1992 photo of Leonardo Patterson with Pope John Paul II

This morning Arthur Brand posted that Leonardo Augustus Patterson, euphemistically known as a dealer and collector of ancient art, but long accused of trafficking looted pre-Columbian artefacts, has died.  His passing, at the age of 82, marks the end of a decades-long saga of intrigue, deception, and international investigations conducted by the F.B.I., and the National police in Mexico, Spain, Peru, Guatamala and Germany, all of which centred around his circulation and sale of illicit ancient artefacts as well as forgeries.

Born in Costa Rica to Jamaican parents in 1942, Patterson rose to prominence in the booming, Janus-faced antiquities market of the 1960s and 1970s.  Over the years, he developed a reputation as both a knowledgable connoisseur as well as a trafficker, and occasional dealer in forgeries, who amassed an inventory of ancient artefacts worth millions and maintained homes in New York, Mexico city, and Munch.  Many of the pieces he handled are believed to have been plundered from sites in Costa Rica, El Salvador, Mexico, Guatemala, and Peru, all countries rich in archaeological histories.  

During the 1960s and 1970s, Mesoamerican archaeological sites were subjected to rampant looting, driven in part by an increasingly insatiable global demand for Pre-Columbian material.  In Mexico, Guatemala, Honduras, and Belize, ancient Maya, Olmec, and Aztec sites were raided by looters, often referred to as huaqueros who left behind a path of damage or devastation in their wake. 

These individuals, working in well-funded and well-connected trafficking networks, unearthed jade masks, ceramic figurines, jewellery, carved stelae, and codices, stripping important archaeological sites of invaluable movable cultural heritage.  With the rise of private collectors and museum acquisitions in Europe and the United States during this period, many of these black market artefacts ended up in prestigious collections as well as in institutions, purchased through dealers such as Patterson, or those who bought directly from him.

Governments in Mesoamerica responded to their losses with stricter cultural patrimony laws.  Yet ,despite increased legislation, enforcement remained inconsistent.  This in turn allowed the looting to persist, and further resulted in damaging the historical record of what we know and can document about the sites and customs of these ancient civilisations.

Patterson’s dealings in cultural property, on and over the edge of legality, placed him at the centre of legal controversies.  

In his first overt brush with the law, on 21 May 1984, the FBI charged Patterson federally with wire fraud for trying to sell a fake Mayan fresco to an art dealer in Boston.  In that instance he pleaded no contest, contending that he was set up by FBI officers, who he claimed held had a vendetta against him.  Despite the felony conviction, he was sentenced lightly, to probation. 

A year later, and while still on probation for his earlier conviction, Patterson was arrested upon arrival at the Dallas-Fort Worth airport for illegally importing a 650 and 850 CE, pre-Columbian ceramic figure and 36 sea turtle eggs, a violation of the Endangered Species Convention.  In that case, the flamboyant merchant claimed that the pre-Columbian artwork was a newly made souvenir, but openly admitted he planned to consume the eggs as part of his health regimen, even describing how he would eat them.  In his own defense, he stating that he thought he only had to declare the endangered turtle eggs when he arrived at his final destination.  

Leonardo Patterson in his apartment in Munich.

By the 1990s, Patterson had moved away from his repeated US headaches to Europe, relocating to Munich, where he began holding large exhibitions and making sales in France, Germany, and Spain.  There, he befriended and sold ancient art works to a large circle of wealthy collectors and by 1995, was named Costa Rica's cultural attache to the U.N.  Interviewed by the newspaper, Der Spiegel, journalists recorded that at the highest point in his selling career, the extravagant dealer had been chauffeured around the city in a blue Rolls Royce and sponsored his own polo team, which included four players and 12 horses.

In 1995, this also became complicated in Europe, when Patterson's activities were linked publicly in the New York Times to Val Edwards, a successful, if not controversial smuggler.  Edwards told journalists that over the course of a decade he had covertly brought 1000 museum-quality artefacts into the United States which had been plundered from various sites in Guatemala and Mexico.   

With pre-Columbian artworks fetching record prices and while the United States Customs Service officials concentrated on the drug trade, Edwards claimed that he got away with smuggling by posing as a businessman, entering the United States with restaurant equipment and a ready-made alibi that the objects he possessed were cheap tourist reproductions, to be used to decorate a Mexican restaurant he planned to open.  In his ten years of smuggling, Edwards was never arrested, and his bags were only searched once, for drugs. 

Not long after he this link to Edwards was made public, Patterson's honorary role with the UN was revoked.

One of the most important pieces tied to Patterson's illicit activities is this three-foot-wide Mochica headdress of a tentacled zoomorphic sea god.  In was looted from a Moche funerary site in the Jequetepeque valley in northern Peru during a wave of clandestine excavations following the discovery of the famous lord of Sipán tomb.  The artefact had been stolen by a man named Ernil Bernal, who led a band of huaqueros who tunnelled into one of the pyramids located at Huaca Rajada.  Bernal in turn sold the piece to a Peruvian collector named Raul Apesteguia, who later sold the extremely rare artefact to Patterson. 

On 26 January 1996 Apesteguía was robbed, and found beaten to death in his home. Authorities in Peru believe that the collector died at the hands of an antiquities trafficking mob with whom he had been associated.  Though never charged, Patterson's name surfaced as a person of interest in connection to this murder investigation, as objects associated with Apesteguía, including this magnificent gold piece, were identified in circulation with Patterson.

While it is not possible to list all of Patterson's antics in one blog post, here are a few.

In 1997 Patterson staged an exhibition at the Museo do Pobo Galego in Santiago de Compostela in northwestern Spain, sponsored by the Galicia regional government.  During this event, several experts voiced concerns that some of the artefacts might be forgeries, including an Olmec throne described as made of fired clay, something the Olmecs weren't known for. Patterson filed a $63 million defamation lawsuit against the dissenting experts, only to later withdrew his charges.

Peruvian archaeologist Walter Alva, who reviewed a copy of Patterson's museum exhibition catalog, identified more than 250 ancient Peruvian pieces, mostly from tombs raided in the late 1980s, one of which was the gold Peruvian Mochica headdress mentioned earlier. 

In 2004, after receiving a tip, customs officials in Germany targeted an air freight delivery at Frankfort Airport containing archeological artefacts from Mexico and simply waited until Patterson's daughter showed up.  That same year, and based on the contents of Patterson's 1997 exhibit catalogue for the Santiago de Compostela exhibition, and identifications from archaeological experts, Peru issued an arrest warrant for the dealer.

In 2006, and acting on information from Michel van Rijn and Arthur Brand, London's Metropolitan Police successfully recovered the Mochica headdress of a tentacled zoomorphic sea god when Van Rijn posed as a buyer during a visit to the London office of Leonardo Patterson's lawyer. That piece was returned to Peru later that summer. 

Later that same year, on 30 October 2006, Peruvian commander George Gamarra Romero received a confidential email inbox in which Spanish colleagues had notified him that Spanish authorities had a tip that more than a thousand of pieces tied to Patterson were being stored in a moving warehouse in Galicia.  Executing a search warrant in early 2007, police documented rare Mayan and Aztec pieces, Incan gold, and a variety of other pre-Columbian relics were suspected to have been illegally obtained.  As part of this police investigation, and based on a request from Peru, Spain seized 45 Peruvian cultural objects, many of which were determined to have been looted from Sipán and La Mina.

But before Spanish police could investigate the remaining pieces further, Patterson had the rest of the items moved to Munich in March 2007.  Sparking further questions, Patterson disputed the sequester in Spain and claimed that all of the artefacts were part of a loan from German millionaire Anton Roeckl.

As the international cases progressed, German authorities seized more than 1,000 Aztec, Maya, Olmec and Inca antiquities from Patterson in April 2008.  The pieces were packed into more than a hundred crates held in a Munich warehouse.

In September 2011 Patterson was arrested at the Mexico City international airport while traveling to his native Costa Rica based on an Interpol red notice issued by Guatemala and a location order issued in Mexico by the Specialized Unit for Investigation of Crimes against the Environment and Provided for in Special Laws of the PGR, for the alleged crime of theft of archaeological goods and pieces.   In December 2012, a criminal court in Santiago de Compostela put the dealer on trial for violating export regulations relating to cultural artefacts when he moved his collection to Munich.  Unfortunately, Patterson wasn't present at the trial, as a German doctor had issued him a certificate of poor health saying that he was unable to travel. 

Leonard Patterson during the trial in Spain.

On 28th March 2013, at yet another airport, Patterson is again arrested, this time at the Adolfo Suárez Madrid–Barajas Airport in Madrid on the bases of Interpol notices from Guatemala and Peru. While awaiting a decision on extradition to Latin America, he was housed at the Madrid V Penitentiary Center, Soto del Real.

Wanted since 2008, Guatemala's Office of the Public Prosecutor for Crimes against Cultural Heritage requested Patterson's extradition for the crimes of illicit export of cultural property and the illegal possession of 269 looted objects purportedly part of the larger "Patterson Collection" a batch of 1,800 archaeological objects from countries such as Mexico, Guatemala and Peru, which he's exhibited in Santiago de Compostela.  But as the requests progressed, Patterson was released from custody for health reasons 10 months after his arrest in January 2014. Although he had been ordered to remain in Spain, he immediately left for Munich.

Back in Germany,  he racked up another charge, for selling a 10 percent share of an allegedly fake Olmec head (the Olmec were an ancient civilization in Mexico) to a businessman from nearby Starnberg for €85,000.  In that case the Court in Munich found him guilty of "deceptively selling a piece of recent manufacture as an archaeological artefact of Mexican origin to a German citizen" and "possessing looted artefacts."  

Given his advancing age, as is too often the case with elderly lifetime traffickers, Patterson was sentenced in Germany to probation, plus home confinement for three years, ordered to return two wooden Olmec head carvings to Mexico and fined approximately $40,000.  Arthur Brand, a witness in that trial, testified that Patterson had told him that the returned pieces had been taken by a tomb raider from an archaeological dig in El Manatí, Mexico, a sacred site of the Olmec people. 

In his 2016 interview with Der Speigel, Patterson openly elaborated on his business model, and admitted to working with Mexican intermediaries who travelled to Munich on a regular basis. "They worked together with the illegal excavators," he stated. "Their focus was on fresh goods, primarily because of the prices. They had to know where digging was currently going on. They always got it at the place where it was found. They knew the people in the villages."

Patterson’s death leaves many questions unanswered about the final fate of the thousands of artefacts he once controlled.  While some have been returned to their countries of origin, many others remain in legal limbo, or in the hands of private collectors, some of whom are unaware of—or indifferent to—their questionable provenance.

A Paris warehouse of Patterson's merchandise.

Noting his death today, some say, why not let the dead rest? I myself disagree, as this man certainly didn't.

By Lynda Albertson

This week the Manhattan District Attorney’s Office announced the restitution of two two looted Cambodian sculptures, recovered as part of its ongoing investigation into global antiquities trafficking networks, including that of Subhash Kapoor, who is currently awaiting extradition from India to face charges in New York. 

A former Manhattan ancient art dealer who operated the gallery Art of the Past, Kapoor is at the center of one of the largest antiquities trafficking networks in history, orchestrating the looting and illegal sale of thousands of cultural artefacts from India, Cambodia, and other Southeast Asian countries. 

Operating under the guise of a legitimate antiquities dealer, Kapoor used his once-prestigious New York gallery to launder stolen artefacts many of which found their way into major museums and private collections worldwide. In India, he worked with temple looters and smugglers to steal sacred Hindu and Buddhist sculptures, many of which were violently removed from their original sites. Similarly, in Cambodia, Kapoor’s network targeted Khmer-era temples, plundering centuries-old statues and carvings that were then smuggled out of the country using falsified provenance documents.

Arrested in Germany on 30 October 2011 while on business to Cologne,  he was  extradited to India, where he remains in custody for his role in illicit activities tied to that source country, with U.S. authorities seek his extradition to face additional charges in New York. To date, investigations into his network have led to the recovery and repatriation of hundreds of looted artefacts, and has exposed the weaknesses in the ancient art market which were easily exploited.  

Cultural Significance of the Returned Artefacts

The Khmer artifact collection at the Wat Po Veal Museum was greatly damaged (with some artefacts looted) in the 1970s, as this early 1980s photo demonstrates. - Image Credit:CDCAM

The torso began circulating on the ancient art market in 1981 at Spink & Son, Ltd., a defunct London auction house that has frequently been linked to looted antiquities.  There it was acquired by a Chicago collector on 20 January 1982.   Once in the US, it remained in private hands for decades until it was placed up for sale by Freeman’s | Hindman auction in New York on 20 September 2024 as Lot 153, at which point the DANY-ATU swiftly intervened and seized the artefact.

The second artefact, a 12th-century Angkor-style Khmer Head of a Ruler, bears a fragmentary naga, a traditional symbol of royalty and divinity with a conical mukuta rising above a diadem carved in filigree design while a fragment of one heavy earring hangs from his right ear.  The sculpture, decapitated at the neck, is symbolic of so many sculptures, violently reduced to transportable moveable commodities by looters. The object was smuggled into the United States and funnelled through a network of dealers, including Kapoor and appraisers before coming to the attention of DANY's investigative team. 

The second artefact, a 12th-century Angkor-style Khmer Head of a Ruler, bears a fragmentary naga, a traditional symbol of royalty and divinity with a conical mukuta rising above a diadem carved in filigree design while a fragment of one heavy earring hangs from his right ear.  The sculpture, decapitated at the neck, is symbolic of so many sculptures, violently reduced to transportable moveable commodities by looters. The object was smuggled into the United States and funnelled through a network of dealers, including Kapoor and appraisers before coming to the attention of DANY's investigative team. 

Efforts to Repatriate Looted Heritage

The return of these sculptures highlights the close collaboration between U.S. authorities and the Cambodian government in reclaiming looted heritage. Ambassador Koy Kuong of Cambodia praised the effort, stating, “As we mark the 75th anniversary of Cambodia–U.S. diplomatic relations, this meaningful act reflects the strength of our enduring ties and our shared commitment to cultural preservation and justice.”

Assistant District Attorney Matthew Bogdanos, along with ADAs Jacqueline Studley and James Edwards-Lebair, led the investigations, supported by a team of investigative analysts and international experts. The efforts were further bolstered by the contributions of Cambodian officials and scholars from the University of Poitiers’ Celtrac Team.

The work of the ATU serves as a crucial reminder of the enduring impact of cultural theft and the importance of holding those responsible accountable. With Kapoor’s extradition still pending, the battle against illicit antiquities trafficking continues, but each successful repatriation marks another step toward justice and the restoration of global heritage.

For over a decade, the District Attorney’s Antiquities Trafficking Unit (ATU) has worked alongside international partners to investigate Kapoor and his co-conspirators for their alleged role in the illegal looting, exportation, and sale of artifacts from South and Southeast Asia. This extensive probe has resulted in the convictions of five individuals, with extradition proceedings pending for five more. In total, more than 30 artifacts have been repatriated to Cambodia in recent years, underscoring the ATU’s commitment to dismantling smuggling rings and restoring cultural property to its rightful home.

Investigative support for these returns was provided by Huot Samnang, Director of the Department of Antiquities, Ministry of Culture and Fine Arts, Cambodia; CelTrac (Cellule de recherche des trafics des biens culturels) at the Université de Poitiers; and Mélanie Theillet.

Mark Meng, 58, has been sentenced to 46 months in federal prison for orchestrating a years-long scheme to steal high-value violins and for robbing a bank in Irvine.

Meng received his sentence from United States District Judge David O. Carter, who also scheduled a restitution hearing for June 24 to determine financial compensation for the victims. Meng had pleaded guilty in September 2024 to one count of wire fraud and one count of bank robbery. He has been in federal custody since May 2024.

Fraudulent Violin Scheme

From August 2020 to April 2023, Meng posed as a collector of fine musical instruments in a scheme to defraud violin shops across the country. He requested to borrow violins on a trial basis, negotiating potential purchase prices but ultimately kept the instruments and failed to pay.

Meng issued checks to the violin shops, knowing they would bounce due to insufficient funds. When shop representatives attempted to recover their instruments or payments, he issued additional bad checks or falsely claimed to have returned the violins, alleging they had been lost in the mail. Eventually, he cut off communication with the sellers altogether.

According to court documents, Meng systematically stole multiple valuable violins, including:

In one notable instance, which occurred in February 2023 when Meng borrowed a Guilio Degani violin worth $175,000 from a victim under a trial-period contract, which required him to return or purchase the instrument by February 10, 2023. Instead, Meng attempted to sell the violin to another buyer, who was unaware of its stolen status.

Meng’s criminal activities escalated in desperation in April 2024 when he robbed the  U.S. Bank on Barranca Parkway in Irvine. Wearing a hat, sunglasses, a bandana over his face, and blue latex gloves, he approached a teller and handed over a note demanding $18,000 with the message, “Stay Cool. No harm. Thx.” 

When the teller informed him she did not have access to the requested amount, Meng responded, “Give me whatever you have.” Fearing for her safety, the teller handed him $446 from her till before the suspect fled the scene in a white Toyota Sienna with a temporary license paper plate or a covered plate.

Investigation and Sentencing

Following his crime spree, a latent print left on the robbery note was later traced back to Meng and the getaway vehicle used in the Bank theft was found at his home. On the day of his arrest in the spring of 2024, Meng suffered a heart attack and was remanded into federal custody last May. 

In September 2024 hepleaded guilty in to: one count of wire fraud and one count of bank robbery.

Following his conviction, Meng now faces the possibility of a court-ordered restitution payment to his victims, to be determined in the upcoming June hearing. His case underscores the vulnerability of art and musical instrument dealers to fraud and highlights law enforcement’s commitment to protecting cultural and financial assets.

His crimes were investigated by the FBI’s Art Crime Team, with assistance from the Irvine and Glendale Police Departments. Assistant U.S. Attorneys Laura A. Alexander and Mark A. Williams of the Environmental Crimes and Consumer Protection Section prosecuted the case.

Having surrendered in Germany in connection with a multi-country investigation into illicit antiquities trafficking, Serop Simonian was extradited to France, where he was indicted on 15 September 2023 for fraud, organized gang money laundering, and criminal association, in a complex where he is accused of selling more than €50 million worth of illegally excavated antiquities.

Placed in pre-trial detention while his case made its way through the French courts, his French lawyer, Chloé Arnoux, requested that the courts consider pretrial release under supervision, citing Simonian’s advanced age (born in 1942) and his deteriorating health.  Approaching his 83rd birthday, and sensitive to the fact that his attorney had listed a range of health problems—including osteoarthritis, intestinal issues, migraines, and depression—a liberty and detention judge signed off on his release from La Santé Prison, located in the Montparnasse district of the 14th arrondissement in southern Paris.

According to an article first published by Emmanuel Fansten in the French newspaper Libération, the judge granted his pretrial release on 31 December 2024. The judge ordered Simonian to report once a month to the Hamburg police station and not to leave Germany, except in relation to his upcoming court case.

Given the gravity of the octogenarian’s alleged crimes—and the extensive evidence uncovered by Junalco, France’s National Jurisdiction for the Fight Against Organized Crime, linking Simonian to a criminal network that trafficked looted Egyptian artifacts to prestigious institutions such as the Metropolitan Museum of Art in New York and the Louvre Abu Dhabi—the General Prosecutor of the Paris Court of Appeal formally challenged his release from custody. Citing Simonian’s significant financial resources and extensive international connections, the prosecutor argued that he posed a serious flight risk and urged the court to reconsider its decision to ensure he remained within the jurisdiction of French authorities.

Two weeks after Simonian was granted pretrial liberty, the investigating chamber held a hearing, which ultimately reversed the earlier release decision and ordered that he report back to La Santé prison. Unfortunately, by this point, he had disappeared.

Simonian's case illustrates that age is no barrier to flight, particularly when financial means, international connections, and open borders make travel easier.

One well-known example of a senior citizen on the lam is Israeli-American businessman Jacob “Kobi” Alexander, the former CEO of Comverse Technology, who was charged in 2006 with securities fraud and other financial crimes. While out on bail, Alexander transferred millions of dollars overseas and fled to Namibia, a nation that has no extradition treaty with the U.S. He lived there for a decade before voluntarily returning to the U.S. in 2016 to face sentencing.

Another case is that of Leonard “Fat Leonard” Francis, the defense contractor at the center of one of the largest bribery scandals in U.S. military history. Francis, who was in his late 60s, was granted house arrest pending trial on the grounds that he was being treated for kidney cancer. However, while awaiting sentencing, he cut off his GPS ankle monitor in September 2022 and fled the country. Authorities later captured him in Venezuela, but his escape underscored how older fugitives can exploit compassionate release during ongoing judicial proceedings.

The flights from justice of these individuals, as well as Simonian's (whose whereabouts remain unknown), highlight how gray-haired, white-collar criminals with the financial resources to do so can evade justice just as easily as their younger counterparts.

Update:  28 March 2025 Journalists with The Art Newspaper have spoken with Simonian's lawyer, Chloé Arnoux,  who, breaking her initial silence stated that the problematic dealer was now at an assisted living facility near his family in Hamburg.   In another article Arnoux is quoted as saying "He was not notified in a language he understands that there was an appeal against his release."

No mention was made however explaining why she failed to explain this to her client given she would have been privy to the Court's decision as Simonian's counsel, or why, up until now he had not obeyed the French ruling to return to prison to await his trial. 

The artefact, measuring 13.7 centimeters in diameter, was discovered by a local metal detectorist in the municipality of Peraleda de la Mata, in Cáceres, Spain in 2007.  The individual who unearthed the piece initially reported the find to the regional government of Extremadura and even took a photograph of it still freshly covered in dirt.  However, soon after, the individual withdrew the medallion from the market, refused to cooperate with authorities, and its whereabouts became unknown.

What followed was a series of events that eventually resulted in the Spanish Civil Guard’s Central Operational Unit (UCO), U.S. Homeland Security Investigations (HSI) and the New York District Attorney's Office to formally lead to the object's recovery. 

Sometime after its disappearance, according to the New York District Attorney's Office, the medallion surfaced in the possession of the Barcelona-based antiquities dealer Félix Cervera Bea of Galería F. Cervera.   After that, it was smuggled out of Spain and purchased by Geneva's based Phoenix Ancient Art, where it was circulated publicly to international buyers. 

By 2010, the object was published, in a cleaned and restored state, in a Phoenix Ancient Art catalogue which listed the object with the following provenance: 

Ex Spanish Private Collection, collected ca. 1960, 

While vague provenance omitting a Barcelona dealer is not unusual in the art world, the date given for the purported Spanish collection ownership is completely incongruent to the one recorded with the authorities in the Spanish municipality.  Who, or what, if anything, was provided to Hicham and Ali Aboutaam to seemingly justify this false collection pedigree has not been publicly disclosed. 

By at least 2021,  the medallion had also been published to the Phoenix Ancient Art's website, where the dealers in question advertised an asking price of $210,000.   

The provenance on the webpage again did not match the discovery date of this piece in Spain, and instead stated:

The publication of this article came to the attention of the Dirección General de Bibliotecas, Archivos y Patrimonio Cultural of Extremadura who in turn alerted the Spanish Civil Guard’s UCO, a specialised division within the Guardia Civil responsible for the investigation and prosecution of the most serious forms of crime and organised crime.  The GC then reached out to US law enforcement.

When questioned as part of this case, Phoenix Ancient Art provided an invoice linking the silver medallion to the Catalan dealer, however, Spanish officials noted that no export permit had ever been requested or obtained for the object then being offered for purchase through the New York gallery.  Under Spanish law, artefacts removed from the country without a valid permit automatically become the property of the Spanish State. 

As a result of the following international investigation, involving the Spanish government, the Federal Bureau of Investigation (FBI), U.S. Homeland Security Investigations (HSI), the New York District Attorney's Office - Manhattan's Antiquities Trafficking Unit, and the Guardia Civil UCO Historical Heritage section, the owners of Phoenix Ancient Art agreed to voluntarily relinquish the artefact, indicating in doing so that they had purchased it as part of an "old collection of Spanish art."

On March 21, 2025, after 18 years, U.S. authorities officially handed over the long lost medallion to their Spanish counterparts, in a ceremony in New York.  On hand were Captain Juan José Águila, head of the Historical Heritage section of the UCO, Colonel Matthew Bogdanos, head of the Antiquities Trafficking Unit of the New York District Attorney’s Office, and Marta de Blas, Consul General of Spain in New York.

The successful repatriation of the Visigothic medallion marks another milestone in the ongoing efforts by Spanish and international authorities to combat the illicit trade of cultural artefacts and to return stolen heritage to its rightful place.  The case also serves as an example of just how long it takes for smuggled artefacts to be identified and that information relayed onward to the right authorities who can work towards restitution.  It also shows how an object's true origins can be obscured by vague provenance statements which give no hints to unweary buyers that the piece they are considering purchasing, may have left its country of origin in contravention of the national law. 

When looted artefacts like this one do resurface—whether in a gallery, auction house, or academic publication—identifying them requires the expertise of scholars, investigators, and cultural heritage officials.  Their recovery is therefore rarely straightforward, and often demands a coordinated effort between law enforcement agencies, government authorities, and vigilant researchers across multiple countries who are often the first to spot an illicitly exported piece in circulation. 

This case also underscores the immense challenge it takes to monitoring countless sales catalogues, websites, and scholarly publications in the search for artefacts that have been illegally removed, especially when their collection history has been falsified along the way. 

NB:  This article has been updated on 25 March 2025 with facts released in the official New York District Attorney's Office - Manhattan press release on this restitution. 

Can you give us an introduction about yourself?

I’m honoured to be part of this interview and to share my journey in cultural heritage protection and the fight against the illicit trafficking of antiquities.  My background combines extensive experience in cultural heritage preservation with a strong focus on safeguarding archaeological sites and cultural assets in conflict zones.  Early in my career, I worked at the National Archaeological Museum of Aleppo and later at the Syrian Directorate-General for Antiquities and Museums (DGAM), where I engaged in efforts to protect heritage under various circumstances.

Over the years, I’ve collaborated with international organisations, including UNESCO, Europol, and the British Museum, as well as with law enforcement agencies on projects with the Italian Carabinieri TPC, and the Dutch National Police.  I also founded ArchaeologyIN, a social media network aimed at promoting cultural heritage awareness across ten countries.  This work remains close to my heart, particularly as we confront ongoing challenges to cultural heritage in the Middle East and North Africa region.

From Aleppo to Europe is quite a journey, can you tell us about that?

My journey into the world of cultural heritage protection began at the National Archaeological Museum of Aleppo.  I was fortunate to work at one of the region’s oldest and most prestigious institutions, which fuelled my passion for preserving Syria’s rich heritage.  My early days were filled with fieldwork, cataloguing artefacts, and collaborating with teams dedicated to archaeological research and preservation.  Later, I joined the Syrian Directorate-General for Antiquities and Museums in Damascus, where my knowledge and experience in project management and international cooperation increased.

With the outbreak of conflicts in the Middle East and North Africa region and in response to the emergence of new challenges, I launched ArchaeologyIN, a platform designed to raise public awareness about the importance of cultural heritage.  Over time, my work extended beyond Syria to encompass the broader MENA region.  My research and collaborations have focused on mitigating the risks to cultural assets in conflict zones, working with global institutions such as UNESCO and ARCA.  Each step of this journey has deepened my understanding of the complex network behind the illicit antiquities trade and strengthened my resolve to protect what remains.

How did you get involved with ARCA?

My connection with ARCA started through a shared passion for combatting art crime and protecting cultural heritage.  I first learned about ARCA’s work through its extensive publications and network of experts.  When I attended their postgraduate program as a Minerva scholar ten years ago, it became clear that this was more than an academic experience—it was a community of professionals committed to making a difference.  The program’s unique approach to blending practical case studies with cutting-edge research inspired me to stay involved.  I was later invited to join as a lecturer, an opportunity I gladly accepted.  Teaching at ARCA allows me to engage with dedicated professionals and students who share a passion for protecting cultural heritage and disrupting the networks that traffic antiquities.

Can you tell us about the purpose of the your course?

This summer, I’ll be teaching Unravelling the Hidden Market of Illicit Antiquities, a course that offers participants a deep dive into the international trafficking of antiquities. We’ll explore case studies from the past 50 to 60 years, focusing on how the trade has evolved.

The course is designed to be both informative and interactive. We’ll begin with a historical overview of the illicit trade, then move on to key players in the market, from prominent dealers to auction houses, museums, and galleries. We’ll uncover the intricate network behind this shadowy trade by examining the roles of source, transit, and market countries.  Our sessions will include practical discussions on the legal and ethical challenges of repatriation and the level of proof required to secure a successful claim.

Participants can expect a mix of lectures and interactive discussions, giving them the tools to better understand and confront this global issue.

Tell us life when you are in Amelia

Amelia is a hidden gem in the heart of Umbria, Italy.  Nestled atop a hill, this charming medieval town offers a serene escape from the hustle and bustle of modern life.  Narrow cobblestone streets wind through centuries-old buildings, leading to stunning views of the surrounding countryside.  Life in Amelia is peaceful yet vibrant, with a rich cultural history, making it the perfect setting for ARCA’s program.

For participants, Amelia becomes more than just a backdrop—it’s a place to immerse yourself in Italian culture, connect with fellow professionals, and reflect on the importance of preserving our shared heritage.

Can you tell us what makes ARCA's programmes special?

One of the most unique aspects of ARCA’s program is its emphasis on blending theoretical knowledge with real-world application.  Participants gain not only a deep understanding of the international art and antiquities crime landscape but also access to an extraordinary network of professionals.  This program creates an environment where scholars, law enforcement professionals, and cultural heritage experts from around the world come together to share insights and collaborate on solutions to some of the most pressing challenges in the field.

A highlight of the summer is The Amelia Conference – 2025, ARCA’s Annual Interdisciplinary Art Crime Conference, which will take place from June 20 to 22, 2025.  This conference is a rare opportunity for program participants to meet and engage with a wide range of experts in art crime and cultural heritage protection.  The conference offers participants the chance to learn from leading voices in the field, expand their professional networks, and gain practical insights that complement their studies.

By the time participants complete the program, they’re not only better equipped to address the complexities of art crime—they’re also part of a vibrant, global community dedicated to protecting cultural heritage.

If you could follow another professor's course, which one would it be? 

If I had the chance to take a course at ARCA, it would likely be “Discarded, Discovered, Collected: The Ethics of Antiquities Preservation and Publication” by Roberta Mazza.  This course offers invaluable insights into why are antiquities exchanged on the market and what drives price formation? It also covers grouond on what is special about antiquities with texts inscribed on them, and the sometimes vulnerable relationships between academics and actors in the art market who deal in this type of textual remains.

Do you have any advice for applicants and participants?

My advice for new participants is simple: embrace every opportunity this program offers.  Be curious, ask questions, and engage with the community.  The beauty of this program lies in its diversity—everyone brings a unique perspective to the table.

Also, take the time to explore Amelia and immerse yourself in its history and culture.  These experiences will enrich your understanding of cultural heritage in ways that go beyond the classroom.  Most importantly, remember that what you’re learning here has real-world implications. You’re joining a global effort to protect our shared history—an effort that is more important now than ever.

The Corporate Transparency Act was enacted in 2021. With the passing of the a bipartisan CTA, domestic entities created by a filing with a state secretary of state and foreign entities that registered to do business in the U.S. are required to submit Beneficial Ownership Information (BOI) about the entities true owners to the Financial Crimes Enforcement Network or FinCEN.  The Act aims to combat illicit financial activities, including money laundering, by preventing the misuse of anonymous shell companies and closed loopholes by requiring transparency in corporate structures, making it harder for criminals to hide behind front companies or offshore entities.

How It Helps Combat Money Laundering in the Art Market:

Identifying Beneficial Owners – The CTA required certain U.S. businesses to disclose their true owners (beneficial owners) to the Financial Crimes Enforcement Network (FinCEN). This reduced the availability of anonymous shell companies which could be used to buy or sell high-value artworks as a way to launder money.

Closing Loopholes – The art market has long been an attractive space for criminals due to its anonymous transactions. By requiring transparency in corporate structures, the CTA made it harder for criminals, or sanctioned individuals, to hide behind front companies or offshore entities.

Enhancing Law Enforcement Investigations – With a registry of beneficial owners, law enforcement agencies could better trace illicit funds and investigate suspicious art transactions tied to money laundering, terrorism financing, or sanctions evasion.

Deterring Criminal Actors – Knowing that corporate ownership records are accessible to regulators and enforcement agencies created a deterrent effect, making it riskier for bad actors to use the art market for financial crimes.

Aligning with Global Anti-Money Laundering Efforts – The CTA brought the U.S. closer to international AML standards, reinforcing Financial Action Task Force (FATF) recommendations that called for greater transparency in high-value transactions, including art.

Recent Developments Under the Trump Administration:

On 2 March 2025, the U.S. Treasury Department, with endorsement of President Donald Trump's administration, announced that FinCEN will not take action against companies that miss BOI reporting under the CTA until further notice, suspending penalties and fines and that revisions to the deadline and reporting requirements are on the way.  This decision effectively halts the enforcement of the act's requirements, with plans to seek public feedback on potential modifications to the BOI reporting rules later in the year. 

Less than 24 hours after the Treasury Department's announcement, Judge Robert Jonker of the U.S. District Court for the Western District of Michigan declared beneficial ownership information reporting requirements unconstitutional and granting summary judgment to the Small Business Association of Michigan finding the Corporate Transparency Act violates the Fourth Amendment which prohibits unreasonable search.

After the announcements anticorruption and financial transparency advocates in the US and Europe were dismayed by the decision.

Implications for Money Laundering in the Art Market:

As mentioned above, the art market has historically been susceptible to money laundering due to high-value transactions and a lack of close financial oversight. The suspension of BOI reporting enforcement may have severe implications:

Increased Anonymity: Without mandatory BOI disclosures, individuals operating in bad faith can more easily use anonymous entities to conduct art transactions, making it challenging to trace the true ownership of artworks and by proxy the transfer of funds from one geographic region to another as works of art are bought and sold internationally. 

Regulatory Gaps: The lack of enforcement creates loopholes that will be exploited for illicit financial activities within the art market. 

Challenges for Law Enforcement: The absence of BOI data hampers the ability of authorities to investigate and prosecute transnational money laundering cases involving art transactions.

In 2020 two Russian oligarchs Arkady and Boris Rotenberg, who are close to President Vladimir P. Putin, exploited the opaqueness of the art world to buy high-value art.  Bypassing U.S. sanctions, a report by the U.S. Senate’s Permanent Subcommittee on Investigations stated that the brothers purchased of works at auction houses and through private art dealers in New York totalling $18.4 million in value after the pair came under United States sanctions in 2014.

In April 2023 Nazem Ahmad, a collector, was accused by U.S. authorities of being a key financial supporter of Hezbollah, a Lebanon-based organisation designated as a terrorist group by the U.S. government. His indictment alleged that Ahmad circumvented U.S. sanctions, placed on him in 2019, by operating through a network of businesses to obscure multimillion-dollar transactions involving art and diamonds. Additionally, eight other individuals faced charges in connection with the case.

Eric Allouche, whose Allouche Gallery did business with Ahmad stated he had no clue he was dealing with an entity affiliated with the Lebanese collector, indicating that his American-owned gallery dealt with a representative of an entity who he knew to be someone who had bought art previously from artists he handles. 

While the stated aim in the suspension of enforcement and potential repeal of this financial transparency law is purported to be to reduce the regulatory burdens on American-owned  businesses, weakening the CTA simply reapplies the veil of secrecy which the CTA had sought to remove.  If repealed, or left unenforced, it will again enable the concealment of identities, making it easier to clean dirty money through art transactions, and making art world an increasingly elastic haven for hiding criminal transactions. 

By:  Lynda Albertson

In the months leading up to the start of the programmes, this year’s lecturers are being interviewed about their courses and teaching with ARCA in Italy.  In this interview we meet Dr. Saskia Hufnagel, a Visiting Professor at Queen Mary, a Professor at the University of Sydney Law School and Co-Director of the Sydney Institute of Criminology. Her research concerns global law enforcement cooperation, transnational and comparative criminal justice and art crime. She lectures on the Art, Business and Law LLM (CCLS).  Her particular interests are international and regional legal patterns of cross-border policing as well as the detection, investigation and prosecution of art crimes in the UK, Germany and Australia. Saskia is a qualified German legal professional and accredited specialist in criminal law.

Can you tell us something about your background?

I started off as a German Criminal Lawyer in a little town close to the Dutch border and in my practice I got very interested in cross-border crime and law enforcement dealing with it.  As luck would have it, I received a scholarship funded jointly by the European Commission and the Australian National University to pursue a PhD in the area of international law enforcement cooperation.  After my PhD, I spent some time as a researcher in Queensland and then moved to Queen Mary University of London to teach criminal law, policing, and comparative criminal justice.  In 2023 I was offered a Professorship in Australia and am now teaching and researching at the University of Sydney Law School.

And how did you get involved with ARCA? 

After I had finished my PhD, one of my examiners, Prof Duncan Chappell, asked me whether I would write with him about a German forger's case (Beltracchi) that also included international law enforcement challenges and, at the time, a lot of the reports on it were mainly available in German.  This is how I got into art crime and visited ARCA for the first time in 2011.  

It was such a great multidisciplinary hub for art crime research and it was so exciting to be exchanging ideas with both academics and practitioners specialising in fields much more interesting than my own, such as archaeology, art history, criminology, economics, forensic sciences and countless others.  People were so friendly and welcoming and happy to work even with boring lawyers that in the past 14 years, I only missed two of the conferences.

What is the purpose of the course you are teaching this summer?

My part of the teaching is a necessary evil as knowing the legal foundations of cultural heritage law is really important for many areas of art crime research.  I will go through the international legal set up of cultural property protection with students, discuss the differences between such protection in times of war and peace, look at the protection of moveable and immoveable cultural heritage and go through some basics of criminal law comparatively between various jurisdictions to highlight criminal law issues in relation to fraud, theft, vandalism, money laundering, tax-, import- and export-offences and many other crimes.

What is it like in Amelia?

Amelia is like a picture book Italian village with wonderful restaurants, bars and shops. The people are very friendly and forgiving with silly foreigners like me who do not speak a word of Italian. The longer you stay in Amelia, the more you will love it!

What is so special about this program?

There is no other program like ARCA.  University programs will situate a course mainly within one discipline, so you rarely get the same variety of interdisciplinary knowledge taught within this program elsewhere.  Also, ARCA has contacts to some of the most knowledgeable academics and practitioners in the field and brings them together from all around the world to teach the programme.

Which course would you like to follow yourself?

I would love to do Lynda Albertson’s course and discover more about data sets and data interpretation and how to harness art crime databases! Students were always gushing about it and telling me about all the possibilities for research they discovered in her course. It made me so jealous!

Any advice for the participants that come to Amelia?

Work hard and play hard! Amelia is a once in a lifetime opportunity to study with a very diverse group of students, people you would otherwise never – or not very likely – meet in your life. Make friends, support each other studying, have fun, enjoy the wide variety of teachers and subjects and take home a great deal of knowledge and a new little family.

In closing I would add that Dr. Hufnagel has co-edited a marvellous book in the field titled The Palgrave Handbook on Art Crime featuring articles from many people working in this important field.  If you would like to learn with her directly, there is still time to apply for the ARCA program and speak with her directly this summer. 

By:  Edgar Tijhuis

By Edgar Tijhuis*

This year, ARCA’s Post Lauream I on Art and Antiquities Crime will be held from 23 May through 20 July 2025, followed by ARCA’s Post Lauream II in Acquisition & Interpretation of Cultural Property. Both programs can be taken separately or together and are held in the beautiful heart of Umbria in Amelia, Italy. 

In the months leading up to the start of the programmes, this year’s lecturers are being interviewed about their courses and teaching with ARCA in Italy. In this interview we meet Dorit Straus, who is a specialist in art insurance and an independent art and insurance advisor. Previously, Dorit Straus was Vice President and Worldwide Specialty Fine Art Manager for Chubb & Son, a division of Federal Insurance Company and member of the Board of Directors of AXA Art Americas Corporation.

Can you tell us something about your background?

I am originally from Israel - I come from a musical family- my father was from Vienna and was a child prodigy studying violin with the great violinist Bronislaw Huberman.  When the Nazis came to power Bronislaw Huberman in 1936 founded what is today the Israel Philharmonic Orchestra and brought some of the best musicians from Europe to what was then the British controlled Mandatory Palestine - my father was among those musicians that Huberman saved and brought to the orchestra. 

All told Huberman saved over 1000 musicians and their families from the Nazis.  My father met my mother in Israel because her three brothers were also in the orchestra, and my father became the concertmaster of the orchestra, so my childhood was full of music and  I met many of the most famous musicians who came to perform in Israel. 

I used to go to concerts and take my autograph book with me - I have autographs from musicians like Arthur Rubenstein, Leonard Bernstein, Igor Stravinsky, Dmitri Dmitriyevich Shostakovich, Pablo Casals, and many many more. Although I studied piano and still play today, mostly chamber music, I pursued a different vocation - I studied Middle Eastern archeology at the Hebrew University in Jerusalem and participated in digs at Hazor with professor Yigael Yadin noted for his work on the Dead Sea Scrolls and the excavations conducted at the Judean desert rock-fortress of Masada.

I came to the US in 1970 and worked at several museums including the Jewish Museum in NY and the Peabody Museum of ethnology at Harvard University at Cambridge Mass.  Some years later I switched to a business career with Chubb  group of Insurance companies where I trained as a property and casualty underwriter Although Chubb did insure fine art, at the time there was no specialisation in that area, so eventually I created a Fine Art specialty within the company, as well as a special program for museums and cultural institutions.

And how did you get involved with ARCA?

I came to the attention of Noah Charney who was organising a conference at Cambridge University about art and crime as an academic subject and he invited me to speak,  which I did. Some years later when he created ARCA's in person training programming,  he invited me to come and teach a course about art and crime and its implications for the insurance industry and I have been teaching this course for over 12 years now.

What is the purpose of the course you are teaching this summer?

Many private art collectors and museums are insured - while many are not - in either case there are so many misconceptions about how insurance is purchased, what is covered and what isn't etc.  The purpose of the course is to explain the whole process through actual case studies and show how the insurance industry is a major participant working in the art trade. 

Any advice for the participants in your course?

At least in my course, I like to have heavy class participation - I realise that most people don't have any experience in insurance and so I tell everyone that there are no stupid questions.

What is special about ARCA's programmes?

ARCA offers an opportunity to learn from real practitioners in the art world about  their area of expertise.  Small class size allows for meaningful discussion and networking.  Also the participants come from all over the world and this affords more opportunities for different world views, as well as consensus building about the issues in are important within the art world.

What is it like in Amelia?

Amelia is a charming picturesque town perched up in the hills surrounded by Neolithic walls.  It's quiet and very restful, away from the hustle bustle of big cities like Rome - yet its within an easy train ride to Rome and by car to other important towns like Assisi, Orvieto, Perugia, etc..

Which course would you like to follow yourself?

Marc Masurovsky's Provenance course is definitely one that I am interested in.  

_________

NB:  Late Applications are being accepted for both summer programs.  For a detailed prospectus and application materials or for general questions about this postgraduate program please contact us at: programmes [at] artcrimeresearch.org

*Edgar Tijhuis serves as the Academic Director at ARCA. He is responsible for the postgraduate certificate program and has taught criminology modules within the ARCA program since ARCA’s start in 2009.