely as: 

[ Habib Tawadros, Cairo (sold May 1936 to Behrens)]; Johannes Behrens, Bremen (1936–d. 1947); by descent through Behrens's family to Bernd Lehmann, Berlin (sold 1986); Private Collection(1986–sold 2014, through Pierre Bergé & Associés)

Later, before taking the page down altogether, the Metropolitan Museum amends their accession record to read: 

Art market, Germany (1970s); Serop Simonian, Hamburg (1986–2014); Private Collection ; [ Pierre Bergé & Associés (Belgian), Paris (sold 2014)]

6 of 6 - An 8th century BCE Egyptian bronze statuette of a Kneeling Ruler or Priest

This sixth Egyptian artefact was seized at the Metropolitan Museum of Art earlier this year when linked to 81-year-old fugitive Georges Lotfi who split his time between New York,  Paris and Tripli, Lebanon. Lotfi was charged by the New York authorities in August 2022 with criminal possession of stolen property and remains at large.   

Before its seizure in February 2022, 2006, Lotfi sold the small bronze statue to the Metropolitan with a provenance history which read:

Ex Collection Joseph Shitrit, Israel, from the 1960s. Purchased from him by Biblical Antiquities, Jerusalem, Israel, 2005. Purchased by the Museum from Georges Lotfi, Tripoli and Paris, 2006.

In actuality the Egyptian antiquity had passed first through the hands of a source country looter in 2005, then on to a part-time looter/part-time dealer in Israel named Gil Chaya, a formerly licensed antiquities dealer from Jerusalem and the purported nephew of Shlomo Moussaieff. 

In 2011, as if to brag that pieces he handled had made it into a prestigious gallery at the Metropolitan Museum of Art, Chaya published a series of photos showing the bronze in his home, both before and after its restoration, posting a comment with the photo which read, "2 days after i clean it it was already in the amarna room at the MET."  This solidifies without a doubt that the provenance for this piece,as having come from the collection of Joseph Shitrit in the 1960s, is pure fabrication. 

Nine of the other Egyptian artefacts restituted in New York today are detailed in the Michael Steinhardt (Statement of Facts) document and are as follows:

1 of 9 - Vase from the Pan-Athenian Games

2 of 9 - Tel El-Yahudiyeh Beer Strainer

 

3 of 9 - Statue of a Winged Human;

4 of 9 - A carved piece of ivory depicting 12 highly-engaged figures on musical instruments

5,6,7,8,& 9 of 9 - A set of five gold and silver ornaments and plaques;

In 2017 the New York District Attorney initiated a criminal investigation into Michael Steinhardt’s acquisition, possession, and sale of antiquities.  That office's "Statement of Facts" document is the evidentiary basis for the conclusion that 180 antiquities possessed by Steinhardt constituted stolen property under New York law. 

The final object in today's restitution is a Ptolemaic gold coin.

This ancient coin was recovered as part of an ongoing investigation, which for now remains under the discretion of the prosecutor's office. 

In closing I would like to say that due diligence of looted antiquities, especially those that could be from conflict-based, or post-conflict source countries, must be meaningful and not simply and superficially plausible, in the furtherance of a purchase.  This holds true for lofty universal museums, as well as private buyers.  

Partially-documented histories in an object's collection background, do not necessarily always point to fresh loot or illegal export, but when an antiquity's background looks murky, as was obviously the case with several of these artefacts, museums and wealthy collectors need to step up their game, so they no longer perpetuate and incentivise plunder.  

Likewise, museums like the Metropolitan should not remove their accession pages, no matter how embarrassing they find them.  They should leave them up with notations that these pieces have gone home and who handled them. In doing so, they allow researchers and collectors to be more aware of the problem actors circulating material from past sales.  This also saves folks like me from having to store things away that only a few people can access. 

To conclude, ARCA would like to thank DA Bragg, Assistant District Attorney Matthew Bogdanos, Chief of the Antiquities Trafficking Unit; Assistant District Attorneys James Edwards-Lebair and Taylor Holland, Supervising Investigative Analyst Apsara Iyer, Investigative Analysts Giuditta Giardini, Alyssa Thiel, Daniel Healey, and Hilary Chassé; who alongside Special Agents John Paul Labbat and Robert Mancene of Homeland Security Investigations for the work put into these investigations.  

We would also like to thank Stephane Blumel, Major de Gendarmerie, of France’s Office central de lutte contre le trafic des biens culturels (OCBC) and Silvelie Karfeld and Nicole Pogantke of the Arts and Antiquities Crimes Unit of Germany’s Bundeskriminalamt (BKA) Kunst und Kulturgutkriminalität for their forensic investigative support in other jurisdictions.  Working collaboratively, we now know more about when, and where, and with whom, some of these recovered artefacts have circulated. 

By Lynda Albertson

Museum restitutions are more than just the sum of their numbers

Image Credit - HSI - ICE

On 21 February 2006 the Metropolitan Museum of Art and the Italian government signed an agreement under which the Met agreed to return 21artefacts looted from archaeological sites within Italy's borders. With that accord, the New York museum yielded its prized sixth-century BC "hot pot," a Greek vase known as the Euphronios krater.  

As part of that historic accord, the museum also relinquished a red-figured Attic amphora by the Berlin Painter; a red-figured Apulian Dinos attributed to the so-called Darius Painter; a psykter with horsemen; a Laconian kylix, and 16 rare Hellenistic silver pieces experts determined were illegally excavated from Morgantina in Sicilia.  It also included a carefully-worded clause which stated:

I) The Museum in rejecting any accusation that it had knowledge of the alleged illegal provenance in Italian territory of the assets claimed by Italy, has resolved to transfer the Requested Items in the context of this Agreement. This decision does not constitute any acknowledgement on the part of the Museum of any type of civil, administrative or criminal liability for the original acquisition or holding of the Requested Items. The Ministry and the Commission for Cultural Assets of the Region of Sicily, in consequence of this Agreement, waives any legal action on the grounds of said categories of liability in relation to the Requested Items.

Admitting no wrongdoing, where there surely was some, this unprecedented and then-considered watershed resolution, put an end to a decades-old cultural property dispute, with both sides choosing the soft power weapon of collaboration and diplomacy, complete with agreed upon press releases that enabled Italy to get its stolen property back without the need for costly and sometimes fruitless litigation.  

The signing of this 2006 agreement was thought to usher in a new spirit of cooperation between universal museums and source nations that those working in the field of cultural restitution hoped would permanently alter the balance of power in the international cultural property debate.  At the time of its signing at the Italian cultural ministry, the Met's then-director, Philippe de Montebello, said the agreement "corrects the improprieties and errors committed in the past."

Heritage advocates applauded the agreement, hopeful that museums around the globe would begin to more proactively explore their own problematic accessions and apply stricter museum acquisition policies to prevent looted material from entering into museum collections.  Coupled with collaborative loan agreements, museums and source country accords like this one, combined with strongly worded ethics advisories, like the one set forth that same year by the International Council of Museums in their ICOM Code of Ethics for Museums should have served to eliminate the bulk of problematic museum purchases and donations without the need for piece by piece requests for restitution and protracted and costly litigation. 

But has it? 

The aforementioned ICOM document clearly states: 

4.5 Display of Unprovenanced Material

Museums should avoid displaying or otherwise using material of questionable origin or lacking provenance. They should be aware that such displays or usage can be seen to condone and contribute to the illicit trade in cultural property.

8.5 The Illicit Market

Members of the museum profession should not support the illicit traffic or market in natural or cultural property, directly or indirectly.

Yet, here we are, 16 years after that signing of the Met-Italy accord, with the same universal museum [still] hanging on to and displaying material of questionable origin, long after their questionable handlers have been proven suspect. Likewise, 16 years later, and with the persistence of the Antiquities Trafficking Unit at New York District Attorney's Office in Manhattan, we see another 21 objects being seized last month from the largest art museum in the Western Hemisphere.   

In total, some 27 artefacts have been confiscated in the last year from the Metropolitan Museum of Art,  In 2022 alone, five search warrants have resulted in seizures of pieces from within the museum's collection,  demonstrating that the Met, and other universal museums like it, (i.e., the Musée du Louvre and the Louvre Abu Dhabi) have yet to satisfactorily master the concepts of “provenance” research and “due diligence”. 

Founded in 1870, the MMA's mission statement states that it "collects, studies, conserves, and presents significant works of art across time and cultures in order to connect all people to creativity, knowledge, ideas, and one another."  Yet, despite holding many problematic artefacts purchased, not only the distant past, but also in the recent, the Met still struggles with the practical steps it should be taking regarding object provenance and exercising due diligence, both before and after accessioning purchases and donated material into their collection.

As everyone [should] know by now, the concept of provenance refers to the history of a cultural object, from its creation to its final destination.  Due diligence, on the other hand, refers to a behavioural obligation of vigilance on the part of the purchaser, or any person involved in the transfer of ownership of a cultural object, (i.e., museum curators, directors, legal advisors etc.,).  This need for due diligence stretches beyond the search for the historical provenance of the object, but needs to also strive to establish whether or not an object has been stolen or illegally exported.  

So while we applaud the Metropolitan Museum of Art for having been fully supportive of the Manhattan district attorney’s office investigations, as has been mentioned in relation to the August 2022 seizure, we would be remiss to not  question why, in the last 16 years, and despite the fact that the “Met’s policies and procedures in this regard have been under constant review over the past 20 years,” the museum has still not addressed these problematic pieces head on.  

This museum is home to more than two million objects. Despite the responsibility and gravitas required for building and caring for such a large collection of the world's cultural and artistic heritage, the Met has yet to establish a single dedicated position, with the requisite and necessary expertise, to proactively address the problematic pieces it has acquired in the past, and to serve as a set of much needed set of breaks, when evaluating future acquisitions, so that the next generation of identified traffickers, don't also profit from the museum's coffers as they did with the $3.95 million dollar golden coffin inscribed for Nedjemankh and five other Egyptian antiques worth over $3 million confiscated from the museum under a May 19 court order.  

For the most part, provenance has been carried out haphazardly, and by only one or two people, working in specific departments, primarily in curatorial research rolls that only covering specific historical time frames or one or two material cultures. The lack of that comprehensive expertise brings us to apologetic press statements and a plethora of seizures like ones we have seen over the last year.  

But moving on to what was seized at the Metropolitan Museum of Art on 13 July 2022. The $11 million worth of objects include: 

a. A bronze plate dated ca. 550 BCE ,measuring 11.25 inches tall, and valued at $300,000.  

This artefact was donated by Norbert Schimmel, a trustee at the Metropolitan Museum of Art, who, during his tenure, was member of the Met's acquisitions committee.  By 1982 he was known to be purchasing antiquities from Robin Symes via Xoilan Trading Inc., Geneva.  This firm shared a Geneva warehouse address (No. 7 Avenue Krieg in Geneva) with two of Giacomo Medici’s companies, Gallerie Hydra and Edition Services.

Symes is noted as being one of the leading international merchants of clandestinely excavated archeology.  His name appears in connection with four different objects in this Met seizure. 

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b. A marble head of Athena, dated ca. 200 BCE, measuring 19 inches tall and valued at $3,000,000.  

This Marble Head of Athena was with Robin Symes until 1991, then passing to Brian Aitken of Acanthus Gallery in 1992.  It was then sold to collectors Morris J. and Camila Abensur Pinto, who in turn, loaned the artefact to the Met in 1995.  It was then purchased by the Metropolitan in 1996.  

Symes's name appears in connection with four different objects in this Met seizure, while Aitken's name comes up frequently as having bought from red flag dealers.  His name appears in connection with two different objects in this Met seizure. 

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c. A fragmentary terracotta neck-amphora, dated ca. 540 BCE, measuring 14.75 inches tall and valued at $350,000. 

This fragmented neck-amphora was purchased by the Met from Robert Hecht (Atlantis Antiquities) in 1991.  Four years later, Hecht's name would appear in seized evidence outlining his key position at the top of two trafficking cordata on a pyramid org chart which spelled out seventeen individuals involved in one interconnected illicit trafficking network.  

Archaeological artefacts sold by Hecht have been traced to the collections of the Met, the British Museum, the Musee du Louvre, and numerous other U.S. and European institutions, many of which have been determined to have come from clandestine excavations.

Polaroids photographs of this artefact, shot after the advent of Polaroids in 1972, are among the seized materials found within the Giacomo Medici archive.  These photos  depict the neck-amphora balanced precariously on a rose-colored upholstered chair. 

As mentioned above, Hecht's name appears in connection with three different objects in this Met seizure. 

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d. A terracotta red-figure kylix, dated ca. 490 BCE, measuring 13 inches in diameter, and valued at $1,200,000.

This fragmented kylix was purchased from Frederique Marie Nussberger-Tchacos in 1988 and consolidated with other terracotta fragments purchased earlier from Robert Hecht in 1979. 

In 2002 Tchacos was the subject of an Italian arrest warrant in connection with antiquities laundering.  And again, as mentioned above, Hecht's name appears in connection with three different objects in this Met seizure. 

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e. A marble head of a horned youth wearing a diadem, dated 300-100 BCE measuring 14 inches tall, and valued at $1,500,000.

This marble head of a horned youth wearing a diadem passed through the ancient art collection of Nobel Prize winner Kojiro Ishiguro, another client of Robin Symes.  It was then purchased by Robert A. and Renee E. Belfer when sold by the Ishiguro family via Ariadne Galleries.  Afterwards it was gifted by the Belfers to the Met in 2012. 

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f. A gilded silver phiale, dated ca. 600-500 BCE, measuring 8 inches in diameter, and valued at $300,000. 

This long-contested gilded silver phiale was purchased via Robert E. Hecht in 1994.  As mentioned previously Hecht's name appears in connection with three different objects in this Met seizure. 

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g. A glass situla (bucket) with silver handles, dated ca. 350-300 BCE, measuring 10.5 inches tall, and valued at $400,000.

This unique glass situla was purchased by the Met through Merrin Gallery in 2000. Photos and proof of sale of this artefact are documented in the archive of suspect dealer Gianfranco Becchina.  Correspondence within in the Becchina Archive cache of business records shows communication between the Sicilian dealer and Ed Merrin and/or his gallery dating back to the 1980s.  In the book, The Medici Conspiracy, by Peter Watson and Cecelia Todeschini, the writers cite one letter written by Merrin Gallery to Becchina, where Becchina was asked not to write his name on the back of photos of antiquities he sent for consideration.

Gianfranco Becchina's name or company name appears in connection with twelve different objects in this Met seizure. Merrin Gallery appears in connection with multiple objects within this seizure. 

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h. A terracotta lekythos, dated ca. 560-550 BCE, measuring 5.3 inches tall and valued at $20,000.

This terracotta lekythos was purchased from Galerie Antike Kunst Palladion in 1985 the same year Becchina sold a suspect krater by the Ixion painter to the Musée du Louvre. 

As mentioned above, Gianfranco Becchina's name or company name appears in connection with twelve different objects in this Met seizure.

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i. A terracotta mastos, dated ca. 520 BCE, measuring 5.5 inches in diameter and valued at $40,000.

Before he even moved to Switzerland, Gianfranco Becchina was already selling to the J. Paul Getty Museum in 1975.  According to the Met's records, which we believe contain a date error, this terracotta nipple-shaped cup was purchased from Antike Kunst Palladion in 1975.  However, records show that Becchina emigrated from Castelvetrano in Sicily to Basel, Switzerland after having undergone a bankruptcy procedure in 1976 and formed the Swiss business that same year.

As mentioned previously, Gianfranco Becchina's name or company name appears in connection with twelve different objects in this Met seizure.

__________

j. A fragment of a black-figure terracotta plate, dated ca. 550 BCE, measuring 3 by 2.5 inches and valued at $4,000.

This fragment, attributed to Lydos, was purchased by the Metropolitan from Galerie Antike Kunst Palladion in 1985. 

As mentioned above, Gianfranco Becchina's name or company name appears in connection with twelve different objects in this Met seizure.

__________

k. A fragment of a black-figure terracotta amphora, dated ca. 530 BCE, measuring 2 by 2.6 inches and valued at $1,500.

This fragment, attributed to the Amasis Painter, was purchased from Galerie Antike Kunst Palladion in 1985.

As mentioned previously, Gianfranco Becchina's name or company name appears in connection with twelve different objects in this Met seizure.

__________

1. A pair of Apulian gold cylinders, dated ca. 600-400 BCE, measuring 2.25 inches in diameter and valued at $10,000. 

This pair of gold Apulian cylinders was gifted to the Metropolitan Museum of Art in 1981 by Mr. and Mrs. Gianfranco Becchina.

As mentioned above, Gianfranco Becchina's name or company name appears in connection with twelve different objects in this Met seizure.

__________

m. A bronze helmet of Corinthian type, dated 600-550 BCE, measuring 8.5 by 7.75 and valued at $225,000.

This helmet is one of five Met-donated helmets identified as being part of the Bill Blass collection between 1992 and 2002.  It joined the Met in 2003.  Within the Gianfranco Becchina archive is a page of five Polaroid photographs,which depict multiple bronze helmets, including those from the Bill Blass collection which are part of this seizure. 

Also, among the Becchina archive documentary material are two business documents believed to be related to these transactions. 

The first is a 1989 multi-page export document for a grouping of objects being exported to Merrin Gallery indicating the sale of three helmets, one of which is described as "one South Italian Greek Bronze Helmet of the so-called Corinthian type, with bronze pins remaining for the attachment of the lining. "

The second is a fax correspondence from Becchina to Samuel Merrin discussing some sort of transfer regarding a single helmet and Acanthus Gallery.

As mentioned previously, Gianfranco Becchina's name or company name appears in connection with twelve different objects in this Met seizure.  Merrin Gallery appears in connection with multiple objects within this seizure. 

__________

n. A bronze helmet of South Italian-Corinthian type, dated mid-4th-mid-3rd century BCE, measuring 7.75 inches tall and valued at $125,000.

Like the previous one, this helmet is one of five Met-donated helmets identified as being part of the Bill Blass collection between 1992 and 2002.  It joined the Met in 2003.  Within the Gianfranco Becchina archive is a page of five Polaroid photographs, which depict multiple bronze helmets, including those from the Bill Blass collection which are part of this seizure. 

Also, among the Becchina archive documentary material are two business documents believed to be related to these transactions. 

The first is a 1989 multi-page export document for a grouping of objects being exported to Merrin Gallery indicating the sale of three helmets, Two of which are described as "two South Italian Greek Bronze Helmets, both decorated with incised animals, one with restings [sic] of a plume holder on top."

The second is a fax correspondence from Becchina to Samuel Merrin discussing some sort of transfer regarding a single helmet and Acanthus Gallery.

As mentioned previously, Gianfranco Becchina's name or company name appears in connection with twelve different objects in this Met seizure.  Merrin Gallery appears in connection with multiple objects within this seizure. 

__________

o. A bronze helmet of Apulian-Corinthian type dated 350-250 BCE, measuring 12 inches tall and valued at $175,000

Like the previous one, this is one of five Met-donated helmets identified as being part of the Bill Blass collection between 1992 and 2002.  It joined the Met in 2003.  Within the Gianfranco Becchina archive is a page of five Polaroid photographs, which depict multiple bronze helmets, including those from the Bill Blass collection which are part of this seizure. 

Also, among the Becchina archive documentary material are three paper business documents. 

The first is a 1989 multi-page export document for a grouping of objects being exported to Merrin Gallery indicating the sale of three helmets,  two of which are described as "two South Italian Greek Bronze Helmets, both decorated with incised animals, one with restings [sic] of a plume holder on top."

The second is a fax correspondence from Becchina to Samuel Merrin discussing some sort of transfer regarding a single helmet and Acanthus Gallery.

The third is a photocopy of this object with a red line through the image and v/ Me written below. While not conclusive, V/Me most likely refers to venduto (sold) Merrin.  

As mentioned previously, Gianfranco Becchina's name or company name appears in connection with twelve different objects in this Met seizure.  Merrin Gallery appears in connection with multiple objects within this seizure. 

__________

p. A white-ground terracotta kylix attributed to the Villa Giulia Painter, dated ca. 470 BCE. measuring 6.5 inches in diameter and valued at $1,500,000.

This rare Terracotta kylix is the second highest value item of all 21 artefacts seized.  It joined the Met in 1979. Unfortunately it too was purchased via the Galerie Antike Kunst Palladion.

As mentioned above, Gianfranco Becchina's name or company name appears in connection with twelve different objects in this Met seizure.

__________

q. A marble head of a bearded man, dated 200-300 CE, measuring 12.2 inches tall and valued at $350,000.

This marble head of a bearded man joined the Met in 1993, purchased from Acanthus Gallery operated by Brian Tammas Aitken.  Gianfranco Becchina archive documents an October 1988 sales receipt to Aitken for "3 Roman Marble heads" for 85,000 Fr.  

As mentioned above, Aitken's name comes up frequently as having bought from red flag dealers and appears on two different objects in this Met seizure. Gianfranco Becchina's name or company name appears in connection with twelve different objects in this Met seizure.

__________

r. A terracotta statuette of a draped goddess, dated 450-300 BCE,  measuring 14.75 inches tall and valued at $400,000.

This terracotta statuette of a draped goddess was donated to the Met by Robin Symes in 2000, in memory of his deceased partner Christos Michaelides.  His name appears in connection with four different objects in this Met seizure. 

__________

s. A bronze statuette of Jupiter, dated 250-300 CE, measuring 11.5 inches tall and valued at $350,000.

This bronze statuette of Jupiter was acquired by the Met via Bruce McAlpine in 1997. Prior to his death, UK dealer McAlpin had dealings with Robin Symes, Giacomo Medici, and Gianfranco Becchina.

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t. Marble statuettes of Castor and Pollux (on loan), dated 400-500 CE, measuring 24 inches tall and valued at $800,000.

The Dioskouroi had been on anonymous loan to the Metropolitan Museum since 2008 as L.2008.18.1, .2. While the Museum's loan accession record has been removed, a Met catalogue informs us that the statues were "probably from the Mithraeum in Sidon, excavated in the 19th century". 

With a bit more digging Dr. David Gill was able to get further details from the Met itself.  They indicated the pair had come from an "ex private collection, Lebanon; Asfar & Sarkis, Lebanon, 1950s; George Ortiz Collection, Geneva, Switzerland; collection of an American private foundation, Memphis, acquired in the early 1980s".

At some point along their journey, the pair passed through the Merrin Gallery where they were published by Cornelius C. Vermeule, in Re:Collections (Merrin Gallery, 1995).

While a seemingly professional photo of these objects exists in the confiscated Robin Symes Archive, that photo depicts the object prior to restoration.  In that photo,  Castor's leg, and the leg of his horse behind him, are missing.  By the time they arrive to the Met on loan, the two limbs have been reattached. 

As mentioned above, Merrin Gallery appears in connection with multiple objects within this seizure. 

__________

and lastly,

u. A fragment of a terracotta amphora attributed to the Amasis Painter, dated ca. 550 BCE, measuring 3.25 by 4.5 inches and valued at $2,000. 

This terracotta amphora fragment is attributed to the Amasis Painter. It is one of many examples of fragments bought via Gianfranco Becchina's gallery, Galerie Antike Kunst.  It was acquired+gifted by Dietrich von Bothmer to the Met in 1985.

Gianfranco Becchina's name or company name appears in connection with twelve different objects in this Met seizure.

__________

But these seized pieces are more than the sum of these numbers.  They tell us a lot about this one museum's particular lethargy in dealing with or voluntarily relinquishing problematic pieces before being handed a court order.

One thing is certain though, museums reputations certainly do not benefit when dragged into adversarial, long-winded, and sometimes costly claims for restitution.  Nor do they benefit from having their name up in lights when objects are seized on the basis of investigations the museum would have been wise to have done themselves. 

Waiting until either of the above happens also runs counter to, and impedes, the essential purposes of museums, which should be about presenting their collections in innovative ways, and fostering understanding between communities and cultures. The Met would have been better off providing open and equitable discourse about their collection's problems before their hand was forced, as waiting until after says a lot about their true collecting values. 

When museums hedge their bets, hoping that the public's memory is short, or crossing their fingers that source countries are too disorganised, too undermanned or to poor to spend hours looking for problematic works they will pay the price later.  Far better to avoid the painfully slow, one seizure after another reality, and the negative spotlight and mistrust that comes with it, by doing what all museums should be doing, i.e., conscientiously conducting the necessary provenance research and due diligence on their past and potential acquisitions.

Image Credit - HSI - ICE

To close this article, we would like to announce that today, New York DA Bragg returned 58 stolen antiquities valued at over $18 million, to the people of Italy, including a goodly number of the 21 pieces mentioned above.

Image Credit - HSI - ICE

In closing, ARCA would like to thank DA Bragg, Assistant District Attorney Matthew Bogdanos, Chief of the Antiquities Trafficking Unit; Assistant District Attorneys Yuval Simchi-Levi, Taylor Holland, and Bradley Barbour, Supervising Investigative Analyst Apsara Iyer, Investigative Analysts Giuditta Giardini, Alyssa Thiel, Daniel Healey, and Hilary Chassé; who alongside Special Agents John Paul Labbat and Robert Mancene of Homeland Security Investigations as well as Warrant Officer Angelo Ragusa of the Comando Carabinieri Tutela Patrimonio Culturale, Dr. Daniella Rizzo, Dr. Stefano Alessandrini, and Dr. Christos Tsirogiannis gave crucial contributions to the knowledge we have about when, and where, and with whom, these recovered artefacts circulated. 

ARCA would also like to personally thank Assistant District Attorney Bogdanos for the trust he puts in the contribution of forensic analysts inside ARCA and working with other organisation. He and his team's approach and openness has proven time and time again, that such collaboration is worthwhile and fruitful. 

By:  Lynda Albertson

A Worm(ser) in the IADAA apple barrel

On March 30, 2016 in Paris, France UNESCO held a large multidisciplinary symposium examining the movement of cultural property in 2016.  The Paris event was facilitated in part because of the conflicts ravaging the Middle East, particularly in Iraq and the Syrian Arab Republic, as well as in Libya and in Yemen, which had led to a surge in trafficking in cultural property, mainly archaeological objects.  The meeting was also arranged to discuss how the sale of antiquities could be used to finance crime highlighting Resolution 2199, which had been unanimously adopted by UN Security Council on 12 February 2015.  By holding the meeting UNESCO hoped to:

"bring together for the first time market stakeholders, including representatives of auction houses and online platforms, museum representatives, cultural heritage experts, specialized intergovernmental and non-governmental organizations as well as Member States, to take stock on the situation of the illicit trade in cultural heritage and identify areas to improve synergies and strengthen international cooperation to successfully overcome this worldwide issue."

Invited speaker Vincent Geerling, Chairman of the Board of the International Association of Dealers in Ancient Art (IADAA) and then-director of Archea Ancient Art gallery in Amsterdam told the audience in Paris, as he had previously in Berlin in 2014, that many art dealers and sellers have good knowledge of where their stock originates from, but acknowledged that consignors haven't always kept good paperwork to prove it.  Asking for a show of hands from the audience, Greeling asked if any of the UNESCO invitees had ever inherited an antique from a relative that came without its original collecting documentation.

When discussing collection histories as they relate to the current situation in the MENA region, Geerling proclaimed, complete with an accompanying powerpoint slide, that:

"during the past two years, IADAA has checked with every member to ask if anything from the troubled areas had been offered and they reported back not a single dodgy Syrian or Iraqi object had been offered to any of our members"  

Laster, in June 2016, Geerling spoke again, this time at the ArtConnoisseurs 2016 series, held in conjunction with Cultures – The World Arts Fair in Brussels. 

In that talk, recorded in the video above, Geerling discussed IADAA's strict form of due diligence and highlighted in his slides that the Association maintained a code of ethics which included due diligence guidelines for members dealing in Classical, Egyptian and Near East antiquities. During this lecture Geerling went on to say:

"the past is a funny place, they do things differently there.  In the 1960s and ’70s...the old days... not all dealers in ancient art behaved like virtuous schoolboys, but those who founded the International Association of Dealers in Ancient Art in 1993 understood that a different attitude was vital and acted on the UNESCO 1970 Convention even before their respective governments did."

Geerling also proudly stated that membership [in IADAA] is highly sought after, but hard to achieve, and that applications are rigorously vetted.  Like with the earlier UNESCO presentation, Geerling underscored that:

"During the past two years, IADAA has checked several times with every member to see if they have been offered anything from the troubled areas, and they reported back: no, not a single questionable Syrian or Iraqi object had been offered to any of our members."

I guess he should have widened his illicit antiquities membership query to include Egypt as two of IADAA's French members, Didier Wormser of Galerie l'Etoile d'Ishtar and David Ghezelbash of David Ghezelbash Archéologie are currently under investigation and have been indicted in France for their handling of illicit Egyptian material.  

Wormser's investigation goes back a full two years before Geerling's presentations, to 2014, and started when French authorities begin looking into his involvement in the handling of stolen Egyptian artefacts sold on to the Museum of Fine Arts in Budapest.  During his trial, Wormser admitted to the French court that he had purchased a total of six pieces from a looted Egyptian tomb in the Saqqara necropolis via an offshore, British Virgin Islands company, Finatrading Development Ltd., owned by the controversial Swiss businessman, Yves Bouvier.   

At least one of those, an Egyptian stone lintel, depicting Hau and his wife Khouti " went up for sale in Paris on 29 May 2013.  For 15 years, beginning on/around 2007, the archaeology department of Pierre Bergé et Associés was headed by indicted dealer Christophe Kunicki, a position he held for 15 years prior to his arrest. 

As per the Art Newspaper, while standing trial at the Paris criminal court on 30-31 August 2022, Wormser told the court during his that he "stopped buying from Finatrading because it failed to deliver proper provenance documents." Yet the 61-year-old former IADAA-affiliated dealer didn't stop at the purchase of just one or two items from the Swiss Freeport king.  Investigative documents purport that Galerie L’Etoile d'Ishtar purchased as many as 90 antiquities from Finatrading between 2003 and 2005, and then had those objects shipped from Switzerland by Bouvier's Paris connected firm, Art Transit & Associés SA.  

According to the leaked Panama papers, Yves Bouvier established Finatrading Development Ltd. via the firm Mossack Fonseca law chambers in the BVI in 1995. This startup date is just one year after Yves Bouvier's father formed Expositions Natural Le Coutre S.A., and shortly before his own fast-moving climb to wealth in the art market and freeport worlds.  Bouvier now rents nearly a quarter of the Ports Francs et Entrepôts de Genève Freeport and owns between 5-6 percent of the Swiss firm. 

During the 90-transaction Wormser time frame, as stated in a New Yorker article, Bouvier sold his first painting to Russian oligarch Dmitry Rybolovlev, - Vincent van Gogh’s “Paysage Avec un Olivier.” That pair's art transactions would only begin to raise eyebrows later after the pair fell out and began filing lawsuits against one another.  But the dates of the Wormser and Finatrading Development Ltd. transactions are interesting for another reason.  

Early transactions occur at the same time Swiss Customs, in 2003, uncovered >200 trafficked Egyptian artefacts housed at the Geneva Freeport behind door 5.23.1 in 2002.  That stash, later restituted to Egypt, included two perfectly preserved Egyptian mummies, sarcophagi, statues and various hacked apart coffin faces removed from wooden coffins to be sold onward as mummy masks.  

The 2003 seized ancient objects had been smuggled out of Egypt through a complicated network of identified smugglers which implicated 15 Egyptians, two Swiss residents, two Germans, and one Canadian.  Whether or not the objects Wormser purchased via Bouvier passed through the hands of this clan remains a topic meriting further exploration. 

David Ghezelbash, who opened his own gallery in the heart of the Saint-Germain-des-Prés in Paris in 2007 previously overlapped, in 2005, with indicted FRench dealer Christophe Kunicki at Cabinet Jean-Philippe Mariaud de Serres.  Ghezelbash was himself indicted on 23 March 2022 for receiving, fraud and money laundering in an organized gang and placed under judicial control.  Embroiled in the investigation of the Louvre Abu Dhabi's Egyptian antiquities purchases, the Art Newspaper indicated that Ghezelbash has closed his ancient art gallery though he remains listed as a France-based IADAA-affiliated dealer as of the writing of this article. 

All of which brings me back to the words of IADAA's chairman in June 2016 when Vincent Geerling stated:

"The trade is as horrified by the destruction and iconoclasm as anyone else and we share a common cause in wishing to defeat it.

The trade has more incentive than anyone else to stop the crooks because of the damage they are causing the reputation of the legitimate trade.

We will not find a workable solution unless all parties to the debate work together, including the trade."

Geerling's June 2016 talk also stated that members of the association knows what it takes to sell antiquities: well-provenanced antiquities in glossy catalogues, posh galleries and expensive art fairs.  

I guess two out of three ain't bad. 

ARCA thinks it's time for the trade to put its art market money where its mouth is and to admit that the lack of transparency in the ancient art trade makes it a welcoming home for money laundering and illicit transactions.  One with shell companies and offshore accounts which are designed to shield willing dealers and collectors from risk and which makes law enforcement officers' work in investigating this type of crime all the more difficult. 

It is time for IADAA to stop putting their collective heads in the sand and to honestly admit they have no way of monitoring their membership's actions.